Susanne Schulz-Falster - Schulz-Falster Rare Books

Susanne
Schulz-Falster
A COLLECTION OF
VENETIAN PRESENTATION
BOOKS

A MAGNIFICENT
COLLECTION OF FORTY
ITALIAN
‘PRESENTATION’
BOOKS ISSUED
TOWARDS THE END OF
THE EIGHTEENTH
CENTURY, MARKING A
HIGH POINT IN
VENETIAN BOOK
PRODUCTION,
ILLUSTRATION AND
BOOKBINDING

THIS COLLECTION presents forty particularly splendid examples
of presentation or festival books, celebrating ingressi and nozze, i.e.
the assumption of public office or the marriage of members of distinguished
families. These books of congratulatory verse were produced
magnificently, sparing no expense, with charming vignettes and fully
decorated engraved borders. Whereas in the earlier books only the
title page was surrounded with a decorative border, later productions
increased the number from a few to up to twenty different borders,
repeated not in a haphazard but carefully orchestrated order. Unified
themes run through the series of borders, both in subject matter and
in style. Similar books had been produced in the earlier part of the
century, but these later productions are of particular significance. Not
only was ever greater emphasis placed on artistic decoration, but two
features emerged which ‘may be proposed as distinctive Venetian contributions
to the modern history of the illustrated book: first the comprehensive
decoration of books through open, free-floating, figurative
borders enlivening every page, text as well as plate; and second, decorative
paper bindings especially created for individual books or editions.’
(Robison, p. 353). Hobson commented on it earlier: ‘the
charming wrappers printed in colours from wood-blocks [were] the
special contribution of Venice to Italian eighteenth century binding’
(A. R. A. Hobson, French and Italian Collectors and their Bindings, p. 168).
The highly decorative publishers’ bindings, paper wrappers or
boards, are decorated with woodcuts or stencil-printed armorial designs
or embossed patterns. These bindings demonstrate the other distinctive
Venetian contribution to book history, ‘the practice of
preparing a distinctive binding for individual editions ... which is generally
regarded a result of nineteenth century industrialisation. However,
as can be seen in the sample of the eighteenth century Venetian
books, this practice of edition binding began earlier.’ The individual
bindings were characteristically highly decorative. ‘The Venetian designs
had distinct sections for the front cover, the spine, and the back
cover. The cover designs always had borders framing reserved central
areas. An ornamental shield with the general monogram VV (Viva
Venezia), a figurative vignette appropriate to the family, or an ornamental
shield with the specific arms or monogram of the celebrant to
whom the book was dedicated is often found on the lower cover. The
front cover, however, always had an ornamental shield containing the
specific arms of the celebrated nobleman for an ingresso, or in the case
of a wedding, the arms of one or both of the celebrating spouses.’
(Robison p. 354).
In some cases more than one publication accompanied a given
event. Cover designs were re-used, with distinctive colour combinations.
Binding designs were implemented in varying degrees of lavish-

ness, with the most extravagant embossed in gilt on card,
whereas the more ‘learned’ contribution appeared in a matching
binding, but printed in black or a single colour. There is one
instance of the design being printed on silk, again with the related
binding in the same design but on paper.
THE COLLECTION: A rare opportunity to acquire a representative
selection of Venetian presentation or festival books published
in the second half of the eighteenth century. Although a
substantial number of individual titles were produced, they
were only printed in very small numbers for private distribution,
and due to their ephemeral nature only very few have
survived, and even fewer in their original bindings. Individual
examples are held in libraries and occasionally come on the
market, but substantial holdings are only reported at the Getty
Library and Harvard, who hold about half the titles offered
here. A few individual titles are held by other institutions such
as Yale, University of Rochester, the Pierpont Morgan Library,
and the Newberry Library. The particular appeal of this collection
is that a large proportion of the titles are in their original
bindings or contemporary wrappers, just as they were issued,
and are in particularly fine condition. The collection also includes
an exceptionally rare silk binding, with the same design
as the accompanying paper version, and a rare engraved broadside
announcing the event to be celebrated. Because of their
transitory nature only very few of these broadsides have survived.
BACKGROUND: Venice was the largest publishing centre in
Italy during the final years of the Venetian Republic in the
eighteenth century. Its pre-eminent publishers such as
Albrizzi, Zatta and Pasquali were producing lavishly illustrated
books, both for the home market and for export. The
publishers were important patrons of Venetian artists and
commissioned painters such as Tiepolo, Piazzetta, Novelli and
Bartolozzi to produce paintings and drawings for book illustrations.
These were brilliantly executed, often as charming vignettes
depicting landscapes, views and scenes, or allegorical
figures by a school of engravers working in close collaboration
with the artists. Venetian publishers tended to specialise in literature,
but the most splendid works were reserved for the
many publications privately issued to commemorate special
events, such as the procession on assuming public office, or
marriage of members of distinguished families.

