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"A map showing the lines of the Compagnie Generale Transatlantique, published in Paris in 1970 by the publishing house Blondel La Rougery. A French shipping company, the Compagnie Generale Transatlantique, called French line overseas, was founded in 1855 by the brothers Emile and Isaac Pereire. Initially entrusted by the French government to transport mails to North America, it became famous between 1910 and 1930 with prestigious liners such as the Paris, the Ile-de-France and especially the Normandie, then in 1962, with the famous liner France, withdrawn from service in 1974, due to competition from air transport. It disappeared in 1975, when it merged with the Compagnie des Messageries Maritimes, to become the Compagnie Generale Maritime. The map is decorated with a compass rose, five liners, and a French flag on which is placed a table of the countries served, with their flags. The map indicates, in red, the shipping lines, the main airlines, and the transatlantic hotels. The company did not only serve the American continent and the West Indies, it also provided connections to Spain, Algeria, Morocco, as well as northern Europe to Leningrad, which recovered its name of Saint-Petersburg in 1991. The borders are decorated with scenes and characters illustrating the countries served. The Blonde! La Rougery Editions were founded in 1902 by Edouard Blondel La Rougery. E. Blonde! La Rougery published numerous maps, including, circa 1940, a monumental bird's eye view of Paris inspired from the Turgot map of Paris of 1739. Around 1955, his successor was Max Blondel la Rougery, who directed the company until 1976." (Begonia Le Bail, 2021) (see our 10730.000 for 1959 edition)

The Paris Colonial Exhibition (or "Exposition coloniale internationale", International Colonial Exhibition) was a six-month colonial exhibition held in Paris, France, in 1931 that attempted to display the diverse cultures and immense resources of France's colonial possessions. The exposition opened on 6 May 1931 in the Bois de Vincennes on the eastern outskirts of Paris. The scale was enormous. It is estimated that from 7 to 9 million visitors came from over the world. The French government brought people from the colonies to Paris and had them create native arts and crafts and perform in grandly scaled reproductions of their native architectural styles such as huts or temples. Other nations participated in the event, including The Netherlands, Belgium, Italy (with a pavilion designed by Armando Brasini), Japan, Portugal, the United Kingdom, and the United States. Politically, France hoped the exposition would paint its colonial empire in a beneficial light, showing the mutual exchange of cultures and the benefit of France's efforts overseas. This would thus negate German criticisms that France was "the exploiter of colonial societies [and] the agent of miscegenation and decadence". The exposition highlighted the endemic cultures of the colonies and downplayed French efforts to spread its own language and culture abroad, thus advancing the notion that France was associating with colonised societies, not assimilating them. The Colonial Exposition provided a forum for the discussion of colonialism in general and of French colonies specifically. French authorities published over 3,000 reports during the six-month period and held over 100 congresses. The exposition served as a vehicle for colonial writers to publicise their works, and it created a market in Paris for various ethnic cuisines, particularly North African and Vietnamese. Filmmakers chose French colonies as the subjects of their works. The Permanent Colonial Museum (today the Cité nationale de l'histoire de l'immigration) opened at the end of the exposition. The colonial service experienced a boost in applications. 26 territories of the empire participated in the Colonial Exposition Issue of postage stamps issued in conjunction with the Exposition. (Wikipedia)

The Paris Colonial Exhibition (or "Exposition coloniale internationale", International Colonial Exhibition) was a six-month colonial exhibition held in Paris, France, in 1931 that attempted to display the diverse cultures and immense resources of France's colonial possessions. The exposition opened on 6 May 1931 in the Bois de Vincennes on the eastern outskirts of Paris. The scale was enormous. It is estimated that from 7 to 9 million visitors came from over the world. The French government brought people from the colonies to Paris and had them create native arts and crafts and perform in grandly scaled reproductions of their native architectural styles such as huts or temples. Other nations participated in the event, including The Netherlands, Belgium, Italy (with a pavilion designed by Armando Brasini), Japan, Portugal, the United Kingdom, and the United States. Politically, France hoped the exposition would paint its colonial empire in a beneficial light, showing the mutual exchange of cultures and the benefit of France's efforts overseas. This would thus negate German criticisms that France was "the exploiter of colonial societies [and] the agent of miscegenation and decadence". The exposition highlighted the endemic cultures of the colonies and downplayed French efforts to spread its own language and culture abroad, thus advancing the notion that France was associating with colonised societies, not assimilating them. The Colonial Exposition provided a forum for the discussion of colonialism in general and of French colonies specifically. French authorities published over 3,000 reports during the six-month period and held over 100 congresses. The exposition served as a vehicle for colonial writers to publicise their works, and it created a market in Paris for various ethnic cuisines, particularly North African and Vietnamese. Filmmakers chose French colonies as the subjects of their works. The Permanent Colonial Museum (today the Cité nationale de l'histoire de l'immigration) opened at the end of the exposition. The colonial service experienced a boost in applications. 26 territories of the empire participated in the Colonial Exposition Issue of postage stamps issued in conjunction with the Exposition. (Wikipedia)

