Oriental Impressions

First edition of the French translation by Paul Dousdebès.
Half chocolate brown shagreen binding with corners, smooth spine decorated with gilt fillets and fleurons, gilt date at foot, double gilt fillets framing the pebbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt.
Fine copy complete with its 4 pages of facsimile Japanese ideograms at the end of the volume.
Work illustrated with 32 wood engravings, colored in blue, black and gray, and printed on special Japanese paper containing mica powder.
Signed autograph inscription by Paul Dousdebès.

New edition of the French translation illustrated with headpieces, initials and tailpieces, one of 500 numbered copies on Japan paper, deluxe copies.
A small lack and light dampstain to foot of spine, handsome copy.

Edition printed on pure Lafuma thread paper and illustrated with a frontispiece portrait of the author by Eugène Carrière engraved by Paul Bornet
Half chocolate brown morocco binding with corners, smooth spine decorated with a gilt cartouche adorned with gilt and blind typographic motifs, marbled paper boards, pebbled paper endpapers and pastedowns, original wrappers and spine preserved, top edge gilt, lower corners slightly bumped.
Handsome copy.

The first edition, of which there were no deluxe copies.
Handsome copy despite the slightly sunned spine.
Beautiful autograph inscription signed by G. Constant Lounsbery to André Rolland de Réneville.

First edition of this tale. 15 comic tales were published in this series bringing together the writer Tanezaku and the painter Utagawa Toyokuni Kunisada. One color illustration on double page and embossed paper, 2 on double page in grey and black wash, 15 in black and white on double page, 2 single page.
Japanese accordion binding. Sky blue cover with wheel and flower motifs. Title label. 1cm wormhole affecting the last 10 leaves. Soiling to left corner corresponding to the thumb that handled the leaves across several pages.
Very fine illustration by one of the masters of printmaking, Kunisada.

First edition.
Texts by Marc Desmazières, photographs by Kozo Yano.
Publisher's full white cloth binding, smooth spine, complete with its fragile tracing paper dust cover which has three marginal tears.
Handsome copy.
Autograph inscription dated and signed by Kozo Yano to a friend named Juan Luis.

First edition for which no deluxe copies are mentioned.
Four corner lacks to boards, handsome interior condition.
Rare.

First edition, one of 500 copies numbered, justified and signed by Kozo Yano.
Publisher's Bradel binding in full boards, smooth spine, complete with its fragile dust cover in tracing paper.
Rich iconography of Kozo Yano's work.
Handsome copy.

First edition in French translated by Philippe Delarbre in collaboration with the author, one of 750 numbered copies.
Handsome copy despite the spine and boards slightly and marginally sunned without consequence.
Work illustrated with wash drawings by Colette Deblé.
Signed autograph inscription from Abdelamir Chawki to poet Charles Dobzynski: "... avec qui j'ai vécu un voyage inoubliable..." ["...with whom I lived an unforgettable journey..."] accompanied by an 11-line handwritten postcard dated November 26, 1990 in which Abdelamir Chawki expresses his joy at seeing his friend again soon, notably for projects "relatifs à Rimbaud et au Yémen..." ["relating to Rimbaud and Yemen..."]

First edition printed in 250 numbered copies on ivoirine paper.
Work illustrated with japonisant butterfly compositions by Audrey Parr reproduced in white gouache by Jean Saudé, the properties of this ivoirine paper allowing one to discern the butterflies printed on both sides of the leaf, some white and the "shadows" of others showing through by transparency.
Handsome copy despite the cockling inherent to the quality of this paper and the fact that each leaf of the work is mounted.

