Paris

Jules LEVY
Invitation to the preparatory meeting of the 41st anniversary of the foundation of the Hydropaths
19 December 1919 | 12.8 x 10.5 cm | one leaf
Rare invitation to the preparatory meeting organised by the Hydropaths Club, Sunday 28 December 1919, “to agree to the preparation for the forty-first anniversary ceremony of the foundation of our society.” The event took place «à la salle Berlitz (41, boulevard des Italiens) «at the Salle Berlitz (41, Boulevard des Italiens).»
A handwritten note on the lower part gives the name of the guest.
Horizontal fold in the middle of the document.

Original drawing of the painter and draftsman Georges Tournon, in charcoal enhanced with gouache, signed "G. Tournon Feast of the throne Paris 1932".
"Georges Tournon was to be a Parisian artist who had acquired a certain dexterity in the art of chewing the street people, he had a real predilection to identify and draw from the nature of characters misery among the two wars: tramps curled up by the cold and hunger, couples of old people sitting on a bench, stray wanderers ... he associated with those excluded "at the end of the roll", sellers of "almost nothing", which, against a few cents, yielded to the passers-by flowers, mimosa, feather duster ... or played the...

Original drawing of the painter and draftsman Georges Tournon, in charcoal enhanced with gouache, signed "G. Tournon Jardin des plantes Paris 1932".
"Georges Tournon was to be a Parisian artist who had acquired a certain dexterity in the art of chewing the street people, he had a real predilection to identify and draw from the nature of characters misery among the two wars: tramps curled up by the cold and hunger, couples of old people sitting on a bench, stray wanderers ... he associated with those excluded "at the end of the roll", sellers of "almost nothing", which, against a few cents, yielded to the passers-by flowers, mimosa, feather duster ... or played the...

Original drawing of the painter and draftsman Georges Tournon, in charcoal enhanced with gouache, signed "G. Tournon Feast of the Throne Paris 1932".
"Georges Tournon was to be a Parisian artist who had acquired a certain dexterity in the art of chewing the street people, he had a real predilection to identify and draw from the nature of characters misery among the two wars: tramps curled up by the cold and hunger, couples of old people sitting on a bench, stray wanderers ... he associated with those excluded "at the end of the roll", sellers of "almost nothing", which, against a few cents, yielded to the passers-by flowers, mimosa, feather duster ... or played the...

Original drawing of the painter and draftsman Georges Tournon, in charcoal enhanced with gouache, signed "G. Tournon Feast of the Throne Paris 1932".
"Georges Tournon was to be a Parisian artist who had acquired a certain dexterity in the art of chewing the street people, he had a real predilection to identify and draw from the nature of characters misery among the two wars: tramps curled up by the cold and hunger, couples of old people sitting on a bench, stray wanderers ... he associated with those excluded "at the end of the roll", sellers of "almost nothing", which, against a few cents, yielded to the passers-by flowers, mimosa, feather duster ... or played the...

Edition illustrated with 10 original etchings by Edouard Chimot, one of 25 numbered copies on Japon imperial paper, deluxe copy.
The work is also illustrated with typographical ornaments by Paul de Pidoll.
Handsome full-margined copy.
The first gathering tends to come slightly loose.
Our copy, like all copies printed on Japon imperial paper, contains the complete suite of 10 original compositions by Edouard Chimot in triple state.

First edition of this promotional publication created for Quina-Laroche.
Handsome copy.
Full cardboard chemise, smooth spine, illustrated front cover, chemise complete with its two ties.
Work complete with its 10 color lithographs depicting actresses praising the benefits of Quina-Laroche.

First edition, one of 150 numbered copies on vergé, this one not included in the justification, the only printing after 1 Chine, 10 Japon and 20 Hollande paper.
Rare and nice copy.
Illustrated with 3 drawings by Benjamin Péret and, as frontispiece, an original engraving on Chine paper by Max Ernst, the only one engraved by the artist.
Handsome autograph inscription signed by Benjamin Péret to Jacques Viot : " A Jacques Viot qui sonne utile tous les jours en jetant des assiettes to la tête des agents."

First edition on current paper.
Nice copy.
Afterword by Judith Petit.
Illustrated book of drawings by Pierre Alechinsky.
Signed autograph dedication of Pierre Alechinsky to his friend Georges Raillard: "If you have time to spend Nov. 9, it would be amazing dear George (illegible word)."

