| Thanks to this Christie's online auction catalogue we can see this superb example of a Derome le jeune binding. Click here to see this page) On page 10 of these new Derome pages, I said that I have not seen Barber's tool DCR 25 in a Derome binding, this is proof that I am loosing my memory because here it is in this 1766 binding that I documented in 2018. At the time I was simply trying to show this was a Derome binding, as that, surprisingly, is not mentioned in the auction notes. |
| In Comparative Diagram 1, we see this 1766 Derome le jeune binding compared with Barber's W.Cat.42 binding that he claims to be a 1747 production by J.-A. Derome. If anything the 1766 binding is earlier than W.Cat.42 with more of Derome's older tools. As mentioned before, if this was a 1747 J.-A. Derome binding the decoration of the spine would probably be completely different, and particularly the palettes. |
| In Comparative Diagram 2, I have extracted an example of DCR 25 from the 1766 binding and compare it with Barber's model, You can see in this diagram that the correct orientation of this imprint is as I show it and not as Barber has illustrated it. In the overlay we can see that these imprints are the same and derive from the same tool. I have included the fleuron that has been placed on top of the DCR 25. This is a very important fleuron. |
| In Comparative Diagram 3 we see DCR 25 as it has been illustrated in Barber's 2013 catalogue. (Catalogue of Printed Books and Bookbindings: The James A. de Rothschild Bequest at Waddesdon Manor. By Giles Barber, August 28, 2013) |
| In Comparative Diagram 4, we see an amazing piece of proof, critically important in the identification of a real J.-A. Derome binding, one of the very few known (click here to see it). In the Sotheby's information on this binding by Jacques-Antoine Derome they provide a Marie-Louis Michon reference, proving that he knew about this binding and had catalogued it in his infamous book (Les Reliures Mosaiquees, p. 82, no. 334). Therefore, Michon would have seen that J.-A. Derome's work was nothing extraordinary, and that his tools were not the same as those on the bindings that he claimed to be Derome's work. Yet dispite this evidence he still continued to promote J.-A. Derome as the greatest mosaic artist of the century! This is the big lie that has corrupted the minds of experts like Esmerion, Mirjam Foot, Heribert Tenschert and now Giles Barber. |
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click here to return to the HOME page. click here to see the INDEX of the 2017 pages. 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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