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    William Wyld. Monuments et rues de Paris. — Paris: Lith. G. Englemann, publiés par Rittner et Goupil, et Susse Frères, 1839.

    Pictorial album 55.5 x 41.0 cm, publisher’s quarter sheepskin over cloth, upper cover and flat spine lettered in gilt. Title: MONUMENTS et RUES de PARIS | Dessinés et lithographiés par William Wyld, | et publiés par Rittner & Goupil, 15 Boulevard Montmartre, | et Susse Frères, Place de la Bourse. | 1839. Collation: Title plate + 20 plates numbered from 1 to 20, printed by Godefroy Engelmann (French, 1788 – 1839) in tone lithography after drawings by William Wyld (British, 1806 – 1889). Published in Paris by Rittner & Goupil and Susse Frères in 1839. Plates: 54.8 x 39.8 cm. Contents:

    Title page: Tombeau d'Heloïse et d'Abélard

    1. Le Pont Neuf
    2. L'église de la Madeleine
    3. La Porte St. Martin
    4. Palais des Tuileries
    5. Pont des Saints-Pères
    6. Hôtel de Ville
    7. Marché des Innocents
    8. Palais Royal
    9. Boulevard des Italiens
    10. Rue de la Paix
    11. Bourse et Tribunal de Commerce
    12. Porte St. Denis
    13. Pont Royal
    14. Place de la Concorde
    15. Paris from Père Lachaise
    16. Notre-Dame
    17. Jardin des Tuileries with Arc de Triomphe in the Distance
    18. Panthéon
    19. Chambre des députés
    20. Arc de Triomphe de l'Étoile
    Description of Shapero Rare Books, London: A very rare pictorial record of Paris before the French capital was drastically remodelled by Haussmann during Napoleon III’s Second Empire. William Wyld (1806-1889), an English painter and lithographer, set up his studio in Paris in 1834, becoming friends with the French painters Ary Scheffer and Paul Delaroche. His first subjects were fashionable orientalist scenes, however, he soon turned to classical architectural, winning a gold medal at the Paris Salon for his two-meter wide canvas ‘Venice at Sunrise’ in the same year in which he published Monuments et rues de Paris. This series is a compilation of twenty fine views of Paris, showing both architectural features, street scenes and views over the river Seine, as well as a panorama of the city from the cemetery of Père Lachaise. Some of the views, such as the representations of the Palais des Tuileries, the Marché des Innocents or the Pont des Sts Pères, testify to the beauty of these structures that no longer exist.
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  • Venetian Album: 12 lithographs by Lessore after Wyld. — Venice: Charles Hopfner, 1834; (2) Veduta della casa di Loreto: 5 etchings by Filippo Jaffei. – Loreto: Jaffei, 1828; 2 more etchings.

    Owner's convolute binding of the period in quarter tan cloth, yellow marbled boards, no title page, no pagination. Contents: (1) Venetian Album –12 lithographs by Émile-Aubert Lessore (French, 1805 – 1876) after William Wyld (British, 1806 – 1889). — Venice: Charles Hopfner, [1834]. Printed at Premiata Litografia Veneta under the direction of  Ferdinand Wolfgang Flachenecker (German, 1782 – 1847). Inscription: Premiata Litografia Veneta, dirigée par C. Flachenecker.
    1. L'Église de St. Marc
    2. La place St. Marc
    3. Le palais Ducal
    4. Le Môle
    5. L'Arsenal
    6. La Riva dei Schiavoni
    7. Le Grand Canal, (1re vue)
    8. Le Grand Canal (2me vue)
    9. Le Grand Canal (3me vue)
    10. Le Grand Canal (4me vue)
    11. Le Grand Canal (5me vue)
    12. Le Grand Canal (6me vue)
    (2) Veduta della casa di Loreto – 5 etchings by Filippo Jaffei, – Loreto: Jaffei, 1828.
    1. Title: Spiegazione / delli quattro prospetti dei bassi rilievi in marmo che circondano le mura della S. Casa di Loreto / qui annessi in puntata, oltre l'altro prospetto del palazzo pontificio / facciata del tempio, campanile, e cuppola etc.
    2. Prospetto della Basilica, e Piazza Lauretana, ed annesso Palazzo Apostolico / V. Jaffei incise.
    3. Settentrione. Prospetto laterale de Bassirilievi in Marmo, che circondano le Mura di S. Casa di Loreto. Jaffei incise Loreto.
    4. Oriente. Prospetto de Bassirilievi in Marmo, che circ=ondano le Mura di S. Casa.  Jaffei incise Loreto l'Anno 1828.
    5. Mezzo Giorno. Prospetto laterale de Bassirilievi in Marmo, che circondano le Mura di S. Casa di Loreto. Jaffei dis. ed inc. in Loreto.
    6. Occidente. Prospetto de Bassirilievi in Marmo, che circ=ondano le Mura di S. Casa. Jaffei dis. ed inc. in Loreto l'Anno 1828.
    (3) Line engraving signed F. Ferrat (...). (4) View of Cloaca Maxima in Rome etched by Tommaso Cuccioni (Italian, 1790 – 1864), negoziante. Possibly from the album Num. cento vedute di Roma e sue vicinanze. Presso Tommaso Cuccioni, negoziante di stampe in Roma, Via della Croce n. 25. Inscription: Cloaca Maxima. Si vende in Roma da Tommaso Cuccioni Neg.e di Stampe Via della Croce № 25.
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  • Il bombardamento di Venezia nell’Agosto del 1849. [Venice]: M. Fontana, [1849-50?].