First edition, one of 40 numbered copies on pure wove paper, the only deluxe copies.
Two bookplates pasted on an endpaper.
Handsome copy.

First edition, one of 25 numbered copies on wove paper, the only deluxe copies.
Two bookplates pasted on an endpaper.
Handsome copy.

First edition, one of 25 numbered copies on pur fil paper, the only deluxe copies after 10 Madagascar.
Spine slightly creased.

First edition presented in the form of 10 fascicles abundantly illustrated by Toulouse-Lautrec, Zyg Brunner, Dignimont, Charles Léandre, Mich, Lucien Boucher...
Some minor foxing without consequence, handsome copy.

First edition established and arranged by bibliophile Jacob from the original manuscript, one of 550 numbered copies on laid paper.
Half hazel shagreen binding, spine with five raised bands slightly faded, gilt date at foot, marbled paper boards, marbled endpapers and pastedowns, top edge gilt.
Handsome copy.

Third augmented edition of this important artistic guide to Paris under Louis XV. A title-frontispiece engraved in colors by J. Robert & 5 plates hors-texte including 2 folding by Choffart, Saint-Aubin. Four of them, signed by Choffard (1730-1809), reproduce the illustrations from the previous edition (1752). These are the Mausoleum of Henri II de Bourbon, Prince de Condé, by Jacques Sarazin in the church of Saint-Louis of the Jesuits (today reinstalled in the chapel of the château de Chantilly), the tombs of the painter Charles Le Brun and his mother at Saint-Nicolas-du-Chardonnet, and Bouchardon's Fountain on rue de Grenelle. A fifth unpublished plate was added for this new edition...

First edition, one of 90 numbered copies on alfa paper, the only deluxe copies after 26 on pure linen.
Letter-preface by Bernard Grasset.
Handsome copy.

First edition, one of 30 numbered copies on vellum of the Marais, only leading copies.
Very nice copy.
Beautiful autographed and signed autograph of Charles Le Quintrec, full page, to a friend poet: "To my dear friend Jean-Louis Debauve, to the one who, first, trusted me.It was in Vannes, the castle de Limoges, then rue Madame Lagarde, in her mother's room, already talking to me about Laforgue (Jules), Verlaine, Brizeux, Apollinaire, who was already enthusiastic about the great, the only literature He has not changed! Ah his faith in Cadou! ... My dear Jean-Louis, these pages all dedicated to the learning of Paris and my already old, faithful and affectionate...

First edition, one of 300 numbered copies on laid Holland paper, single draw after 15 Japan and 35 Holland paper.
Binding in full percaline sand, smooth back, title piece of morocco olive, paper plates decorated with a large color map of Paris, covers and back preserved, gilded head, binding signed by Gauché.
Nice copy pleasantly established.
Autograph signed by Valery Larbaud: "To Madame de Harting thankful tribute and friendly Scévien Valery Larbaud".

First edition, one of 35 numbered copies on Hollande paper, the tirage de tête.
Spine very slightly discolored, not serious, first free endpaper partially and slightly shaded.
A nice copy.

The first edition, published in a small number of copies.
Full red morocco binding, spine with five raised bands set with gilt dots decorated with gilt double fillets, gilt roulettes on the headcaps, frame of triple gilt fillets on the boards, marbled endpapers and pastedowns, frame of gilt dentelle on the pastedowns, double fillets on the leading edges, edges gilt, original wrappers preserved, elegant contemporary binding.
A trace of scratching on the first board.
Handsome copy perfectly established.

First edition, one of 47 numbered copies on laid "pur-fil" paper, ours one of 12 with the names of the 12 months of the year, this copy "October" specially numbered and justified by Pierre Pascal for the doctor of Reilhan Carnas.
Back slightly insolated, partially guarded and slightly shaded.
Illustrated book with a frontispiece by Maxime Real del Sarte engraved by Pierre Pascal.
Signed autograph of Pierre Pascal to the doctor of Reilhan de Carnas: "... this Greek liturgy under the sign of the Principle and the most courageous man in France."

