Null Bosse, Abraham
(1602 Tours-1676 Paris), according to. The seven (corporal) …

Descrizione

Bosse, Abraham (1602 Tours-1676 Paris), according to. The seven (corporal) works of mercy (7/7). 7 sheets. Etching and engraving. Sheet size c. 29.5 x 35 cm. - Partly slightly browned and foxing.

3286

Bosse, Abraham (1602 Tours-1676 Paris), according to. The seven (corporal) works of mercy (7/7). 7 sheets. Etching and engraving. Sheet size c. 29.5 x 35 cm. - Partly slightly browned and foxing.

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Stima 1 500 EUR

Papal coins Sede Vacante (1676) Plate 1676 - Munt. 1 AG (g 31.94) - SPL+

Stima 300 - 500 EUR

A pair of octagonal candleholders in painted polychrome enamel with gold highlights. They are adorned with busts of women in medallions inspired by the galerie des femmes forte by Claude Vinion and engraved by Abraham Bosse and Gilles Rousselet. France, Limoges. Early 18th century. Nicolas 1 or 2 Laudin. Height : 14 cm Minor accidents and restorations. Expert : Stéphane Pépe

Stima 400 - 500 EUR

BOSSE (Abraham). Collection of 2 works, bound in a small in-8 volume, glazed fawn calf, smooth spine cloisonné and decorated with gilded motifs with garnet-red title-piece, triple gilded fillet framing the covers with corner finials, filleted edges, inner gilded roulette, edges speckled with red; upper headband damaged, corners worn (binding circa 1700). One of France's most illustrious engravers, Abraham Bosse (c. 1604-1676), was the son of a German tailor who immigrated to Tours. Also a mathematician and geometer, he published personal works on geometry and the art of engraving, including several based on treatises by the architect and engineer Girard Desargues on perspective, sundials and stereotomy. Reunion of his two major books on perspective, one theoretical and the other practical. -Maniere universelle de MrDesargues, pour pratiquer la perspective par petit-pied, comme le geometral. Ensemble les places et proportions des fortes & foibles touches, teintes ou couleurs. AParis, de l'imprimerie de Pierre Des-Hayes. 1647 [on title-frontispieces] and 1648 [on printed title]. Small in-8, 352pp. as follows: 16pp. unnumbered, pp.1to168, 8pp. (with 2columns per page, numbered 169to184), pp.169to176 (counting as 185to192), pp.193to312, 8pp. unnumbered (counting as 313to320), pp.321to342, 2pp. unnumbered. First edition. Important copper-engraved illustration by Abraham Bosse. Off-text: title-frontispiece, portrait of Michel Larcher, and 81ff. of mostly double-sided plates (bearing a second frontispiece and 156 numbered stamped compositions, 2 of which are repeated). One of the plate leaves has been folded by the binder and attached to the outer margin of a text leaf. In the text, 2 vignettes: a dedication to Michel Larcher, illustrated with his coat of arms, and a numerical demonstration accompanying composition no. 156 (Abraham Bosse, savant graveur, Maxime Préaud and Sophie Join-Lambert dir., Paris, BnF, et Tours, musée des Beaux-Arts, pp.61-62, 244-251 et325; Berlin, no. 4716; Fowler, no. 56). A great scientific and artistic treatise. Using a rational Cartesian pedagogy, Abraham Bosse expounds and extends the theories of Girard Desargues: he deals with perspective applied to the drawing of figures and their shadows, then applied to variations in hue and color according to the distance of the objects represented, and adds to this theoretical complements including the treatise that Girard Desargues himself had published in 1636. He suggests the conformity of geometrical and perspectival drawing: "geometrical drawing" means drawing the orthogonal projection of an object on a horizontal or vertical plane, enabling builders or craftsmen to read dimensions and carry out fabrication or construction. To practice "le perspectif" (the leterme of "petit pied" means a reduced scale) is to draw an object seen from a certain point at a given distance, which falls within the liberal arts, and is the prerogative of the architect. By suggesting this conformity of the "geometrical" and the "perspectival", Abraham Bosse overturns traditional hierarchies and "gives the handicraftsmen their letters of nobility. If we add to this the aggregation of engraving and painting in what [he] calls the art of portraiture, there can be no doubt that he attempted an intellectual and social liberalization of the art of engraving" (Abraham Bosse, savant graveur, op.cit., p.244). This Manière universelle earned Abraham Bosse admission to the Royal Academy of Painting and Sculpture, where he was called upon to teach the practice of perspective, and was widely distributed in Europe: it was translated into Dutch, and inspired the first major English treatise on perspective, published in 1719 by the mathematician Brook Taylor. A teacher of Blaise Pascal and esteemed scholar of René Descartes, the architect and geometer Girard Desargues (1591-c. 1661) frequented Père Mersenne's circle and was a friend of Abraham Bosse. He is considered the founder of projective geometry, and one of the inventors of the geometric coordinate system (which, however, was given the less legitimate name of Descartes). He published four treatises, including one on perspective in 1636, a veritable Bible for Abraham Bosse, who was among those who did most to spread his ideas. Although overshadowed by Descartes and Pascal, Girard Desargues' work was rediscovered in the following century by Gaspard Monge, and developed in the 19th century by mathematicians Jean-Victor Poncelet and Charles-Julien Brianchon.

Stima 150 - 200 EUR

BOSSE (Abraham). Traité des pratiques géométrales et perspectives, enseignées dans l'Académie royale de peinture et sculpture. Paris, Chez l'auteur, 1665. In-8 marbled basane, smooth ornate spine, red marbled title page, red edges (post. rel., 18th century). Small loss at head cap. The copper-engraved illustrations include a frontispiece, a dedication page, an intermediate title ("Les Pratiques par figures...") and 69 full-page plates. A very fine copy.

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