At the end of the 17th century Nicolas de l'Armessin (one of them: there were a few artisans by that name) engraved a series of plates - Costumes Grotesques - in which tradesmen and their occupations were depicted with the tools of their trade as body parts.
In 1730 Martin Engelbrecht released his series of similar figures to de l'Armessin (Assemblage nouveau des manouvries habilles).
During the 19th century when the idea of physiognomy - judging characters by their physical appearance (eg. phrenology) - had its greatest following, English lithographic artists GE Madeley and G Spratt released another series (itself after Cooke's 'Implemental Characters') of occupation prints. The pseudo-anthropomorphic illustrations were issued just prior to the Victorian industrial period when satirical presentation of the 'machine-age' was common.
In 1730 Martin Engelbrecht released his series of similar figures to de l'Armessin (Assemblage nouveau des manouvries habilles).
During the 19th century when the idea of physiognomy - judging characters by their physical appearance (eg. phrenology) - had its greatest following, English lithographic artists GE Madeley and G Spratt released another series (itself after Cooke's 'Implemental Characters') of occupation prints. The pseudo-anthropomorphic illustrations were issued just prior to the Victorian industrial period when satirical presentation of the 'machine-age' was common.
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