First edition, one of 300 numbered copies on laid "pur-fil" paper, ours specially numbered and justified by Pierre Pascal for Pierre de Massot.
Some small foxing mainly affecting the slices of some leaves, nice copy.
Illustrated book with a frontispiece by Maxime Real del Sarte engraved by Pierre Pascal.
Signed autograph of Pierre Pascal to Pierre de Massot: "... in honor of his beautiful consulate pöetique, in whose honor he speaks so perfectly, this liturgy of the future."

First edition illustrated with 2 drawings as frontispiece.
Front cover detaching, slight marginal lacks to covers, handsome interior condition.

First edition on current paper.
Autograph dedication signed by Edouard Krakowski to Yves Gandon.
Full copy of his prayer to insert.

First Edition printed with 244 numbered copies on Holland paper.
Autograph signed by Adrien Mithouard to his Desire Ferry May.
Pleasant copy despite slight bites on the boards.

first edition, one of the 1000 numbered copies on Alfa paper, only large papers.
Autographed autograph dedication of the author of Claude Seignolle to his friend Pierre Levêque: "... on behalf of Serge Hutin."
An illustrated work, on the frontispiece, of an engraved wood by Victor Lefebvre.
Back and boards slightly and marginally insolated and discolored, otherwise pleasant copy.

First edition, one of 80 numbered copies on Japan Imperial paper, deluxe issue after 12 copies on Japan nacré.
Autograph inscription signed by Francis Carco enhanced with a self-portrait with smoking cigarette accompanied by this manuscript note "soi-même photo. F.C." ["self photo. F.C."]
Handsome copy despite a small marginal tear on the back cover.

First edition, one of 25 numbered copies on vergé pur fil paper, the only grand papier (deluxe) copies.
Bradel binding, covers and spine preserved, top edge gilt, binding signed by T. Boichot.
Nice and rare copy with edges preserved.

Original print by Henri-Gabriel Ibels, from the series Café-Concert published by the Publications de l'Estamppe Originale. Very rare and beautiful lithography is one of the 500 original proofs drawn on vellum by Edouard Ancourt's printing press.

Original print by Henri-Gabriel Ibels, from the series Café-Concert published by the Publications de l'Estamppe Originale. Very rare and beautiful lithography is one of the 500 original proofs drawn on vellum by Edouard Ancourt's printing press.

Original print by Henri-Gabriel Ibels, from the series Café-Concert published by the Publications de l'Estamppe Originale. Very rare and beautiful lithography is one of the 500 original proofs drawn on vellum by Edouard Ancourt's printing press.

Original print by Henri-Gabriel Ibels, from the series Café-Concert published by the Publications de l'Estamppe Originale. Very rare and beautiful lithography is one of the 500 original proofs drawn on vellum by Edouard Ancourt's printing press.

Original print by Henri-Gabriel Ibels, from the series Café-Concert published by the Publications de l'Estamppe Originale. Very rare and beautiful lithography is one of the 500 original proofs drawn on vellum by Edouard Ancourt's printing press.

Mary Hamilton - Le Café Concert
An original print by Henri de Toulouse-Lautrec from the Le Café-Concert series, published by Publications de l'Estampe Originale. A very rare and handsome lithograph, one of 500 original proofs printed on vélin paper by Edouard Ancourt printers.
Portrait of Mary Hamilton by Toulouse-Lautrec. This cabaret singer is here presented in full flow, dressed in men's clothes. Lautrec was fond at this time of lithographic ink, drawing simple lines full of movement, reminiscent of Japanese ukiyo-e prints.
A veritable ode to the café-concert, this series by Toulouse-Lautrec and Henri-Gabriel Ibels captures the essence of the Parisian...

Original print by Henri de Toulouse, from the series Le Café-Concert published by the Publications de l'Estampe Originale. Very rare and beautiful lithography is one of the 500 original proofs drawn on vellum by Edouard Ancourt's printing press.

Henri de TOULOUSE-LAUTREC
Aristide Bruant – Original print from
Le Café-Concert
L'Estampe originale | Paris 1893 | 31.5 x 43 cm | one leaf
Original print by Henri de Toulouse-Lautrec from the Le Café-Concert series, published by Publications de l'Estampe Originale. Very rare and beautiful lithograph forming part of 500 original proofs printed on vellum by Edouard Ancourt's printing house.
A few angular lacks.
Portrait by Toulouse-Lautrec of Aristide Bruant, a huge figure in the Belle Epoque music-hall and close friend of the artist, to whom he ordered cabaret posters that remain well-known. Singer, actor, and performer, he acquired his fame at...