REFERENCES:
Cicogna, E. A. Saggio di bibliografia veneziana. Venice, 1847.
Hyatt Mayor, A. ‘Italian XVIII Century book illustration’, in The Metropolitan
Museum Art Bulletin. January 1950, pp. 136–142.
Lanckoronska, M. Die venezianische Buchgraphik des XVIII. Jahrhunderts. Hamburg,
1950.
Lappiccirella, L. Libri illustrate veneziani del XVIII secolo. Disegni – Libri – Incisioni.
Catalogo 3. Florence, 1957.
Leporace, T. G. Il Libro illustrato nel settecento a Venezia. Venice, 1955.
Martineau, J. and A. Robison. The glory of Venice. Art in the eighteenth century.
Exhibition catalogue, London, Washington, 1994.
Morazzoni. G. Il libro illustrato veneziano dell ’700. Milan, 1943.
Pettoello, A. Libri illustrati veneziani del settecento. Le pubblicazioni d’occasione.
Venice, 2005.
Pinto, O. Nuptialia. Saggio di bibliografia delle edizioni per nozze dal 1484 al 1799.
Florence, 1971.
Robison, A. ‘Componimenti poetici per l’ingresso solenne alla dignità di
procuratore... Lodovico Manin (Venice, Albrizzi, 1764) in: Vision of a Collector.
The Lessing J. Rosenwald Collection in the Library of Congress. Washington, 1991.
Saks. Venetian Illustrated Books of the Eighteenth Century. The Collection John A.
Saks. Wednesday 10 June, 1981. Christie’s, London, 1981.
Soranzo, G. Bibliografia veneziana in aggiunta e continuazione del ‘Saggio’ di E. A.
Cicogna. Venice, 1885.
Ingressi
1
[VENIER,
Girolamo.] Componimenti poetici d’autori
diversi in occasione dell’ingresso solenne di Sua
Eccellenza il Signor Girolamo Veniero Procuratore di S.
Marco per merito. A Sua Eccellenza la Signora Maria
Veniero Contarini di lui figlia. Venezia, appresso
Sebastiano Coleti, 1759.
4to (320 x 235mm), pp. [iv] portrait frontispiece etching
showing Venier in his procuratorial robe, title page, 106, [2]
blank; 76 engraved vignettes including portraits, arms, and
head- and tail-pieces; later pattern-paper boards.
A fine collection of poems published on the occasion of
Girolamo Venier’s accession to the office of procuratore. Chiari
amongst others contributed to the collection. All vignettes and
twelve fine allegorical borders are by F. Bartolozzi, and are described
in detail by A. De Vesne and A. Calabi, Francesco
Bartolozzi, 1928. A detailed account of all the etchings, engravings
and head- and tail-pieces is given in Pettoello.
Francesco Bartolozzi (1728–1815) was one of the foremost
engravers in Venice, whose particular speciality was book illustration.
He later was one of the founder members of the Royal
Academy in London.
Morazzoni p. 281 (wrong collation); Pettoello 294; see Saks 132.

2
[REZZONICO,
Lodovico.] Componimenti poetici pel
solenne ingresso alla dignità di Procuratore di S. Marco di
Sua Eccellenza il Signor D. Lodovico Rezzonico Cavalier,
Principe del Senato, e del Popolo Romano. Venezia,
(nella stamperia Zatta), 1762.
4to (338 x 234mm), pp. 56, with engraved allegorical
frontispiece, title within engraved border by Magnini and
with engraved vignette by the same, engraved arms, title
printed in red and black, text printed within elaborate
engraved figurative borders showing musical instruments,
shells, putti, scenes of Venice etc., and 10 vignettes as headand
tail-pieces; modern full pattern paper boards, from the
Rava collection, with bookplate of the Biblioteca Terzio.
One of the most elaborate productions, with thirty-six
different borders used to frame the text. The poems are by
Gaetano Gotti, Stefano Orsini, G. Iacopo Monti, Gius. Petrosellini,
Ramondo Cunich, Daniele Florio, Antonio Macalchin,
Arcangelo Mariani, Ermineo Partenio and others. A poem by
Gasparo Gozzi (sonnet 34) is also included, and the fine vignette
on p. xx is of the Villa Gozzi at Visinale. Thirty-six different
borders are used, similar to those used in different configurations
to illustrate the 1757 publication on the occasion of
Lorenzo Morosini’s appointment to procuratore.
The engraver, book designer and printmaker Giovanni
Magnini was active in Venice between 1750 and 1780. He
worked exclusively on book decoration and collaborated frequently
with the editor and publisher Antonio Zatta.
Lapiccirella 74; Morazzoni p. 279; Pettoello 305; Soranzo 6471; Saks
131.

3
[VENIER,
Sebastiano.] Raccolta di varj
componimenti poetici per l’ingresso alla dignità di
Procuratore di San Marco di Sua Eccellenza Mr.
Sebastiano Venier. Venezia, Zatta, 1762.
4to (310 x 230mm), pp. [iv], [vii]–lviii, text within fifteen
different figurative borders, showing putti, animals, fruit,
birds etc., and 8 portrait vignettes surrounded by putti;
original yellow stiff wrappers, overprinted in red with
rectangular pattern, central arms of the Venier family; some
light damp-staining to wrappers, leading to discolouration,
small section strengthened from verso.
The vignettes show portraits within an oval frame, others show
views of Venice, and are by Bartolozzi and Magnini. The text
includes poetical compositions in Italian, Latin, Greek and
Venetian dialect by various authors, among them A. Cotto
Franchetti, G. B. Ramenzini, A. Rieri, G. Pujati, S. Epiziano,
F. Deseatide, G. Manzoni, M. Fiecco, G. Biscaccia, etc.
Lapiccirella 79; Morazzoni 281; Pettoello 310 with extensive note on
frontispiece and border; Soranzo 6946; not in Saks; (collation correct,
just like the Getty copy).

4
[MOROSINI,
5
[MANIN,
Francesco.] Poesie per l’ingresso solenne
di Sua Eccellenza il Signor Cavaliere Francesco Morosini
alla dignità di Procuratore di S. Marco per merito.
Venezia, Luigi Pavini, 1763.
4to (370 x 257mm), pp. [iv] engraved frontispiece and
engraved title incorporating Morosini arms in border, 56,
vere 58; all text pages surrounded by a series of twelve
elaborate figurative borders by Bartolozzi, eleven engraved
vignettes; original purple gilt-stamped brokatpaper boards,
with the Morosini arms; corners repaired; lower board with
gilt-stamped paper insert; a fine copy.
The elaborate Rococo borders are composed of a mix of mythological
and allegorical figures, combined with natural elements,
animals, shells etc. The Morosini arms are repeatedly
incorporated into the border design.
Morazzoni 275; Pettoello 320.
Lodovico.] Componimenti poetici per l’ingresso
solenne alla dignità di Procuratore di San Marco
per merito di Sua Eccellenza il Signor Lodovico Manin.
[colophon:] Venezia, nella stamperia Albrizzi, (1764).
4to (372 x 255mm), pp. [iv] engraved allegorical frontispiece
and title, 80, [1] imprint, with engraved portrait of Lodovico
Manin, ornate printer’s device at end; 16 engraved vignettes
and 40 fine borders, by F. Bartolozzi; original purple blindstamped
boards, with the Manin arms to center of upper
board.