12 Chinese erotic watercolors, ink and colors on paper, each painting depicting an erotic scene in an interior or garden.
Accordion binding with cover of green silk embroidered in various colors. All leaves of the album are covered with damask raw silk. Each painting 16x19.2cm is mounted on silk. Some fabric losses at edges, 2 small losses on the back cover. One of the accordion folds partially cut, at the fold. All paintings are in very good condition.
Chinese erotic games as represented in paintings appear extremely different from their Japanese neighbors. Furthermore, Chinese erotic art remains relatively unknown compared to Japanese erotic art. There is undoubtedly a humorous atmosphere in these paintings, whether we see a man examining a woman's genitals with a magnifying glass, an old man seemingly supplicating a woman who carries a child on her back, or the presence of children. The women are always wearing shoes and have very small feet, as one was not supposed to see a woman's feet and small feet were a sign of beauty and eroticism. In drawing and execution, the presence of line is characteristic, whether it clothes the scene with a screen or represents the bodies, strangely stylized. Primacy is given to lines and curves rather than volumes.
The authors of these paintings are initially groups of students learning to create erotic images under a master's tutelage, by copying masterpieces. The paintings are rarely signed so as not to compromise the artist's reputation.
The date is given as an indication, the collection possibly being earlier or later.

First edition published and distributed by the Federation of Chinese Associations in Europe for National Salvation.
Spine and covers very lightly and marginally sunned, a small lack at foot of front cover.
Rare fascicle illustrated with 5 photographs.

First edition published and distributed by the Committee for Amnesty and Defense of Indochinese and Colonized Peoples.
Covers marginally discolored, an orange stain at foot of front cover.
Rare.

New edition with some parts in first edition.
Handsome copy complete with its 4 folding color maps at the end of the volume.
Autograph inscription signed by René Dumont at the twilight of his life.

Rare suite of woodcuts by Itchô Hanabusa (英一蝶) on Japanese folk tales, printed in black ink. Only one volume of a three-volume set, possible 19th-century reprint.

Bound in Japanese style, pages bound by a seam, blue soft cover with title label, folds, small stains and lacks of blue paper to corners, ink stain in title piece not affecting the text.

Itchô Hanabusa was part of the Kanō school and studied under Kanō Yasunobu, however he rejected this training to become a renowned painter and calligrapher.

Illustrations of Japanese legends with genre scenes, animals and flowers. The technique of Ukiyo-e, or Japanese printmaking, is very close to the original drawing, since the ink drawing was affixed to a piece of wood that the engraver carved out, precisely following the lines of the drawing, itself destroyed in the process.
Japanese bookplate, stamped in red ink.

First edition. Text author: Nanritei Kiraku. Printed in grey, black and flesh tones. 58 pages with a drawing or multiple figures (plants, animals, characters).
Japanese accordion binding. Printed on mulberry paper. Black cover with title label in red ink. Missing one stitch at head. Black color of cover faded to grey in several places. A tear on lower cover. Good copy.
Active from 1820 to 1850, Katsushika Taito (real name Beika Sanjin) was one of Hokusai's principal pupils whose name he adopted: Katsushika (the district of Edo where Hokusai was born). Like his master, he published his drawing collections. Five are known.

Accordion-style photographic album containing 12 portraits of geishas and views of the Tokaido road on both sides. Period albumen prints hand-colored.
Red cloth binding on wooden boards.
Some tissue guards slightly creased, otherwise very handsome copy.
All the geisha portraits were taken in studio while the views of the Tokaido road, connecting Edo to Kyoto, present scenes of daily life (women at the entrance of a house, porters, men praying...)

First edition in French.
Iconography at the beginning of the volume.
Spine lightly sunned, otherwise handsome copy.

First edition in French.
A trace of a price sticker at the foot of the back cover.
Handsome copy.

Third printing of the translation in French.
nice copy.

Fourth edition of the translation in French.
nice copy.

First edition in French printed for the fiftieth anniversary of the great socialist revolution of October 1917.
Handsome copy despite a crease mark at the head of the front cover.

Original black and white lithograph in second state, executed for Le Charivari and printed on heavy paper.
Delteil, 2722
Light foxing throughout the plate.

Original black and white lithograph in second state, executed for Le Charivari and printed on heavy paper.
Delteil, 2739
Light foxing throughout the plate.

Original lithograph in black and white, second state, created for Le Charivari and printed on heavy paper.
Delteil, 2730
Good copy despite some pale marginal foxing.

Original lithograph in black and white, second state, created for Le Charivari and printed on heavy paper.
Delteil, 2727
Pale foxing throughout the plate.

Original black and white lithograph, second state, created for Le Charivari and printed on heavy paper.
Delteil, 2738
Light foxing throughout the plate and a tiny tear to the upper margin.