Original print by Henri de Toulouse, from the series Le Café-Concert published by the Publications de l'Estampe Originale. Very rare and beautiful lithography is one of the 500 original proofs drawn on vellum by Edouard Ancourt's printing press.

Original print by Henri de Toulouse, from the series Le Café-Concert published by the Publications de l'Estampe Originale. Very rare and beautiful lithography is one of the 500 original proofs drawn on vellum by Edouard Ancourt's printing press.

First edition, one of 15 numbered copies on Montval laid paper, deluxe copy.
A handsome copy.

Rare first edition printed on laid paper.

Full binding green shagreen, back with five nerves decorated with a grotesque decor, back with five nerves decorated with a grotesque decor, triple net gilded framing boards, double net gilded on the cuts, domestic gold lace all edges gilt, contemporary binding signed Lortic father.

Signed autograph from the author: "To His Excellency the Minister of State and the home of the Emperor's very obliged and grateful H. Barbet de Jouy".

Bookplate engraved (J. Pelletier).

Very nice and valuable copy in a binder perfectly established time Lortic, bookbinder Charles Baudelaire.

New edition, one of the copies printed on Holland paper of which no mention is made.
Work illustrated with a frontispiece drawn by Louis-Edouard Fournier.
Spine and boards uniformly sunned, a light marginal dampstain to the front board, handsome interior condition.

First edition on ordinary paper.
Work illustrated with a frontispiece by Berthold Mann.
Handsome copy.

First edition, one of 300 numbered copies pure cloth, one draw after 13 Chinese and 37 Japanese.
Signed autograph Francis Carco Paul Lombard.
Book illustrated with 18 original woodcuts by Deslignieres.
A small lack in foot of the first flat, flat with slight angles.

First edition, one of 220 numbered copies on Montval, the only printing with 25 Japan and 20 hors commerce copies.
Work illustrated with original woodcuts by Hermann-Paul.
Rare and light foxing without significance, a crease mark at the head of the second cover, handsome copy.

First edition.
Half midnight blue sheep binding, spine with four raised bands decorated with gilt fleurons, marbled paper boards with scratches, marbled endpapers and pastedowns, contemporary bindings.
Work illustrated with 70 figures in the text, 14 phototype portraits as well as 2 folding plans and 6 color graphic plates at the end of the volume.
Preface by Alexandre Lacassagne.
Some foxing affecting mainly the edges.
Rare.

First edition of which there were no large paper copies.
A good copy.

First edition on ordinary paper.
Handsome autograph inscription from Jules Romains ; "A Henri Matisse avec la sympathie et l'admiration de Jules Romains."
Spine cracked with discreet repairs, lower cover slightly soiled.

First edition, rare.

Contemporary full speckled brown calf binding. Decorated spine with raised bands. Modern red shagreen title-label renewed. Head slightly rubbed and reinforced with small lacks. 2 wormholes to spine, one scratch. Leather split at two corners, one corner broken over 1 cm. Fresh copy.

First edition, one of 25 lettered copies on Japan paper, deluxe copy.
Work illustrated with a frontispiece portrait of the author by Jules Pascin engraved on wood by G. Aubert.
Our copy lacks its wide-margined proof normally contained in copies of the deluxe issue.
One joint cracked at head and foot and small tears and corner lacks to boards.

First edition, one of 31 numbered copies on vélin d'Arches paper, the only large paper copies.
A good copy.

first edition printed in small number of the reprint of the memories of the National Society of Antiquaries of France.
Tribute autograph signed Albert Babeau top of the page title.
Light marginal gaps without gravity on the first board, otherwise rare and nice brochure.

First edition with 25 illustrations.
Covers slightly and marginally sunned, internally good.

Original color print heightened with palladium, printed on vergé paper, signed in the plate.

An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement.

A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the...

First edition illustrated with drawings by Adrien Barrère, pseudonym of Adrien Baneux.
Text by Emile Codey.
The work, folded accordion-style, forms a fresco when unfolded.
Tears to spine with minimal lacks, lacks and tears to board margins, handsome interior condition.

