[TURGOT]; BRETEZ (Louis). Plan de Paris, commencé l'année 17 - Lot 220

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  3. [TURGOT]; BRETEZ (Louis). Plan de Paris, commencé l'année 17 - Lot 220
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Lot n° 220
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[TURGOT]; BRETEZ (Louis). Plan de Paris, commencé l'année 17 - Lot 220
[TURGOT]; BRETEZ (Louis). Plan de Paris, commencé l'année 1734. Dessiné et gravé sous les ordres de Messire Michel Etienne Turgot conseiller d'état, Prévôt des March[an]ds Achevé de graver en 1739 Levé et dessiné par Louis Bretez. Engraved by Claude Lucas and written by Aubin. In-folio, antique garnet morocco, 10-rib spine, havana morocco title-piece, fleur-de-lys caissons, roulette and filets bordering the boards, with angular fleurons and coat of arms of Paris in central medallion, gilt roulette to the spines and to the edges of the counterplates (small tears not serious, binding carefully restored, foxing, some plates browned). The most famous plan of Paris, and rightly so, since it offers without question the finest representation of the city under the Ancien Régime that we have ever seen. A prestigious achievement, it was conceived by Michel Etienne Turgot, Provost of Paris, who entrusted its production to Louis Bretez, a member of the Académie de peinture et de sculpture, and carefully monitored every stage of its execution. Intended above all to promote the grandeur of the city of Paris and the kingdom, the plan was widely distributed throughout the provinces of France, and to the principal courts of Europe. The atlas comprises 20 double plates, preceded by an unnumbered double plate offering a perspective view of Paris to serve as an assembly table. Plates 18 and 19, which contain the title cartouche, are assembled here. As always, undated, on 18th-century paper for 11 plates (usually browned), the others on wove paper. Provenance: "apartenant à Mr. De Wailly pour la somme de 18 L dont 6 donné à compte", according to an 18th-century handwritten note. It probably refers to Charles de Wailly (1729-1798), architect and author of a plan for the embellishment of Paris published in 1785. Then: Alexandre Lenoir (curator of the Monuments Français, then his son Albert Lenoir (according to a modern handwritten note); finally, Froissart (20th-century engraved bookplate). (Boutier, 219).
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