Oriental Impressions

First edition, one of 90 numbered copies on pur fil paper, deluxe copy.
Spine and covers marginally sunned, final endpaper and facing page partially shaded.
The only general of the Second World War to have been elevated to the dignity of marshal during his lifetime, Alphonse Juin was one of the great leaders of the Liberation Army in 1944-1945 and distinguished himself throughout the Italian campaign at the head of the French expeditionary corps, notably at the Battle of Garigliano in May 1944, opening the gates of Rome to the Allies who had been bogged down before Monte Cassino.

Illustrated edition with black hors-texte engravings heightened in white or in colors by Mariette Lydis, one of 800 numbered copies on laid paper.
Preface by Octave Mirbeau.
Handsome copy.

First printing of the 23 color plates by Edmond Dulac.
Publisher's full brick-red cloth binding, smooth spine richly decorated with Arabesque design on a background of blue roses, front board decorated with large gilt Arabesque design on a background of blue roses, small spots of discoloration on the boards, endpapers and pastedowns of brick paper on a background of blue roses.
Half-title and final endpaper pages spotted, otherwise handsome interior condition.

First edition, one of 330 numbered copies on imitation Holland paper.
Work decorated with original illustrations by the author.
Front cover soiled, discreet printed bookseller's stamp on verso of front cover, some foxing.

Edition illustrated with 47 unpublished drawings by Léonard Foujita.
Minor foxing to boards and a slight scratch to head of first board.
A handsome copy.

First edition, service de presse stamp at head of second cover.
Light marginal foxing on covers, manuscript notation in black ink below title: "les légionnaires en colonne" on front cover.
Autograph inscription signed by Louis Carpeaux to mademoiselle Montgenault.

First edition, one of 63 numbered copies on pure thread paper, the only deluxe copies.
Handsome copy despite the spine very slightly yellowed without significance.

Original double color print heightened with gold, printed on laid paper, signed at bottom left of the plate.
Original engraving created for the illustration of La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists in the full bloom of Art Deco.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "addressed bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique, heightened in colors and for some highlighted with gold or palladium.
The adventure begins in 1912 when Lucien Vogel, man of the world and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités". Georges Charensol reports the words of the editor-in-chief: "In 1910, he observes, there existed no fashion journal truly artistic and representative of the spirit of its time. I therefore thought of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France." ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, n°133, May 1925). The magazine's success is immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly come to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the era: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the idea that the illustrator has of the fashion of the day.
La Gazette du bon ton is a decisive step in fashion history. Combining aesthetic demands and plastic unity, it brings together for the first time the great talents of the world of arts, letters and fashion and imposes, through this alchemy, a completely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, La Gazette du bon ton will largely inspire the new composition and aesthetic choices of the "small dying journal" that Nast had bought a few years earlier: Vogue magazine.

First edition.
Work illustrated with 27 geographical maps in color with accompanying text, geographical index on tabs.
The maps are in fine condition.
Half grey cloth binding with corners, front board printed with the title, author, and nomenclature of the maps. Some foxing, soiling and rubbing marks on the spine and boards as well as on the tabs, publisher's binding.
On Catholicism in Asia: Pondichéry, Coïmbatour, Maïssour, Burma, Siam (Thailand), Malay Peninsula (Malaysia), Cambodia, Cochinchina (Vietnam), Ton-king (Tonkin), Kouang-tong, Kouang-si, Kouy-tcheou, Yuan-nan (Yunan), Su-tchuen, Tibet, Manchuria, Korea, Japan.
Rare folio atlas.

12 original paintings on silk in a scroll, itself covered with silk. The Emakimono is a painted scroll with horizontal narrative.
Scroll composed of a wooden rod around which the paintings are rolled. The external margins are made of printed green silk while the background on which the paintings are mounted is made of another lighter green silk fabric; the whole is mounted on paper. Occasional worming or light small stains on the silk. Each painting: 18x23.5cm. Very fine condition.
The 12 paintings tell the story of a goddess who came from heaven wearing a feathered robe and who visits the world of humans. This famous legend is a myth in several Southeast Asian countries, notably China and Japan. She becomes trapped in the human realm when her robe is hidden and eventually falls in love with a mortal man. In the paintings it is a poor fisherman. The presence of this fisherman evokes one of the oldest and most classic Japanese tales: the fisherman and the turtle. One notes the presence of Mount Fuji which opens and closes the tale.
It is extremely rare for shunga to tell a story; they are always isolated scenes that may have a common background, but never a narrative through images. In 12 panels, the paintings tell of the meeting and departure of the goddess to her world when she finds her feathered robe again. Beyond this particular phenomenon, the paintings belong to the end of shunga creations, and it is the only period of this art that saw the birth of a new manner, not only in representation but also in the distribution of roles in sexuality. The paintings no longer merely reproduce an already established style but create a new one for the needs of the story. One will notice in each sexual scene the presence of handkerchiefs, intended for intimate cleansing, before or after the act.

12 paintings on silk on a transparent silk band of 840cm, mounted on paper and bordered in gold. Each painting 70x14cm. It seems plausible to attribute the work to Miyagawa Shunteï.
Wooden scroll on which is wound a long ribbon of 869 cm of paper. The paintings are held essentially by the margins and constitute a long silk band of 840cm. The scroll is nestled in a large green silk fabric. Some worming and stains but superb overall condition.
Late production of shunga and ultimate flowering of this creative genre, these paintings reveal a new pictorial manner never dared before. Of greater purity and greater preciosity, these paintings also reflect in these years another way of apprehending sexuality, in which woman is more equal, lover. The narrow height and very extended width of the paintings allows extremely tight shots of the couples, thus conferring greater immersion for the voyeur and more subtle representation of intimacy. The palette of colors used is very rich, ranging from pink to black, passing through different shades of green.
The scroll participates in the mystery of the progressive unveiling of the paintings. Early 20th-century Shunga are rather rare because the censorship exercised by the authorities was very repressive at this time, shunga being considered a stain on Japanese civilization.