First edition of each volume.
Works illustrated with engravings by Elie Bertillot as well as photographs by Roger Schall, Maurice Jarnoux, Raymond Mejat, De Morgoli, and agency reporters.
Slipcase heavily damaged.
Handsome copies without defects.

First edition, one of 500 numbered copies on "hand-made paper", the only deluxe copies.
Full sand-colored cloth binding, smooth spine decorated with red typographic motifs in sanguine style, front cover ornamented with a pattern of red vertical fillets and six gilt fleur-de-lis, top edge gilt.
Work illustrated with 75 hors-texte color illustrations by Mortimer Menpes.
Very light foxing affecting mainly the first endpaper.
Handsome copy.

First edition.
Precious autograph inscription dated and signed by Concetto Pettinato to Henri Béraud: "... en échange de ce qu'il a vu à Rome..." ["... in exchange for what he saw in Rome..."]
Minor foxing to boards and endpapers, slight tear to foot of spine.
Provenance: from the library of Henri Béraud.

First edition, one of the copies printed on laid Holland paper.
Jansenist binding in full red morocco, spine with five raised bands, gilt dentelle frame on pastedowns, pastedowns and endpapers lined with combed paper, double gilt fillet on leading edges, gilt roulettes on headcaps, top edge gilt retaining deckled edges, binding signed by Andrieux, binder to the House of Orléans, who was active from approximately 1837 to 1870.
Engraved portrait of Cleopatra as frontispiece.
A very handsome copy in perfect condition.

Edition printed in 127 numbered copies on fine paper.
Illustrated with 51 beautiful engravings by Auguste Brouet, Pierre Gusman, Charles Hallo, Georges Gobô, Albert Decaris, Eugène Véder, André Dauchez, Paul-Adrien Bouroux, Georges Le Meilleur, Henry Cheffer, Tigrane Polat, Edgar Chahine, Louis Willaume, Georges Jeanniot, Charles Jouas and Amédée Féau.

First edition, one of 500 numbered copies on alfa paper.
Work illustrated with an etching and 22 sketches by the author.
Spine very lightly sunned without gravity, light and partial shadows on the endpapers.
Handsome copy.

First edition on ordinary paper.
Autograph inscription signed by Francis Carco to François Mauriac : "...avec ma bien fidèle et toujours "jeune" admiration..."
A pale dampstain to foot of the spine, slightly sunned.

Edition, one of the copies Alfa paper.
Precious autograph signed by Francis Carco Descaves to Lucien: "... no hard feelings ..."
spine slightly insolated.

First edition, one of 125 numbered copies on Holland paper, initialed by the publisher.
Contemporary half green shagreen binding with corners signed Champs-Stroobants Sr, Jansenist spine with five raised bands retinted and showing small scratches, top edge gilt retaining deckled edges, full-margined copy, covers and spine preserved.

First edition, one of 100 numbered copies on Holland paper and justifés by the author, only big papers.
Binding to bradel half percaline pine green, smooth back, date and dual tail golden net, as Red shagreen piece with small scratches, rips two head back, marbled paper boards, preserved covers, binding of time signed by Pierson.
autograph dedication of the author autograph signed Loredano Larchey Jules Richard.
Bookplate engraved by Henry René Millaud Chapront pasted on a contreplat.
Nice copy almost free of freckles.

First edition printed on laid paper.
Bound in half dark green morocco with corners, smooth spines faded and decorated with gilt cartouches embellished with gilt romantic arabesques, marbled paper boards, marbled endpapers and pastedowns, top edges gilt, contemporary romantic bindings signed by Koehler.
Some occasional light foxing of no consequence.
A handsomely bound copy.

Edition published from the original manuscript in the Mazarine Library, one of 320 numbered copies on Holland paper, the only printing with 30 on Whatman.
Half blue morocco binding, faded spine with five raised bands decorated with the gilt monogram of the great bibliophile Roger de Cormenin repeated five times, one joint slightly cracked at head, marbled paper boards, marbled endpapers and pastedowns, top edge gilt, near-contemporary binding.
Text preceded by a study on the customs and manners of Parisians in the 16th century by Alfred Franklin.
Work illustrated with a double frontispiece plate.
Provenance: from the library of Roger de Cormenin, son of Louis de Cormenin...

