TEUFELSKUNST Occult Art Shop and Blog

Secondhand Literature: Chumbley, Schulke, Eytzinger, Uccello

Still available:

The above books ship from Germany. The prices are without shipping costs or paypal fees. The shipping costs are charged seperately, depending on weight and destination country and are added to the final price.


Uthark: Nightside of the Runes by Thomas Karlsson
Hardcover | 2002 | Ouroboros Produktion
First edition | ISBN 9789197410212
Condition: Used, specks on the cover
Price: 200 €
ships from Sweden


February 19, 2015

Posted In: Literature

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Queen of Hell Trident Edition & Uthark First Edition

Starting the round of Second Hand Books available in 2015 are one mint copy of the leather-bound Trident edition of Mark Alan Smith’s Queen of Hell and one copy of the first edition of Thomas Karlsson’s Uthark. The books are sold by different persons and ship from different countries. Please view photos and pricing below:

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Queen of Hell by Mark Alan Smith
Hardcover, bound in goat leather | 2010 | Ixaxaar Publishing
Trident Edition, limited to 81 copies, #60
Condition: Mint, collectible

IMG_20150119_103251+  IMG_20150119_103059+  IMG_20150119_103132+

Uthark: Nightside of the Runes by Thomas Karlsson
Hardcover | 2002 | Ouroboros Produktion
First edition | ISBN 9789197410212
Condition: Used, specks on the cover

Books are offered on behalf of my clients. Prices are excluding shipping! The exact shipping costs depend on the destination country and have to be negotiated with the seller. Note also that additional Paypal fees may not be included in the price.

How it works: for purchasing please write e-mail to info@teufelskunst.com and after that I forward all serious requests to the seller. The seller then gets back to you in e-mail. After a book is sold and shipped I charge a 5% sales commission from the seller.

More Second Hand Literature

January 20, 2015

Posted In: Literature, Second Hand

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Sun Incenses Special

During the dark and cold season the body and mind may require additional stimuli that bring positivity and warmth into the home and life. Especially for lofty Gemini creatures such as myself, this can be essential. Mental strength, vigilance, coping with ego matters, removing bad vibes, recreation and vitality are some keywords coming to mind in this context. And to stay with the example, Gemini tend to have a need for being the center of attention, which can easily become a nuisance. Whereas the opposite would be a lack of self-confidence and a deficit in joy of living. Neither is desirable and dealing with such ego problems is part of the spiritual work associated with the ‘sun’. Besides, looking at typical sun herbs, you will find many of them are indeed fragrant and aromatic – so perfect for use in incense and aroma therapy. Now there are plenty of herbs that fall into this category and some of them have in fact several planetary attributions. The past weeks I’ve been researching this topic again, took notes, combined and re-combined ingredients. Throughout this I literally followed my nose (but also my eyes) and the result are three incense formulae that each put emphasis on a different solar aspect, scent and color:

IMG_9645 copyBlend I is the first I created and comes as an ‘all purpose’ incense, containing epitomes of solar herbs. Now the old formula has been modified, adding optionally either Amber or Labdanum to the composition, which further contains Bay leaf, sweet Blood Orange peel, aromatic Calamus root, spicy Cassia bark, Clove, fragrant Cedar wood, Frankincense Aden as well as Safflower and Sunflower petals. This is a warm and glorious blend, unfolding a smooth, balmy, spicy-sweet aroma when burnt. Embodying zest for life, this incense awakens the vital spirits. Burn for positivity, power, strength, lust for life, vitality, wealth and overall wellbeing.

IMG_9681 copyBlend II is aerial, refreshing and somewhat tarter. It contains the precious Gum Mastic resin, which is combined with high quality Frankincense, Elemi and green Lime peel as well as Hops, Rue and Walnut leaf – giving this blend an overall lemony fresh and pleasantly bitter-sweet aroma. Cinnamon adds sweet warmth. Spicy Angelica banishes negativity and sickness. Female & male Mistletoe from various trees are there for luck and invincibility. Use this blend for cleansing and removing bad vibes, for balancing and calming down, healing, protection, rejuvenation and revitalisation, for mental strength, vigilance and sharpening the senses, also for receiving and formulating visions.