Edition in the complete translation by Dr. J. C. Mardrus and illustrated with facsimiles of Persian and Indian miniatures that adorn the original manuscripts. Pages with oriental frames in various colors, green, red, yellow, blue... Chromotypes engraved by Mulot, Kriéger et Cie; Text and Frames printed by Motteroz et Martinet; Color plates printed by G. de Malherbe.
Contemporary half navy blue shagreen bindings with corners signed Flammarion Vaillant at the top of the first endpaper. Smooth spines now uniformly green, decorated with oriental tools in mirror effect and inlaid with ochre shagreen. Ruled fillets on boards. Top edges gilt. Some rubbing. Several corners slightly bumped. Interior perfectly fresh. Handsome copy.

First edition, one of the advance copies.
Handsome copy.
Precious signed autograph inscription from Jean Martet to Pierre Benoit.

First edition of the French translation, one of 108 numbered copies on pure thread Lafuma-Navarre laid paper and reimposed in Tellière quarto format, deluxe copy.
Some foxing affecting notably the endpapers.

The first edition, of which there were no deluxe copies.
Handsome copy despite two creases at the upper and lower right corners of the front cover.
Work illustrated with Chinese painting plates at the end of the volume.
Autograph inscription signed by François Cheng to Gilbert Lascault, pataphysician, art critic and specialist notably of the work of Jean Dubuffet, Pierre Alechinsky, Christian Boltanski: "... en très proche pensée" ["... in very close thought"] enhanced with a small drawing representing a Chinese ideogram.

Rare edition in second printing, which can be translated under the title Hokusai Sketches, volume 9. 15 volumes were indeed published covering Hokusai's work. The first was published in 1814 and the last posthumously in 1878. The final volume is considered apocryphal by some art historians. The volume contains approximately 40 subjects, most on double pages in black, grey and flesh tones. It is essential to add that one cannot determine with certainty whether this is the first printing or a later printing, because on this subject, there was no difference for the Japanese, and the publisher reprinted volumes as needed, the notion of first printing not being relevant with regard to Japanese books. We know however that the publisher made a second printing of this book between 1828 and 1878. The later printings do not have the same publisher's name and often possess a date, which is not the case with the earlier printings.
Accordion-fold volume, bound by stitching. Grey diamond-patterned cover with title label and writing in red on white background. Very good copy, quite fresh.
The Hokusai manga treat varied subjects, scenes from daily life, but also warrior scenes, also scenes of typically Japanese legends, animals and flowers and landscapes, animated or not, notably Mount Fuji. It is generally considered that, after a period of intense production, Hokusai very carefully selected his sketches, and even redrew a certain number of them, arranging them according to the order we know today. However, Michener maintains that the layout of the different sketches on a given plate was actually decided by the engravers and publishers, and not by Hokusai himself. We should recall that the technique of Japanese printmaking is very close to the original drawing, since the ink drawing was applied to a piece of wood that the engraver carved, precisely following the lines of the drawing, which was itself destroyed by this operation. This volume contains numerous animated landscapes, warrior scenes,

