L'Armessin (Nicolas de): "Costumes grotesques",

L'ARMESSIN II (Nicolas de) [1632–1694]

[Habits des Metiers et Professions].

[Paris: chez N. de L'Armessin (ou chez la Veuve de N. de l'Armessin), Rue St. Jacques, à la Pomme d'Or, N.d.] circa 1690–1695.

4to., [62] ff. (last two plates with restoration); bound in green morocco, gilt (second-half of the 19th century) signed Chambolle-Duru.

A remarkable collection of 62 engraved copperplates representing the earliest impressions of fantastic figures composed of the tools or attributes of their trades, created and produced about 1690 onwards (thru 1694), enhanced at the time with brilliant hand-coloring, silver and gold paint. These prints are a marvel of inventiveness showing the inspiration and influence of the 16th century painter Giuseppe Arcimboldo (1527-1593) who chiefly imagined only heads, now extended and re-invented for the Court of Louis XIV.

Amongst the most famous prints of the late 17th century, their printing history is rather complicated. Nicolas I de Larmessin (or L'Armessin) (1632-1694) designed, engraved and published approximately 62 plates in his lifetime. His widow Marie Bertrand added 14 plates from his unfinished designs and his younger brother Nicolas II (c.1645-1725) engraved a further 21 plates from 1695 to 1720s. All of the prints were individually published, with re-engravings in reverse by the younger brother which often simplified these earlier designs by omitting background details. Altogether, it has been suggested that a total of 97 images were eventually issued.

From the Beauvillain library, ex-libris by Jouas. Colas, 1779, Lipperheide, 1971.