    Quaritch's description: Single sheet (435 x 625 mm); coloured lithograph by Kirchmayr after a drawing by M. Fontana; hand-painted details; signed to lower left ‘M. Fon[tana]’ and to lower right ‘M. Fontana Edit. Prop. S. Giacomo dall’Orio in Isola N°.1481’; lower margin with the title ‘Il bombardamento di Venezia nell’Agosto 1849’ and key; restored tears in many places, especially along upper and lower blank margins, some affecting print; losses to lower left corner, affecting a small portion of the print, ruled border, and key, restored and re-drawn where needed; loss to the upper left corner of blank margin; two small areas of restoration to the centre of upper blank margin; the whole sheet backed; nevertheless a remarkable survival. Exceedingly rare and striking lithograph of Venice as seen from Fusina, depicting the first ever aerial bombardment in history. The bombardment took place in 1849, under the orders of Field Marshal Josef Radetzky (1766–1858), to quell the revolts that had started the previous year during the First Italian War of Independence. This curious and little-known action was the brainchild of Colonel Benno Uchatius, a brilliant young officer in the Austro-Hungarian Artillery. After long months of unsuccessful siege, Uchatius decided to deploy an unusual weapon: a hot air balloon able to bomb the city from above. Having calculated the wind speed and direction and evaluated the requisite dimensions of the hot-air balloon, Uchatius set up a workshop near Mestre, where a group of engineers and craftsmen began to manufacture a balloon equipped with a large wicker basket which could transport two crewmen and approximately one hundred kilograms of small long-fuse devices (metal spheres filled with gunpowder, pitch, oil and five hundred rifle buckshot). The initial trials, however, proved to be a disaster, because the balloon would drift off course, making it impossible to accurately deploy the bombs. Uchatius then hit upon the idea of using several smaller unmanned balloons roped together. These were to be launched over the city and, using the position of the first ‘pilot’ balloon, which was unarmed, the Austrians could calculate the correct fuse settings for the bombs. The ‘bomber’ balloons had a cloth envelope of one hundred cubic metres and a reduced load of about twenty kilograms of ordnance. According to Uchatius’ calculations, the line of balloons, launched from Mestre, would reach the lagoon city in thirty-five to forty minutes, carried by the north-west wind. In July 1849, a first launch was attempted, but when a breeze began to blow from the sea some of the balloons broke the connecting ropes and floated away, while others settled in the water in front of the northern part of the city, where a curious crowd of Venetians observed the failure of the enterprise and commented colourfully on the ‘buffoonery of Radetzky’. Uchatius’ second attempt, which is depicted in this lithograph, was also largely unsuccessful: only a few of the unmanned bomber balloons reached their target, and some even drifted back over the Austrian lines. Uchatius, having accomplished the first ever aerial bombardment, and having designed the first ever military ‘drones’, was forced to abandon the project permanently. Another fascinating aspect of this work is the vantage point used to depict the city of Venice, seen here from Fusina, a very rare viewpoint that makes this piece even more remarkable. We were unable to locate any copies in any institution or bibliography. G. Kirchmayr (fl. mid-19th century) is mentioned at British Museum database as "Lithographer active in Venice; related to Venetian painter Cherubino Kirchmayr (b. 1848)?" However, I was not able to find that name on the print. Not much is known of M. Fontana either.  
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  • Pierce Egan. Life in London / I. R. & G. Cruikshank (illustrators). — London: Sherwood, Neely, and Jones, 1821.

