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Étienne Alphonse Dinet and Sliman Ben Ibrahim, La Vie de Mohammed, Prophète d'Allah (The Life of Muhammad, Prophet of Allah), Paris: Edition d'art H. Piazza, 1918, first edition

[viiii] + ix + 178 pages including illustrations of 27 watercolour prints consisting of 19 single plates and 8 double plates by Étienne Dinet painted during his pilgrimage to Mecca, 12 introductory pages (text in French) with decorated chapters, cover, initials and various ornaments in the Moorish style by Mohammed Racim, of which one is a frontispiece and one is at the end of the text. The rest are at the beginning of each chapter, and 1 map of the Hejaz in black at the end, all protected by serpentes captioned; rebound in contemporary full leather with ornamental floral pattern debossed on the front and back boards, gilt title at the front board and at the spine with four raised bands
13.1 x 10.4 x 1.5 in (33.3 x 26.5 x 4 cm)

The work is dedicated "to the memory of the Muslims who died for France”.

Sliman Ben Ibrahim Baâmer was the guide of French Orientalist painter Étienne Alphonse Dinet, commonly known as Nasr' Eddine Dinet (1861–1929), during his trip to Algeria in 1889; he introduced Dinet to Bedouin legends as well as to Islamic spirituality and produced no less than 8 works with him. He was one of the founders of the Société des Peintres Orientalistes.

Étienne Alphonse Dinet spent more than 30 years in Algeria. He was so enchanted by North Africa and its culture that he practiced Islam and picked up Arabic. Dinet distinguished himself from other orientalist painters with his knowledge of Arabic language and culture, and he was able to locate nude models in rural Algeria where the veil's restrictions were less strict. His paintings tended to depict “anecdotal genre scenes” before 1900, but as he became more familiar with Islamic culture, he started to paint more religious settings. In 1898, he published a translation of an Arab epic poem from the 13th century by Antara ibn Shaddad. He was active in translating Arabic literature into French. He depicted the daily life and religious practises of the Prophet's followers in order to recall his presence, following the tradition of all great Islamic artists, from Persian carpet weavers to Mughal miniaturists.

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