facsimile edition

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New from American Eldritch: high-quality facsimile editions of two of William Blake’s continental prophecies. America a Prophecy (1793) features an introduction by Aladdin Collar, and Europe a Prophecy (1794) features an introduction by William Butler Yeats. Both volumes of premium cosmic horror are published in full color, and contain supplemental plain-text versions of the poems, as well as a diagrammatic interpretation of the cosmology. 

Blake’s system repurposes gnostic philosophy, Quabbalic mysticism, and greco-roman/pagan tradition with an almost wholly new order of celestial deities. The poet himself seems to have lived a persistently visionary existence; he explained his writing process as taking dictation from spirits. As WB Yeats describes him, “He saw in every issue the whole contest of light and darkness, and found no peace. To him, the universe seemed filled with an intense excitement, at once infinitesimal and and infinite, for in every grass blade, in every atom of dust, Los, the ‘eternal mind’, warred upon the dragon Urizen, ‘the God of this world.’” - Aladdin Collar, from the Introduction to America a Prophecy

One of the oldest Latin translations of the Emerald Tablet. taken from a Victorian era facsimile edition of  De Alchimia, originally published in 1541. 

In his alchemical papers, Isaac Newton translated it to English as follows:  

Tis true without lying, certain & most true.

That which is below is like that which is above & that which is above is like that which is below to do the miracles of one only thing

And as all things have been & arose from one by the mediation of one: so all things have their birth from this one thing by adaptation.

The Sun is its father, the moon its mother, the wind hath carried it in its belly, the earth is its nurse.

The father of all perfection in the whole world is here.

Its force or power is entire if it be converted into earth.

Separate thou the earth from the fire, the subtle from the gross sweetly with great industry.

It ascends from the earth to the heaven & again it descends to the earth & receives the force of things superior & inferior.

By this means you shall have the glory of the whole world

& thereby all obscurity shall fly from you.

Its force is above all force. For it vanquishes every subtle thing & penetrates every solid thing.

So was the world created.

From this are & do come admirable adaptations whereof the means (or process) is here in this. Hence I am called Hermes Trismegist, having the three parts of the philosophy of the whole world

That which I have said of the operation of the Sun is accomplished & ended.

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Joseph Beuys, “4 Bücher aus: "Projekt Westmensch“ (4 Books from: “Project Western Man”), 1958. Facsimile edition, 1992.

Printed in grano-lithography (4-12 colors), altogether 1168 pages, 454 of which bear imagery and notations.

Each book 30 x 22 x 1.8 cm. Printer: Matthieu, Dielsdorf/Zurich. Ed. by F-J. Verspohl, Eva Beuys and J. Schellmann .

Limited Edition: 365 (+ 35 H.C.), stamp numbered on one of the last pages.

From 1958 to about 1965, Joseph Beuys worked on four sketchbooks collectively titled “Projekt Westmensch". Exhibiting veritably the whole range of his artistic vocabulary, the pages of these books are filled with drawings, texts, watercolors, list of words and notions, concepts and themes with numerous notations for future projects. While many of the pages are related directly to his other work, there are some whole enigmatic forms, conceptual references and codes will prove a fascinating challenge to viewers and professional art historians alike. The rhythm of the entries, often separated by long series of blank pages, provide a very intimate insight into the artist’s visual idiom and his universal thinking.

Laszlo Glozer in: Sueddeutsche Zeitung,  28th/29th November 1992, p. 17: …"Franz-Joachim Verspohl’s excitement is fully justified; together with Eva Beuys and Jörg Schellmann he deciphered the four notebooks left by Joseph Beuys and provided an illuminating art historical essay. The content of the exclusive publication is truly sensational. In contrast to the previously accessible drawings, as well as the large series of the Secret Block assembled by Beuys as the quintessence of such, these four study books allow an unedited insight into this artist’s approach for the first time. The intimate effect is heightened by the reflection of the notebooks’ original size. This unobtrusive marvel of technical reproduction suggests that one is holding Beuys’ account of his studio activities in one’s hands.   One first has to process this newly gained closeness to the protagonist. For, not only a sensational resource for the artist’s ideological objectives has been created, but also a highly complex testimonial of his association with artistic contemporaries. The ambiguously sounding description 4 books from: “Projekt Westmensch 1958" that Beuys added only at a later stage, also alludes to historical connections; and the abundance of the ‘seismographic’ drawings are commemorative of that existential postwar era, where whole generations with verve wanted to find the ‘unknown in art’.