Second edition, published one year after the first, published by Coustelier in Paris. It is illustrated with 30 plates outside the text including two frontispieces engraved by Duflos after Boucher and Hallé and three folding views: the Hellespont and the Propontis, the city and port of Constantinople and a view of the grand seraglio of Constantinople. The plates represent scenes of daily life: prisoner, charity for animals, prayer, religious figures and places of worship, marriage, burial, noble figures (vizir, sultana, grand lord, bostangi, muphti, chiaou, capigi), punishments and historical scenes. Numerous ornate headpieces and decorated initials and tailpieces.
A detailed table of chapters at the head of each volume. A table of Ottoman emperors and a list of the principal authors cited in the work at the beginning of the first volume. A "Table of European princes contemporary to the Ottoman Emperors" at the end of the second volume.
Contemporary bindings in full marbled brown calf, spines with five raised bands decorated with gilt fillets and floral compartments, red and brown morocco title and volume labels, boards framed with triple blind fillets, shell paper pastedowns and endpapers, all edges red. Skillful restorations to joints, headcaps and corners with discreet gilt retouching.
Some worming tapering in the upper margin of the first volume, without loss of text or damage to the engravings. One white endpaper missing at the end of the first volume.
The preface of the work is the occasion for Jean-Antoine Guer to expound his vision of history. Humanity, to improve itself, must not turn toward obsolete regimes, but rather toward societies that are contemporary to it: « Le dix-septième siècle a changé toute la face de l'Europe : la Politique n'est plus la même qu'elle fut sous Louis XII, ni même sous le règne des descendans de François I. Un ministre se rendroit ridicule aujourd'hui, s'il prétendoit négocier sur le même pied, sur lequel on traitoit avant les dernières années d'Henri IV. Ce sont ces raisons qui m'ont encouragé à entreprendre cette partie de l'Histoire Ottomane, que je donne aujourd'hui au Public. Si les Mœurs et usages des Grecs, lorsqu'ils ont paru, si les Mœurs et usages des Romains qui les avoient précédés, ont été reçus favorablement, j'ose espérer le même avantage pour mon Ouvrage. La nation Turque, je le scay, n'est ni aussi ancienne, ni aussi recommandable par beaucoup d'endroits que ces deux Peuples ; mais elle a cela de plus intéressant, qu'elle existe encore, & que son origine, son accroissement & ses progrès nous touchent de plus près que la puissance d'Athènes ou de Rome. » ["The seventeenth century has changed the entire face of Europe: Politics is no longer the same as it was under Louis XII, nor even under the reign of the descendants of François I. A minister would make himself ridiculous today if he pretended to negotiate on the same footing as was done before the final years of Henri IV. These are the reasons that encouraged me to undertake this part of Ottoman History, which I give to the Public today. If the Customs and usages of the Greeks, when they appeared, if the Customs and usages of the Romans who had preceded them, were favorably received, I dare hope for the same advantage for my Work. The Turkish nation, I know, is neither as ancient, nor as commendable in many respects as these two Peoples; but it has this more interesting aspect, that it still exists, & that its origin, its growth & its progress touch us more closely than the power of Athens or Rome."]
He then draws up the list of other writers who have undertaken a description of Turkey in their works: Chalcondyle (Histoire générale des Turcs), Count Marsigli (état militaire de l'Empire ottoman), Prince Démétrius Cantimir (Histoire de l'Empire Ottoman), Ricaut (Gouvernement des Turcs) or the famous account by Jean-Baptiste Tavernier, Description du Serrail. He notes however that all these texts, although having had great success, only relate historical events and the victories and defeats of the elite. His intention is to give the reader a history of the people, their folklore and customs: « Les intérêts des Princes & leur politique, la nature & les différentes manœuvres du Gouvernement, les maximes du Droit public, les loix fondamentales de l'État, qui ne sont pas moins utiles pour la connoissance d'une nation, ne sont, pour ainsi parler, que le second objet de l'Auteur ; il n'en parle, qu'à mesure que quelque fait particulier lui en fournit le prétexte. La Religion, les Cérémonies religieuses & les fêtes publiques, le génie, l'humeur & le caractère d'un Peuple, sa manière de faire la guerre, ses armes & sa discipline militaire, sa manière de vivre, son habillement, tous ces objets sont négligés, ou dumoins fondus, pour ainsi dire, dans le corps de l'histoire. Elle ne rapporte les usages d'une nation que par occasion, & pour parler juste, en passant ; on n'y rencontre que par intervalle quelques traits, qui apprennent aux Lecteurs les coutumes des peuples dont elle traite : après l'avoir lûe, on peut sçavoir leur histoire ; pour eux, on ne les connoît qu'imparfaitement. » ["The interests of Princes & their politics, the nature & the different maneuvers of Government, the maxims of Public Law, the fundamental laws of the State, which are no less useful for knowledge of a nation, are, so to speak, only the second object of the Author; he speaks of them only insofar as some particular fact provides him the pretext. Religion, religious Ceremonies & public festivals, the genius, humor & character of a People, its manner of making war, its arms & its military discipline, its manner of living, its clothing, all these objects are neglected, or at least melted, so to speak, into the body of history. It only reports the usages of a nation by occasion, & to speak justly, in passing; one encounters there only at intervals some traits, which teach Readers the customs of the peoples it treats: after having read it, one can know their history; as for them, one knows them only imperfectly."]
It is therefore indeed a non-eventful representation of the Ottoman Empire that Guer proposes. He envisions his role as that of intermediary between historians, whose descriptions are factual, and readers "who read only to amuse themselves, who know how to amuse themselves only with trifles." This is a work of compilation of different existing sources, the author having never himself traveled to the Orient:
« Ce n'est donc point dans les Historiens, qu'on doit chercher une connoissance parfaite des mœurs & usages d'une Nation ; du moins doit-on convenir, que cette étude ne convient guères qu'à des Sçavans, ou à des personnes qui lisent avec réflexion & avec méthode. [...] Mon dessein a été d'épargner aux Lecteurs la peine & le désagrément de feuilleter tant de livres : j'ai regardé tout ce que ces Écrivains ont dit comme d'excellens matériaux. » ["It is therefore not in Historians, that one should seek perfect knowledge of the customs & usages of a Nation; at least one must agree, that this study hardly suits anyone but Scholars, or persons who read with reflection & with method. [...] My design has been to spare Readers the trouble & displeasure of leafing through so many books: I have regarded everything these Writers have said as excellent materials."]
It is in this didactic perspective that the plates and plans come abundantly to frame the text. If this type of erudite historiography, consisting of compilations of travel accounts and historical narratives, was common at the time, the picturesque subject but especially the abundant and superb iconography offer today's reader a precious document testifying to the Western view of Turkish folklore in the 18^th century.

First edition, rare, which can be translated under the title Hokusai's Sketches, volume 1. 15 volumes were indeed published covering Hokusai's work. The first was published in 1814 and the last posthumously in 1878. The final volume is considered apocryphal by some art historians. The volume contains approximately 30 subjects, most on double pages in black, grey and flesh tones. The preface to this first volume was written by Hanshi Sanjin, who presents the master's visit to Nagoya. It is essential to add that one cannot determine whether this is the first printing or a later printing, because on this subject, there was no difference for the Japanese, and the publisher reprinted volumes as needed, the notion of first printing not being relevant with regard to Japanese books. We know however that the publisher made a second printing of this book between 1828 and 1878. Later printings do not have the same publisher's name and often possess a date, which is not the case with earlier printings. Later printings do not have the same publisher's name and often possess a date, which is not the case with earlier printings.
Accordion volume, bound by stitching. Turquoise cover with title label and red writing on white ground. One stitch detached, without consequence for solidity. Small wormhole damage to lower margin of the first 3 leaves. Fine copy, very fresh, quite rare in this condition.
The Hokusai manga treat varied subjects, scenes from daily life, but also battle scenes, also scenes from typically Japanese legends, animals and flowers. It is generally considered that, after a period of intense production, Hokusai very carefully selected his sketches, and even redrew a certain number of them, arranging them in the order we know today. However, Michener maintains that the layout of the different sketches on a given plate was actually decided by the engravers and publishers, and not by Hokusai himself. We should recall that the technique of Japanese printmaking is very close to the original drawing, since the ink drawing was applied to a piece of wood that the engraver hollowed out, precisely following the lines of the drawing, itself destroyed by this operation.
Volume devoted to figures and animals.