Original black and white lithograph, second state, created for Le Charivari and printed on heavy paper.
Delteil, 1675
Monogrammed stamp "AB" from the collection of Dr Albert Bloch on the verso of the plate.
Handsome copy.

First edition in French.
Bradel binding in full boards, smooth spines, some rubbing with lacks to headcaps and joints.
Pleasant interior condition.
Work illustrated with two beautiful color frontispieces.

Richly illustrated first edition.
Publisher's full orange cloth binding, smooth spine, complete with its illustrated dust jacket.
A handsome copy.

Collection of drawings by So Shiseki. The date 1765 is the only date found in the collection, but it is not impossible that the work is a 19th-century reprint, as Japan had a very different concept from ours concerning authenticity and originality, including ancient temples that were rebuilt identically once they became dilapidated. The Waseda Library, the most important in Japan, possesses a copy with the same characteristics. However, bookmaking techniques in Japan were not different in the 18th and 19th centuries; there was no break, and this view is Western. 31 prints including 12 double-page.
Accordion volume, bound with stitching, on mulberry paper. Chocolate honeycomb cover. Title label on upper board. Borders rubbed, but handsome copy, fresh.
So Shiseki is a painter of the Nagasaki and Nampin schools; he followed the teaching of the Chinese painter So Shigan, whose name he adopted. He is a painter of flowers, birds and animals, his style uses calligraphy techniques with broad or fine strokes and ink washes.

First edition.
Handsome and rare illustrated copy, in fine, with a folding map.

First edition on ordinary paper.
Handsome copy.
Beautiful full-page autograph inscription dated and signed by Pierre Garnier to his friend, the poet Charles Dobzynski.

Album of five Japanese erotic prints, mounted on cardboard, anonymous.
Accordion binding, which can be fully unfolded to display all five paintings. Very thick cardboard imitating the rigidity of wood, the prints on paper have been mounted on cardboard. Covered on the upper and lower boards with yellow patterned silk fabric. Old ochre label with manuscript title in India ink. Spotting on the prints
The five prints depict five couples in action in close-up shots, most without furniture or other décor, in the manner of Kuniyoshi for example. The palette uses green, yellow, red and blue. The whole is printed in line, in a rather mannered way, the limbs languid in delicate expressions. The ensemble follows the canons of shunga representation (Japanese erotic prints) with happy and fulfilled characters, with particularly exposed genitals, the male member always turgid and large. The kimonos offer contrasts of colors and patterns (geometric, flowers or leaves). The date of 1890 is only a suggestion, the album may be later, around 1920. This type of collection remained anonymous most of the time due to censorship, it was often given as a wedding gift or intended for foreign visitors at that time. At the beginning of the Meiji era, the attraction for erotic photography supplanted shunga. Some painters specialized in the production of shunga, and it is not uncommon to encounter the same scenes in various collections.

Album of five Chinese erotic prints, mounted on cardboard, anonymous.
Accordion binding, which can be completely unfolded to display all five prints. Very thick cardboard imitating the rigidity of wood, the paper prints have been pasted onto the cardboard. Covered on the upper and lower boards with silk fabric with brown motifs. Old ochre label with manuscript title in India ink. Upper board darkened at top over 1cm. Red ink offsetting over a few millimeters at the top of the prints. Rubbing on some prints with color loss.
The five paintings depict five couples, four of which are coupling, in richly furnished decorative settings. The palette uses numerous colors. Chinese erotic art and its conventions are very different from Japanese Shunga and remain poorly understood. There is more naivety and less lubricity. The staging is more frontal, the viewpoint distant, the sexuality often more extensive, and the action takes place outdoors in nature or in furnished interiors. The colors are more vivid and diverse.
The date of 1920 is only a suggestion that seems coherent to us. This type of collection usually remained anonymous due to censorship; it was often given as a wedding gift or intended for foreign visitors at that time.

First French edition printed 80 years after the extremely rare first edition published in London and directly written in English while the author was in exile in England, of which there were no deluxe copies.
Handsome copy.