One of the most lavish of commemorative books; a splendid
collaboration between the generous patron of the arts Manin
and his creatively lavish publisher Albrizzi. Bartolozzi partly
re-used borders from the 1763 publication for the Ingresso of
Gian-Francesco Pisani, but added twenty new ones, which were
on an even grander scale.
Just before he left Venice in 1764, Bartolozzi completed the
elaborate decoration for this volume, which had been commissioned
by Albrizzi. The frontispiece combines architectural
and natural elements, the oval portrait of Manin is in a splendid
frame with floral motifs; borders, vignettes and end-pieces
are combined to make this publication the ‘ideal synthesis of
Bartolozzi’s extraordinary technical and stylistic virtuosity in
book decoration’ (The Glory of Venice, 245).
Lodovico Manin (1726–1803) was elected Procuratore in 1764
and Doge in 1789, the last of the Republic.
Lapiccirella 56; Leporace 95; Morazzoni p. 272; Pettoello 330;
Soranzo 3484; Saks 123; for a full analysis see Andrew Robison (1991).
.

6
[GRATAROL,
7
[JOSEPH
8
DALLE
Pietro Antonio.] Al magnifico D.
Giovanni Colombo Cav. Cancellier Grande della
Serenissima Repubblica di Venezia gratulazione di Pier
Antonio Gratarol, Segretario Veneto. Venezia,
Giambattista Albrizzi, 1766.
4to (288 x 215mm), pp. [iv] initial blank and engraved
frontispiece by G. Volpato after A. Novelli, 30, [2] blank,
engraved title vignette and three vignettes in the text;
contemporary pale grey-green pattern paper boards; a fine
copy from the Rava collection, and with bookplate from the
family Morosini del Pestrino.
The engraved allegorical frontispiece is by Novelli and incorporates
a portrait of Columbus and views of London, Turin,
Milan, Genua, Aira and Coimbra. At the beginning of the text
is a large engraved shield, held by the Venetian Lion.
The painter, draughtsman and printmaker Pietro Antonio
Novelli (1729–1803) trained with Pittoni, but was influenced
mostly by Guardi and Amigoni, Diziani and Tiepolo. Stylistically
he began in the Rococo style, but later became closer to
the neo-classical mode. Morazzoni described him as the most
fertile and elegant illustrator of his time.
Morazzoni 266; Pettoello 339; Lapiccirella 43.
II of AUSTRIA.] La Reggia di Calipso
cantata a sette voci. [colophon:] Venezia, nella stamperia
Albriziana, 1769.
4to (290 x 215mm), pp. [xvi], elaborate engraved title within
decorative borders, printed throughout within fourteen
Rococo borders, and four engraved vignettes; short lower
margin, just touching border in three instances, very faint
damp-stain to upper margin; contemporary marbled paper
boards.
Opera libretto with music by Ferdinando Bertoni, a maestro at
the Conservatorio of San Lazzaro e Mendicanti, to celebrate
the arrival in Venice of Joseph II of Austria. The title border
was etched by Bartolozzi (ca 1763); the title and vignette were
printed from another copperplate inserted into the border.
Morazzoni p. 271; Pettoello 504; Leporace 65.
LASTE NATALE. De Jo. Hieronymo
Zuccato equite ac Venetae Reipublicae magno
Cancellario oratio Natalis Lastesii. Venezia, ex
typographia Albritiana, 1772.
4to (340 x 238mm), pp. 17, with 3 engraved vignettes and one
large engraved initial; original purple paper boards, with
arms of the Zuccato family within decorative border printed
in dark purple to upper cover, lower cover with arms of
Venice; a fine copy from the Biblioteca Benedetto Marchese
Polesini, Parenzo, with book label to front paste-down and
stamp to blank margin of title; title page a little dust-soiled.
A perfectly balanced production, combining restrained engraved
armorial vignettes, with charming decorative initials
and elegantly printed text. A perfect example of the editorial
practice of Albrizzi (Pettoello 358).
Morazzoni 283; Pettoello 358; Saks 135.

9
MAZZOLÀ,
10
[GIOVANELLI,
Caterino. Nel Solenne ingresso
dell’illustrissimo e reverendissimo Monsignor Federico
Ma. Giovanelli Patriarca di Venezia, e Primate della
Dalmazia, Orazione di Caterino Mazzolà. Venezia,
Gaspare Storti, 1776.
4to (308 x 217mm), pp. [iv] engraved frontispiece and title
page, 32; the frontispiece portrait is engraved by A. Baratti
after a painting by J. Angeli; one engraved vignette by
Wagner; original pale brown paper boards, woodblock
overprinted in red, with the arms of the Giovanelli family,
spine a little rubbed and strengthened.
The frontispiece shows the official, rather austere, portrait of
Giovanelli by Angeli. The title is surrounded by a delicate,
finely engraved border, incorporating a cross, a mitre and an
opened book. The vignette incorporating the Giovanelli arms
is by Wagner.
Morazzoni p. 271; Cicogna 1847; Lapiccirella 53; Pettoello 380;
Soranzo 5041.
Federico.] Poesie pel solenne Ingresso
dell’illustrissimo e reverendissimo Monsignore Federico
Ma. Giovannelli alla sede di Patriarca di Venezia e
Primate della Dalmazia. Venezia, Gaspare Storti, 1776.
4to (310 x 220mm), engraved frontispiece by Wagner, pp.
[iv], 164, with nine engraved vignettes, all by Wagner, title
printed in red and black, text in Latin and Italian; later full
buff boards.

