Schubert, Franz.

First edition, bearing Schubert's control mark on the back of the last leaf ("Sch[paraph] 75"), written by him or on his behalf, 15 pages, oblong 4to (c.24 x 32.5cms), early ownership inscription on title ("M.D."), engraved, without metronome marks, modern half calf, tear to title repaired, a few leaves strengthened at hinge and corners remargined [Hoboken 1; O.E. Deutsch, Schubert's Goethe-Lieder (Vienna, 1926), 1a.]

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."

This is the first issue of Schubert's Opus 1, published without metrnome markings, or publisher's number 766. 

Schubert's control marks have aroused  much debate and speculation, some scholars opining that these markings were not written by Schubert himself, but by his brother Ferdinand or Leopold von Sonnleithner. A study of the early Schubert editions in the Gesellschaft der Musikfreunde, Vienna, which houses important collections deriving from Spaun, Sonnleithner, Brahms, Witteczek and Hoboken, shows that the situation is, in fact, a good deal more complicated, since a number of early hands are involved. A few of the markings, for example, in Brahms's, Spaun's and Sonnleithner's copies do strongly recall Schubert's own hand: indeed Brahms himself identifies Schubert's hand on his copies of "Gretchen am Spinnnrade" op.2 and "Der Wanderer" Op.4. The positive identification of the composer's hand from such short inscriptions is always open to question, but we can say that the control marks are present only on the earliest issues of the songs published as Opus 1 to Opus 14, dating from 1821-1822, and confirm these are among the earliest copies issued directly on behalf of the composer.