1571: Éloi Gibier (Senior team)

Click here to enlarge the image. [Source].

Source:

Title: ‘Gallicae linguae institutio, Latino sermone conscripta. Per Ioannem Pillotum Barrensem ...’
Author: Jean Pillot
Publisher: -
Printer: ex typographia Eligij Gibierij
Illustrator: -
Engraver: -
Location: Aureliae (?)
Year: 1571
Links: [Scan]. Not in USTC.

Comments:

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.

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. 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 1: It is not clear how Jean Le Preux in Geneva (1585 - 1600) [see Le Preux 1587] (Image 47 in Horodisch 1974) got woodcut.]
[Note 2: Fabian Hotot did not use this woodcut, but used a woodcut which shows the ‘junior team’ in 1599.]

Technique:

Woodcut.

Publications

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].