Lithograph on grand vélin des Papeteries de Lana paper. Unsigned and unnumbered. Paper Size: 15 x 22 inches. Excellent condition, with centerfold, as issued. Notes: From the folio, Au Temps de Paris Seine, 1964. Published by Pierre de Tartas, Éditeur, Paris-Bièvres; printed by L'Ateliers Guillard Gourdon et Cie, Paris, 1964. Excerpted from the folio (translated from French), A unique example on Japon nacre, including original works by three painters as well as a study file, a suite of original lithographs on vélin de Lana, a suite of original lithographs in the margins of prints signed by the artists. Ten examples on Japon nacre, containing an original work by one of the painters, a voucher to be drawn from one of the plates, a continuation of the original lithographs on vélin de Lana, numbered from A to J. Thirty examples on Japon nacre with a suite of original lithographs on vélin de Lana. Numbered from 1 to 30. All the above copies have been signed by several painters. Fifty examples on vélin de Lana with a suite of original lithographs. Numbered from 31 to 80. One hundred eighty examples on grand vélin de Lana with the final state of the illustrations. Numbered from 81 to 260. AIME DANIEL STEINLEN (1923–1996) was a member of the Steinlen family tradition, dating back to the 18th century, in which a generation of artists alternates with a generation of chemists and scientists. Great nephew of the celebrated French artist Alexandre Steinlen, He nearly upset the pattern when he enrolled at the Faculte de Medicine in Paris, but after one year he set things right by changing to the Ecole des Beaux Arts there. He began printmaking in his early career, mastering the art of wood engraving, which he has used in illustrating numerous deluxe editions of books; he began to work in lithography in 1959.