![ZATTA, Antonio (1757-1797). [Specimen Book of Engraved vignettes and Book Illustrations. Venice, ca 1770-1790].](https://www.christies.com/img/LotImages/2013/NYR/2013_NYR_02800_0760_000(zatta_antonio_specimen_book_of_engraved_vignettes_and_book_illustratio104536).jpg?w=1)
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ZATTA, Antonio (1757-1797). [Specimen Book of Engraved vignettes and Book Illustrations. Venice, ca 1770-1790].
2o (430 x 290 mm). 268 engravings, printed 2- to 10-per page, on 57 leaves (some dampstaining). Original Italian pasteboards, uncut, lettered I ink on front cover "Impresse ed Emblemi tipografici di Antonio Zatta"; cloth folding case. Provenance: acquired from H.P. Kraus, 1980.
The publisher's own specimen "file" of engraved vignettes and illustrations. Fumagalli comments at length on the vogue of the vignette in the 18th century, as well as on their extensive use by this particular publisher. The Italian printer and publisher, Antonio Zatta was for decades the most important publisher in Venice. Additionally, he was the most prominent Italian map publisher of the late 18th and early 19th century, and his firm produced maps that mark an important transition from 18th to 19th century cartographic styles, updating and redefining the traditional title cartouche by replacing the earlier mythic elements with more representative images. His greatest work is the four volume Atlante novissim published from 1775 to 1789.
Among the artists whose names appear signed in this specimen book are Gioseppe Daniotto, G. Zuliani, Filippo Rizzi, Giuseppe Filosi, and many others. Zatta's name also appears on numerous engravings. Fumagalli comments at length on the vogue of the vignette in the 18th century, as well as on their extensive use by this particular publisher, and remarks on the originality and vivacity of the Venetian vignettists as contrasted with those of Paris. Among the subjects of the present group are a view of the harbor of Venice (no. 67); St. Mark's, the Rialto, and other Venetian scenes (nos. 100-104); St. Peter's, Rome (no. 107); Noah's Ark (no. 277); as well as many mythological and religious themes, and some cartographic devices.
Although the manuscript numbering of the series runs 1-295, there are several gaps, and the actual count is 268. These gaps may be the result of lacking leaves, or perhaps careless numeration. See Fumagalli, Lexicon Typograficum Italiae, (1905), pp. 504-506.
2o (430 x 290 mm). 268 engravings, printed 2- to 10-per page, on 57 leaves (some dampstaining). Original Italian pasteboards, uncut, lettered I ink on front cover "Impresse ed Emblemi tipografici di Antonio Zatta"; cloth folding case. Provenance: acquired from H.P. Kraus, 1980.
The publisher's own specimen "file" of engraved vignettes and illustrations. Fumagalli comments at length on the vogue of the vignette in the 18th century, as well as on their extensive use by this particular publisher. The Italian printer and publisher, Antonio Zatta was for decades the most important publisher in Venice. Additionally, he was the most prominent Italian map publisher of the late 18th and early 19th century, and his firm produced maps that mark an important transition from 18th to 19th century cartographic styles, updating and redefining the traditional title cartouche by replacing the earlier mythic elements with more representative images. His greatest work is the four volume Atlante novissim published from 1775 to 1789.
Among the artists whose names appear signed in this specimen book are Gioseppe Daniotto, G. Zuliani, Filippo Rizzi, Giuseppe Filosi, and many others. Zatta's name also appears on numerous engravings. Fumagalli comments at length on the vogue of the vignette in the 18th century, as well as on their extensive use by this particular publisher, and remarks on the originality and vivacity of the Venetian vignettists as contrasted with those of Paris. Among the subjects of the present group are a view of the harbor of Venice (no. 67); St. Mark's, the Rialto, and other Venetian scenes (nos. 100-104); St. Peter's, Rome (no. 107); Noah's Ark (no. 277); as well as many mythological and religious themes, and some cartographic devices.
Although the manuscript numbering of the series runs 1-295, there are several gaps, and the actual count is 268. These gaps may be the result of lacking leaves, or perhaps careless numeration. See Fumagalli, Lexicon Typograficum Italiae, (1905), pp. 504-506.