1640
31 décembre 1993
La date précise de l'établissement de l'Imprimerie royale est inconnue ; elle semble être survenue entre juin et novembre 1640. Par la loi du 31 décembre 1993, l'Imprimerie nationale est devenue une société anonyme de droit privé dont l'État est l'unique actionnaire.
Imprimerie nationale
Imprimerie de la République
Imprimerie impériale
Imprimerie impériale
Imprimerie nationale
Imprimerie impériale
Imprimerie nationale
Imprimerie du Louvre
Imprimerie royale
Imprimerie nationale. France (1640-1993)
L’Imprimerie royale opéra au palais du Louvre dès sa fondation ; elle fut déplacée sous la Révolution, successivement à l’hôtel Beaujon (1793-1795), à l’hôtel de Penthièvre, ou de Toulouse (1795-1809), puis finalement à l’hôtel de Rohan (1809-1921). De nouveaux ateliers furent aménagés rue de la Convention à partir de 1904 ; ils furent occupés en 1921, et l’Imprimerie nationale y resta jusqu’en 2005.
En 1848, l'Imprimerie nationale employait environ 800 personnes, hommes et femmes de tous âges. Les différents services placés sous l'autorité du directeur étaient les suivants :
• le service typographique regroupait la taille-douce et la lithographie (dont le contremaître était commun) ainsi que l’imprimerie proprement dite, formée de deux divisions, chacune avec ses prote et sous-prote ; la seconde division embrassait aussi la chambre orientale ou arabe (où l’on composait en alphabets non latins, et surtout en arabe) dirigée par son propre sous-prote. Les presses comptaient aussi deux divisions, avec un prote commun et deux sous-protes ; il y avait en outre un contremaître pour le petit atelier particulier de la collection orientale et un dernier contremaître pour les machines ; s’ajoutaient à ces équipes techniques une dizaine de correcteurs, un professeur et correcteur pour les langues orientales, et un surveillant de la gravure des caractères exotiques ;
• le service de la fonderie correspondait à l'atelier de fonderie de caractères ; son chef avait sous lui un sous-prote ; il était aussi inspecteur pour la partie d’art, garde des poinçons et bibliothécaire ;
• le service du Bulletin des lois était responsable de la publication et de la distribution du Bulletin, mais aussi des ateliers autres que la fonderie et l'imprimerie : brochaque, reliure, dépôt d’imprimés des administrations, etc. ;
• le service du matériel, notamment chargé des inventaires quinquennaux ;
• le service de l’intérieur constituait le bureau administratif de l'institution ;
• les trois service de la comptabilité, de la caisse et du contrôle étaient chargés de l'administration financière.
Sous l’Ancien Régime, l’Imprimerie relevait d’un statut mixte : le matériel (matrices, poinçons, caractères, presses, papier) appartenait pour partie à l’État, pour partie au directeur qui l’exploitait à son compte.
Elle est mise sous la tutelle du ministère de la Justice à partir de l’an III, par l’intermédiaire du bureau de l’envoi des lois. À partir de 1809, elle est placée directement sous l'autorité du ministre de la Justice, avec un inspecteur désigné parmi les conseillers d’État au-dessus du directeur ; l’établissement opère alors en régie simple pour l’État.
Un nouveau mode de fonctionnement est mis en place en 1814 : l’établissement n’est plus un service d’État mais une régie intéressée, dont les frais sont à la charge du directeur usufruitier (en l’occurrence, l’ancien inspecteur), sans inspecteur ni conseil d’administration.
En 1823, la situation revient au régime de 1809, avec un directeur, un caissier et un conservateur du matériel contrôlés par l’administration ; en 1824 le directeur et l’inspecteur sont remplacés par un unique administrateur. Ce système perdure pendant tout le XIXe siècle, malgré des fluctuations ponctuelles dans le titre du responsable de l'institution, qui dépend du ministre de la Justice.
