| Reproduced above is the cover of Christie's, November 2004, catalogue. They have chosen for the cover, part of the binding of item 147. shown below with the item information. In this information they state that they are aware of a number of bindings with imprints identical to those of item 147, all appear to be from the period 1752 to 1762. These bindings have been studied by the specialist Paul Culot, however the atelier from which they derive, "still remains unknown". |
| Let us now turn to another Christie's catalogue to see if we cannot clear up this mystery. It is their June, 1997 catalogue and within it we find item 183, a folio sized binding which Christie's have described as a binding by Louis Douceur, below I show the 1997 Christies catalogue cover, and then, below this, the pages where item 183 has been detailed, click on the page to see an enlargement. |
| In comparative Diagram 1- I have reproduced a section of detail from the 183 Douceur binding as well as a detail from the cover of Christie's 2004 catalogue. The enlarged imprints reproduced on the cover are sharp and allow a good comparison. Both detail sections have been reproduced at the same scale, and we see the presence of identical tools, the tools of Louis Douceur. We can now proceed to another binding that is obviously by Douceur as the dentelle has been made using the same tool as was used on the binding shown on the Christie's cover. However here we see that Douceur has added some more of his favorite tools, On the next page we will look at this same binding , reproduced by Esmerian in his 1972 catalogue, Volume II. Here we find a nearly full sized black and white photograph of the front board. The camera has been oriented perpendicular to the board so as produce an image that is virtually free of distortion, thus we will be able to extract the imprints from this to add to our growing collection of Douceur imprints. |
| We can now proceed to another binding that is obviously by Douceur as the dentelle has been made using the same tool that was used on the Christie's cover. However here we see that Douceur has added some more of his favorite tools, On the next page we will look at this same binding , reproduced by Esmerian in his 1972 catalogue, Volume II. Here we find a nearly full sized black and white photograph of the front boar, the camera has been oriented perpendicular to the board so as produce an image that is virtually free of distortion, thus we will be able to extract the imprints from this to add to our collection of Douceur imprints. |
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