Elogio storico per onorare la memoria di Livia Doria Caraffa Principessa del S.R. Imp. e della Rocella [...]

di Aurelio Bertola de' Giorgi (Autore)

[Reale Stamperia]

A VERY RARE BODONI OFFPRINT Large 4to (286x207 mm). [4], 35, [1 blank] pp. Frontispiece with a portrait of Livia Doria Carafa engraved by Raffaello Morghen after a design by Fedele Fischetti. Fine engraved initials, head- and tailpieces. Contemporary mottled half calf, smooth spine decorated with gilt foliate tools, gilt title on a red morocco lettering piece, panels covered with marbled paper, red edges (some losses to the headcaps, slightly worn and rubbed). Some occasional very light foxing. A very good copy printed on strong paper. A separate edition of the Elogio storico written by Bertola de' Giorgi as an introduction to the collection Prose e versi per onorare la memoria di Livia Doria Caraffa. This work was printed in 1784 by Giambattista Bodoni at the behest of the Neapolitan prince Vincenzo Carafa della Roccella (1739-1814), in honour of his late wife, Livia Carafa Doria del Carretto (1745-1779). For the offprint publication of the Elogio, Bodoni inserted a preliminary two-leaf quire, including a new title page and a short address to the readers by Bertola de' Giorgi. As in the collection Prose e versi of 1784, the frontispiece features a portrait of Livia Carafa designed by Fedele Fischetti (1732-1792) and engraved by Raffaello Morghen (1758-1833). The separate edition bears no printing date, but it may have been issued in 1785, coinciding with Bertola de' Giorgi's stay in Parma. To date, we have identified only one copy of the Elogio on the market. This copy once belonged to Hugh Cecil Brooks -author of the well-known Compendiosa bibliografia di edizioni bodoniane (1927)- and was sold at the auction of his collection of Bodoni books. Bertola de' Giorgi was born in Rimini into a noble family. At 16 he entered the Siena monastery of Monte Oliveto, but a few years later we find him fighting in Hungary against the Turks. His early life was quite an adventurous one until the age of 24, when in 1776 he began teaching. He taught first in Naples and later universal history in Pavia, whose university at the time was one of the most celebrated in Italy: Volta, Spallanzani, and Scarpa, among many others, hold a chair there (E. Bigi, Bertola de' Giorgi, Aurelio, in: “Dizionario Biografico degli Italiani”, vol. 9, 1967, s.v.). De Lama, II, pp. 30-31; Brooks, 252; A. Piromalli, Aurelio Bertola nella letteratura del Settecento. Con testi e documenti inediti, Florence, 1998; M. Pisani, Una famiglia di pittori: i Fischetti, in: “Napoli nobilissima”, 27, 3-4, 1988, pp. 112- 121; Id., I ritratti di Livia Doria Carafa principessa di Roccella di Fedele Fischetti e di Giuseppe Sanmartino: un contributo alla ritrattistica napoletana, in: “Antologia di belle arti. Il Neoclassicismo”, n.s., 35-38 (1990), pp. 30-41; F. Fedi, Aurelio Bertola de Giorgi: un poeta massone e la letteratura come riposo, in: “Rassegna europea di letteratura italiana”, 2, 1993, pp. 25-39; G. Giarrizzo, Massoneria e Illuminismo nell'Europa del Settecento, Venice, 1994, pp. 49-97; P. M. Cátedra, Tace il testo, parla il tipografo. Memoria e autorappresentazione nei libri commemorativi bodoniani, in: “Teca”, 4, 2013, pp. 9-51; R. Cioffi - M. L. Chirico, Agli Amici della Virtù. Arte, epigrafia e massoneria nell'Italia di fine Settecento, in “Colligere fragmenta. Studi in onore di Marcello Rotili per il suo 70° genetliaco”, G. Archetti et al., eds., Spoleto, 2019, pp. 909-942; G. Greco, Di marmo o d'inchiostro? Vicende ed equivoci sulla ricezione del ritratto di Livia Doria Carafa di Giuseppe Sanmartino e del suo ‘doppio a stampa' nelle fonti grafiche del Settecento, in: “L'Illustrazione”, 4, 2020, pp. 85-95; G. Pecci, Le opere a stampa di Aurelio Bertola, in: “Studi su Aurelio Bertola nel secondo centenario della nascita (1953)”, Bologna, 1954, pp. 285-319.

A VERY RARE BODONI OFFPRINT

Large 4to (286x207 mm). [4], 35, [1 blank] pp. Frontispiece with a portrait of Livia Doria Carafa engraved by Raffaello Morghen after a design by Fedele Fischetti. Fine engraved initials, head- and tailpieces. Contemporary mottled half calf, smooth spine decorated with gilt foliate tools, gilt title on a red morocco lettering piece, panels covered with marbled paper, red edges (some losses to the headcaps, slightly worn and rubbed). Some occasional very light foxing. A very good copy printed on strong paper.

A separate edition of the Elogio storico written by Bertola de' Giorgi as an introduction to the collection Prose e versi per onorare la memoria di Livia Doria Caraffa. This work was printed in 1784 by Giambattista Bodoni at the behest of the Neapolitan prince Vincenzo Carafa della Roccella (1739-1814), in honour of his late wife, Livia Carafa Doria del Carretto (1745-1779).

For the offprint publication of the Elogio, Bodoni inserted a preliminary two-leaf quire, including a new title page and a short address to the readers by Bertola de' Giorgi. As in the collection Prose e versi of 1784, the frontispiece features a portrait of Livia Carafa designed by Fedele Fischetti (1732-1792) and engraved by Raffaello Morghen (1758-1833). The separate edition bears no printing date, but it may have been issued in 1785, coinciding with Bertola de' Giorgi's stay in Parma.

To date, we have identified only one copy of the Elogio on the market. This copy once belonged to Hugh Cecil Brooks -author of the well-known Compendiosa bibliografia di edizioni bodoniane (1927)- and was sold at the auction of his collection of Bodoni books.

Bertola de' Giorgi was born in Rimini into a noble family. At 16 he entered the Siena monastery

• Autore: Aurelio Bertola de' Giorgi
• Editore: [Reale Stamperia]
• Tipologia: Libro usato vintage
• Copertina: rilegato
• EAN: 2570270131257

• Prodotto usato
• Condizioni: Usato - In buone condizioni