En 1911, l’établissement passe sous la tutelle du ministère des Finances. Il est groupé, de 1927 à 1940, avec l’administration en charge des Journaux officiels. En 1993, l'Imprimerie nationale devient société anonyme dont l’actionnaire unique est l’État.
L’Imprimerie royale fut fondée pour publier les actes des conseils, des publications de la maison du roi et œuvrer à la diffusion de la religion et des lettres. Sous l’Ancien Régime, elle réalisa ainsi un certain nombre d’éditions artistiques et d’érudition. Se trouvant parfois en concurrence, pour certaines impressions d’État, avec des structures diverses, elle en absorba plusieurs. L’activité de l’établissement, malgré les retards de paiement du roi, fut relativement stable jusqu’à la Révolution, où sa situation fut remise en question.
En 1791, sa production fut ainsi réduite aux seules impressions administratives et financières (dont les premiers assignats). Elle forma ensuite, par son matériel et ses ouvriers, le cœur de l’établissement fondé en frimaire an II (novembre-décembre 1793) pour imprimer le Bulletin des lois. Son monopole des impressions d’État, mis à mal par la concurrence d’autres imprimeries publiques et de nombreux ateliers privés, fut réaffirmé par la Convention en l’an II (1793-1794).
Par le décret du 8 pluviôse an III (27 janvier 1795), elle reçut pour la première fois l’appellation d’Imprimerie nationale et dépendait de l’agence de l’envoi des lois. On lui confia l’impression des lois, des publications de la Convention et de ses comités, ainsi que des ouvrages scientifiques ou artistiques sélectionnés par l’État. En l’an IV (1794-1795), l’« Imprimerie de la République » était le seul opérateur gouvernemental. Installée dès sa fondation au palais du Louvre, l’Imprimerie fut transférée, au milieu des troubles politiques qui agitèrent la Première République et l’Empire, successivement à l’hôtel Beaujon, à l’hôtel de Penthièvre et enfin à l’hôtel de Rohan (ou Palais-Cardinal).
Malgré des contestations très régulières de son statut exceptionnel, tant des administrations que de ses concurrents privés, l’Imprimerie conserva pendant le XIXe siècle ses missions privilégiées vis-à-vis des opérateurs publiques. Les publications érudites et orientalistes s’y multiplièrent également : un « atelier oriental » fut fondé en 1813 et assura un rayonnement considérable aux travaux savants de l’institution, notamment dans la première moitié du XIXe siècle. Son activité fut marquée par l’emblématique « Collection orientale » publiée sous la monarchie de Juillet ; l’atelier fut dirigé par Antoine-Isaac Silvestre de Sacy entre 1832 et 1838, puis Eugène Burnouf jusqu’en 1852.
Sur le plan technique, l’établissement adopta en 1829 des presses mécaniques ; il se dota en 1835 d’une vaste tremperie pour le papier, et en 1840-1841 d’une lithographie (bien que la décision en eût été prise sous la Restauration), et d’une taille-douce entre 1841 et 1848. La qualité technique de ses publications de luxe fut reconnue et notamment primée à l’exposition universelle de 1855.
Ayant conservé son statut et ses missions malgré des mises en causes répétées, l’établissement passa en 1910 sous la tutelle du ministère des Finances. Il devint en 1993 une société de droit privé dont l’État demeure l’unique actionnaire.
Les archives de l'Imprimerie nationale forment aux Archives nationales la sous-série AJ/17 ; des documents s'y rapportant se trouvent également dans les sous-séries C, DIII, DXXXVIII, DXLII, E, F/4, F/17, F/21, M, O/1, V/3, Y, AB/V/B, AB/XIX, AD/VIII, AF/II, AF/III, AF/IV, BB/4, BB/17/A et BB/30.
Des archives considérables se trouvent également aux Archives économiques et financières, ou se trouvent conservées à l'Imprimerie nationale (aujourd'hui IN Groupe).
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