Mozart, Wolfgang Amadeus.

the complete opera in 2 volumes, the first containing Acts I and II, entitled "Le nozze di Figaro. Dramma giocoso in quattro atti messe in Musica dal Sign. W. A. Mozart", the text in Italian throughout, notated in brown ink on up to 16 staves per page by apparently a single copyist, signed at the end by the scribe ("F. Salzmann descripsit"), with additional parts for timpani and trumpets in the Act II Finale contained on a single leaf at the end of volume one, the recitative and aria "Giunse alfin il momento...Al desio di chi t'adoro" (a replacement for Susanna's "Deh vieni non tardar") contained at the end of volume two, extensive additions and corrections in pencil, some indicating possible use of the score as a Stichvorlage, 398 leaves, folio (30 x 22.5cm), 14- and 16-stave papers, watermarks including eagle and countermark of three moons [cf. Paper-Type 5 in The Beethoven Sketchbooks (1985), p.545], some modern pencil entries, nineteenth-century half calf, no place or date [early nineteenth century], upper cover and spine of volume one detached, volume two rebacked retaining original spine

Condition is described in the main body of the cataloguing where appropriate.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The stylised appearance of the score, together with its numerous corrections and occasional, apparent casting-off marks, suggests that it may have been used as the basis for the printing of a full score, possibly even copied from an early edition. According to Fuld, the earliest printing of the orchestral score was by Au Magasin de Musique, Paris, 1806-1809. A supposedly earlier printing, by Imbault, c.1795 (see Köchel⁶, p.545), has never been traced.