Sanquirico, Alessandro.

presentation copy for the Count of Scarena,



79 leaves, large oblong folio (39.3 x 47cms), manuscript preliminaries (ff.3), including fine calligraphic title and dedication from Sanquirico to Scarena, a leaf with his illuminated monogram surmounted by crown, 75 finely-coloured aquatints comprising neo-classical frontispiece, 73 views of scenes from operas and ballets (by Mozart, Rossini, Bellini and others) performed at La Scala, many set in the Middle East, engraved by Carlo Sanquirico and others after Alessandro Sanquirico and 1 plate of costume designs at end; second manuscript title ("Sceniche Decorazioni inventate, e depinte pel Dramma serio. L'Ultimo Giorno di Pompei": 8 plates), several by Carlo Sanquirico or A. Biasioli after A. Sanquirico, finely bound in contemporary calf, spine gilt, sides decorated with a series of neo-classical borders, skilfully rebacked preserving the original spine, a few small tears to margins 

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 a magnificent set of contemporary illustrations of operas staged at La Scala, in Milan in the 1820s and early 1830s.  The plates show not just Sanquirico's sets, but also stage action with the singers and dancers, for important productions at La Scala, including the premieres of Bellini's Norma and Rossini's La gazza ladra. These plates are often reproduced in the literature of Italian opera, but finely hand-coloured copies such as these are rare: there is no copy in Britain or the Library of Congress. The Pierpont Morgan library copy (ex-Mellon) has only 62 plates, as did the Jack Cole copy (our sale 17 July 1979, lot 445). This would appear to be a specially-produced presentation copy, of which we can trace only a very few examples in this large format, its colouring probably supervised by Sanquirico and with manuscript preliminaries.

Alessandro Sanquirico (1777-1849) was the sole designer and chief painter at La Scala from 1817 until 1832, one of the most important periods in its history. His sets are notable for the introduction of exotic locations and architecture (including in the "Egyptian" style), grandiose neo-classical 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 (Constantinople and Tarsus), Persia, India and the south-sea island of "La Peyrouse".  There are also seven sets depicting Pacini's L'ultimo giorno di Pompei in 1827, including, at the end, the eruption of Vesuvius.  Many designs shown here are for the world premieres; but even for operas first performed elsewhere, these are important productions where the composers revised their works for Italy's leading opera house.

The operas and ballets illustrated here include Mozart's La clemenza di Tito (in 1819), Rossini's La gazza ladra (the premiere, 1817), Ciro in Babilonia and Semiramide (both set in Mesopotamia), Bellini's Norma (the premiere), Pacini's L'ultimo giorno di Pompei, Meyerbeer's Il crociato in Egitto (revised for La Scala), Mercadante's Amleto and works by Viganò, Soliva, Mosca, Winter, Morlacchi, Pavesi, Basili, Taglioni and others.  The other engravers listed in the volume are G. Castillini, Carolina Lose (Luose), Bramati, A. Biasioli,, Durelli, L. Rados, Rainieri, A. Angeli, F. Albertoli, G. Alluisetti, D.K. Bonatti, C. Zucchi, and L. Castillini.

Some of these plates are also found engraved in oblong quarto format, and could be ordered with Ricordi's contemporary vocal scores of the operas.  The Oxford copy of the quarto edition of Bellini's Norma, for example, includes five illustrations sized 25 x 33 cms, and plates are similarly found in I puritani, and the British Library copy of Donizetti's Anna Bolena.. The Library of Congress has a copy of collected small lithographs published by Ricordi (see also our sale on 2 December 1995, lot 491).