IMG_9700 copyBlend III is a special offer, containing a unique type of heterogeneous black copal, which is varying in color from black to blood-red to golden-yellow and unfolds a mind-blowing, pine-like scent that is beyond comparison. Spicy-tangy, wintry fresh and uplifting, yet also warming, combining dark and light aspects. This blend embodies the signs of life shining through a blanket of snow covering the earth, its scent being rather heavenly. Further ingredients are White Copal, Yauhtli, Rosemary, Marigold, Juniper, Clove, Cinnamon, Carnation, Chamomile and Bay leaf. Elevating and unifying dark & light aspects, use this blend for purification, as a ceremonial incense, for meditation and spiritual work dealing with ego matters, transformation, heightened state of consciousness, and also for love, prosperity and protection.

As part of a special offer these incense blends are available in 50 ml Miron violet glass jars with black screw caps (offer good as long as supplies last). Besides this blend I + II are also available in standard 50 ml glass bottles with cork stoppers. If you’d rather like small samples you can also get a 14 ml test bottle of each. View below the details for pricing & packaging. For ordering please write e-mail to info@teufelskunst.com or, if you prefer, visit the Teufelskunst online shops at Storenvy and Etsy (yes, I’m back there!).


  • Worldwide: 5,60 € up to 500 g or 9,15 € up to 1 kg (ships with registered mail)
  • Germany: 4,99 € with DHL or 4,50 € with Hermes (insured up to 500 €)
The above incense blends are meant for burning on coals inside a fireproof censer. An alternative option is to use a warmer,  where the herbs and resins are heated over a tea light.

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December 13, 2014

Posted In: Herbs & Seeds, Ritual

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Interview with Angela Edwards

Death Shrine To The Holy Whore - Part 4, Meta Morf Festival, Trondheim Norway
Death Shrine To The Holy Whore, Part 4 – Meta.Morf Trondheim art biennale, Norway

“Life is too short to care what other people think about you or your work.”

The first time I meet Angela Edwards is in London earlier this year. We are both participating in an esoteric art event, which is taking place inside an old tower that once used to be a church. In the top floor of this tower Angela has built a bizarre altar to Pomba Gira. Whoever makes it up here, is confronted with a highly controversial set-up.

We are in this former church tower, outside and through the open windows is blowing a cold wind and I look at this shrine installation composed of dozens of vulvic clay sculptures, glazed in fleshy colors and accompanied by various sigil drawings (in that context known as pontos riscados, scratched or marked points through which the spirits are invoked). The shrine is illuminated by candles, there are rose petals scattered over and between its elements and its overall aura is red – the color of blood, life, love and war. The place feels warm, whereas the temperature in the rest of the tower has dropped noticeably. We light candles, burn rose-scented frankincense and I am left wondering. We talk.

Angela mentions her daily devotional practice with the different Pomba Giras, female entities in the folk-magical traditions of Umbanda and Quimbanda, which act amongst others as protectors of prostitutes, gays and people living on the fringe of society. I learn Angela has been a sex worker and lost friends on the streets. And slowly this installation begins to make a lot more sense. I remember a moment, in London, years ago. I knew nothing about Quimbanda, or the nature of these spirits. And I still have no explanation for why I reacted the way I did. It was the first time being confronted with a few drawings of such pontos and I suddenly found myself overwhelmed by a profound all-encompassing sadness. There is no rational explanation for the intense emotions I was overcome with, why it drove tears into my eyes. But it may have been the vague notion of a thousand sad life stories never to be told. Today I also know that, despite all, these are proud spirits, who have their own rules. I pay the shrine a few more visits, lighting or re-lighting candles. Now there is no sadness here.