First edition on ordinary paper.
Small lacks to head of boards, one tear at foot of first endpaper having caused a hole on its verso.
Autograph inscription signed by Henry Bernstein to Léon Daudet: "... que je suis heureux d'avoir rencontré sur le terrain de l'amitié..." [... how happy I am to have met you on the terrain of friendship...]

First edition on ordinary paper.
Minor lacks to spine and board margins.
Precious autograph inscription dated later and signed by Jérome & Jean Tharaud to Léon Daudet.

Illustrated edition with 210 wood engravings by Hector Giacomelli.
Half red shagreen binding, spine with five raised bands set with blind fillets, some traces of rubbing to spine and joints, boards decorated with Japanese-inspired and floral motifs stamped in blind, marbled endpapers and pastedowns, three corners slightly bumped, top edge gilt, contemporary Japonist binding.
A handsome copy in contemporary Japonist binding.

Edition with some parts in first edition.
Handsome copy.
Manuscript signature of Théodore Monod on the title page.

Rare first edition, fifth volume of Hokusai's Mangas or Sketch Books. 15 volumes were published between 1815 and 1878, the fifth volume contains approximately 30 subjects, most on double pages in black, grey and flesh tones.
Accordion-fold volume, bound with stitching, black cover, some creasing to board edges, rubbing and small lacks. The red printed label is lacking to this copy. The first and last pages detached from boards. Creases, small lacks and discolouration to boards. Minor soiling.
Hokusai's mangas treat various subjects, the artist depicts Japan of the period, from everyday scenes to amusing moments, combining a great variety of subjects: the present volume focuses on temple architecture, their ceremonies, contemplative scholars, ladies from the Heian period (784-1192), nobles, samurai lords as well as divinities and onis (demons). One will also note a magnificent view of Mount Fuji and an impressive storm scene at sea. These different subjects were intended to serve as learning manuals for use by young artists, they would also serve as model collections for artisans and would even become a sort of illustrated encyclopedia of life and daily living in Japan during the Edo period (1603-1868).
We should recall that the technique of Japanese printmaking is very close to the original drawing, since the ink drawing was applied to a piece of wood that the engraver hollowed out, following precisely the lines of the drawing, which was itself destroyed by this operation.

First bilingual edition (in French with the English translation on facing pages) of this speech delivered by General De Lattre in Saigon on July 11, 1951.
Small corner losses to the marginally browned boards, handsome interior condition.

Pocket book format edition illustrated with drawings by the author.
Handsome copy despite small stains on the edges.
Autograph inscription dated and signed by Théodore Monod to a man named Jean-Claude.

The first edition, published in a small number of copies, of this offprint from the Revue des études islamiques.
Some light dampstains to boards, marginally dusty, handsome interior condition.
Fascicle illustrated with figures in the text and three plates hors-texte.

First edition.
Cellophane film creased on the front cover.
Autograph inscription signed by Roger Garaudy to Pierre and Réjane Le Baud.

The rare first edition, complete in 2 volumes. The first volume contains a colored frontispiece and 13 double-page plates. The second volume has 12 double-page plates and a black frontispiece. All plates are in black and grey wash. The volumes are undated but note a location: Nihonbashi dori, the bridge avenue in Edo. They bear the name of Ichiyusai, one of Kuniyoshi's first artistic names. The date is therefore indicative and has been determined according to various criteria; however, according to the preface, the books were in production at the time of Kuniyoshi's death and the frontispiece of the second volume is the work of Utagawa Sadahide. One of the master's last works in which he rediscovers the elements that ensured his renown.
Volumes in accordion format, bound by stitching. Title label. Green covers. The second volume with a lower cover speckled with whitish stains, a few on the upper cover of volume 1. In volume 2, 3 leaves with a folded corner. Good interior condition.
Kuniyoshi was one of the last great masters of traditional Japanese printmaking and one of the great painters of Japan alongside Hokusai and Hiroshige, where he is justly celebrated. In 1811 he was admitted to Toyokuni's workshop, becoming one of his principal pupils. He thus inscribed himself in the tradition of the Utagawa School. Kuniyoshi remains primarily the draughtsman of legendary characters, heroes and often strange or even fantastical scenes. Kuniyoshi's talent and personality forged a work of great quality, clearly distinct from those of his predecessors and contemporaries. Like Hokusai, he remained throughout his life an artist in search of new themes. He was a creator, seeking innovation useful to the progress of his art and its understanding. The artist benefited from a major retrospective at the Grand Palais in Paris in 2015.
The innovative aspect of these prints consists in a marked accentuation of fantastical elements, in a dark atmosphere with spectral apparitions, and in the depiction of tattoos, which would launch a veritable trend at the time.

Rare first edition, of which there were no deluxe copies, of the French translation established by Paul Claudel.
Handsome copy despite some occasional light foxing.

First edition in French.
Some inevitable lacks to the protective film covering the work, an angular crease mark at the head of the front cover.
Text by Bertrand Raison, work illustrated with photographs from the film.
Rare and precious autograph signature by Akira Kurosawa on the half-title page.

First edition of the French translation established by Victor Henry.
Spine with lacks, front board detached, lacks to boards, some light foxing.
Rare.

First edition printed on laid paper of these offprints gathered in one volume from the Mémoires de la section orientale & américaine de la Société d'Ethnographie.
Rare and handsome copy.

