| The B and G reproduction of this binding was not very sharp and due to being photographed at an angle, almost prohibits our extracting any useful imprints, however as we discover here something very interesting, I have resorted to extreme methods to recover imprints by removing the photographic distortion. The imprints will still be somewhat imperfect, yet this allows us to see that two different types of pd-33 have been employed in this allover decoration. |
| In Comparative Diagram 1, we see the pd-33-3 pair that are found on our 1759 dentelle à l'oiseau, are also found on this 1758 allover design, as well a new model that I failed to notice before, we can call it pd-33-4 pair. |
| In Comparative Diagram 2, I have assembled all of the pd-33 Types in a scaled diagram. The example of the pd-33-4 pair shown in this diagram derive from a 1772 Delorme binding. They look a lot like the pd-33-2 pair but are larger. These are better examples than can be extracted from the the B and G reproduction. |
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Giles Barber only shows three examples of this fleuron in his Tools Catalogue. I find it hard to believe that he only found three (shown above in Comparative Diagram 3). Unfortunately Barber chose the worst possible system to catalogue these imprints, listing them by form or shape instead of by the artist who employed them, He includes in his descriptions a sort of intimation of who he supposes might have executed the decoration, stating that he found in some of the bindings, a Derome ticket. Barber never seemed to be disturbed by the fact that the tooling in certain of the bindings with these tickets was very different from the others, none of the tools matched. One would have to imagine that Derome suddenly adopted an entirely new set of tools to decorate these particular bindings. I have added to Barber's list, the names of the decorative artists to whom these tools actually belonged, and still marvel at the fact that Barber attributed all the tools and bindings to Derome le jeune OR his father. Yes, Derome's tickets are found in some of these bindings however they only stand as proof that Derome hired binders like Jubert and Gosselin to do the work. |
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In Comparative Diagram 4, I have assembled examples of these imprints with the names of the binders who employed them. Certainly there are more, I suspect that Derome owned a type 3 and 4 that I have yet to notice. These are imitations of tools that can be seen in the work of Dubuisson in the late 50's and were employed much more frequently in the 70's by many others. A close inspection of these imprints indicates that they are in fact pods or buds on stems that have been linked together. Emerging from the mouth of the uppermost pod we see a spiralled tendril . What can we make of these fleurons? First we know that these pods have long been used as a sort of archetype of floral architecture, representing the reproductive womb of vegetal life, while the tendril is more mysterious, on the one hand a macrocosmic symbol and on the other a reminder of the innate intelligence of all life. Moving with great stealth, it seeks out a foothold and attaches itself securely against all the intemperate fits that mother nature might throw upon it. |
| On the next page we will delve into the ultra rare allover design bindings bearing the arms of Louis Joseph Xavier, Duke of Burgundy. |
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| 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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