11
[CORNARO,
12
[GIOVANELLI,
13
[PISANI,
Elegantly printed collection of some forty poems produced on
the occasion of Giovanelli’s ingresso. The finely engraved vignettes
are by Wagner.
The German engraver Joseph Wagner (1706–1780) studied
painting under Amigoni in Venice, who persuaded him to concentrate
on the art of engraving. Wagner not only produced
engravings of many of Amigoni’s paintings and designs, but
later opened a school of engraving in Venice, where he taught
Bartolozzi among others.
Morazzoni 271; Pettoello 382 (different collation).
Giovanni.] Rime per la fausta esaltazione
alla sacra porpora dell’Eminentissimo Cardinale il
Signor Giovanni Cornaro Commendatario perpetuo
della Vangadizza ec.. Composte, e dette nella Pubblica
Accademia del Seminario, ed all’Eminentissimo
Superiore dedicate. Venezia, nella stamperia di Carlo
Palese, 1778.
4to (303 x 221mm), pp. 79 including engraved frontispiece,
engraved title vignette and six engraved vignettes in the text,
some signed; original pink paper boards with the arms of the
Grimani family within floral border, verso with Venetian
seal; spine expertly repaired; from the Rava collection and
with bookplate of Didaci Principis Pignatelli de Cavaniglia.
Morazzoni p. 268; Pettoello 392.
Giovanni Benedetto.] Poesie pel
solenne ingresso di Sua Eccellenza il Signor Gio.
Benedetto Giovanelli alla dignità di Procuratore di S.
Marco. Venezia, presso Simone Occhi, 1779.
4to (310 x 213mm), pp. [viii], engraved frontispiece, engraved
title with letterpress printing of text in red and black within
decorative border and title vignette, 120, with five engraved
vignettes; last 5 pages with light damp-stain to upper
margin; original yellow paper boards, overprinted in red
with the arms of the Giovanelli family; discreet repairs to
lower board.
Morazzoni p. 271 (lists a copy in 8vo); Pettoello 400.
Zorzi.] Componimenti poetici in occasione
del solenne ingresso di Sua Eccellenza Mss. Zorzi Pisani
alla dignità di Procuratore di S. Marco. Venezia,
[Giambattista Pasquali], 1780.
4to, pp. 81, [1], including engraved allegorical frontispiece
and title within engraved Rococo border and ten engraved
vignettes, most by T. Viero, some head- and tail-pieces after
P. A. Novelli; original grey-green paper boards, overprinted
in white with the arms of the Pisani family within decorative
border; some light damp-staining to boards, still a fine copy
from the Rava collection.
The work contains poetical compositions, especially sonnets by
a number of authors, mostly from Brescia, published to cel-

14
EVANGELI,
15
[GABRIEL,
ebrate the succession of Giorgio Pisani as procurator of Venice.
Works of D. Arnaldi, C. Olmo, C. Bocca, D. Colombo, F. Bocca
and Coccapani are included (Lapiccirella n°70).
The Pisani family arms are incorporated in the engraved title.
Complete with the engraved frontispiece, which is often
lacking.
Morazzoni p. 278; Soranzo 6207; Lapiccirella 70; Pettoello 414 (long
description).
Antonio. Nel solenne Ingresso di sua
Eccellenza il Signor Giannantonio Gabriel Cavaliere e
Cancellier grande stanze del P. D. Antonio Evangelj
C.R.S. Venezia, Francesco Santini, 1785.
4to (301 x 220 mm), pp. [22] including initial blank, engraved
title with arms of the Gabriel family; contemporary and
possibly original decorated paper wrappers; margins a little
discoloured; Lappicirella describes a similar binding as the
original.
There are apparently copies with an engraved frontispiece (described
by Pettoello and Lapiccirella), which is lacking in this
copy. Differences in the collation are the result of superficial
cataloguing, verse XLII is printed on the recto of the last leaf,
and this has apparently resulted in the wrong listing.
Cicogna 2505; Petoello 432 asking for pp. 42 with frontispiece,
Lapiccirella 49 (also antiporta); Morazzoni 270, Soranzo 3492.
Giovanni Antonio.] Poesie per l’ingresso
solenne di Sua Eccellenza il Signor Gio. Antonio Gabriel
Cavaliere e Cancelliere Grande. [colophon:] Venezia,
Alessandri e Scattaglia incisori in rame, [1785].
4to (348 x 237mm), pp. [iv] engraved frontispiece and
engraved title, within figurative border, verso with engraved
arms of the Gabriel family, 100, [1] full page engraving with
imprint; all text within engraved rococo border of twelve
different designs; original green boards overprinted in gilt
with the arms of the Gabriel arms within decorative border;
expert repairs to head and foot of spine; a very fine copy.

One of the most representative titles of late eighteenth century
Venetian printing, with elaborate rococo decorations. Whereas
the frontispiece shows a portrait accompanied by views of Turin,
Rome, Milan and Naples, the title contains a wonderfully
theatrical frame of putti lifting the veil from the title. The one
hundred pages of text are surrounded by a lively border animated
by oriental landscapes and figures. Compositions feature
vegetation, jewellery, artists’ equipment and musical

instruments, whereas the scenes at the bottom of the frame
show a library, artists, putti and exotic scenes. Each border is
composed as a whole, the border corresponding to the
figurative scene at the bottom.
The poems are by D. Florio, L. Godard, Giov. Pirani, Gir.
Garuffali, A. M. Carminati, G. B. Giovio, and P. A. Novelli.
Cicogna n. 2505; Morazzoni p. 270; Pettoello 436; Soranzo 3492;
Lapiccirella 50; Saks 121.

