| The reproduction shown above is from French signed bindings in the Mortimer L. Schiff Collection. Volume I New York, [printed by Lecram-Servant, Paris], 1935 by Seymour De Ricci 1881-1942. It is probably this book that sent Louis-Marie Michon into total confusion, but before we get into this, I want to show irrefutable proof of Douceur's tools on this binding that was signed by Padeloup, we can only surmise that Douceur was hired by Padeloup to do the decoration. |
| In Comparative Diagram 1, we compare the Ricci 11 examples with 1200 dpi scanned examples from 1749 Henault as well as examples from the BnF binding RES P-YF-243 that we have discussed on page 8, these same imprints can be seen on the spine of the Q. Horatii binding on the previous page. In fact these imprints can be found on many early Douceur bindings there is no question about that. |
| On page 8 we examined closely Douceur imprint d-94, by a fortunate coincidence we discover again this imprint that is rare and distintive. We found that this cloverleaf like motif is not symmetrical, the vertical leafs are longer than the horizontal ones. In Comparative Diagram 2 we see this same tool being used in the spine panel corners of Ricci 11. If the reproduction was better we could count the beads however we can observe easily the same lack of symmetry and be certain that these imprints derive from the same Douceur tool. Now we come to an interesting point, it relates to the previous page, where we find a description that concerned certain large bird motifs on the Q. Horatii binding ... the larger of the bird tools used has been most recently attributed by the French authority Louis-Marie Michon to the 'Atelier a la Tulipe'. |
| In Comparative Diagram 3 we see that these imprints are all the same size and probably derive from the same Douceur tools, however as they are so small we need better high resolution scans of these imprints to make a really definitive statement. Now as I was just looking over De Ricci's notes on this binding number 11 (decorated by Douceur but with Padeloup's ticket inside) I noticed that he states on the last line of his description, that the Padeloup ticket in this binding looks to be the same as that of the previous binding, a 1745 Longus. I have reproduced this below, it is Ricci's number 10. |
| Here was a huge surprise, this binding that I only just glanced at before, thinking oh yes another Padeloup binding like many others of this type that he is well known for, suddenly I noticed Douceur tools on the spine! and you will have to forgive me for the giant enlargement below, but this is really important. |
| Now how many of you knew that Louis Douceur was making bindings like this for Padeloup? Mind boggling, and considering that Davis562 has to be post 1755 we might imagine that this Douceur decorated binding signed by Padeloup was actually made sometime around 1755 i.e. perhaps only a few years before Padeloup passed away in 1758. |
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| Even experts are sometimes wrong, before you spend thousands on a book, please do your own research! Just because I say a certain binding can be attributed to le Maitre isn't any kind of guarantee, don't take my word for it, go a step further and get your own proof. In these pages I have provided you with a way of doing just that. |
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