We get back in touch a few months later. Angela sends me two paintings and through a lucky circumstance I also get a copy of her Tantric Brute Grimoire. I start following her work more closely. Finally there is someone in the esoteric art scene determined and not afraid of crossing the border to modern art, passionate about pushing the limits. Her works are raw. Her brush strokes are thick and dynamic, her artistic expression sometimes bold, other times complex in detail or even playful. She is one of the most prolific artists I know. The fleshy tones, aggression and weird compositions of her paintings and other creations strike a chord with me. Despite the pain and struggle involved I find them strangely beautiful and inspiring. Liking her work is “acquired taste” as she puts it. If you have not heard of her or seen her work before, please be aware that her art is not for the faint of heart. If you are sensitive to graphic content or gore you should not proceed. There is a lot of pain and violence and passion involved.

In May this year you participated in the Meta.Morf art biennale in Trondheim, Norway, where you performed the third part of your ‘Death Shrine To The Holy Whore’ series. How did it go? Did you recover well?

It was an interesting experience and I felt a very open-minded environment for the work. Normally I have so many issues performing in mainstream / alternative venues due to health and safety, or I cannot get Arts Council funding for my type of work with the real bodily risks involved. My work is dangerous physically and controversial, meaning few places are open to my performance concepts. It was nice to be involved in a supportive environment that understood the concepts of the work and accepted them. I also was happy to perform on the same line up as musicians I admired such as Ze’v, a key figure in the early industrial scene, and for my piece collaborate with Cotton Ferox. Cotton Ferox‘s work I was aware of through the White Stains album of Crowley sex poetry they collaborated on with Genesis P Orridge. I thought working with them, even on an improvised performance, would add for me to the interest of this project.

I often plan my performances for months in advance, the amount of preparation work after the original conception of an idea is draining. So for like four months before a piece all my energy goes into planning thinking and realising. Though the problem is, as my work is not staged in the literal sense, all the planning I do or meditation or research towards a performance, cannot shape the outcome of the organic sate of the ritual. Often nothing, even with all this prep work, turns out as I planned or thought it would visually, the work takes on a life of its own outside of myself and my ego or restrictions placed upon it as an artist.

When I perform I reach an entranced, focused state and I often do not remember an actual performance or what it felt like, as I work outside of my body. For months I am terrified of the risks concerning my work but in actual practice I distance myself or these thoughts from the work. The Norway performance was similar to my previous performances. I cannot remember a lot of the hour-long ritual, I placed nails ripped in my arms, masturbated and pinned over a hundred roses with hypodermic needles to my vagina, but I remember nothing in that state of consciousness. I think it takes me at least though, from these acts, two months to recover. For most of the time I am gentle and treat my body well, but physically this kind of work is draining and intense and scars are like wounds, an occupational hazard. This is why I can only physically do these types of rituals, two a year max. It’s not something that can be staged every month or week, like most – even transgressive – body art pieces that I see. I also do not believe in repeating this type of work more than once. What I strive for and do believe in are transgressive, spiritually enlightening experiences that push the self to true limits or mortality. The work is for real concerning real risk, like Abramovic’s early work and a true vessel for my exploration of sex, death and human fragility as an artist.

Could you tell us even a bit more about the concept behind your performance art and what kind of actions it involves?

I am currently working on an ongoing set of pieces concerning sex, death, sacred sex work and the human condition. These performances are all installations based around exploring these concepts. So far there are four pieces of performative installation works, or extreme body art, in the Death Shrine to The Holy Whore body of work. I plan on continuing this work and already have the ideas for the next two pieces planned out. When I find a venue, I plan on continuing this ritual, then exhibiting all the combined extreme performative rituals as a final film. So far this project is already three years in the making. I am looking at the final piece of work being complete in around ten years min, it’s an ongoing piece of major work. The project has mainly involved extreme body art and sexual acts regarding ritualistic transgression. I like to think of these pieces as a human self-portrait or, as Francis Bacon executed in his paintings, a portrait in flesh of the Human condition. The project has involved many actions regarding sex and death, including my labia being stapled shut, anal / vaginal full penetration, burials under earth, nails being inserted in my arms, with masturbation afterwards and a two-hour cutting ritual with my whole body covered in cuts by a scalpel.