First edition, review copy.
Signed autograph of Daniel Halevy Robert Garric.
Catholic reformist, he was the founder of "social Teams" in 1920, which aimed to establish a social elite and bring the good word about the brotherhood born of the trenches to the workers, in the tradition of patronage. Simone de Beauvoir, then student of Robert Garric in philosophy at Sainte-Marie Institute of Neuilly, remembers him in his "Memoirs of a Tidy Wench" "Garric appeared; I forgot everything else and myself; the authority of his voice subdued me. In twenty years we he explained, he had discovered in the...

First edition illustrated with a frontispiece engraved by Simonneau after Hallé, 3 vignettes by Cochin or Simonneau, a large folding plan by Coquart and 32 plates, most often folding, engraved by Hérisset, Lucas or Avéline; they offer a view of all the principal monuments of the capital, including three beautiful views drawn "sur le naturel" by Chaufourier showing the Pont Neuf and the Quai Conti from Saint-Germain l'Auxerrois, the Île Saint-Louis and the Quai Saint-Bernard, the Collège des Quatre Nations up to the Pont Royal from the Louvre.

The famous plan of Paris (68 x 90 cm) predates that of Turgot by fifteen years. The last three volumes contain the numerous supporting...

First edition illustrated with original etchings by André Székely de Doba, one of 300 numbered copies on white Rives wove paper.
First cover slightly sunned at head, otherwise handsome copy.

Edition after a few months to the original one of 1020 numbered copies on colored vellum, ours one of the 20 hors commerce justified by the publisher.
Binding to bradel full percaline sand, smooth back, as part of olive morocco first dish covered with a map of Paris and surrounding suburbs, preserved covers and backs, gilded head, signed G. Gauché binding.
Signed autograph of the author Madame (Madeleine) Harting "... with my respectful homage and gratitude for Savigny ..."
Madeine Harting attended literary and artisitiques circles, was a bookseller and publisher of texts by André Gide, Paul Valery, Francis Carco, Valery ... Larbaud, founder of the publishing house "At...

Edition illustrated with 26 steel-engraved out-of-text figures by Rouargue as well as 2 frontispieces.
Half navy sheep binding, smooth spines decorated with quadruple gilt fillets and gilt fleurons, gilt dates at foot, navy paper boards, marbled endpapers and pastedowns, contemporary bindings.
Some light foxing, handsome copy.

New edition, statement of 6th thousand.
Attractive illustrated cover by Jack Abeille.
Spine slightly split at head.
Rare.

First edition published for the Mayors' banquet on April 18, 1934, one of the numbered copies.
Publisher's full sand-colored boards, smooth unlettered spine, corners slightly bumped.
Work illustrated with photographs produced by Intra-photogravure.
Back cover slightly and marginally soiled without significance, handsome interior condition.

First collected edition, one of 290 numbered copies on Rives vellum.
Full lemon yellow shagreen binding, smooth spine, the letters composing the title of the work are inlaid in grey shagreen and set in gold on the first cover which bears at foot the author's name in a grey shagreen rectangle, grey box endpapers and pastedowns, two endpapers marginally soiled, original wrappers preserved, top edge gilt.
The work is illustrated with a frontispiece portrait of the author by André Derain.
Handsome copy pleasantly bound.

First edition illustrated with 6 original watercolors hors-texte by Chas Laborde, one of 255 numbered copies on Rives laid paper.
Preface by Pierre Mac-Orlan.
Spine and covers marginally sunned, handsome interior condition.

First edition and first printing of the wood-engraved title and 18 steel-engraved plates.
Romantic binding in publisher's black cloth, smooth spine richly decorated with gilt arabesques, double blind-ruled frame on boards, boards decorated with gilt arabesques, all edges gilt.
Foxing.
Handsome romantic binding in excellent fresh condition.
Pasque bookplate. GR.

First edition.
Map of Paris divided in 20 arrondissements, wich were created in 1859. A very good copy with the 20 districts totally heightened in colors by a contemporary hand.
The map is skillfully reinforced at the back.

New edition for the first two volumes, the third volume is in first edition. The illustration comprises 3 title vignettes repeated with arms, 2 title headpieces for the epistle and preface, and 2 initial letters; 6 title headpieces and initial letters for the text; all engraved by Audran. The eight folding plates of Paris are missing. Title pages in red and black. The first volume of the Traité de la police appeared in 1707, volume 2 in 1710, volume 3 in 1719, and a fourth volume (De la voirie), written by Delamare's secretary, appeared posthumously in 1738.
Contemporary full calf binding, worn. Decorated spine with raised bands. Brown morocco title and volume labels. First 3...