    Title: Life in London ; | DAY AND NIGHT SCENES | OF | JERRY HAWTHORN, ESQ. | AND HIS ELEGANT FRIEND | CORINTHIAN TOM, | ACCOMPANIED BY | BOB LOGIC, THE OXONIAN, | IN THEIR |Rambles and Sprees through the Metropolis. | DEDICATED TO HIS MOST GRACIOUS MAJESTY | KING GEORGE THE FOURTH. | BY PIERCE EGAN, | Author of Walks through Bath, Sporting Anecdotes, Picture of the Fancy, Boxiana, &c. | [Vignette] | EMBELLISHED WITH THIRTY-SIX SCENES FROM REAL LIFE, | DESIGNED AND ETCHED BY I. R. & G. CRUIKSHANK ; | And also enriched with numerous original Designs on Wood, by the same Artists, | London: | PRINTED FOR SHERWOOD, NEELY, AND JONES, | PATERNOSTER-ROW. | 1821. ||

    Edition: 1st edition, 1st issue: the first sheet of music is not numbered, absence of any footnote at page 9 (as per Cohn).

    Pagination: 3 binder's flyleaves with a specimen of George Cruikshank's signature of Nov. 5th, 1860 to the first one; hand-coloured aquatint frontispiece facing the title page with blank recto, [iii-iv] – t.p. with vignette/ blank, [v] vi-viii – dedication, ix-xii – contents, [xiii]-xvi – list of illustrations; [1] 2-376; 35 hand-coloured aquatints, 3 folding leaves of music; bound without half-title [missing pp. i, ii], advertisements or 'to the subscribers' leaf.

    Collation: 8vo; [A]7 B-Z8 Aa8-Bb4.

    Binding: Full polished calf gilt by Rivière & Son, covers with triple gilt border, spine in 6 compartments, brown morocco lettering pieces to second and third, others richly gilt, raised bands, all edges gilt; neatly re-backed preserving spine.

    Catalogue raisonné: Albert M. Cohn, 1924: № 262 p. 90; Abbey, J. R. (Life in England), 281; Tooley (Some English Books with Coloured Plates) 196; Prideaux (Aquatint Engraving) pp. 307, 310; Hardie (English coloured books) 197.

    Description of Shapero Rare Books, London: There was a translation into French. At least six plays were based on Egan's characters, contributing to yet more sales. One of these was exported to America, launching the Tom and Jerry craze there. The version created by William Thomas Moncrieff was praised as The Beggar's Opera of its day. Moncrieff's production of Tom and Jerry, or Life in London ran continuously at the Adelphi Theatre for two seasons and it was the dramatist's work as much as the author's that did so much to popularise the book's trademark use of fashionable slang. In 1821 Egan announced the publication of a regular journal: Life in London, appearing monthly at a shilling a time. It was to be illustrated by George Cruikshank (1792 – 1878), and was dedicated to the King, George IV, who at one time had received Egan at court. The first edition of Life in London appeared on 15 July 1821. Egan's creation was an instant success. Pirate versions appeared, featuring such figures as 'Bob Tallyho', 'Dick Wildfire' and the like. Printmakers speedily knocked off cuts featuring the various 'stars' and the real-life public flocked to the 'sporting' addresses that Egan had his heroes frequent.
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  • David Carey. Life in Paris / George Cruikshank (illustrator). — London: John Fairburn, 1822.

    Title: Life in Paris ; | COMPRISING THE | RAMBLES, SPREES, AND AMOURS, | OF | DICK WILDFIRE, | OF CORINTHIAN CELEBRITY, | And his Bang-up Companions, SQUARE JENKINS | AND | CAPTAIN O’SHUFFLETON ; | WITH THE | Whimsical Adventures of the Halibut family ; | Including Sketches of a Variety of other Eccentric Characters in the | FRENCH METROPOLIS. | BY DAVID CAREY |[Vignette]| Embellished with Twenty-One COLOURED PLATES, representing SCENES from REAL LIFE, | designed and engraved by Mr. GEORGE CRUIKSHANK. | Enriched also with Twenty-Two Engravings on Wood, drawn by the same Artist, and | executed by Mr. WHITE. | LONDON : | PRINTED FOR JOHN FAIRBURN, BROADWAY, LUDGATE HILL; | Sold by Sherwood, Neely, and Jones ; Langman, Hurst, Rees, Orme, and Brown ; and | Baldwin, Craddoc, and Joy ; Paternoster-Row ; Simpkin and Marshall, Statio- | ners’ Court ; Whittakers Ave-Maria-Lane ; Humphrey, St. James’s | Street ; and Wilson, Royal Exchange. | 1822. ||

    Edition: 1st edition in book form, 1st issue; large-paper copy bound from the parts in original blue paper boards, "most scarce" (Cohn).