16
[MEMMO,
17
BUTTURINI,
18
[ALBRIZZI.]
19
[ALBRIZZI,
Andrea.] Orazione a Sua Eccellenza il
Signor Andrea Memmo: in occasione del suo ingresso
solenne. Venezia, Antonio Zatta, 1787.
4to (320 x 224mm), pp. 39; engraved allegorical frontispiece
by G. Zuliani after Michel Schiavone; engraved title vignette
with the arms of the Memmo family, one large engraved
view of the figure of Venice surrounded by sea horses by
Danniotto, and a view of Venice as the initial letter; original
marbled wrappers, from the Rava collection.
Morazzoni 273; Pettoello 444.
Mattia. L’Unione del Senno e della
Fortuna cantata per la gloriosa esaltazione a Doge di
Venezia del serenissimo Lodovico Manin fatta eseguire
dalla nobile Società de’ Filarmonici li 19 maggio 1789.
[colophon:] (Venezia), Palese, 1789.
4to (261 x 197 mm), engraved title within decorative Rococo
border, pp. 15; contemporary orange coloured boards.
The music was by Ferdinando Bretoni, maestro della Cappella
di San Marco, the libretto by the writer and Latinist Mattia
Butturini (1752–1817).
Morazzoni 272; Pettoello 448.
BARBADICO, Nicolao. Andreae Gritti
principis venetiarum vita. Vita Nicolao Barbadico
Auctore Alexandro Albrittio procuratoris divi marci
dignitatem ineunte primum edita. Venezia, Typis Caroli
Palesii, 1792.
4to, engraved frontispiece, pp. [viii] including initial blank,
15, [1] blank, lv, [2] blank; with six engraved medallions in
the text and on the title page; lower corner with light faint
damp-stain to first signature; original pink paper boards,
overprinted or stencilled in white with the arms of the
Albrizzi family, surrounded by floral border; verso with
Venice initials, again within border; a very fine copy.
The frontispiece shows a portrait medallion of the profile of the
Doge Andrea Gritti with verso of Venezia surrounded by its
attributes. This is the first edition of the life of the Doge Andrea
Gritti (1454–1538) by Niccolò Barbarigo (1535–1579), whose
biography, written by J. Morelli, is included as the preface. The
illustrations all show portrait medals of Gritti. The sober production
is an expression of classical taste in Venetian art.
This is one six publications celebrating the appointment of
Alessandro Albrizzi to the office of Procuratore of San Marco.
Morazzoni p. 264 (wrong collation); Lapiccirella 38; Cicogna 2316;
Pettoello 458.
Alessandro.] Componimenti poetici di
varii autori in lode di Venezia raccolti nell’Ingresso di Sua
Eccellenza il Signor Alessandro Albrizzi alla dignità di
Procuratore di San Marco. Venezia, Carlo Palese, 1792.

20
[MICHIEL,
21
BETTINELLI,
4to (301 x 216mm), pp. [viii], 120, [2] blank; engraved
frontispiece by T. Viero after F. Bartolozzi, engraved vignette
to title with the arms of the Albrizzi family; original green
glazed paper boards overprinted in white with the arms of
the Albrizzi family surrounded by elaborate floral Rococo
border; lower board with Eviva initials, manuscript spine
label; from the Rava collection, with printed ex-libris; a very
fine copy.
The work, which was compiled by Jacobo Morelli contains poetic
contributions by B. Cappello, D. Venier, G. Alaleona, S.
Bettinelli, an idyllo Il Proteo by Ant. Conti, a verse epistle addressed
to Marco Foscarini by F. Algarotti and the Trasformazione
di Adria by T. G. Farsetti.
This is one six publications celebrating the appointment of
Alessandro Albrizzi to the office of Procuratore of San Marco.
Morazzoni p. 264; Lapiccirella 37; Pettoello 460; Soranzo 2627,
Sotheby’s 32; Saks 112.
Domenico.] Poesie pel solenne ingresso di
Sua Eccellenza il Sig. Domenico Michiel alla dignità di
Procuratore di San Marco. Venezia, Fenzo, 1792.
4to (345 x 250mm), pp. 39 including fine allegorical
frontispiece within floral border, and engraved title vignette
of the arms of the Michiel family; original pale blue-green
flexible boards, with arms of the city of Venice and Michiel
family block-printed in red, within decorative border; a very
fine, wide-margined copy.
Austere typography which clashes somewhat with the Rococo
frontispiece surrounded by a leafy border. The work is proof of
the remaining popularity of rocaille elements long after the
middle of the eighteenth century.
Morazzoni p. 273; Pettoello 467.
Saverio. Il Parnaso veneziano
poemetto dell’abate Saverio Bettinello riprodotto e
illustrato nel solenne Ingresso di S.E. Cavaliere Messer
Antonio Cappello alla dignità di Procuratore di San
Marco. Venezia, Carlo Palese, 1796.
4to (304 x 214mm), engraved frontispiece by Piazzetta, pp.
[viii], 87, ink scribbles to last page and final endpapers; title
page vignette with Cappello arms; original glazed pink
paper boards overprinted in dark violet with the Cappello
arms within floral border, verso with Venice initials; from
the Rava collection with bookplate to front pastedown.
Bettinelli’s poetic festival book celebrating the triumphal entrance
of Antonio Cappello as Procuratore of Venice. The engraved
frontispiece, though unsigned, has attracted extensive
attention both by Lanckoronska and Morazzoni. Bettinelli
(1718–1808) made extensive contributions to Italian literature,
aesthetics and history.
The first of three publications commemorating Cappello’s
elevation to the position of Procuratore (see below).
Morazzoni p. 266; Cicogna 2432; Lapiccirella 41; Lanckoronska 33;
Pettoello 482; Saks 116.

