The capital and its region: Parisian history, Île-de-France monuments, urban life and Francilian heritage

Third edition first in part as reviewed and expanded.
Occasional foxing, small angular lacks to covers.

Illustrated edition with 20 original etchings by Martial and ornaments by Morin, one of 10 numbered copies on China paper, the deluxe issue with 10 on Whatman and followed by 4 on vellum.
The frontispiece is in double state.
About Marie-Roze, Agar, Sarah Bernhardt, Léonide Leblanc, Blanche Pierson, Sarolta, Angelo, Louise Ferraris, Marietta Sacca, Massin, Hilda, Latour, Rosine Bloch, Gabrielle de Cleurcy, Blanche d'Antigny, Odette Reynold, Alice Régnault, Augustine Devéria, Céline Montaland.
Inevitable foxing inherent to China paper, worming to boards.

New edition in the partly original, one of 50 numbered copies on Holland paper, head of print after 25 Japan.
autograph dedication of the author autograph signed and dated by Maurice Hallé: "To my friend Paul Perrin, the representative of the Butte Montmartre, the defender of workers and artists, with my good friends."
Presentation and Edmond Rock illustrations.
A scratch in foot of the first flat.
Nice copy.

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.
Half burgundy shagreen binding, spine with five raised bands, gilt initials at foot, marbled paper boards with some surface wear, marbled endpapers and pastedowns, bookplate pasted on one pastedown, contemporary binding.

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.

New édition which conforms to that of 1851 corrected by Eugène Sue.

Half navy blue shagreen bindings, spines slightly faded with five raised bands decorated with gilt floral motifs, marbled paper boards, blue paper endpapers and pastedowns, some corners slightly bumped. Some light foxing.

Handsome set in charming uniform binding.

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...

First edition.
Publisher's binding in half red shagreen, spine with five raised bands decorated with quintuple gilt and blind compartments, covers of red boards with blind fillet frame, front cover stamped with gilt laurel crown and gilt inscription "Concours cantonaux 1888", white watered silk endpapers and pastedowns, all edges gilt.
Work illustrated with engravings in the text.
Some minor foxing.

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.

Second illustrated edition with numerous in-text drawings including 17 full-page illustrations by Robert Rodrigue, one of 2000 numbered copies on cream laid paper, the only issue along with 1 Japan and 50 Rives.
Two small tears of no consequence at head and foot of spine, handsome interior condition despite minute worming on first endpaper.

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.

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...

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 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...

Original engraving. Optical view enhanced with watercolor, depicting a view of the Porte Saint Martin taken from the Boulevard Saint Denis.
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...

Original engraving. Optical view heightened in watercolor, depicting a view of the New Gallery of the Cabinet of Natural History at the Jardin du Roi.
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 system of multiple mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to have appeared in the 1740s and were salon entertainments. The...

Original engraving. Optical view heightened in watercolors, depicting a view representing the Royal Château of Versailles from the Paris avenue side.
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 several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as 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...

Original engraving. Optical view heightened in watercolors, depicting a view representing the gallery erected in the Place de Grève on the occasion of the birth of Monseigneur le Dauphin.
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 several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as 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...

First edition, one of 45 numbered copies on wove paper, our copy unnumbered but properly justified on wove paper.
Spine very slightly faded as usual, otherwise a handsome copy.

First edition, one of 50 numbered copies on Hollande, the only large paper copies after 5 on China.
With a photographic portrait of the author as frontispiece.
Endpapers very lightly, marginally sunned (not seriously).
A very good copy.

First edition on ordinary paper.
Iconography.
Covers slightly and uniformly sunned, not serious, a good copy.

First edition, one of 1000 numbered copies on B.F.K. de Rives paper.
Work illustrated with original drypoints by J. Boullaire and a portrait of the author by Madrassi as frontispiece.
Work lacking its slipcase.
Handsome copy.

New edition.
Publisher's full brown paper boards, smooth spine slightly faded decorated with cold-stamped romantic arabesques, boards framed with double gilt fillets, boards decorated with cold-stamped arabesques, marbled endpapers and pastedowns, marbled edges, corners slightly bumped, publisher's romantic boards.
Some foxing.
Rare copy in its elegant romantic boards.