First edition in French.
Publisher's full grey cloth binding, smooth spine, front board decorated with chiseled vignettes, black paper endpapers and pastedowns.
Work illustrated with 40 heliogravures.
Small stains on verso of first endpaper and on the following page.
Rare autograph signature of Heinrich Harrer in Tibetan and Roman characters on the endpaper.

First edition of this issue denouncing the abuses of French colonialism in the Maghreb.
Handsome copy of this issue which also spares no criticism of French military personnel.
Cover illustrated with a color drawing by Hermann-Paul "A Biribi", back cover illustrated with a color drawing by Roubille "Le renégat".
Literary contributions by Alfred Jarry "Le loubing The Loub, expédition française ou la dernière croisade", Franc-Nohain "Loubet l'africain", Charles-Louis Philippe "Comme Haroun-al-Raschid", Paul Acker "La cueillette algérienne", Jules Renard "Au théâtre"...
Issue illustrated with drawings by Francisque Poulbot, Frantisek Kupka, Théophile Alexandre Steinlen, Félix Vallotton, Paul Iribe, Jules Grandjouan...

First edition presented under plain blue temporary wrappers.
Small tears and minor lacks to covers, dampstaining affecting the entire text block.
Rare.

First edition.
Small corner lacks to boards, some foxing, the first plate is marginally browned.
Work illustrated with three plates hors-texte at the end of the volume.

First edition of this issue condemning American bombing in Vietnam.
Texts by various correspondents of the magazine.
Handsome and rare copy.

First edition of this issue.
Texts by various correspondents of the review.
Handsome and rare copy.

First edition of this issue partly devoted to supporting the National Liberation Front of South Vietnam.
Texts by S. Niemetz, C. Michaloux, J. Pesquet, C. Scalabrino and various correspondents of the review.
Handsome and rare copy.
The front page is illustrated with a drawing by Giroud.

First edition of this issue.
Texts by various correspondents of the magazine.
Handsome and rare copy.

First edition of this issue.
Texts by Jean Metais, Jean-François Dumas and various correspondents of the review.
Handsome and rare copy.

First edition of this issue.
Texts by R. Norman, A. Bertrand and various correspondents of the journal.
Handsome and rare copy.
The last page of issue N°63 is a scathing critique of the film adaptation of "L'aveu" by Artur and Lise London by Costa-Gavras and Jorge Semprun.

First edition printed on alfa paper, no mention of deluxe copies.
Some light foxing, spine cracked at head and foot, light marginal tears to boards.
Complete with folding map.
Preface by Maurice Barrès.
Autograph inscription dated and signed by Pierre Lyautey to Bernard Boutet de Monvel: "En dessinant, à Fes, mon burnous, vous m'avez donné l'envie de continuer à vivre dans le décor - et donc d'aller en Orient. En vous remerciant et très affectueusement Pierre." ["In drawing, in Fez, my burnous, you gave me the desire to continue living in the setting - and thus to go to the Orient. With thanks and very affectionately Pierre."]

The first edition, of which there were no deluxe copies.
Spine very slightly sunned without consequence.
Fine and political signed autograph inscription by Mohammed Khaïr-Eddine: "A Christian Giudicelli ce déterreur marocain qui finira bien par écraser la tête assassine de son Roi. Bien amicalement. Mohammed K.E. 1973." ["To Christian Giudicelli this Moroccan digger-up who will eventually crush the murderous head of his King. With friendship. Mohammed K.E. 1973."]

The first edition, of which there were no deluxe copies.
Spine very lightly sunned without gravity.
Autograph inscription signed by Mohammed Khaïr-Eddine: "A Christian Giudicelli ces images d'un Maroc qu'il connait bien. Très amicalement. KhaïrEddine." ["To Christian Giudicelli these images of a Morocco that he knows well. Very cordially. KhaïrEddine."]

First edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Spine very slightly sunned without consequence.
Signed autograph inscription from William Cliff to Christian Giudicelli: "A toi mon cher Christian, de tout coeur, William." ["To you my dear Christian, wholeheartedly, William."]

First edition.
Handsome copy.
Rich iconography.
Autograph inscription signed by Alain Borer to Christian Giudicelli: "Pour Christian, tout en avant, dans la lumière et dans la force - en toutes proximités. Alain" ["For Christian, all forward, in light and in strength - in all proximities. Alain"] enhanced with an ink stamp design reminiscent of an Egyptian hieroglyph.

First edition.
Half red shagreen binding, spine with five raised bands set with black fillets decorated with gilt compartments, a tear at foot of spine, marbled paper boards, marbled endpapers and pastedowns, contemporary binding.
Some light foxing.

First edition.
Small lacks of paper at head of first cover and at foot of second due to price labels that were poorly removed, one stain at foot of spine.
Autograph inscription signed by Théodore Monod to a man named Germain.

First edition on ordinary paper.
Spine sunned.
Signed autograph inscription from Noël Favrelière to Jean-François Tournaire.

First edition printed in a small number of copies of this offprint from the Journal Asiatique of March-April 1893.
A light stain to margin of first cover, handsome interior condition.
Rare.

First edition printed in a small number of copies of this offprint from the Journal Asiatique of March-April 1893.
Small corner losses to covers, marginally soiled, handsome interior condition.
Rare.

The first edition published in a small number of copies and illustrated with in-text photographs.
Boards marginally soiled with folds and small corner tears, handsome interior condition.
Rare.

First edition, of which there were no deluxe copies.
Publisher's binding in full raspberry cloth, smooth spine, complete with its illustrated dust jacket which has small marginal tears of no consequence and a more significant one at the head of the back cover.
Signed autograph inscription from Edmond Jouhaud to Mr Husson: "... avec mes remerciements pour son action au sein du Spes pour les familles d'embastillés, avec mes cordiaux sentiments à un sympathisant de notre cause..." ["... with my thanks for his action within Spes for the families of the imprisoned, with my cordial regards to a sympathizer of our cause..."]