    Pagination: ffl, [i, ii] – h.t. ‘LIFE IN PARIS’ / ‘MARCHANT, Printer, Ingram-Court, London’, [2] – blank / Frontispiece (Ville la Bagatelle!!) hand-coloured, [iii, iv] – t.p. with vignette / blank, [v] vi-xxiv, [1] 2-489 [490 blank], [2] – 'TO THE BINDER' and 'Marchant, Printer, Ingram-Court, Fenchurch Street' "considered indispensable to a complete copy" (Cohn) / blank, bfl watermarked 1800; 21 hand-coloured aquatints and 22 wood-engraved text vignettes; cancelled leaves 143/4 and 335/6; pinholes from printing visible in most gatherings.

    Collation: 4to; [a]-c4, B-Z4 Aa-Zz4 3A-3Q4 3R1 + [Ω]1

    Binding: Original boards sometime re-backed with red paper, binder's end leaf watermarked 1800; red hard-grained morocco clamshell box.

    Catalogue raisonné: Albert M. Cohn, 1924: № 109 p. 37/8; Abbey, J. R. (Life in England), 112; Tooley (Some English Books with Coloured Plates) 129; Hardie (English coloured books) 199.

    Description of Shapero Rare Books, London: Of the copies that have come to auction since 1975 only one has been a large-paper copy in original boards. "The pictures are extremely spirited and true and are all the more wonderful in view of the fact that the artist’s continental experiences were limited to one day spent in Boulogne." (Hardie). In 1821, the journalist Pierce Egan published Life in London, an immediate success illustrated by the Cruikshank brothers, George and Robert. In order to capitalise on this success, another journalist, David Carey, decided to publish his own Life in Paris in monthly instalments (just like Life in London) and with a very similar frontispiece to the one that appears in Egan’s work; Life in Paris, however, was illustrated only by George Cruikshank. One of the earliest and most notable examples of the work of George Cruikshank, with fine, clean plates.
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  • Valenciennes: Valencena, quondam cygnorum vallis, urbs han: perelegãs et valde magnifica; engraving, 1612.

    VALENCENA, QUONDAM | CYGNORUM VALLIS | URBS HAN: PERELEGÃS | ET VALDE MAGNIFICA. ||

    Engraved and hand-coloured map of Valenciennes first produced for Braun & Hogenberg's 6-volume Civitates orbis terrarum edition in 1570.

    English translation of the text printed on verso: "The Loire, an exceedingly well-known river in France, flows directly past the city and is very beneficial for trade. The fields surrounding the city are very fertile, and for this reason, the city is also called the granary throughout France, just as in earlier times Sicily was the granary of Rome. A famous wine also grows in this soil, which is exported from here not only throughout France but to all the countries in Europe. [...] The French spoken here is pure and uncorrupted, which is also the reason why so many foreigners settle here. For some are here for trade, others for study and others again to acquire the language, but also many without doubt for both these last two reasons, [...] and Germans, in particular, send their children here." [by Barry Lawrence Ruderman Antique Maps Inc.]

    Dimensions: Sheet: 39.8 x 53.5 cm; Image: 35.2 x 38.5 cm.

    Probably published in Cologne is 1612-18 by Petrum à Brachel: [Coloniae Agrippinae: apud Petrum à Brachel, sumptibus auctorum, 1612-1618]. Ref: LOC.
    Contributors:

    Georg Braun [Brunus; Bruin] (German, 1541 – 1622).

    Frans Hogenberg (Flemish-German, 1535 – 1590).

    Abraham Ortelius [Ortels; Orthellius; Wortels] (Dutch, 1527 – 1598).
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  • Nieuwe kaart der platte grond van de stad Parys en derzelver voorsteden; engraving, 1756.