The Paris Colonial Exhibition (or "Exposition coloniale internationale", International Colonial Exhibition) was a six-month colonial exhibition held in Paris, France, in 1931 that attempted to display the diverse cultures and immense resources of France's colonial possessions. The exposition opened on 6 May 1931 in the Bois de Vincennes on the eastern outskirts of Paris. The scale was enormous. It is estimated that from 7 to 9 million visitors came from over the world. The French government brought people from the colonies to Paris and had them create native arts and crafts and perform in grandly scaled reproductions of their native architectural styles such as huts or temples. Other nations participated in the event, including The Netherlands, Belgium, Italy (with a pavilion designed by Armando Brasini), Japan, Portugal, the United Kingdom, and the United States. Politically, France hoped the exposition would paint its colonial empire in a beneficial light, showing the mutual exchange of cultures and the benefit of France's efforts overseas. This would thus negate German criticisms that France was "the exploiter of colonial societies [and] the agent of miscegenation and decadence". The exposition highlighted the endemic cultures of the colonies and downplayed French efforts to spread its own language and culture abroad, thus advancing the notion that France was associating with colonised societies, not assimilating them. The Colonial Exposition provided a forum for the discussion of colonialism in general and of French colonies specifically. French authorities published over 3,000 reports during the six-month period and held over 100 congresses. The exposition served as a vehicle for colonial writers to publicise their works, and it created a market in Paris for various ethnic cuisines, particularly North African and Vietnamese. Filmmakers chose French colonies as the subjects of their works. The Permanent Colonial Museum (today the Cité nationale de l'histoire de l'immigration) opened at the end of the exposition. The colonial service experienced a boost in applications. 26 territories of the empire participated in the Colonial Exposition Issue of postage stamps issued in conjunction with the Exposition. (Wikipedia)

"A large and uncommon map of the world, published in Paris in 1956 by the publishing house Blondel La Rougery. Drawn in the style of ancient maps, like Lucien Boucher for Air France, this world map is decorated with a large compass rose and numerous illustrations on the continents and in the seas, with native people, productions, monuments, and various types of ships, like a Chinese junk in the Philippine Sea. The borders are decorated with 5 large vignettes and other smaller vignettes related to the 5 continents. The top and bottom borders show clocks with time zones. The Blondel La Rougery Editions were founded in 1902 by Édouard Blondel La Rougery. E. Blondel La Rougery published numerous maps, including, circa 1940, a monumental bird's eye view of Paris inspired from the Turgot map of Paris of 1739. Around 1955,  his successor was Max Blondel la Rougery, who directed the company until 1976. Rare. Only one copy located in public collections, which is at the BnF." (Begonia Le Bail, 2020)

Printed with brown, black, and green inks.

One of four sheets that when joined make a very large and detailed birds-eye view of Paris. Peltier and Blondel la Rougery published this drawing in many forms and editions, starting around 1930 - see our 8864.000 for a 1959 variation in English, only of the center of Paris. Peltier's name is removed from later editions.

One of four sheets that when joined make a very large and detailed birds-eye view of Paris. Peltier and Blondel la Rougery published this drawing in many forms and editions, starting around 1930 - see our 8864.000 for a 1959 variation in English, only of the center of Paris. Peltier's name is removed from later editions.

One of four sheets that when joined make a very large and detailed birds-eye view of Paris. Peltier and Blondel la Rougery published this drawing in many forms and editions, starting around 1930 - see our 8864.000 for a 1959 variation in English, only of the center of Paris. Peltier's name is removed from later editions.

One of four sheets that when joined make a very large and detailed birds-eye view of Paris. Peltier and Blondel la Rougery published this drawing in many forms and editions, starting around 1930 - see our 8864.000 for a 1959 variation in English, only of the center of Paris. Peltier's name is removed from later editions.

