The Raphael of Engravers, Charles Derriey, Publishes the Most Spectacular of Typography Specimens

In 1862 type and ornament designer and typefounder Charles Derriey (1808-1877) of Paris issued Specimen-Album for distribution at the International Exhibition in London. This folio work (400 x 320 mm) was issued in two different bindings, a quarter morocco binding and a full morocco binding. The dark blue full morocco binding decorated with type ornaments designed and created by Derriey is one of the most remarkable bindings of the 19th century because of the exquisite subtlety of the Derriey designs stamped into the covers. To appreciate the exquisite detail of the ornamentation please take a close look at the three enlargements of the binding details. Regrettably there is no indication of the name of the binder responsible for this work. 

Together with the book Derriey issued a 3-page Price List & Contents printed on a single folded sheet by Jules Claye. The remainder of the book, including all the black & white and color specimens, appears to have been printed by Paul Dupont, as Imprimerie Paul Dupont is stated in tiny type at the foot of most of color specimens. The tiny type is so small as to be almost invisible; it would only be noticed by someone who studied the specimens with care. The book is a testament to the exquisite printing that the industrial printer Paul Dupont could achieve. Until I noticed that Dupont's firm printed these specimens I had no clue that this large industrial printer could produce work of such consummate quality. It is likely that the books were also bound by Imprimerie Paul Dupont since Dupont also operated a bindery.

Derriey's book collates as follows:
 
( iii) Price List & Contents, (1)-185 leaves printed rectos only, each within a different border, + 10 pages describing a numbering press invented by Derriey. There are no pages 107 or 130-134, and none called for in the Contents; there are two l. 50. The Table of Contents states the number of runs through the press required for each leaf; some of the color plates required eight runs. Maintaining the absolutely precise registration required for the superfine detail of these specimens, and the mixing all the subtle colors, would have been the greatest challenge for any printer.

The specimen is divided into eight principal sections: Vignettes, Caractères (highly ornamented), Traits de Plume, Coins Composé, Filets, Coupoir, Biseautier (machine-ruled), Réglure, Musique, and Album (plates 136-187-- a tour de force of color), Essais Typographie (sample business cards, letterheads, checks, invoices). Each section is introduced by a splendid title leaf printed in several colors and gold. At least 37 leaves are printed in color. Derriey also developed his own music type; his complex system of musical printing is demonstrated on plates 128 and 129.

Bigmore & Wyman, Bibliography of Printing, p. 163 calls this work "one of the most beautiful works ever issued  from the French, or, indeed any other press.…." Hermann Zapf and his Design Philosophy (1987) p. 37 notes that Derriey was called "The Raphael of Engravers," and states "The type specimen book of the Derriey Foundry produced for the Great Exhibition in London 1862 is an outstanding example of letter forms and of precision in composition and printing." Jammes # 127 calls attention to the Traits de Plume. Derriey engraved 324 unique punches for these, which "sont restés inégalés." The multi-color printing is exquisite. Music type includes a lay of the case. Jackson Burke, Typographia (1975) 520 states, "This is one of the most colorful and elaborate type specimen books of all time. The precision of casting and fitting together of the ornaments when combined with incredible press work and register of the colors, silver and gold is truly impressive."

My copy includes a large folding plate ‘Cadrats pour Cintres’ (645 x 49mm) loosely inserted.