Do you sometimes feel discomfort showing yourself naked – and perhaps vulnerable – in front of an audience consisting mostly of strangers?

I think as artists we always show our vulnerability to the audience, whatever medium, a performance artist just uses the medium of their own body rather than a sculptor with clay or a painter with paint and so on. I really see no difference between any of these art forms as all expose the artist’s fears and abolish their egos or work outside of themselves. All art is exposing a part of the artist’s self that is deeply personal and private, in whatever medium to strangers. This is what art is for, most of the time and to be honest, I try to work outside of myself or my ego. I do not think of myself or consequences, like, what others think. My body is a vessel to make art and the whole thing is greater than myself or my own insecurities or worrying about my body image or what others think.

Would you say these live rituals change you in some way?

Of course these rituals change me in some way, as my main motivation is not to perform theses acts as art but as a heightened personal spiritual experience and to abolish my ego to a higher spiritual understanding through the work or understanding of sex, death and my own fragility as a human being and mortality.

Below follows a video from Angela’s Torture Garden performance. Warning: do not watch if you are not able to comprehend nudity or physical violence in art!

Performance art is not everything you do. You are also a sculptor, painter and essayist. And besides this you are a part-time sex worker. How does all of this tie together in your life and art?

I have worked on and off as a sex worker from age fifteen onwards, the first stages of sex work done around drug addiction and circumstance. Recently I decided to return to sex work for two years only as part of my sacred sex work art project. I wanted to have a positive, none exploitative view of sexuality and working in the sex industry. I also wanted to look at sex work differently, as regards using it in sacred sex work and ritual context. I wanted to explore the sex industry as an example of human condition and use it in my art and writings regarding transgressive extremes, sex and death. I felt that partaking in sex work for two years, although currently I am now not working in the sex industry, enabled me to make authentic art regarding the aforementioned subjects.

What experiences do you collect when working with clients? Do these experiences reflect in your art?

A lot of my sex work is collected within my art as a reflection of the humble human condition and human fragility or my own mortality. Working as a sex worker also allowed me to work outside of myself and ego in that, by accepting everybody, you learn to abolish the ego or your own restraints around things like mortality and then, when all these things are broken, you can finally, through this destruction create something else outside of the self that is valid and new.

A short word on your sculptures. You reference Louise Bourgeois and the work of Rachel Kneebone, who’s porcelain sculptures are currently being exhibited opposite bronze sculptures by Rodin. As contrasting as this may occur, the sculptures also have something in common. Both evolve from organic structures, human bodies or single body parts assembled to form something more complex. Your sculptures too are complex creations that appear organic and are assembled of myriads of smaller elements, which are more or less defined in form. Could you tell us a bit about these objects and what they mean to you? Are the mentioned artists an inspiration?

I think even though I admire Kneebone’s work and her figures are sexual and surrealist she isn’t close in relation to my own work as her work is too perfectly formed and more classically sculptural. My work is far more of the flesh, raw, sexual and organic, so closer in relation to Louise Bourgeois. My sculptural work is a continuation of my performance work and painting all is organic flesh and bleeding ripped. My sculptural works are again portraits of creation, sex and death and all the fears attached to being human.

Which other artists inspire you?

Artists like Marina Abramovic, Ana Mendieta, Herman Nitsch, Francis Bacon, Louise Bourgeois, Joseph Beuys, Matthew Barney, Cecily Brown, Gina Pane, Orlan, Valie Export  Nan Goldin, Tracey Emin, Joel Peter Witkin, Lucian Freud, Frank Auerbach and Cosey Fanni Tutti to name a few. But many artists inspire me, even ones that aren’t connected in context to my own work.