Original print. Actor dressed as a lord carrying an umbrella (wagasa) and a lantern. Rich black, red and blue kimono. Several cartouches with inscriptions, including the artist's; the play and role performed by the actor have unfortunately remained indecipherable.
Very handsome condition with rubbing in the cream areas of the ground. The print is presented under an ivory mat. Orange varnished beech frame (41.5x52cm) with some rubbing. Under glass.
Utagawa Kunisada (1786-1865), also known by the artist name Utagawa Toyokuni III. Undisputed master of Japanese printmaking, he is one of the most popular and prolific artists of the floating world, justly celebrated for his representations of kabuki actors.

Original print. Actor dressed as a lord, in armor, holding a lance. Rich black, red and blue kimono. The scene takes place at night, with black and blue background. Several cartouches with inscriptions, including the artist's; the play and role performed by the actor have unfortunately remained indecipherable.
Very handsome condition. The print is presented under an ivory mat. Orange varnished beech frame (41.5x52cm) with some rubbing. Under glass. Oban format print.
Utagawa Kunisada (1786-1865), also known by the artist name Utagawa Toyokuni III. Undisputed master of Japanese printmaking, he is one of the most popular and prolific artists of the floating world, justly celebrated for his representations of kabuki actors.

Collection composed of 12 wet collodion photographs printed on albumen paper and hand-colored. The coloring of the photographs uses the traditional technique of distemper painting (natural pigments mixed with glue) applied with a brush. Photographers thus employed painters rather than the watercolorists used for prints.
Album formed of two wooden boards covered with brown fabric showing visible fibers, bound Japanese-style as an accordion. Each fold-out (recto and verso) presents 6 photographs: on the recto (animated scenes) views of landscapes and cities, on the verso, figures. This presentation is traditional for travel albums "views and costume," which the Japanese would later adopt. Each photograph: 8.7x13.2cm. The first 2 photographs have faded, making the red pigments of the paint very visible as a result. For the second panel, the first and 6th photographs have also faded, likewise leaving the red pigments used very visible. The fifth has 2 scratched areas revealing the white of the paper. Foxing in the margins and on some photographs.
The views represent famous sights along the Tokaido route, the Meiji temple twice, a busy street with lanterns, a view of Mount Fuji with the famous wooden bridge... The earliest collections, with Felice Beato, showed only views of old Japan in black and white, and representation and demand evolved. These Japanese views are very close in their staging and framing to the art of printmaking. One finds the Japanese taste, already illustrated by prints, for famous sites.
Furthermore, one sees almost no men in photographs from this period because the photographs were meant to represent contemporary Japan and men were now dressed in Western fashion; there were no more samurai. This is why women are represented in more than 70 percent of photographs from this period, and in this collection one sees only one man, a rickshaw puller. On this subject, it was always geishas who were used for the photographs. All the studios thus had contracts with geisha houses whom they had pose for all scenes: musicians, etc.
The photographs of women: A woman with a fan, 3 women holding hands, 2 women in a carriage, 3 women dancing, the women of a geisha house.
One must note that any attribution to a photographer is difficult due to the very history of photography in Japan, because all the European studios and the first Japanese studios were bought by Japanese and the plates continued to be exploited under the name of the new photographer. Few albums and photographs bear a signature or studio mark. For example, we know that Beato left professional photography in 1872. Baron von Stillfried left Japan definitively in 1881. The same year, Kimbei Kusakabe (1841-1934), student of Beato and Stillfried, opened his own studio in Yokohama. He would buy back part of his two masters' negatives four years later and regularly reprint them.