22
CIPPICO,
23
FRANCESCHINIS,
24
[MORELLI,
Coriolano. Delle guerre de’ Veneziani
nell’Asia dal 1470 al 1474 libri tre, di Coriolano Cipico
riprodotti nel solenne ingresso di S.E. Cavaliere Messer
Antonio Cappello alla dignità di Procuratore di San
Marco. Venezia, Carlo Palese, 1796.
4to (301 x 215mm), engraved frontispiece, pp. [viii] including
initial blank, 86, [2] index; engraved title vignette with the
arms of the Cappello family; original glazed yellow boards,
with woodblock printed floral border and central arms of
the Cappello family printed in brown; verso with the
Venetian arms (Eviva initials); a fine copy from the Rava
collection.
First-hand account of the Venetian struggles in Asia between
1470 and 1474 by the Venetian mercenary Coriolano Cippico,
published on the occasion of Antinio Cappello’s elevation to
Procuratore of Venice in 1796.
Morazzoni p. 266; Lapiccirella 40; Pettoello 484; Saks 114.
Francesco Maria. A Sua
Eccellenza il Signor Cavaliere Antonio Cappello nel
giorno del suo solenne Ingresso alla dignità di
Procuratore di San Marco. Orazione di Francesco Maria
Franceschinis, barnabita. Venezia, Carlo Palese, 1796.
4to (303 x 215mm), engraved frontispiece, pp. 28, with
engraved title vignette with the arms of the Cappello family;
original green glazed paper boards, overprinted with the
arms of the Cappello family within floral border, Venice seal
to verso, slight discolouring to upper boards, else a fine copy.
Morazzoni p. 266; Pettoello 483; Saks 115.
JACOPO.] Monumenti Veneziani di
varia letteratura per la prima volta pubblicati
nell’Ingresso di Sua Eccellenza Messer Alvise Pisani
Cavaliere alla dignità di Procuratore di San Marco.
Venezia, Carlo Palese, 1796.
4to (310 x 219mm), pp. [viii] including engraved frontispiece,
12, 51, title vignette of the arms of the Pisani family, three
engraved vignettes in the text (a view of Zara, and two of
medallions of Pietro Bembo and Galileo); original pink
engraved paper boards, with Pisani arms to upper cover, and
Pisani monogram to lower cover, both within classical
border; some light damp-staining to text in final signatures,
binding also with light damp-staining resulting in light
discolouration of lower board and spine; from the Rava
collection with exlibris.
An important collection of historical works, here published for
the first time, on the occasion of Pisani’s triumphal entrance to
Venice as Procuratore. The volume contains the siege of Zara
(1346) and its subsequent occupation by the Venetians, letters
by Pietro Bembo (1530–39), and a letter from Galileo to the
Signoria of Venezia regarding the telescope (1609), with a decree
of the Senate.
Morazzoni p. 277; Cicogna 700; Gamba 1255; Lapiccirella 65;
Pettoello 486; Saks 128.

25
MOROSINI,
26
GENNARI,
27
[PISANI,
Paolo and CORNARO, Giovanni.
Memoria storica intorno alla Repubblica di Venezia
scritta da Paolo Morosini e da Giovanni Cornaro per la
prima volta pubblicata nell’Ingresso di S.E. Messer Alvise
Pisani Cavaliere alla dignità di Procuratore di San Marco.
Venezia, Carlo Palese, 1796.
4to (302 x 215mm), engraved frontispiece, pp. [viii], 16, 123,
[1] blank, 3 index; with two engraved vignettes in the text
and engraved arms to title; original green glazed paper
boards, with arms and monogram of the Alvise Pisani
surrounded by a geometrical border printed in red to sides;
spine a little chipped, some light damp-staining to lower
board; engraved bookplate Alberti Giovanelli.
First edition of an important contribution to Venetian history
of the period 1310 to 1500, edited by Anton Giovanni Bonicelli.
In his preface Bonicelli writes that it had been the express wish
of Pisani that the publication celebrating his ingresso should be
a useful one rather than the more customary collection of celebratory
verse. Both this and the other publication on this
event (see above) followed this desire; and they were among the
first festival books to print an important historical text rather
than a collection of poems.
Morazzoni pp. 244 and 277; Lapiccirella 64; Cicogna 700 (646);
Pettoello 487.
Giuseppe. A Sua Eccellenza il Signor
Cavaliere Alvise Pisani nel giorno del suo solenne
ingresso alla dignita di Procuratore di S. Marco orazione
dell’Ab. Giuseppe Gennari. Padova, nella stamperia del
seminario, 1796.
4to (300 x 220mm), engraved frontispiece by Vitalbo, pp. 27,
with three engraved vignettes; contemporary marbled
wrappers; from the Saks collection with bookplate.
Celebratory verse on the republic of Venice and the ‘ingresso’
of the ‘excellent’ Pisani, published in Padua.
Alvise.] Nel Solenne Ingresso del Sue
Excellenza Cav. Messer Alvise Pisani alla dignità di
Procuratore di San Marco sonetto alli nobilissimi
giovanetti Francesco Luigi e Giovanni figlio e nipote del
medesimo. Venezia, Giannantonio Zanetti delineavit a e
quindi Presso Teodoro Viero ven., c. 1796.
Large folding engraved broadside measuring 670 x 500mm,
engraved by Viero; in very good condition.
Very rare engraved broadside celebrating the elevation of
Alvise Pisani to the office of Procuratore. The broadside, which
was used just like a modern poster to advertise the event, is exceptionally
rare. Six portrait vignettes are incorporated within
the large decorative architectural border, showing a likeness of
Pisani and some of his relatives. A celebratory verse is printed
underneath a general headline announcing the event.
Lapiccirella 35.

28
ELOGIO
di Sua Eccellenza Francesco Pesaro intimo
Consigliere attuale di Stato della sacra Regia Imper.
Apost. Maestà di Francesco II e suo Commissario
Estraordinario in Venezia e Terra-Ferma dittato da
Giovanni Rabo di Lustizza, C.R.S. e dedicato all
eccellentissimo Regio Imper. Magistrato Camerale di
Venezia. Venezia, Carlo Palese, 1799.
4to (284 x 206mm), pp. 48, [2]; engraved vignette; title inkand
dust-stained; contemporary pattern-paper wrappers.
The engraved vignette shows a reclining female figure.
Morazzoni 276; Pettoello 489.
Nozze
29
[BARZIZA
– BERLENDA BERLENDIS.] Poesie nelle
felicissime Nozze di sue Eccellenze il Sig. Alessandro
Barziza e la Signora Andriana Berlenda Berlendis.
Venezia, Zatta, 1761 (1771).