First edition, rare and very sought after according to Clouzot. Precious copy with the title page having the correct date of 1848. This work is the first to be published recounting Nerval's stay in Egypt and will be followed the same year by Femmes du Liban. These two main texts will form the famous Voyage en Orient in 1851.
Copy free from foxing, some leaves have angular fold marks.

Binding in half green shagreen, spine in four compartments enhanced with gilt stipples, decorated with double gilt spine panels and fleurons, black fillets, some signs of rubbing, marbled paper boards, two corners restored, sprinkled paper endpapers, charming contemporary binding.

Our copy is enriched with a receipt for the amount of seventy-five francs signed by Gérard de Nerval and mounted on the guards.

Extremely rare in good condition according to Clouzot.

New edition.
Handsome copy despite minimal worming to edges.
Autograph inscription dated and signed by Théodore Monod to Catherine Gandillac.

Bibliothèque de La Pléiade edition printed on India paper.
Publisher's full grey grained sheep binding, mauve top edge, smooth spine decorated with gilt fillets.
Handsome copy complete with its glassine wrapper and dust jacket; the soft slipcase is missing.

First edition, of which there were no deluxe copies.
Autograph inscription signed by Georges Blond: "A monsieur Peret, ces éléphants qui ne lui feront pas oublier les toros, en souhaitant qu'il les trouve quand même sympathiques" ["To Mr. Peret, these elephants who will not make him forget the bulls, hoping that he will find them sympathetic nonetheless"].
Fine illustrated cover by Cyril, iconography.

First collected edition of the works of François-René de Chateaubriand, each volume decorated with a frontispiece engraved by Charles Thompson depicting a young woman seated on a stone engraved "Chateaubriand, Œuvres complètes" and contemplating the horizon. The author contributed largely to the publication of this edition through the organization of the whole and by writing new prefaces for all the texts. As he writes himself these prefaces are more pieces of autobiography than prefaces.
Binding in half brown calf strictly contemporary Restoration period. Spine with raised bands decorated with 2 blind stamps, roulettes at head and tail and on the bands. Brown calf title label and volume labels. Lack at tail of volume 4. Volume 5 bis, lacks to joints at head, surface wear at tail. Volume 5 ter, upper joint split at head, accident at head with lacks, tail headcap worn. Surface wear at tail of volumes 9 and 10. Volume 11, surface wear at tail with small lack. Volumes 18 and 19, surface wear at tail. Volumes 23, 24, 27 and 28, surface wear at tail. Head of volume 28 rubbed. Supplement to volume 22 rubbed. Apart from some rare worming, set superbly fresh on fine laid paper (but often foxing on endpapers).
Fine series with minimal defects of this important first collected edition of Chateaubriand's works.
The set breaks down as follows:
-Essai sur les révolutions, in 2 volumes. V1 and 2. 1826.
-Mélanges historiques, in 1 volume. V 3. 1827.
-Etudes historiques, in 4 volumes. V 5, 5 bis, 5 ter. 1831.
-Voyages en Amérique, in 2 volumes. V 6 and 7. (with second numbering 1 and 2). 1827.
-Itinéraire, in 3 volumes. V 8, 9 and 10 (with second numbering 1 to 3). 1826. Binder's error in volume 2, the second part begins at p. 17, and the beginning of this second part is bound later, at the end of this part.
-Génie du christianisme, in 5 volumes (second numbering from 1 to 5). 1826 - 1827.
-Atala, René and Le dernier Abencerage, in 1 volume. 1826.
-Les Martyrs, in 3 volumes (second numbering from 1 to 3). 1826.
-Les Natchez, in 2 volumes (this being the first edition of this early work by Chateaubriand). 1826.
-Mélanges littéraires, in 1 volume. 1826.
-Mélanges et poésies, in 1 volume. 1828.
-Discours et opinions, in 1 volume. 1826.
-Mélanges politiques, in 2 volumes (second numbering 1 to 2). 1826 and 1828.
-Polémique, in 1 volume. 1827.
-De la liberté de la presse, in 1 volume. 1828.
-Table, in 1 volume. 1831. (conjugate leaves)
- Appendix to 22nd volume, without volume numbering. Moïse. 1831.
Between the first deliveries by subscription and the last, a year passed, and depending on the date when the order for the works was placed it could take longer, it therefore goes almost without saying that the volumes do not always bear the same dates, the publisher drawing from his stocks and reprinting to honor orders, thus the dates extend from 1826 to 1831. For example, the two volumes constituting the Mélanges littéraires are the first from 1826 and the second from 1828...
19th-century armorial bookplate of a baron, 2 greyhounds flanking the shield

Rare first edition, translated as "Croquis de Hokusaï", volume 14. 15 volumes were actually published covering Hokusaï's work. The first was published in 1815 and the last posthumously in 1878. The final volume is considered apocryphal by some art historians. The 30 double-leaf volume contains around 39 engravings, 12 of which are double-page spreads, including many animated landscapes, real and mythological animals. There are 3 colors: beige, gray and black. It is difficult to determine wether it is a first or a later print run, as this detail made no difference in Japanese book collecting. The publisher reprinted volumes as needed. We do know, however, that the publisher produced several issues of this book between 1849 and 1878.
Volume in acordeon, bound by a seam. Bronze-green cover, with title label. Rubbing to front cover. Interior very fresh and clean. Printed on mulberry paper. A brown stain on the first 2 leaves. A good copy.
Hokusai manga deal with a variety of subjects, from scenes of everyday life to war scenes, as well as typical Japanese legends, animals and flowers. "It is generally considered that, after a period of intense production, Hokusai selected his sketches very carefully, and even redrew a number of them, arranging them in the order we know today. However, Michener maintains that the layout of the various sketches on a given plate was actually decided by the engravers and editors, not by Hokusai himself." Japanese printmaking technique remains very close to the original drawing's aesthetic, since the ink drawing was affixed to a piece of wood that the engraver carved out, precisely following the lines of the drawing, which was itself destroyed in the process. It was these volumes of drawings that made Hokusai's reputation in the Western world.

