| This binding is perhaps the most important binding that we have looked at so far, there is here a return to some of the older tools, but more importantly some new tools that we have not seen before. Tools that will then become much used in the Almanach Royals of the next few years. Several years ago or more I discovered a 1756 Almanach Royal in Rahir's 1910 catalogue, in the description they attribute the binding to Dubuisson, however as I could see a lot of new tools, tools that I did not recognize, I was not quick to accept it as a real Dubuisson. Here however in this 1754 Almanach we discover not only these new tools but also a binding that was certainly made by Dubuisson. |
| In Comparative Diagram 1, we see Pierre-Pauls trademark imprints pd-21a and 21b, he used these tools on a majority of his mosaic bindings as well as on his dentelle bindings. I have detailed the authenticity of these imprints on another page (click here to see it), you can see the cross in the center of these small flowers, this is not often easy to see and we must congratulate the Royal Library on the quality of their reproductions. The next thing that we cannot fail to notice is the palette at the base of the spine, I have documented this palette numberous times, Dubussion used this palette more than any other. I have catalogued it as the rodeo palette, it is one of Dubuissons earliest tools, and I show it on a new page dealing with Dubussion's early tools (click here to see this page). In fact you can see it on a 1746 Almanach Royal held in the Real Biblioteca (click here to see it). Thus these imprints on the spine confirm absolutely that this binding derives from the workshops of the Dubuisson's, now we can look for some of the other imprints that we recognize from our study of these mosaic bindings. |
| When I was trying to extract the new imprints I noticed just how much smaller they are, the older tools have been replaced by minitures |
| In Comparative Diagram 7, we see an enormously important imprint that Dubuisson used extensively. I am not sure if it replaces the usual trident pd-7 from 1754 onwards, it will be interesting to find out. These imprints are so small that we are not going to get much of a picture of them from the reproduction in the Royal Library. It is a sad fact that printing methods were in 1910 far superior to anything we are able to achieve today. The reproductions in Rahir's catalogues, can be run through a scanner and yeild an image as good as if you were scanning the binding itself. Thus in these diagrams I am resorting to using his 1910 reproduction of a 1756 Almanach Royal to find imprints that are the same as those on this 1754 Almanach. (click here to see Rahir's 1756 Almanach Royal, No.171g) |
| Be careful I have enlarged the imprints in Comparative Diagrams 9 and 10 to 1000dpi. These imprints are tiny, much less than a centimeter long, however they are critically important in our analysis of the bindings that follow, these tools are used often, and part of an important collection of imprints that will be indispensible in identifying Dubuisson bindings. One more critical element is shown below it is a palette that served to make borders as though it was a roulette, you will see this particular palette often, particularly on all the mosaic bindings that Michon has attributed to J A Derome. |
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click here to return to the Dubuisson mosaic INDEX. click here to see more Pierre-Paul Dubuisson pages. click here to see the INDEX of the 2017 pages. click here to return to the HOME page. see below links to previous work |
| Even experts are sometimes wrong, before you spend thousands on a book, please do your own research! Just because I say a certain binding can be attributed to le Maitre isn't any kind of guarantee, don't take my word for it, go a step further and get your own proof. In these pages I have provided you with a way of doing just that. |
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