First edition strictly hors commerce printed in 400 copies on Rives vellum and illustrated with 20 heliogravure plates after various documents from 1580 to 1760.
Text by Julien Cain.
Half-title page and one endpaper with foxing, otherwise handsome interior condition.
Burgundy leather slipcase with slight scratches, spine of chemise lightened and of the same burgundy leather, the whole made and signed by Hermès.
Our copy is printed for Jack Francès.
Handsome copy.

First edition printed in 380 copies on Lana laid paper.
Publisher's Bradel binding in full burgundy leather, smooth spines faded and stained at foot, marbled paper boards,
Slipcase in full burgundy leather with slight scuffs.
Rich iconography.
Our copy is printed for Jack Francès.
Handsome copy.

First collected edition with some parts in first edition.
Bradel binding in indigo half-cloth, smooth spine decorated with gilt floral motif, double gilt fillet at foot, burgundy shagreen title-label, marbled paper boards, covers and spine preserved, two corners slightly bumped, contemporary binding.
Introduction and notes by Jacques Ledreit de Lacharrière.
Handsome copy.

First edition imprimée on thick paper.
Arrondissements and Seine heightened with watercolors. 
Map uniformly yellowed. Skillful repairs to the back.
Rare.

Rare first edition consisting of an allegorical title engraved with Napoleon's arms and 59 steel-engraved plates by Boizot, Beauvallet, Vallois after drawings by Bralle. All the engravings are executed with great finesse and present a scale and aerial view at the bottom of each plate. The work would later appear under another title in 1812, without mention of Napoleon, with descriptive text by Amaury Duval: Les fontaines de Paris, anciennes et nouvelles. In later editions, the illustration would be expanded, notably in 1828.
19th-century half black shagreen binding with corners, marbled paper boards, all edges speckled, tail headcap worn and corners very lightly rubbed.
Some...

First edition, rare, published anonymously and never reprinted. It is illustrated with 4 folding plans of Paris corresponding to the four chronological periods studied, extending from the dawn of the monarchy to Louis XV (up to Louis X, Philippe VI to Charles X; from Charles X to Henri IV; and from the latter to the reign of Louis XV). This edition appeared simultaneously at Pierre-François Giffart.
Contemporary full speckled brown sheep bindings. Spines with raised bands decorated with four fleurons and a roulette at foot. Red morocco title and volume labels. A lack at head of spine of volumes II and III. Head of spines worn for volumes IV and V. Foot of spine of volume IV worn. Most...

Original engraving. Optical view heightened in watercolour, depicting a view of the Chinese baths taken from the Boulevard des Capucines.
Optical views, also called views, perspectives or "mondo nuovo", are engravings very much in vogue between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were drawing-room entertainments. The process was first developed in...

Original engraving. Optical view heightened in watercolor, depicting a view of the Palace of the Chamber of Deputies.
Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were salon entertainments. The process was first developed in Paris, then...

Original engraving. Optical view heightened in watercolor, depicting a view of the Place Royale in Paris.
Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were salon entertainments. The process was first developed in Paris, then London and...

Original engraving. Optical view heightened in watercolor, depicting a view of the Palace of the Stock Exchange.
Optical views, also called vues, perspectives, or "mondo nuovo," are engravings that were very popular between the late 18th and early 19th centuries. They were intended to be viewed through a series of mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered the forerunners of three-dimensional images and stereoscopes, which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were parlor entertainments. The process was first developed in Paris, then London, and...

Original engraving. Optical view heightened in watercolor, depicting a view of the royal château of Compiègne.
Optical views, also called vues, perspectives, or "mondo nuovo," are engravings that were very popular between the late 18th and early 19th centuries. They were intended to be viewed through a series of mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered the forerunners of three-dimensional images and stereoscopes, which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were parlor entertainments. The process was first developed in Paris, then London, and...

Original engraving. Optical view enhanced with watercolor, depicting a view of the Royal Military School, taken from Avenue Vaugirard.
Optical views, also called views, perspectives or "mondo nuovo," are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were drawing room entertainments. The process was...