Hokusai Katsushika was a prolific and well-known Edo period printmaker, whose prints (among others) inspired the French avantgarde at the end of the 19th century.

First edition.
Handsome copy, iconography.
Autograph inscription signed by Antoine Argoud: "Paris le 15 Mars 1975. A Mme Falabot, à la femme d'un pied noir mort en Algérie. Avec mes respectueux hommages. Antoine Argoud." ["Paris March 15, 1975. To Mrs. Falabot, to the wife of a pied noir who died in Algeria. With my respectful homage. Antoine Argoud."]

First edition, illustrated with 32 color illustrations by Sureda and engraved by Aubert (full-page, headpieces and fine lettering), many of which are enhanced in gold or silver ink.

Limited edition of 400 copies. This one, marked H. C. V, is one of the rare first paper copies on the finest Japon (only 15 copies), containing every engraving in double state on Vieux Japon and Japon Impérial of all the woodcuts, covers and spine.

 
Signed and inscribed on the title page from the authors: "What a pleasure it is for you, O reader, if you enjoy La Fête arabe !" Jérôme and Jean Tharaud. December 1928."

Full morocco midnight blue binding with polychrome inlays depicting Orientalist compositions signed by Yseux, pupil of master bookbinder Simier. Gilt edges, illustrated covers and spine preserved. Blue paper slipcase lined with blue shagreen leather.
Spine slightly darkened. Brown trace over 3 cm on the blank reverse of one plate, moderate creasing/paper handling to the lower margin of another plate, slight paper defect appearing to be original in the inner margin of 1 or 2 other plates, minor light soiling on 2 white leaves. Wide margins, superb paper condition.

 

A wonderfully bound travel book of Arabia, one of the rarest copies of this edition with two sets of color illustrations

First edition, one of 35 numbered copies on alfa paper, the only deluxe copies.
Spine and front cover slightly and marginally yellowed, otherwise a handsome and rare copy.

Album comprising 5 erotic gouaches (glue paintings) on silk. On the first page, the title and signature of the painter as well as a red stamp. While the title can be translated as: A Source of Endless Interest, or, The Pleasure of Limitless Flavors, the painter's name could not be translated. Each painting is signed with a stamp, an extremely rare condition, as these erotic productions were always anonymous for fear of censorship or possible reprisals. The rarest element being the manuscript title as well as the painter's name on the title page. This painter could therefore display his name in this pictorial genre while it was forbidden to produce such works.
Book mounted accordion-style, covered with blue brocaded silk composed of Chinese motifs. Mute beige title label sprinkled with gold. Paintings on ochre silk mounted on cardboard and bordered with beige silk. Superb condition and very fine freshness throughout, both paintings and book.
This type of representation is most often crude, in a naive style using ink and watercolor. All the paintings here are in traditional glue (which can be likened to the gouache technique) and are remarkable for their finesse and elegance. One notices a beginning of three-dimensional representation of characters and drapery, which is rarely the case in this type of production. The erotic scenes take place in richly furnished interiors. The whole follows the canons of Chinese erotic aesthetics, thus one does not see the women's feet, always shod and fitted with tiny feet. The date we give is of course approximate, the collection possibly dating from the late 19th century or a few decades after 1900.

First edition, advance copy stamp at foot of spine.

A pleasant copy despite the very slightly faded spine.

Rare copy signed and inscribed by Paul Nizan to Louis-Martin Chauffier.

First edition on ordinary paper, statement of 16th edition.
Handsome copy.
Signed autograph inscription from Claude Roy to Jean Claval.

First edition, one of 200 numbered copies on Arches, the only issue after 10 on Japan.
Spine lightly sunned, occasional worming.
Autograph inscription signed by Tristan Derème: "A monsieur le comte de Sachs. Et vive la rime ! Et vive Virgile !" ["To Monsieur le Comte de Sachs. And long live rhyme! And long live Virgil!"]

First edition in French, of which there were no deluxe copies, a Service de Presse (advance) copy.
Handsome copy.
Iconography.

First edition illustrated with photographs by André Martin.
A handsome copy.
Publisher's full cloth binding, smooth spine.
Rich iconography.

First edition.
Contemporary half glazed blonde calf binding. Spine with raised bands decorated with 4 compartmentalized fleurons. Red shagreen title and volume labels. Combed edges. Spine lightened with areas of discoloration. Some scattered foxing.
A handsome copy.
Collection of the author's articles, travels, and studies on the Orient published in various journals and gathered in this work. Venice, Turkey, the Danube, Greece, Syria, China, Japan, Persia, Egypt, Tunisia. Essays on Salammbo, Persian poetry, hashish, Nerval's Journey to the Orient... One can distinguish a fantasized, romantic Orient, the vision of an aesthete and a painter. A first collection had appeared in 1848 in one volume under the title: Scenes from Oriental Life.

First edition.
Contemporary half red shagreen binding. Spine with raised bands decorated with 4 fleurons in blind-tooled compartments. Author, title and date in gilt. Top edge gilt. Fresh paper (a few rare pale foxing marks).
Handsome copy.
In December 1854, Joseph-Arthur de Gobineau (1816-1882), then first secretary at the Frankfurt legation, was appointed secretary to an extraordinary mission to Persia, led by minister Prosper Bourée and ordered by Emperor Napoleon III. On the way to Persia, Gobineau traveled through Malta, Egypt and the countries of the Arabian peninsula. The second part of Trois ans en Asie is certainly the richest part of this work, a mine of information on Persian society of that period. Animated by the same enthusiasm for Persia, Gobineau would publish, in 1864, Religions et philosophies dans l'Asie centrale, then, in 1869, a Histoire des Perses and finally, between 1872 and 1874, his collection of six Nouvelles Asiatiques.