Collection composed of 24 wet-plate collodion photographs printed on albumen paper and hand-colored. The coloring of the photographs uses the traditional technique of distemper painting (natural pigments mixed with glue) applied with a brush. Photographers thus called upon painters rather than the watercolorists used for prints.
Album formed of two wooden boards lacquered in red and bound Japanese-style in accordion format. Front cover lacquered with a scene depicting a man pulling a jinrikisha with a woman carrying a parasol. In the background, Mount Fuji in silver color. Back cover with flowers. Edges gilt. Each fold-out (recto and verso) presents 12 photographs, on the recto (animated scenes) views of landscapes and cities, on the verso, figures. This presentation is traditional for travel albums "views and costume," which the Japanese would later adopt. Each photograph: 9.5x13.7cm. The photographs are in very fine condition, well preserved. Some pale spotting in the margins. The first board is slightly detached from the front lacquered cover. The ivory faces have attracted covetousness and have been removed, leaving only bare wood where the faces once were. A small lack on the back cover.
The views represent Yokohama and Nagasaki, some are animated with figures, others not, showing temples (the gate of the Shinto temple in Nagasaki), streets, a Japanese boat, Mount Fuji, a view of Lake Hakone, and some contemporary views with modern buildings (a street in Nagasaki, the customs house in Yokohama), which is a novelty in the Yokohama shashin of this late 19th century. The first collections showed with Beato only views of ancient Japan in black and white, and both representation and demand evolved. These Japanese views are very close in their staging and framing to the art of printmaking. One finds there the Japanese taste, already illustrated by prints, for famous sites.
Furthermore, one sees practically no more men in photographs of this period because the photographs are meant to represent contemporary Japan and men are now dressed in Western style, there are no more samurai. This is why women are represented in more than 70 percent of photographs from this period. In this regard, it is always Geisha who are used for photos. All studios thus had contracts with Geisha houses whom they had pose for all scenes: musicians, etc. One thus sees a blind woman playing the Shiansen, as was practiced in Japan, and the blind woman is here played by a Geisha.
Other photographs show women practicing Ikebana (Japanese floral art), the tea ceremony, painting on silk, the game of Onigokko (blind man's bluff).
Kusakabe Kimbei, one of the most important photographers of this period, more commonly called by his first name Kimbei due to the difficulty experienced by foreigners in pronouncing his name, was first known as Beato's colorist before opening his own studio in Yokohama in 1881. When opening his studio he bought Beato's and Stillfried's plates, the first European photographers to establish themselves in Japan.
Tamamura Kasaburo first established himself in Tokyo, then in 1883 in Yokohama. It is not known how the two artists came to collaborate or how their photographs came to be mixed in several collections.
It should be noted however that any attribution to a photographer is difficult due to the very history of photography in Japan, because all the European studios and the first Japanese studios were bought by Japanese and the plates continued to be exploited under the name of the new photographer. However, this album is comparable (by its subjects and its binding) to already known examples by the same photographers; see at C. Baxley album 111111. Few albums and photographs bear a signature or studio mark. For example, we know that Beato left professional photography in 1872, Baron von Stillfried definitively left Japan in 1881. The same year, Kimbei Kusakabe (1841-1934), student of Beato and Stillfried, opened his own studio in Yokohama. He would buy back four years later part of his two masters' negatives and would reprint them regularly.

Autograph letter signed by the Orientalist painter Georges Clairin to a fellow painter, complaining about the harsh selection imposed by the Salon des artistes français, the official and obligatory gathering of French painting.
"[...] jusqu'au 20 mars il y a à Paris beaucoup de malheureux artistes, dont je fais partie, qui s'imposent le supplice d'envoyer un ou deux tableaux au palais des Champs Elysées, et que je suis assez bête pour envoyer deux tableaux cette année - je suis en retard et madame peinture ne me permet pas de me donner les plaisirs que m'offrent l'amitié. [...]" ["[...] until March 20th there are in Paris many unfortunate artists, of whom I am one, who impose upon themselves the torment of sending one or two paintings to the Palais des Champs Elysées, and I am foolish enough to send two paintings this year - I am running late and lady painting does not allow me to indulge in the pleasures that friendship offers me. [...]"]

First edition.
Spine and boards slightly and marginally lightened, a fold mark at foot of front board.
Work illustrated with a portrait of Rabindranath Tagore as frontispiece.

First edition of the French translation.
Spine very slightly faded.
Autograph inscription signed by Israël Eliraz to Charles Dobzynski.
Our copy is enriched with a signed autograph letter by Israël Eliraz, dated 1999, regarding a collection of poems he had sent him.

First edition of the French translation established by Adonis and Anne Wade Minkowski
Handsome copy.
Afterword by Adonis.
Autograph inscriptions signed by Adonis and Anne Wade Minkowski to Charles Dobzynski.