    Title: NIEUWE KAART | der platte Grond van de Stad | PARYS | en derzelver Voorsteden. | Met aanwyzing van de Kwartieren, Staaten, | Markten, Pleinen, Paleizen, Abtyden, Kerken, | Kloosters en andere voornaame Gebouwen. | Na het Origineel van | M. DE LA GRIVE. | Te Amsterdam by | I. Tirion. | 1756. ||

    Author : Jean Delagrive (French, 1689-1757)

    Publisher: Isaak Tirion (Dutch, 1705 – 1765)

    Publication date: 1756.

    Dimensions: Sheet: 42.5 x 53.8 cm; Image: 30.7 x 37.7 cm.

    Plate № 59 from Beknopte Atlas van omtrent honderd platte gronden der voornaamste vestingen, kasteelen en Steden van Europa.
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  • Environs of Paris from Weekly Dispatch Atlas. — London: Cassell, Petter, and Galpin, 1863.

    Four maps 34 x 47.5 cm each. Include insets of Versailles, Fontainebleau, Saint Cloud and St. Germain en Laye. Lithograph by Edward Weller after a map drawn and engraved by John Dower. "These maps originally appeared in the Weekly Dispatch newspaper from 1856 to 1862. They were reissued between 1863 and 1867 by Cassell, Petter and Galpin and then published collectively as Cassell's Atlas. The plates were acquired by G.W. Bacon & Co., and reissued in 1876 under the title Bacon's New Quarto Atlas ... of the Counties of England, and many times since under various titles." [WorldCat]

    Dimensions: 34 x 47.5 cm each.

    Contributors: Weller, Edward (British, 1819 – 1884) – lithographer. Dower, John Crane (British, 1791 – 1847) – artist, engraver. Dower, John James (British, 1825 – 1901) – artist, engraver (son of John Crane Dower).

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  • Plan of Paris, & the surrounding communes from Weekly Dispatch Atlas. — London: Cassell, Petter, and Galpin, 1863.

    PLAN OF PARIS & THE SURROUNDING COMMUNES | SHEWING THE FORTIFICATIONS & ALL MODERN IMPROVEMENTS. || Lettered above the image with title, and below with production detail: "Day & Son, Lithrs to the Queen"; and production detail above: "Drawn & Engraved by B.R. Davies: / 16 George Str Euston Squ London", and on top right: "Weekly Dispatch Atlas, 138 Fleet Str". Dimensions: 47.5 x 65.4 cm. Contributors: Day & Son; William Day (British, 1797 – 1845) – lithographer, printer. Davies, Benjamin Rees (British, 1789 – 1872) – artist, engraver.

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  • Paris tel qu’il est aujourd’hui or Plan of Paris at the present day, 1800.

    Title: PARIS | Tel qu'il est Aujourd'hui | OR | PLAN OF PARIS | At the Present day. 1800 | From a Drawing deposited in the Archieves of the National Library at Paris | Menzies sculpt. || Contributor: Menzies, John (British, fl. c. 1792 – 1851) – engraver. Ref: Gallica.

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  • The environs of Paris. — London: Baldwin & Cradock, 1832.

    Top: THE ENVIRONS OF PARIS. || Bottom centre: Published by Baldwin & Cradock, Paternoster Row, | Under the Superintendence of the Society for the Diffusion of Useful Knowledge. | March 1st. 1832. || Bottom right: J. & C. Walker sculpt. || Dimensions: Sheet: 34.7 x 40.5 cm; Image: 30 x 37 cm. Contributors: J & C Walker (British firm, fl. 1820 – 1895) Walker, John (British, 1787 – 1873) Walker, Alexander (British, 1797? – 1870) Walker, Charles (British, 1799? – 1872) Society for the Diffusion of Useful Knowledge (SDUK) (British firm, 1826 – 1846)

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  • A plan of the city of Paris. — London: J. Stockdale, 1800.

    In pictorial frame: A PLAN of | the CITY of PARIS. || Under the border: Published by I. Stockdale Piccadilly 1800 || Dimensions: Sheet: 29 x 34.5 cm; Image: 22.7 x 25.9 cm.
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  • Le plan de la ville, cité, et université de Paris, par N. de Fer, 1705.

    LE PLAN DE LA VILLE, | CITE, ET | UNIVERSITÉ | DE PARIS. | Capitale du Royaume | de France. | {5 lines in italic} | Par N. de Fer. | A Paris, | Chez l’Auteur dans l’Isle du | Palais a la Sphere Royale. | Avec Privilege du Roy. | 1705 | H. van Loon sculp. || Dimensions: Sheet: 27 x 39 cm; Image: 22 x 33 cm. Contributors: Nicolas de Fer (French, 1646 – 1720) – cartographer. Harmanus van Loon (Flemish, fl. c. 1690 – c. 1725) – engraver.  
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  • Eastern division of Paris. — Edward Stanford, c. 1870.