30
[LAMBERTINI
31
[BARBARO
4to (281 x 223mm), pp. 48 including engraved frontispiece;
title letterpress printed within engraved decorative border;
text printed within woodcut border, showing animals, putti,
etc.; woodcut border in seven different designs, repeated;
contemporary multi-coloured woodblock printed wrappers,
with floral illustrations; a fine copy.
A sumptuous publication celebrating the wedding between
Alessandro Barziza and Andriana Berlenda Berlendis. Alessandro
Barziza belonged to an ancient family of merchants
originally from Bergamo, who had moved to Venice and were
subsequently listed in the Golden Book of Venetian nobility.
This explains the rather sumptuous publication on their wedding.
The frontispiece shows the combined family arms surrounded
by two putti.
Morazzoni 294; Pettoello 93; Pinto 1506.
– SAVORGNAN.] Per le
acclamatissime nozze di Sua Eccellenza la nobil donna
Lucrezia Contessa e Marchesa Savorgnan con Sua
Eccellenza il nobil uomo Don Giovanni Marchese
Lambertini gran priore del sacro e militar ordine de’
Santi Maurizio e Lazzarao. Venezia, Simone Occhi, 1762.
4to (318 x 245mm), engraved frontispiece with large shield
and the arms of the two families, pp. 168, with 34 engraved
vignettes as head- and tail-pieces, some of them by Francesco
Bartolozzi; some light spotting, especially at beginning and
end; contemporary silver paper boards, old reback; small
collection stamp to blank margin of title with duplicato
stamp; wide-margined copy.
A handsome collection of celebratory verse produced on the
occasion of the wedding of Lucrezia countess Savorgnan with
Don Giovanni Marquis Lambertini. Included are poems by
Niccolò Bozzoni, Frugoni, Pietro Chirai, Girolamo Bornelli etc.
Morazzoni p. 300; Pettoello 104; Pinto 1296; Saks 184.
– BARBARIGO.] Poesie per le nozze
solenni del N. U. E. Giovanni Barbaro del fu M.r Almorò
Proc. di S. M. con la N. D. Chiara Barbarigo dedicate a S.
E. Cecilia Emo procuratessa Barbaro madre amorosa
dello sposo. [colophon:] [Venezia], nella stamperia
Albrizzi, (1764).
4to (341 x 238mm), pp. [iv] engraved frontispiece and
engraved title, within decorative engraved border, 94, [2]
full-page engraved imprint; with 13 engraved vignettes in
the text; clean marginal tear to B9, not touching text;
original black paper boards, with gilt decorations, arms and
monogram of the Barbaro family in gilt; a fine copy.
A most unusual wedding publication, printed most elegantly
by Albrizzi and decorated with a fine engraved frontispiece
and an elaborate figurative border, but bound in black giltstamped
boards. The work is dedicated to the mother of the
bridegroom Cecilia Emo, Procuratessa Barbaro, whose husband
had apparently died but recently. This might explain the

32
[COLLOREDO
33
[FOSCARINI
34
[DOLFIN
rather unusually sombre binding, which, however, is rendered
most festive by the elaborate gilt stamping.
Morazzoni p. 294; Pettoello 113; not in Pinto.
– MANIAGO.] Componimenti
Poetici per lo sposalizio solenne del Signor Marchese
Ridolfo Conte Colloredo Ciamberlano delle Maestà
Imperiali con la Signora Contessa Claudia di Maniago.
Venezia, Antonio Bassanese, 1765.
4to (277 x 199mm), engraved frontispiece and engraved title,
pp. [vi], 213, [1], frontispiece within elegant frame work by
J. Leonardis; four engraved vignettes, poems separated by
elegant printer’s devices; some light discolouring; recently
bound in eighteenth century floral pattern brokatpaper.
The poems collected are divided into three groups, first sonnets,
then songs, odes and longer compositions, and finally a
work by Domenico Ongaro. Each section starts with a finely
engraved vignette, the verses are separated by elegant printer’s
devices.
Pettoello 124; Morazzoni 296; Pinto 1343; Saks 173.
– BARBARO.] Poesie per le gloriose
nozze dell’eccellenze loro il Nobil Uomo Niccolò
Foscarini e la Nobil Donna Andriana Barbaro. [colophon:]
Venezia, appresso Luigi Pavini, 1766.
4to (357 x 250mm), pp. 56, [1] full-page engraving with
imprint; engraved frontispiece within finely engraved frame,
engraved title and nine engraved vignettes in the text;
original pattern printed boards, with the arms of the
Foscarini family embossed within frame, rebacked and
recornered; lower board faint.
The last leaf, carrying the imprint, is a particularly fine engraving,
an allegorical scene designed by Novelli and engraved by
Alessandri. Innocente Alessandri (1741–1803) was a pupil of
Bartolozzi and an accomplished engraver, who is best known
for his allegorical engravings and a series of prints for Descrizione
degli Animali produced in collaboration with Pietro
Scataglia.
Lapiccirella 86; Morazzoni 298; Pettoello 138.
– GRADENIGO.] Componimenti poetici
nelle gloriose nozze dell’Eccellenze loro il Signor Andrea
Dolfin e la Signora Giustiniana Gradenigo. Venezia, nella
Stamperia Pinelli, 1767.
4to (370 x 260mm), pp. [iv] engraved frontispiece and title
printed in red and black with large engraved vignette, 52,
with two engraved vignettes in the text; very faint marginal
damp-stain to outer corner of last two leaves; original glazed
pink boards, with woodblock of the arms of the Dolfin
family surrounded by decorative border; a fine copy.
Morazzoni p. 298; Pettoello 160.