First edition in French.
Handsome copy.
Autograph inscription signed by Adonis to Charles Dobzynski.

First edition illustrated with 8 engravings, after photographs, and some figures in-text.
Contemporary brown half-shagreen binding. Spine with raised bands in Jansenist style. Spine uniformly darkened. Some scattered pale foxing. Good copy.
Engraved bookplate with the arms of De Masur.
Travel account through Japan by a French naval officer. Yokohama, Yeddo, Nikko, Osaka, Kyoto, Nagasaki and Shanghai. The journey relates the classic vision of a Westerner visiting Japan, describing customs, rites and everything that could appear exotic to him, such as theater, Geishas, samurai, ronin, kites... The account contains numerous anecdotes.

First edition of the French translation prepared next to the Arabic text by André Velter and the author.
Pleasant copy.
Autograph signed by Adonis to Charles Dobzynski.

First edition, printed in 1000 copies, of the French translation prepared by André Velter and the author.
Pleasant copy.
Autograph signed by Adonis to Charles Dobzynski.

First edition of the French translation for which no large papers were printed.
Pleasant copy.
Autograph signed by Adonis to Charles Dobzynski.

First edition, on current pope, of the French translation.
Pleasant copy.
Autograph dated and signed by Adonis to Charles Dobzynski.

first edition.
Pleasant copy, rich iconography.
Autograph signed by Max Tessier to Michel Capdenac.

The Konjaku is a compilation of tales and stories that aim to present, in a Buddhist vision, the history of the world. It was formerly attributed to Minamoto no Takakuni (1004-1077), court counselor and great scholar. In its complete version, it was composed of tales about India, China and Japan, this compilation only including those representing Japan. The translation could be: Collection of stories belonging to the past. The stories feature exemplary behaviors that should serve as models or codes for conduct. They are written in Sino-Japanese language.
47 woodcut engravings, 2 to 3 per volume, by an unidentified artist.
Japanese-style sewn wrappers. Printed on mulberry paper. Title labels missing from covers. Most volumes loose and partially unstitched. Paper on covers with scattered flowers, and medallions with foliage and flowers, in red on white ground. The endpapers are mostly separated from the covers.

Autograph letter signed by Pierre Louÿs addressed to a friend whom he calls "khiliarque". Ample and calligraphic handwriting in violet ink. A tear without loss of text to the first page.
Eloquent letter testifying to Pierre Louÿs' fragile health in the last years of his life: "Vous me retrouvez en pleine crise d'emphysème. Médecins. Ventouses. Potions. Régime. Intertitude chaque jour sur la journée du lendemain." [You find me in the midst of an emphysema crisis. Doctors. Cupping. Potions. Regimen. Uncertainty each day about the next day.]
The letter also reveals the writer's passion for dramaturgy, notably through the mention of Gustave Quinson, then director of the Palais-Royal theatre. "Voulez-vous être tout à fait gentil ? Envoyez-moi d'abord votre livret que je suis si curieux de connaître..." [Would you be so kind? First send me your libretto which I am so curious to know...]

The rare first edition.
Bradel binding in full decorative paper, smooth spine, brown morocco title-label, binding signed Thomas Boichot.
Work illustrated with 8 plates hors-texte as well as in fine with a folding plan of the city of Beirut.
Rare.

First edition on ordinary paper, from which only 10 copies were printed on Hollande deluxe paper.
Cover and drawings by Bernard Naudin including 1 double-page.
A marginal dampstain affecting the first forty pages, a small lack at head of first endpaper.

First edition, extracted from the first installment of the Description de l'Égypte, section: Antiquités, Mémoires.
Bound in full modern cream parchment boards. Black sheep title-label with gilt title. Very fine condition, as the copy is as issued, full-margined, on laid paper.
Memoir dealing with commerce among the ancients and moderns with the Orient and Africa, and the comparative geography of present and ancient Egypt, notably the Red Sea and the Isthmus of Suez. Research among ancient authors. Bibliography at the end of the work, extracts in Greek...