The first edition, of which there were no deluxe copies.
Handsome copy despite a small stain on the first cover.
Manuscript signature by Erik Orsenna on the endpaper.

Bristol letterhead from "Prime Minister House" in New Delhi, on which Indira Gandhi, then Prime Minister of India, added her manuscript signature which she dated 1980.
Handsome copy.

Photographic portrait mounted on rigid cardboard of the Libyan leader Muammar Gaddafi seated in an armchair and smiling at the camera.
Handsome copy.
Manuscript signature of Muammar Gaddafi in red felt-tip pen on his portrait.

Complete first edition illustrated with 26 original lithographs by Edouard Chimot, one of 900 numbered copies on B.F.K. de Rives laid paper.
Spine of the chemise slightly faded.
Handsome copy.

First edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Some worming to spine, preface by Albert Sarraut.
Signed and inscribed by Emile Roche to Alfred Fabre-Luce.

First edition, one of 250 numbered copies on imponderable laid paper reserved for the press service.
Autograph inscription signed by Paul Morand to his friend Jacques Roederer: "A J.R. cette aventure qui s'ajoute à toutes celles de sa vie. Souvenirs du Léman. Morand." ["To J.R. this adventure which adds to all those of his life. Memories of Lake Geneva. Morand."]

First edition on ordinary paper.
Spine lightly sunned without gravity.
Fine autograph inscription signed by Marc Chadourne to Alfred Fabre-Luce: "... pour qu'il retrouve sur nos pistes croisées les domaines d'un monde qui ne rêve plus..." ["...so that he may find again on our crossed paths the domains of a world that no longer dreams..."]

First edition published by the Cercle Taleb-Moumié, of which there were no deluxe copies, one of 300 numbered copies reserved for subscribers.
Handsome copy.

Pléiade library edition printed on Bible paper.
Publisher's binding in full grey grained sheep, mauve top edge, smooth spine decorated with gilt fillets.
Fine copy complete with its glassine, dust jacket and slipcase.

Edition illustrated with 47 unpublished drawings by Léonard Foujita.
Handsome copy.

Edition illustrated with 15 original compositions colored in stencil by Boris Zworykine, one of 145 numbered copies on imperial japan paper, complete with its suite in black, the deluxe copies (tirage de tête) after 35 other Imperial Japan containing a double suite and a watercolor.
Spine very slightly lightened, corners of the chemise slightly dull, beautiful copy.
The cover, frames, headers and cul-de-lampes are also by Boris Zworykine.

Edition with some parts in first edition, rare. The first volume, written by Bignon appeared from 1712 to 1714 under the name of the announced prefacer and translator: Sandisson; the second volume, consisting of a sequel and conclusion to the stories of Abdalla is by M. de Paulmy; certain biographers give Louis Daniel Colson as author (orientalist and one of the authors of the History of China). First illustrated and collected edition with 6 figures and 2 title vignettes; the vignettes are signed Eisen and engraved by Legrand, the figures are before letters and are undoubtedly by the same. The work is listed by Cohen (Livres à gravures du XVIIIe) under Sandisson.
Contemporary marbled full brown calf bindings. Decorated smooth spines. Red morocco title and volume labels. Restorations to headcaps and corners, gilt retouched. Worming on the upper board of volume II. Scattered foxing. Brown stain in upper margin on the first 50 leaves. Brown stain in margin on 3 leaves in volume II. Overall, good copy.
Witty and parodic oriental novel. It recounts the journey and adventures of a pious Muslim, Abdalla, sent by his master, the sultan of the Indies, in search of water that provides eternal youth. This narrative is also a documentary on the Orient in which the abbé implements the knowledge that Western travelers brought back from their various journeys to India and Indonesia, it is also the vision that the Western clergy had of Muslims and the Orient. It offers a collection of marvelous tales that borrow their elements from both East and West. Like the Thousand and One Nights, it is filled with multiple stories and tales mixing genies and magic. The novel, published after Galland's translation of the Thousand and One Nights would enjoy great success.

Rare first edition, printed in 500 copies, of the French translation of this Indian tale established by Gérard de Nerval and G. Méry on ordinary paper, only 2 copies would have been printed on colored paper in deluxe format.
Modern half black sheep binding, smooth Jansenist spine. Title and date in gilt. Black, gold and brown paper boards. Uncut copy, full-margined. Scattered foxing. Good copy.

First separate edition for which no mention is made of deluxe copies.
Handsome copy despite the unlettered spine and covers slightly and marginally faded.

First edition, one of the copies on Japon.
Texts by Jules Renard, Anatole France, Sully-Prudhomme, Gustave Geffroy, Louis Tynaire, Gabriel Séailles, René Binet, Georges Renard...
Lithographed or wood-engraved illustrations in red and black by Eugène Carrière, Félix Régamey, Carlos Schwabe, Georges Rochegrosse, Alfred Lenoir, Auguste and Georges Leroux, Daniel Vierge, Charles Fouqueray, Théophile-Alexandre Steinlen, Lucien Vogel, Charles Léandre, Henri Fantin-Latour, Eugène Grasset, Alexandre Lunois, Georges Scott...
Bradel binding in full paper, palladium title on smooth spine, marbled endpapers and pastedowns, covers and spine preserved, top edge palladium.
Handsome copy attractively bound.