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Chronological overview

Before 1550

1551 - 1600

1601 - 1650

1651 - 1700

1701 - 1750

1751 - 1800


1571: Éloi Gibier (Junior team)

[brief description]

Click here to enlarge the image. [Source]


Title: ‘Les premieres idees d’amour’
Author: François Berthrand
Publisher: -
Printer: Fabian Hotot
Illustrator: -
Engraver: -
Location: Orléans
Year: 1599
Links: [Scan]. [USTC].


Éloi Gibier bought two versions of this woodcut from Conrad Badius. Both mention ‘PRELUM’ in the top, and both show an empty cartouche at the bottom.
1. The first one shows a young team, and is based on a woodcut that Conrad Badius used in 1548. Both cartouches are straight.
2. The second one shows an older team, and is based on a woodcut that Conrad Badius used in 1555. The cartouches have a decorative curl in the centre.

The first appearance and actual use of this mark by Éloy Gibier needs to be determined, even if he has used this woodcut at all. The illustration above is used by Fabian Hotot in 1599. [USTC]. [Source].

Falconer Madan (1895, p 234): ‘15. 1556 at earliest. Eloy Gibier, who printed in Orleans in 1556-88, used two different representations of a press as his device. One, presumably earlier, is a copy of No. 11 above, the label which bore Ascensianum begin left blank in the copy. The other (No. 16) is a copy of No. 14, with variations in detail.’ [Note: No. 11 = Conrad Badius 1548 (The ‘junior team’). No. 14 = Conrad Badius in 1550. No. 16 = Éloy Gibier in 1561.]

Auguste Bernard (1909) ‘One mark, which appears on the first edition of Théodore de Bèze’s Poemata (1548); the volume contains also a portrait of the author signed with the double cross. Conrad’s mark, like that of his father, Josse Bade, represents a printing-press. It contains also the words ‘Prelum ascensianum’; but, instead of being inscribed in a cartouche on the press, they are in two cartouches, one at the top, the other at the bottom, of the border (Silvestre, no. 867). When Conrad betook himself to Geneva, Eloi Gibier, a printer of Orléans, bought the mark. It afterwards passed to Fabian Hotot, a printer in the same city, who was using it in 1609; but before using it he had the words ‘Ascensianum’ removed.’ [Scan].

[Note: Fabian Hotot used this mark in 1599 too. [Source]].




Bernard, Auguste (1909) Geofroy Tory. Painter and engraver; first royal printer; reformer of orthography and typography under François I. [Ebook].

Horodisch, Abraham (1974) ‘Buch und Buchdruckpresse im Druckersignet des 15. und 16. Jahrhunderts.’ Philobiblon. Jahrgang XVIII, Heft 3, September 1974. (Figure 46).

Madan, Falconer (1895) ‘Early representations of the printing-Press with especial reference to that by Stradanus.’, Bibliographica. Volume 1, page 223-248. (Illustration 15).

Roche, Nigel (2000) The iconography of the printing office to 1700. Unpublished MA thesis. Library and Information Studies, University College London. (Illustration #K2).

Silvestre, Louis-Catherine (Paris, 1853) Marques typographiques, Volume 1, page 561, no: 964. [Link].