First edition of these memoirs, extracted from the Description de l'Egypte, Modern State section, second volume, 3rd installment. Fine printing on strong rag paper.
Bound in full modern cream parchment boards. Smooth spine with black sheep title-label. Some foxing. Uncut copy with full margins.
The first study is an examination of the 9 lakes of Lower Egypt (topographical, physical and historical considerations); The second is a systematic description of the Alexandria canal region based on notes taken on site by the two witnesses who were the authors.

First edition of this memoir extracted from Volume II of the 3rd installment (Antiquities Section) of the Description de l'Egypte.
Bound in full modern cream parchment boards. Black sheep title-label. Uncut copy with full margins.
Historical and bibliographical considerations and evidence of the birth of glassmaking in Egypt; technical knowledge of the Egyptians in the matter of glass. 8 pages of notes.
Some foxing.

First edition of these two texts, extracted from volume II of the third delivery, Natural History section. Fine printing on strong rag paper.
Modern full cream parchment paper boards. Smooth spine with black sheep title label. Full-margined copy, uncut.
The first memoir consists essentially of monthly tables indicating meteorological readings. The second memoir is a physical description of the valley of Upper Egypt, then a study of the Nile allowing considerations on silting and the continual modifications of the valley, followed by historical considerations...
Some foxing.

First edition of these two texts extracted from volume II, Natural History section of the Description de l'Egypte.
Modern full cream parchment paper boards. Black sheep title label.
Topographical description of the valley known as the Valley of Error, located between the Nile and the Red Sea, by a researcher and witness of the Egyptian Expedition, narrated in the manner of a travel account. The description of the Qoseir valley follows the same approach, this valley being situated north of the ruins of Thebes.

First edition, text extracted from the Description de l'Egypte, volume II, Modern State.
Modern cream parchment paper Bradel binding. Black sheep title label.
These tables provide us with precise information on mortality in Egypt (men, women and children) at the beginning of the 19th century. This information was rigorously recorded, giving valuable indications on the health and hygiene of Cairo when the French garrisons resided there.

First edition of this memoir, extracted from volume II of the third installment, Natural History section. Fine printing on strong rag paper.
Modern cream parchment paper binding. Black sheep title label. Uncut copy with full margins.
The author seeks to establish the connection between Egypt's physical situation, its particularities, and the sciences and institutions of the ancient Egyptians. Interesting considerations on ancient measurements and time. One chapter is devoted to the general layout of Egypt's soil.
Some foxing.

First edition, text extracted from the Description de l'Egypte, Volume II, Etat Moderne.
Full modern cream parchment paper boards binding. Black sheep title-label.
The author was part of the members of the scientific commission of Egypt, his mission was to establish a precise survey of the province of Beny-Souef and the Fayoum, this mission being coordinated with that of Jomard for Lake Moeris. The account of the journey dwells on the state of the canals and irrigation works, the topographical and demographic description of these regions, crucial for the agricultural economy of Egypt.
Some foxing.

First edition, one of 10 numbered copies on Holland paper, head print after 10 China and 12 Japan.
Book decorated with original illustrations by the author.
Our copy, as stipulated in the justification of the print, is very complete with the double state of the frontispiece.
Rare and pleasant copy at all margins.

Scroll unrolling horizontally with a title leaf of 3 ideograms (Spring Dream) and 11 colored prints mounted on silk (actually a single print consisting of 11 scenes). When fully unrolled, the ensemble reaches 250cm. The scroll is held closed by a string, the paper is rolled around a piece of wood.
The scroll, made of relatively thick paper is covered with fine silk on the side where the engraving is mounted. The 11 scenes consist of a single long printing on 180 cm, one can perceive by the presence of the lower margin that these 11 scenes were thus printed several times on a large sheet, which were then cut out. This type of printing required a large press. Each scene measures approximately 16x20cm.
Excellent condition. One crease on one of the prints.
It is quite difficult to date this type of anonymous production with exactitude, which can be situated from the end of the 19th century until the 1930s, or even beyond. The 11 scenes depict amorous frolics and sexual practices with more diversity than in Japanese erotic prints (shunga). The scenes take place outdoors, among luxuriant nature or in richly furnished interiors. Painters had specialized in this type of paintings and it is not uncommon to find certain prints mixed with other collections.

first edition.
Small angular gaps on the boards.
Autograph signed by André Gervais to Jean Paillard.