35
[FERDINAND
36
[MOROSINI
37
[EMO
KARL of AUSTRIA – MARIA
BEATRTICE D’ESTE.] Il Certame azione liricodrammatica
per le nozze di Sua Altezza Reale il
serenissimo Arciduca Ferdinando Carlo d’Austria
Principe Reale d’Ungheria, e Boemia Governatore, e
Capitano Generale della Lombardia Austriaca colla
Serenissima Principessa Maria Beatrice d’Este presentata
dalla Reale Accademia di Mantova in occasione del
faustissimo arrivo d’esso Augusto Principe in questa città.
Mantova, per l’erede di Alberto Pazzoni, 1771.
4to, (277 x 205mm), pp. engraved frontispiece by Wagner
after Bazzani, [viii], 40 with three engraved vignettes to text
and engraved title vignette of the Austrian Royal arms; later
pattern paper boards.
An opera libretto produced on the occasion of the wedding between
Ferdinand Karl of Austria and Maria Beatrice d’Este in
1771, and arranged by the Royal Academy of Mantua. The
music is by Don Luigi Gatti. Various literary texts are used, and
a full list of participants and musicians is given.
Pinto 1508.
– GRIMANI.] [ACCADEMIA DEI
CONCORDI]. Gli eroi Morosini per le faustissime nozze
del N.U. Francesco Morosini colla N.D. Loredana
Grimani. Rovigo, per Gianjacopo Miazzi stampatore
dell’Accademia, 1772.
4to (384 x 265mm), engraved frontispiece by Andrea Rossi
after Pietro Novello, pp. 123, with 46 engraved head-and tailpiece
vignette; original green paper boards, stamped in gilt
with the arms of the Morosini family arms. A fine copy from
the Rava collection and with bookplate of the Morosini del
Pestrino.
Elegantly produced wedding poetry with elaborately engraved
allegorical vignettes at the beginning and end of each of
the twenty-two poems.
Pinto 1536.
– CAPODILISTA.] Elogio della Nobil Famiglia
de Conti Capodilista e rime per le nozze del N. H. E.
Leonardo Emo con la Nob. Sig.a Co. Beatrice Capodilista.
Venezia, presso Pietro Savioni, 1783.
4to (259 x 192mm), pp. 116 with engraved frontispiece and
engraved title, and ten large engraved vignettes by Wagner;
contemporary gilt paper boards; spine strengthened, some
of the gilt oxidised.
The large engraved vignettes by Wagner follow a unified
design concept. They depict allegories of Poesia erocia, Poesia
pastorale and Poesia lirica respectively.
Pinto 1709 (8vo, pp. 36 incomplete, apparently only the Elogio);
Pettoello 201.

38
[BOSCOLI
39
[LIPPOMANO
40
[BARBARIGO
– BELTRAMELLI.] [BARCA, Francesco.]
Amor musico, poemetto per le nozze de’ nobili signori
March. Ferrante Boscoli di Parma e Giulia Beltramelli di
Bergamo. Padova, Penada, 1786.
4to (313 x 215mm), pp. 65, with engraved frontispiece, and
two full-page engravings, and engraved title vignette, three
finely engraved initials and two engraved head-pieces;
contemporary buff boards, corners a little bumped.
The work is dedicated by Francesco Barca to Elena Vertova
Beltramelli, the mother of the bride.
Not in Pinto.
– QUERINI.] Poesie per le Nozze N.
D. Maria Lippomano col N. U. Alvise Querini. Venezia,
Zatta, 1790.
4to (360 x 249mm), pp. 93, [1] blank, [1] errata, including
engraved frontispiece by G. Zatta after P. A. Novelli and
engraved title with family arms, and six further engravings
in the text, all by Zatta; original printed wrappers, with
family arms, hand-coloured and heightened with gold; a
very fine presentation copy. From the Rava collection and
with engraved bookplate of Otiis Comitis Costerbosae,
Esposto alla mostra di Milano (Poldi Pezzoli maggio 1962).
The very unusual binding, hand-coloured and heightened in
gilt, must have been produced for presentation purposes for a
particular family member. The design marks the development
to neo-classical style, and seems to show German or Austrian
influence.
Morazzoni p. 306; Pettoello 215; Pinto 1867; Saks 178.
– PISANI.] [BETTINELLI, Saverio.]
Lettere su le belle arti pubblicate nelle nozze Barbarigo-
Pisani. Venezia, Carlo Palese, 1793.
4to (271 x 195mm), pp. [xii] including engraved frontispiece
and title vignette, 192; with 22 engraved vignettes in the text
showing cameos of classical scenes; original pink silk over
boards, with Pisani arms to both upper and lower boards,
within classical border; some wear to extremities and spine,
but still a fine copy; printed on heavy paper, very clean, with
strong impressions; from the Rava collection.
Elegant edition of Bettinelli’s essays on fine art and art history
published on the occasion of the Barbarigo – Pisani wedding.
“Le sue lettere su le belle arti in veste sontuosissima come
pubblicazione per nozze fra le più cospicue di Venezia
(Barbarigo-Pisani) 1793, uscite dunque poco prima del crollo
dell’antico splendore, sono un esempio tipico di ciò che egli
stesso chiama a ragione, con mondana ironia, ‘istruzione color
di rosa’.” (Schlosser 665).
A most unusual binding and very rare survival.
Melzi 304; Cicognara 1136; Morazzoni 294; Lapiccirella 82; Cicogna
4640; Pettoello 221; Pinto 256

41
[MICHIEL
– PISANI.] CARO, Annibale. Lettere di
L. Annéo Seneca recate in italiano dal Commendatore
Annibal Caro e per la prima volta pubblicate nelle nozze
Michiel e Pisani. Venezia, Tipografia Palesiana, 1802.
4to (246 x 175mm), pp. [xxiv], 72, engraved title vignette
with arms; original yellow paper boards, with large Michiel
– Pisani arms to both sides; a fine copy.
First edition, with a preface by Angelo Dalmistro, giving details
of the Annibal Caro, the translator. The classicist Annibal
Caro (1507–1566), is famous for his very successful translation of
the Aeneid. He is praised for replacing the concision of the
Latin text with a more fluent version, which gives complete
clarity to Virgil’s thought. ‘The wealth and purity of the language
are, to Italians, a delights; and the blank verse is handled
with an artistic freedom that has never been excelled’
(Wilkins, p. 249).

Susanne Schulz-Falster
Rare Books
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