Bergsträßer saw the similarities between Warš editions and the Gizeh print.
Because he did not question al-Ḥusainī al-Ḥaddād's assertion that "his" edition
was a reconstruction based on the oral text and the literature about
How to Write
a Muṣḥaf, he assumed an immediate influence from Gizeh/Cairo to Fèz/Alger.
For me it was clear that it was the other way around.
But I had no proof.
I did not have an early print from the Maġrib (nor a Warš edition from Cairo from before 1920).
Finally, I can proof it. I have images from Faz prints from 1879,'81,'91, '92,'93,'94, '95,'99,
1900 and 1905.
The two oldes are in big format and still have red dots for
hamza:
On the left the (presumably) first print by Ḥaǧǧ aṭ-Ṭaiyib al-Azraq 1879,
on the right the same text from Alger 1350/ 1931 (Maṭbaʿa aṯ-Ṯāʿlibiyya of Rūdūsī Quddūr ben Murād at-Turkī, likely ʿAbdal Qādir from Rhodes)
one from 1881:
Later they are without colour and smaller:
The press wasn't in the Sherifian Kingdom, but in Cairo. Al-Muǧallad al-ʿArabi (often printers make up names for special occasions) was in charge.But the third edition was home made ‒ in a press founded in Faḍāla (named Muhammedia since 1959) after WWII and bought in the 1960ies by the Minstery for Religious Affairs and Pious Foundations al-Maṭbaʿ al-Faḍāla.
While under Hassan II there was only one Royal Muṣḥaf (in cheap and in expensive editions) ‒ written by seven Moroccan calligraphers
there are new four different ones:
‒ one hand written, similar to his father's
‒ one computer set ‒ "andalusian", i.e. with green dots for hamzat,