Original map, entirely enhanced in colors, showing the Bosphorus region. Large panoramic view of Constantinople seen from Scutari at the bottom of the map. A legend names and locates 30 important buildings, such as the Seraglio, Hagia Sophia and several mosques. A view of the Hellespont, the Sea of Marmara and Constantinople in the distance, is located in the upper right of the map.
Handsome copy of this map designed by Johann Baptist Homann (1664-1724) - one of the most renowned cartographers and founder of one of the most important German publishing houses.

First illustrated edition with 16 inset plates reproducing the works of Taro Okamoto.
Ex-dono manuscript on the half title page.
Rare and nice copy.

First edition illustrated with photographs and maps hors-texte.
Handsome copy.

Tabula Asiae VIII
[Basel ca 1550]
| 42.1 x 33 cm | one map
Original map, titled and heightened in colors by a contemporary hand. Published for the first time in 1540 in Munster's Geographia.
Central fold. Two repairs with paper strips to verso and two little wormholes without consequence.
A very good copy of one of the most important maps of monsters from the 16th century, done by one of the most famous mapmakers of the Renaissance.
The map covers the territories of Central Asia as well as Tibet and Nepal.
One finds, at the edges of the topography, three kinds of congenital deformations (monopods, headless men, and
people with the heads of dogs) as well as a legendary bird.
All these creatures emerged from the superstitions of the Middle Ages, based on accounts by travelers who had preceded Marco Polo into Central Asia. Also worth noting is a scene showing cannibalism in the North part of the map.

New edition of the French translation illustrated with original illustrations by Léon Carré, one of 750 numbered copies on laid paper, the only issue after 160 various Japan papers.
A handsome copy.

First edition consisting of a large folding colored map presented in original wrappers.
Small marginal lacks to covers.
Handsome and rare copy.

First edition.
Unlettered spine with small tears, boards marginally discolored, handsome interior condition.
Rare.

First edition printed in a small number of copies of this offprint from the bulletin of the Revue de l'Orient chrétien.
Spine and covers lightly and marginally sunned, handsome interior condition.
Rare pamphlet.

First edition of the French translation by M. de Hammer and M. Poujoulat.
Spine warped with tears and lacks, marginal lacks to first cover, handsome interior condition.
Rare.

First edition published in a small number of copies of this offprint from the "Philological society" bulletin.
Small tears to spine and corners of boards marginally sunned, handsome interior condition.
Rare pamphlet.

First edition printed in a small number of copies of this offprint from La revue bleue of December 28, 1918 and January 11, 1919.
Small stains to corners of front cover boards marginally discolored, handsome interior condition.
Rare work presented under triple mauve wrappers.

First edition.
Split spine with lacks, tears and corner lacks to covers, two dampstains to covers affecting some leaves but not the text.
Rare pamphlet.

First edition printed in a small number of copies of this offprint from the bulletin of the Société de Géographie from the first quarter of 1885.
Spine with small lacks, tears, stains and corner lacks to covers, some interior foxing.
Rare pamphlet with a map at rear.

First edition.
Spine with lacks, tears, stains and corner lacks to boards, loose copy, rear board detached.
Rare but in poor condition.

First edition.
Small tears with lacks and marginal creases to boards, some interior foxing.
Rare.

First edition.
Spine broken with lacks, lacks and angular tears to boards, front board detached, handsome interior condition.

New edition.
Tears and small lacks to spine, angular creases to dusty boards, handsome interior condition.
Rare.

New edition.
Tears and small lacks to spine, lacks and angular tears to boards marginally sunned, handsome interior condition.
Illustrated pamphlet with 4 figures in the text and complete with its loose map.
Rare.

First Edition printed in a small number of this reprinted from the Journal of Jewish Studies.
A lack at the top of the first board which also has a clear marginal wetness, nice interior state.
Signed autograph dedication of Hartwig Derenbourg at the head of the first board, the name of the dedicatee was torn off.
Rare.

First edition.
Two dampstains to head and foot of all leaves not touching text.
Rare.

First edition.
Two lacks and one stain to spine, tears and corner lacks to boards, two light dampstains to front board, some interior foxing and to boards.
Rare.