Very small reprint on laid paper for the bookseller Ballieu, quai des Grands-Augustins.
Bradel binding in half bordeaux cloth, smooth spine, traces of rubbing to red shagreen title-label, marbled paper boards, original wrappers preserved, upper corners slightly bumped.
Bookseller's description label pasted to one endpaper.
Rare.

First edition, one of 900 numbered copies on Montgolfier d'Annonay paper, the only printing with 5 copies on Japan paper.
Work illustrated with a frontispiece and wood-engraved headpieces by Jean Chièze.
A handsome copy.

First edition, a Service de Presse (advance) copy.
Precious autograph inscription signed by Patrick Waldberg to Maurice Blanchot.
Three small stains at head of first cover.

First edition.
Ex-dono in ink to head of upper cover, faint marginal dampstain to lower cover.

First edition.
Work illustrated with 2 color plans.
Spine slightly sunned with a small tear in the middle, a light and clear stain at the head of the first endpaper.

First edition.
With 2 maps in color.
Spine and covers slightly and marginally sunned, not serious.

First edition.
With 2 maps in color.
Spine and covers slightly and marginally sunned, not serious.

First edition.
With 2 maps in color.
Spine and covers slightly and marginally sunned, not serious.

First edition.
With 2 maps in color.
Spine and covers slightly and marginally sunned, not serious.

The first edition, of which there were no deluxe copies.
Half dark green shagreen binding, spine slightly faded with four raised bands bordered with black fillets, title-label and author's name in red shagreen, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved.
Fine full-page signed autograph inscription from the author to the great Gaullist resistance fighter Gilbert Grandval.

First edition.
The Rungis market-station; influence of the Faculty of Sciences of Orsay on the surrounding environment; movement of industrial establishments in the Paris region. Illustrations and maps in text and full-page.
Spine of chemise slightly sunned, handsome copy.

First edition. Iconography.
A slight tear, not serious, to foot of spine, a good copy.

First edition.
Le Vaudreuil : une méthode d'étude and de réalisation; bibliographie; spécial transports nouveaux.
Iconography.
A good copy.

First edition.
Iconography.
A good copy.

First edition.
Illustrated.
A good copy.

First edition.
About Copenhague, Stockholm, Helsinki.
Iconography, maps.
A good copy.

First edition.
Cultural and socio-educational facilities; university groups in France and abroad.
Iconography, maps.
Spine sunned, otherwise handsome copy.

Rare first edition.
Contemporary full brown sheep binding. Spine with five raised bands richly decorated and bearing a red morocco title label. Lacks at head and foot clumsily restored, same for corners. Scuffing and cuts to front cover. Some very minor dampstains.
A banner bearing Charles Osmont's address has been pasted over the publisher's address; on the recto of the page one can make out in reverse "Chez Guillaume Cavelier 1700" (we do not know the reason for this substitution, or perhaps Charles Osmont shared this edition and sold it himself). A fresh copy.

Edition illustrated with 17 original color compositions by C. Jouas, one of 650 numbered copies on Japan paper.
Spine and covers slightly and marginally sunned without consequence, handsome copy.
Marginal stains to slipcase.

First edition.
Complete with its 2 folding plates at rear.
A light marginal dampstain to the front cover, handsome interior condition.

First edition.
Work illustrated with 50 photogravures.
Two small tears at head and foot of spine, a light marginal dampstain and a crease mark at head of front cover, handsome interior condition.

First edition printed on vergé paper.
Spine sunned, angular lacks to the covers, lower cover detached, upper cover almost detached, internally good.

Original engraving. Optical view heightened in watercolour, depicting a view of the Louvre colonnade. Optical views, also called views, perspectives or "mondo nuovo", are engravings very fashionable between the end of the 18th and the beginning of the 19th century. They were intended to be observed through a set of several mirrors or by means of a Zegrascope, an instrument consisting of a mirror and a lens. Optical views can be considered as 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 salon entertainments. The process was first developed in Paris, then London and...

Original engraving. Optical view heightened in watercolors, representing a perspective view of the review of the royal household. 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 several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the forerunners 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 parlor entertainments. The process developed first in Paris...

