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  • LA CONFISEUSE

From the set of Grotesque Costumes and Trade Clothes.

Proof with some color highlights, cut to the limit of the copper on the right border, thinning of the paper and small loss on the back of the left margin.

The address of Chiquet (active circa 1707-1721) allows us to date the print to around 1710.



Even more than Arcimboldo, the engravings are part of a tradition that dates back to the 16th century, that of masquerades or freer court balls where costumes were “rather made to entertain and give entertainment, than to appear magnificent ” (Mercure galant, March 1683, p.325).
Certain ballet costume plates, engraved by Lepautre after drawings by Berain or Gissey, certainly also inspired the engravers behind the Grotesque Costumes series.

"Maxime Préaud thus provided an unprecedented ordering and enumeration of a series "of variable dimensions [published] in several installments" while providing valuable documents to understand its genesis and its fortune. He identifies the three chronological phases of its creation and publication, by Nicolas I (author of the “first series”, divided into two sub-series), by his widow Marie Bertrand then by his younger brother Nicolas II, before reissues by Jean Colart, François Hurand or Jacques Chiquet.”

 "The first episode, the most important, includes 62 plates: it is the initiative of Nicolas I de Larmessin (1632-1694). 14 plates are then published by his widow, “between May 23, 1694 and May 20, 1701 , perhaps engraved after drawings by her late husband...As for Nicholas II [1645-1725, younger brother of Nicholas I but who was not his heir], he published 22, which he draws and engraves himself, at the address of the Golden Cup, from 1695”

Roger-Armand Weigert, "Sur les Larmessin et les Costumes Grotesques", in Nouvelles de l’estampe, 2, 1969, pp. 67-75

Pascale Cugy, « Un nouveau chaînon dans la genèse des Costumes grotesques de la famille Larmessin », Nouvelles de l’estampe [En ligne], 263 | 2020, mis en ligne le 20 juin 2020, consulté le 23 août 2024. URL : http://journals.openedition.org/estampe/1416 ; DOI : https://doi.org/10.4000/estampe.1416

Maxime Préaud,"L'estampe au Grand Siècle : études offertes à Maxime Préaud", Edité par Ecole des chartes. Paris ; Bibliothèque nationale de France - 2010



LA CONFISEUSE

  • 850.00 €



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Art Gallery in Paris

11 Passage Verdeau, Paris 9th. Recognized expertise in ancient and modern prints, Japanese and European. Member of SLAM (Syndicat de la Librairie Ancienne et Moderne) and ILAB (International League of Antiquarian Booksellers)

Conservation Museum Quality

Flat packaging, acid-free folders with neutral pH and reinforced protection.

Shipping within the European Union

Careful delivery within 24/48 hours with ad valorem insurance and real-time tracking.

Frequently Asked Questions from Collectors & Print Lovers

Answers on the authenticity, conservation and acquisition of Japanese prints and Master engravings.

How are the prints packaged and secured during delivery?

En résumé : The prints are protected in a neutral acid-free pouch, packaged strictly flat between two plates of rigid reinforced non-deformable cardboard with ad valorem insurance.

Prints are preferably shipped flat to preserve the fiber of the paper. Packages are shipped within 24 to 48 hours via Colissimo Expert with delivery against signature or express carrier (DHL / FedEx) with tracking number. Collection by hand from our Parisian gallery (11 Passage Verdeau) is also available during opening hours or on request.

How can we guarantee the authenticity and period print of an original print?

En résumé : An original print is verified by its edition, determined largely by the nature of its paper and the quality of its printing.

At the Maillard-Fouilleul Gallery, each work undergoes an in-depth examination, mention in the dedicated catalogs or directories, quality of the print and printing, possible presence of a watermark and its identification as well as any signature, sending or collector's mark, state of conservation of the print, integrity of the margins.

What is the difference between an Ukiyo-e print and a Shin-Hanga print?

En résumé : Ukiyo-e (17th–19th century) illustrates the classic “floating world” of Edo, while Shin-Hanga (20th century) renews woodcut with Western perspectives and light effects.

Ukiyo-e brings together illustrious masters like Hokusai, Hiroshige, Utamaro and Sharaku. The favorite subjects are actors, kabuki, courtesans or Bijin and landscapes, nature and its seasons being at the heart of art and the art of living in Japan. The Shin-Hanga (“new prints”) movement, launched by the publisher Watanabe Shozaburo in the years 1915-1960 with Hasui Kawase and Hiroshi Yoshida, preserves the traditional technique on wood with the intervention of a designer, an engraver and a printer, while infusing a spectacular atmospheric realism. To this we must add Sosaku-Hanga ("creative prints"), the creative process of which is in the hands of the artist alone and whose palette and graphic expression are freer.

How to properly preserve and frame a Japanese print or old engraving?

En résumé : Store prints away from UV rays and excessive humidity. Use only acid-free (neutral pH) mats and museum-quality anti-UV glass.

Inks like paper are very sensitive to direct light and humidity. We recommend reversible assembly with neutral pH or Japanese starch-based hinges, avoiding any synthetic adhesive. Never glue a print in full. For storage in drawing board, choose neutral polyester pouches (Melinex/Mylar) and permanent blotting paper.

Can you have your European and Japanese prints appraised or sold at the gallery?

En résumé : Yes, we examine your works for cash purchase, or valuation notice on photographs.

We are constantly looking for Japanese prints (Ukiyo-e, Shin-Hanga, Sosaku-Hanga), as well as engravings by ancient or modern European masters: Dürer, Callot, Bosse, Nanteuil, Boucher, Delacroix, Gericault, Goya, Rodin, Redon, Miro, Chagall, Buffet, Delaunay, Vasarely. You can send us photos by email to maillard.estampes@orange.fr or come and meet us directly at Passage Verdeau in Paris.

Galerie Maillard-Fouilleul · Specialist in ancient and modern prints · Ref. bibliographic: Hollstein, Bartsch, Le Blanc, I.F.F, Delteil, Last update: 09/2026.