|—||Shan Sa, Empress|
Andreas Heumann HERE
Contrasting Sounds, 1924
See archive for more
Masao Yamamoto (via: Jackson Fine Art)
Artemis: I’ve posted a couple of these in the past. I want them with this set though. :)
Photo: Ernest Hemingway 1923 passport (via: latimesblogs)
"If you are lucky enough to have lived in Paris as a young man, then wherever you go for the rest of your life, it stays with you, for Paris is a moveable feast."
"We ate well and cheaply and drank well and cheaply and slept well and warm together and loved each other."
"But Paris was a very old city and we were young and nothing was simple there, not even poverty, nor sudden money, nor the moonlight, nor right and wrong nor the breathing of someone who lay beside you in the moonlight."
“When spring came, even the false spring, there were no problems except where to be happiest. The only thing that could spoil a day was people and if you could keep from making engagements, each day had no limits. People were always the limiters of happiness except for the very few that were as good as spring itself.”
~Ernest Hemingway, A Moveable Feast
Free ebook: HERE
See archive for more Ernest Hemingway: HERE
Christian Waller (Australia 02 Aug 1894 – 25 May 1954)
Title: The great breath; a book of seven designs
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
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
Rosie Lee Monument
Artemis: See the high-res.
Description from 1stdibs: “The “Pomegranate Heart” was designed by Dali in the 1950’s with rubies and diamonds. This example was fabricated by Henryk Kaston who made all of Dali’s jewelry from 1980 to 1990. The stones include 17 pear shaped and oval cabochon cut rubies, for a total weight of 6.44 carats. The brooch is further highlighted by 63 full cut round diamonds for a total weight of .63 carats. The brooch is signed Dali by Kaston.” 1stdibs.com
Tristan & Isolde Brooch
Description from 1stdibs: ”The romantic opera Tristan & Isolde was Salvador Dali’s favorite opera. It inspired him to design this brooch of the two dreamy lovers who are attempting a kiss only to be separated by a golden goblet of garnet and diamonds. Dali designed the brooch in 1953. At that time Dali commissioned Carlos Alemany to fabricate his jewelry designs. Their relationship continued until Alemany died at which time Dali commissioned Henryk Kaston, a violin bow maker and jeweler, to fabricate his jewelry designs. Their relationship continued until Dali’s death in 1989. This brooch dates from the Kaston period, circa 1980’s.
The brooch shows the two figures in profile, separated by a chalice of a triangular buff brushed garnet and 33 full cut diamonds weighing approximately one carat. Signed on the back “Tristan and Isolde 18K HK After Dali”
Dali (1904-1989) wrote of this brooch :
"The heads are juxtaposed to form a goblet, which, in turn, suggests the effluence of love possible between man and woman." 1stdibs.com