Composite of four sheets that when joined make a very large and detailed birds-eye view of Paris. Peltier and Blondel la Rougery published this drawing in many forms and editions, starting around 1930 - see our 8864.000 for a 1959 variation in English, only of the center of Paris. Peltier's name is removed from later editions.

"A map showing the lines of the Compagnie Generale Transatlantique, published in Paris in 1959 by the publishing house Blondel La Rougery. A French shipping company, the Compagnie Generale Transatlantique, called French line overseas, was founded in 1855 by the brothers Emile and Isaac Pereire. Initially entrusted by the French government to transport mails to North America, it became famous between 1910 and 1930 with prestigious liners such as the Paris, the Ile-de-France and especially the Normandie, then in 1962, with the famous liner France, withdrawn from service in 1974, due to competition from air transport. It disappeared in 1975, when it merged with the Compagnie des Messageries Maritimes, to become the Compagnie Generale Maritime. The map is decorated with a compass rose, five liners, and a French flag on which is placed a table of the countries served, with their flags. The map indicates, in red, the shipping lines, the main airlines, and the transatlantic hotels. The company did not only serve the American continent and the West Indies, it also provided connections to Spain, Algeria, Morocco, as well as northern Europe to Leningrad, which recovered its name of Saint-Petersburg in 1991. The borders are decorated with scenes and characters illustrating the countries served. The Blonde! La Rougery Editions were founded in 1902 by Edouard Blondel La Rougery. E. Blonde! La Rougery published numerous maps, including, circa 1940, a monumental bird's eye view of Paris inspired from the Turgot map of Paris of 1739. Around 1955, his successor was Max Blondel la Rougery, who directed the company until 1976." (Begonia Le Bail, 2021)

Time zone indications. At the bottom of the map: main Messageries maritimes agencies., "A very large and beautiful world map showing the lines of the Compagnie des Messageries Maritimes, published in Paris in 1960 by the publishing house Blondel La Rougery. The Compagnie des Messageries Maritimes was a French shipping company founded in 1851 by Albert Rostand, a Marseille shipowner. It provided two types of lines: commercial lines, with the transport of passengers and goods; and state-subsidized lines, with the transport of mail and "state passengers". It disappeared in 1975, when it merged with the Compagnie Generale Transatlantique, to become the Compagnie Generale Maritime. The map is decorated with a compass rose, and the emblem of the company in the corners, depicting a unicorn head on a crowned anchor. The shipping lines are marked by three types of lines: in red, cargo ships and occasional services, in blue, liners. The top and bottom borders are illustrated with clocks to indicate time zones. Each of the five continents has its own color. At the bottom of the map are the addresses of the eight branches of the company around the world. Top left, map of the lines in Europe. The Blondel La Rougery Editions were founded in 1902 by Edouard Blondel La Rougery. E. Blonde! La Rougery published numerous maps, including, circa 1940, a monumental bird's eye view of Paris inspired from the Turgot map of Paris of 1739. Around 1955, his successor was Max Blondel la Rougery, who directed the company until 1976." (Begonia Le Bail, 2021)

2 color maps, both sides on sheet 41x52, folded in cover 22.5x10.5, promoting Pan American World Airways services. Showing roads, streets, railroads, buildings, landmarks, parks, and PAA office locations. On verso: Pictorial cover title, tourist information, index to "Places to see", and map of Paris-mtro.

2 color maps, both sides on sheet 41x52, folded in cover 22.5x10.5, promoting Pan American World Airways services. Showing roads, streets, railroads, buildings, landmarks, parks, and PAA office locations. On verso: Pictorial cover title, tourist information, index to "Places to see", and map of Paris-metro.

2 color maps, both sides on sheet 41x52, folded in cover 22.5x10.5, promoting Pan American World Airways services. Showing roads, streets, railroads, buildings, landmarks, parks, and PAA office locations. On verso: Pictorial cover title, tourist information, index to "Places to see", and map of Paris-mtro.

Looseleaf atlas of facsimile rare historical maps of Paris with explanatory text. Uses heliogravure process to create very detailed reproductions

Looseleaf atlas of facsimile rare historical maps of Paris with explanatory text. Uses heliogravure process to create very detailed reproductions

Looseleaf atlas of facsimile rare historical maps of Paris with explanatory text. Uses heliogravure process to create very detailed reproductions