De la manière de graver à l’eau forte et au burin. Et de la gravûre en manière noire. Avec la façon de construire les presses modernes, & d’imprimer en taille-douce […] Nouvelle edition revûe, corrigée & augmentée du double, et enrichie de dix-neuf plances en taille-douce

8vo (192x124 mm). Engraved frontispiece, XXXII, 186, [6] pp. and 19 engraved folding plates. Large engraved headpiece before the dedication and 4 smaller headpieces at the beginning of each book, illustrating scenes in printmaking studios, engraved by Fessard and Soubeyran after Cochin and Bosse. Contemporary mottled calf, gilt spine in compartments with red morocco lettering piece, marbled endleaves, red edges (worn and rubbed, joints partly cracked). Marginal staining and foxing, overall a good, genuine copy.

Third edition of Bosse’s fundamental manual on engraving, originally published in 1645. The text of this edition was expanded and edited by Charles-Nicolas Cochin. Abraham Bosse, born in 1602 in Tours, France, stands as a pivotal figure in the realm of 17th-century engraving, a period marked by the flourishing of baroque art and the burgeoning influence of scientific inquiry on artistic practices. His works, numbering over 1500 engravings, are not merely artistic expressions but serve as invaluable historical documents that capture the zeitgeist of Louis XIII's France, offering insights into the social customs, fashion, and furniture of the time. Bosse was born into a family likely engaged in crafts or trade, a common background for many artists of the period, which provided him an early exposure to the intricacies of design and craftsmanship. His formative years in Tours, a city known for its vibrant cultural life and as a hub of artistic production, would have nurtured his artistic inclinations. Bosse's education in perspective under the tutelage of Girard Desargues, a prominent mathematician and engineer, was instrumental in shaping his technical precision and innovative approach to engraving. Desargues was a key figure in the development of projective geometry, and his influence on Bosse is evident in the latter's meticulous attention to spatial composition and depth in his works.

Bosse's oeuvre is characterized by a keen observational acuity and a delicate sensibility, which he applied to a wide array of subjects. His series such as 'Le Jardin de la Noblesse Française' (1629) and 'La Noblesse Française en Église' (1630) offer a vivid portrayal of the French aristocracy, while 'Le Mariage à la Ville' and 'Le Mariage à la Campagne' (1633) provide contrasting views of urban and rural nuptial customs. His depiction of everyday scenes, such as 'Les Cris de Paris', echoes the genre scenes popularized by Dutch artists, yet with a distinctly French elegance. Bosse's religious and allegorical works, including 'Les Vierges Sages et les Vierges Folles' and 'Les Quatre Saisons', reflect the period's fascination with moral and philosophical themes, rendered with a baroque theatricality. His intellectual network included associations with the Academy of Painting, where he initially taught before his expulsion in 1661 due to ideological clashes with Charles Le Brun, the Academy's autocratic director. This conflict highlights the tension between individual artistic expression and institutional control during this era.

The publication of Bosse's 'Traité des manières de graver en taille-douce' in 1645 marks a significant contribution to the technical literature on engraving, providing a comprehensive guide to the art of copperplate engraving, a method that would dominate printmaking for centuries. This treatise, reprinted multiple times, underscores the enduring relevance of his technical insights. The typographical context of 17th-century Paris, a city at the forefront of printing and book production, facilitated the wide circulation of Bosse's works, contributing to his reputation across Europe. Parisian printers and publishers, benefiting from the city's status as a cultural and intellectual capital, played a crucial role in disseminating his engravings, which were valued not only for their aesthetic qualities but also as educational tools and collectibles.

Bosse's work was met with critical acclaim during his lifetime, though his career was not without controversy, particularly his exclusion from the Academy of Painting, which reflects broader debates about artistic autonomy and institutional authority. Despite these challenges, his engravings have been celebrated for their technical mastery and nuanced portrayal of contemporary life. His influence extends beyond his immediate period, impacting subsequent generations of artists and engravers. The enduring legacy of Abraham Bosse is evident in the continued scholarly interest in his work, as evidenced by the numerous studies and catalogues dedicated to his oeuvre. His engravings remain a vital resource for historians and art historians alike, offering a window into the social fabric and artistic milieu of 17th-century France.