Sanquirico, Alessandro

FIRST EDITION, 72 leaves, large oblong folio (39.2 x 47cm), watermarked: "J. Whatman Turkey Mill 1824 [...1827]", 2 calligraphic title-pages, 70 finely-coloured aquatints, including neo-classical frontispiece, 7 plates illustrating scenes from Giovanni Pacini's opera L'ultimo giorno di Pompei, and 62 illustrating scenes from operas by Mozart, Rossini, Meyerbeer and ballets, by Carlo Sanquirico, Castellini, Diastoli, Carolina Latose and others after Alessandro Sanquirico, interleaved throughout with original watermarked tissue guards, contemporary cross-grained red morocco gilt, Greek-key panels, thin serrated fillets, the outer frame with neo-classical roundels, leafy margins & turn-ins, flat spine gilt in compartments, with simple intersecting geometrical devices, brown endpapers, stubs from wrappers, corners and spine worn at head and foot, a few light stains in the margins, legend to Mayr's "La Fedra" rather faint, small tear to margin of "Numa Pompilio" repaired on verso

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 earliest set of Sanquirico's magnificent coloured lithographs of operas at La Scala, Milan that we have seen.  The plates show not just set designs, but also the stage action for important productions up to an including the 1827 season, but no further. They were crowned with a series of seven spectacular designs for Pacini's L'ultimo giorno di Pompei, depicting the eruption of Vesuvius (see the inside front cover of the catalogue).  In this early issue, the plates for Pacini's opera appear at the beginning rather than the end, so the opening title differs from that found in most later issues.  The paper bears watermark dates only of 1824 and 1827.   It does not contain five scenes added later: a single plate for Bellini's Norma (1832 season), three ballets, Pelia e Mileto (1827), Imelda e Bonifacio (1831), Oreste (1826) and a supplementary plate of costume designs for Pacini's Pompei.  We have found these plates in other copies printed on 1830-watermarked paper.  Apart from the five added later, the plates are common to all copies, but not bound in any particular order.  

Alessandro Sanquirico (1777-1849) was the chief designer and scene-painter at La Scala during this most important period in its history.  His sets are notable for the introduction of exotic locations and architecture (including in the "Egyptian" style), grandiose neoclassical arcades, subterranean temples and Romantic cataclysms.  There are spectacular designs for scenes set in Egypt (Memphis, the Pyramids and Damietta), Babylon, Ancient Greece, Crete, Mecca, the Ottoman Empire (including Tarsus), and Persia.   The operas illustrated include Mozart's La clemenza di Tito (3 plates, 1819), Rossini's La gazza ladra (the premiere), Ciro in Babilonia (2) and Semiramide (1824, set in Babylon), and, one of the most splendid: Meyerbeer's Il crociato in Egitto.