facsimile edition

The Holy Science

2013 Reprint of 1949 Edition. Full facsimile of the original edition, not reproduced with Optical Recognition Software. Yukteshwar was an educator, astronomer, a Jyotisha (Vedic astrologer), a yogi, and a believer in the Bhagavad Gita and the Bible. He was a disciple of Lahiri Mahasaya of Varanasi and a member of the Giri branch of the swami order. Yogananda considered Yukteswar as Jnanavatar, or “Incarnation of Wisdom”. Yukteswar wrote “The Holy Science” in 1894.

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The nameboard of the Chopin Institute’s 1838  Erard

The Chopin Institute’s 1838  Erard

The Fryderyk Chopin Institute (Polish: Narodowy Instytut Fryderyka Chopina) was created in 2001 as the result of legislation in the Polish Parliament.

The Institute is located in Warsaw. It is dedicated to researching and promoting the life and works of Polish-French composer Frédéric Chopin, (born in Poland as Fryderyk Chopin). Its activities include publications, organization of concerts, conserving the physical and artistic Chopin heritage, monitoring the commercial use of Chopin’s name and operating a Chopin Information Centre (the Institute’s website). Amongst its publication projects is a complete facsimile edition of Chopin’s works, compiled from all available holograph manuscripts, edited by Zofia Chechlińska.

The Institute is the organizer of the five-yearly International Chopin Piano Competition. It also runs the “Young Talents” programme to encourage young Polish pianists.

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Point and Line to Plane

2013 Reprint of 1947 Edition. Exact facsimile of the original edition, not reproduced with Optical Recognition Software. In this title Kandinsky analyzed the geometrical elements which make up every painting-the point and the line. He called the physical support and the material surface on which the artist draws or paints the basic plane, or BP. He did not analyze them objectively, but from the point of view of their inner effect on the observer. A point is a small bit of color put by the artist on the canvas. It is neither a geometric point nor a mathematical abstraction; it is extension, form and color. This form can be a square, a triangle, a circle, a star or something more complex. The point is the most concise form but, according to its placement on the basic plane, it will take a different tonality. It can be isolated or resonate with other points or lines. A line is the product of a force which has been applied in a given direction: the force exerted on the pencil or paintbrush by the artist. The produced linear forms may be of several types: a straight line, which results from a unique force applied in a single direction; an angular line, resulting from the alternation of two forces in different directions, or a curved (or wave-like) line, produced by the effect of two forces acting simultaneously. The book contains many photographic examples and drawings from Kandinsky’s works which offer the demonstration of its theoretical observations, and which allow the reader to experience the inner effect of the point and line to plane.

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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

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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’.

Thanks to librarian Lindsay Morecraft for supplying perfectly themed thumbs for this shot.

Facsimile edition of the 15th century (ca. 1460-1477), heart-shaped Chansonnier de Jean de Montchenu (Ms. Occ. Rothschild 2973) housed in the Bibliothèque nationale de France.
Polyphonic chansons for 2-4 voices.
Choir book is in the shape of a heart. Issued in leather case (23 cm.).
Contains Middle French and Italian secular pieces by or attributed to Barbingant, Fedé, Bedingham, Dufay, Dunstable, Binchois, Frye, Busnois, Caron, Cornago, Ghizeghem, Morton, Ockeghem, Vincenet and others.
One of 1380 numbered copies signed by a notary.

Rita Benton Music Rare Book Room FOLIO M2 .C428 2010
University of Iowa.

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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Christian Waller  (Australia 02 Aug 1894 – 25 May 1954)

Title: The great breath; a book of seven designs

Year:  1932

Media categories:  Book, Print Materials used:  linocuts, black ink on tracing paper, tipped onto thick cream wove paper

Edition:  circa 30

Dimensions:  31.9 x 13.5 cm blockmark; 43.5 x 47.7 cm each sheet

Signature & date:  Not signed. Not dated.

Credit:  Gift of Klytie Pate 1975

Accession number:  250.1975

Copyright© Klytie W Pate

artgallery.nsw.gov.au


Description from Art Gallery of New South Wales (artgallery.nsw.gov.au): "Christian Waller (née Yandell) was born at Castlemaine in 1894. Her family moved to Bendigo in 1908, and the following year at the age of fourteen she had an oil painting exhibited at the Bendigo Art Gallery. In 1910 she enrolled in the drawing class at the National Gallery School, Melbourne under Frederick McCubbin, and in 1912 in the painting school under Bernard Hall. She met her husband Napier Waller while a student; they married in 1915. She is best known as a book and magazine illustrator, printmaker and stained glass designer; her relief prints were principally made in the 1920s.

In 1929 the Wallers made a trip to Europe. Shortly after their return to Melbourne in 1930, they befriended Tatlock Miller, who owned a bookshop in Geelong; in the next few years he assisted with the production of a number of Christian Waller’s books and prints; she contributed to the initial editions of his literary and artistic magazine Manuscripts (published from November 1931). Miller established the Golden Arrow Press, the first release of which was The great breath, published in April 1932, priced at £3.3.0 each.

The production of ‘The great breath’ was entirely undertaken by Waller; all aspects from the cutting and printing of the linoblocks to the manufacture of the distinctive gold-painted emerald green cover was done by hand. She printed the blocks on her 1849 hand-press in her studio at Ivanhoe, each book taking about four days to make, hand-bound with green cord. Although it was intended to produce an edition of 150, it seems only about 30 were made, with some unbound impressions extant, usually untrimmed. Each consisted of a title page, colophon, contents page and seven linocut designs. The images were printed in solid black on white translucent tracing paper, trimmed and tipped onto the cream pages. The books were not numbered sequentially, but rather in relation to the numerology of the buyer - the Gallery’s copy was a gift of Klytie Pate, Waller’s niece.

Christian Waller was a Theosophist, beliefs which inform 'The great breath’; in particular the Golden Dawn Movement. The central theme of the book is the evolution of the human race, based on the writings of Madame Blavatsky, the founder of the Theosophist movement, in particular her book 'The secret doctrine’ (1888-97); the introduction stated 'A book of seven designs, each design a symbolic rendering of the impulse behind an individual Root Race of the present world cycle’. The designs draw upon ancient Egyptian and Greek imagery, and symbolism from a number of sources including the Zodiac, as well as art deco and modernist design. 'The lords of the flame’ is the third image in the book; 'The lords of the flame made man a living soul in the Lemurian third race’.

Two pencil studies for The lords of the flame are in the National Gallery of Australia, with other studies for the book. There is a second copy of the book in the Gallery library (number 43). The engraved linoblock is in the collection of the Castlemaine Art Gallery. In 1978 Gryphon Books published a facsimile edition in slightly smaller format, limited to 600 copies, signed by Klytie Pate.

Hendrik Kolenberg and Anne Ryan, 'Australian prints in the Gallery’s collection’, AGNSW, 1998"  Description and images: artgallery.nsw.gov.au


Artemis: Click through images for details.   For more about theosophy see wiki:  HERE