Original engraving. Optical view heightened in watercolor, depicting a view of St Denis taken from the bridge.
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 viewed 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 precursors to three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in...

Second edition. Half chocolate brown shagreen binding, spine with five raised bands decorated with blind fillets, light scratches of no importance at head of spine, marbled paper boards, marbled endpapers and pastedowns.

First edition printed in 2000 copies, ours being one of the copies on laid paper.
Some stains on the chemise.
The work is illustrated with six hors-texte plates in black and color by Henri Montassier and Raoul Serres.

First printing of the 24 original illustrations by Jean Oberlé, one of 400 copies printed on pink paper, the only printing with 25 Japan copies.
Spine and boards marginally lightened as often, otherwise handsome copy.

First edition on ordinary paper.
Autograph inscription from the author.
Photograhic cover, iconography.
A good copy.

First edition for which there were no large paper copies.
Affectionate autograph inscription from Claire Goll to a couple of his acquaintance.

First edition illustrated with 29 plates, 24 headpieces and 89 in-text vignettes, by Gavarni, Huart, Guerin, all wood-engraved.
Contemporary half green shagreen. Spine with raised bands and gilt compartments. Rubbing to head and raised bands. Pale scattered foxing, irregular, sometimes not affecting the white paper at all, other times speckling the margins; overall, fairly little foxing.
Following in the tradition of the famous Diable à Paris, but with less prestigious writers, a satire of foreigners in Paris.
Handsome romantic illustrated work.

First edition, printed on Hollande.
Illustrated covers and engraved frontispieces, borders by Fernand Besnier, Kauffmann...
Rare set, complete and in good condition despite some occasional little foxing.

First edition, one of 10 numbered copies on Chine, the only large paper copies with 10 Japon.
A very good copy.
Rare.

First edition, illustrated with a frontispiece by Nanteuil and 27 hors-texte wood-engraved plates and numerous in-text vignettes after de Beaumont, Brugnon, Baron, de Moraine, Jules David, Nanteuil, etc. The texts are by Nodier, Lurine, Etienne Arago, Touchard-Lafosse, E. Marco de Saint-Hilaire, Jules Janin, Jules Sandeau, etc.
Half glazed blue calf. Smooth spine with multiple roulette tools. Some rubbing to spine and 2 corners slightly bumped. Some occasional very pale foxing. Rather good copy. Montmartre, Saint-Denis, Versailles, Senlis, Melun, Compiègne, Mantes, Anet... Typical Romantic illustrated work, with its wood engravings and picturesque, whimsical illustration.

First edition, illustrated with a lithographic portrait of the author as frontispiece.
Half emerald green shagreen bindings, mid-19th century. Spine with raised bands decorated with fillets. Rubbing to headcaps and edges. Good copies. The work is a sequel to the Essais sur Paris by Poullain de Saint-Foix published nearly half a century earlier. It was provided by Poullain de Saint-Foix's own nephew. Following the same model, it is a walk through the streets of Paris that serves as the guiding thread to recount various anecdotes and sketch portraits of historical figures. "I will focus especially on the anecdotes that my uncle could not relate... I have worked from the notes I found in...

First edition, and the only rare edition, complete with all 22 elections and the table.
Half red sheep binding ca 1850. Smooth spine with fillets. Rubbing to headcaps. Fairly good copy.
The work proceeds in the manner of a dictionary, listing boroughs and villages for each election, with their descriptions. Each election begins with the description and state of the town.

First edition, one of 80 numbered copies on alfa mousse paper, the only large paper copies.
Autograph inscription from André Chaumeix on endpaper, a very good copy.

First editions printed on laid paper.
Blue working binding.
This comprises the complete run for two full years, 1884 and 1885.

Illustrated edition with drawings by the author in black and in colors.
Half red cloth binding with corners, smooth spine decorated with fleurons and gilt fillets.
Artists' balls, painters of the Butte, public balls, the Opera, the Moulin Rouge, students, the Boeuf gras, washhouses.
Some minor foxing affecting mainly the edges.

First edition.
No covers.
Lacks to spine.

First edition.
Sunning to the spine and marginally to the covers.

First edition published in a small number of copies.
Work illustrated with engravings.
Two small tears at head and foot of spine, some light foxing.
Rare.