Mons. Couraud, who is an enthusiastic collector of prints, medals, and ancient furniture, thus describes the origin of his book-plate: “Dans une vieille édition du ‘Roman du Renart’ je recontrai cette devise, ‘Fortune secort les hardiz,’ dès lors mon ex-libris était trouvé. Je fis représenter la classique Fortune dans un écusson d’or, au chef cousu d’azur (shown gules in the engraving) chargé de trois fleurs-de-lis, avec deux coqs pour supports; ce qui faisait allusion à mes opinions politiques.” This was drawn by Mons. Couraud and engraved by Devambez.
It will be seen that the owner frankly admits not only that the arms were assumed, but that they were purely fanciful. For a trade label such a device might be excused, but all who have any respect for the science of heraldry will be pleased to learn that the owner has determined to suppress this plate, and has had another engraved for him by Henry André, after a pretty floral design of Van Spaendonck, and printed in colours.
The power to appreciate beauty is but one factor in many that go to the forming of an artist, yet it is the indispensable.
Who, then, amongst modern French artists, has produced the most beautiful and characteristic ex-libris? The question is too difficult to solve offhand; it is, indeed, a matter of taste. Many would select Aglaüs Bouvenne, Léopold Flameng; others might suggest C. E. Thiéry or Henry André.
Other modern artists who should be mentioned are Bracquemond, who produced a plate for M. Aglaüs Bouvenne himself, and the very simple severe mark for the late Poulet-Malassis, with its vigorous assertion, Je l’ai, as well as the plates for Charles Asselineau and Paul Arnauldet, the latter with its anti-Grolier motto, Nunquam amicorum!