    EASTERN DIVISION | OF | PARIS. | The Arrondissements are defined by colour | and numbered. || London, Edward Stanford 6 Charing Cross. | Published under the Superintendence of the Society for the Diffusion of Useful Knowledge. || Dimensions: Sheet: 43.5 x 35.5 cm; Image: 39.5 x 30 cm. Contributors: Edward Stanford (British, 1827 – 1904) – cartographer, engraver, publisher. Society for the Diffusion of Useful Knowledge (SDUK) (British firm, 1826 – 1846).
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  • Western division of Paris. — London: Baldwin & Cradock, 1834.

    WESTERN DIVISION OF | PARIS. | Containing the Quartiers | {4 lines in italic} | Published under the Superintendence of the Society for the | Diffusion of Useful Knowledge || Under the frame: Drawn by W. B. Clarke, Archt. […] Published by Baldwin & Cradock, 47 Paternoster Row, April 1st. 1834. Dimensions: Sheet: 40.5 x 34.5 cm; Image: 39 x 28.8 cm. Contributors: William Barnard Clarke (British, 1806 – 1865) – artist. John Shury (fl. c. 1814-1844) – engraver. Baldwin & Cradock (London) – publisher. Society for the Diffusion of Useful Knowledge (SDUK) (British firm, 1826 – 1846).
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  • Eastern and western divisions of Paris, containing the quartiers. — London: Chapman and Hall, 1834.

    Top right: EASTERN DIVISION OF | PARIS. | Containing the Quartiers | {5 lines in italic} | Published under the Superintendence of the Society for the | Diffusion of Useful Knowledge || Bottom left:  WESTERN DIVISION OF | PARIS. | Containing the Quartiers | {4 lines in italic} | Published under the Superintendence of the Society for the | Diffusion of Useful Knowledge || Under the frame: Drawn by W. B. Clarke, Archt. […] London: Published by Chapman and Hall, 186, Strand. April 1st, 1834. [...] Engraved by J. Shury || Dimensions: Sheet: 40.8 x 57 cm; Image: 38.7 x 52.5 cm. Contributors: William Barnard Clarke (British, 1806 – 1865) – artist. John Shury (fl. c. 1814-1844) – engraver. Chapman and Hall (London) – publisher. Society for the Diffusion of Useful Knowledge (SDUK) (British firm, 1826 – 1846).
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  • Eastern and western divisions of Paris, containing the quartiers. — London: Baldwin & Cradock, 1834.

    Top right: EASTERN DIVISION OF | PARIS. | Containing the Quartiers | {5 lines in italic} | Published under the Superintendence of the Society for the | Diffusion of Useful Knowledge || Bottom left:  WESTERN DIVISION OF | PARIS. | Containing the Quartiers | {4 lines in italic} | Published under the Superintendence of the Society for the | Diffusion of Useful Knowledge || Under the frame: Drawn by W. B. Clarke, Archt. […] Published by Baldwin & Cradock, 47 Paternoster Row, A April 1st, 1834. [...] Engraved by J. Shury || Dimensions: Sheet: 40.8 x 57 cm; Image: 38.7 x 52.5 cm. Contributors: William Barnard Clarke (British, 1806 – 1865) – artist. John Shury (fl. c. 1814-1844) – engraver. Baldwin & Cradock (London) – publisher. Society for the Diffusion of Useful Knowledge (SDUK) (British firm, 1826 – 1846).
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  • Eastern and western divisions of Paris, containing the quartiers. — London: c. 1840.

    Top right: EASTERN DIVISION OF | PARIS. | Containing the Quartiers | {5 lines in italic} | Published under the Superintendence of the Society for the | Diffusion of Useful Knowledge || Bottom left:  WESTERN DIVISION OF | PARIS. | Containing the Quartiers | {4 lines in italic} | Published under the Superintendence of the Society for the | Diffusion of Useful Knowledge || The map is framed, but there is no lettering beneath the frame to identify the cartographer, engraver, and publisher. However, we can attribute it to William Barnard Clarke (British, 1806 – 1865) and John Shury (fl. c. 1814-1844). The publisher is either Baldwin & Cradock or Chapman and Hall. Dimensions: Sheet: 40 x 60.8 cm; Image: 40 x 53.5 cm.
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