| The inner dentelle of this Delorme binding is a real treasure, now I am able to show this at high resolution and confirm what I have been investigating for years. We have shown on the last 2 pages the existance of both Delorme and Dubuisson imprints in the decortation of this single binding. The inner dentelle of this binding, this particular roulette is found in the early works of Dubuisson and then later also it has been employed by Delorme. First I will show you how it compares with Barber's Roll 74 that I have detailed on some previous pages, and on some recent pages From this research we know that this roll according to Barber is found on his W.Cat.423 you can see part of it in Comparative Diagram 2 which is a reproduction from the cover of his 2013 publication, We have matched the imprints from this binding to Barber's catalogued imprints, proving that this is indeed W.Cat.432. This is a significat find in relation to our inner roulette as the same roulette ROLL 74 is found on both bindings as well as many other shared imprints that we will examine shortly. |
| In Comparative Diagram 3, we see this same roulette, has been used to frame a large fanfare plaque fashioned in the pointille style of the the 17th century. It is decorating L'Office de la semaine sainte, l'usage de la Maison du Roy. Paris: Jacques Collombat, 1743. Here we are entering the age of mass produced bindings to meet the needs of Louis XV. I am not sure that we know who reinvented the idea of gold plating with a plaque large enough to cover most of the boards, really the technique goes back to the 16th century and Geoffroy Tory de Bourge. |
| Below I have included a 1732 Collombat that is found on the internet (click here to see it). We can observe that the ROLL 74 roulette appears even on the 1732 Collombats, if these books were actually bound and decorated in 1732 then we might guess that this roulette could have belonged to Rene Dubuisson or perhaps the Royal workshop or even Padeloup? I have not seen it on a binding decorated by Padeloup, but as we know Piere-Paul Dubuisson was decorating Padeloup bindings in the 40's, it wouldn't be a surprise to find it on a signed Padeloup binding in that period, which would then explain Barbers's note concerning it. |
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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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