Its been great to meet or see some of these artists talk or explain their work in context. Recently I saw Abramovic talk and she totally lived up to my expectations as a humble great artist, like Gilbert and George. These artists are totally real and just go out and make art to believe in against all odds. I like to go to free talks at places at the white cube, it’s a great none stuffy environment and I always find it inspiring to hear artists explain their work and experiences. It’s great that these people become accessable to some extent. This I find inspiring; these artists who have struggled and pushed the boundaries of their visions and still remain humane and down to earth. (part edited)

Your paintings and other art carry references to the magical tradition and folk-religion that is Quimbanda. E.g. you mentioned your work with different Pomba Gira spirits and you pay them daily offerings. Would you mind telling us a bit about your worship practice? And how do these spirits influence you in your life and creative process?

My practice privately is that I have a traditional Quimbanda altar with statues and traditional offerings and pontos. I light candles each day for dead friends from the streets in remembrance, it’s just a daily ritual that I do. Most friends were sex workers who died of stabbings, HIV, Ods etc. The Pomba Giras and Exus are said to traditionally be the spirits of the streets, so it fits. I use the imagery and rituals in a more conceptualised way to merge in with my art but my art is not based upon a traditional spiritual practice, although my altar at home privately is more founded on traditional beliefs or practices regarding the religions of Vodou and Quimbanda.

Are the Quimbanda spirits the only spirits you are working with? Are there other spiritual systems that would be of relevance to you?

I am mainly interested in all grounded spiritualist practices and connect also to the shamanic aspects of religions such as Vodou and Santeria also.

Pomba Gira Shrine, site specific installation, Hackney Tower, London 2014
Pomba Gira Shrine, site specific installation, Hackney Tower, London 2014

You receive different reactions to your work, from praise to ignorance or actual offense and you are subject to an array of rumors and fantastic ideas regarding your person. Some imagine you at the center of a sex cult. People, and often males in particular, are offended by the obscene and graphic contents. Some occultists have problems with your blending of esoteric contents and folkloristic working manners with modern art…. How do you deal with such biased criticism? Do you encounter any other weird rumors about your person and what is your answer to them?

Well I have never said that my performances are traditional occult practices, nor have I encouraged others to self harm or repeat my work. I have always been very clear to explain that this is my individual path and take full responsibility for my decisions regarding my practice. Nor have I ever encouraged women to be abused working in the sex work industry. I know that all these things hold dangers and would never encourage anybody to do the same as myself unless they really believed this path was for them. I personally have had great spiritually enlightening experiences working with such extremes and it has given me a lot back as an artist and awareness of all aspects of human fragility etc. I have become empowered in abolishing my ego and working in these extremes. Though I know obviously some people would not gain or be destroyed by such actions or a life.

In short my work, my experiences or my art are not suited to everybody, but just because of this I do not see why I can’t express myself and use my own body in my work as I chose. How others view my work is not my responsibility and people will take what they want from the work, positive or negative, good or bad, that’s just the way it is when as an artist you place work or ideas in the public domain. You also become, by working in the open, a public figure. So even though I am not famous in the mainstream but because I am known by many in the art /performance / underground and occult world, my work and private life become public property, to be judged by complete strangers and people who have no intimate knowledge of me in real life.

I do think though that when you aren’t gossiped about and nobody is interested in you that’s when you should worry. Any interest or discussion of the work, good or bad, is better than none. I have heard several rumours spread by people who don’t know me in real life that I was starting a sex work cult with bald women working as whores for me, with them giving me all their money and I was also getting them to do cutting rituals with me. It’s all really stupid and when I hear middle-aged men are spreading such rubbish around about me I question their true intellect. Other rumours include I was setting up a suicide cult etc.Angela Edwards, Sculpture

Some of these rumours are kind of serious or hurtful to me as I would never abuse another human being or try to control the more weak. I do what I do with my own life, though I would not force or manipulate anybody else. This is different, as it’s my own choice. I am not setting out to harm anybody else.

Obviously my life is going to be gossiped about, as it’s not typical and my work threatens most men, due to the harsh and sexual content. For example my performance work is accepted less because it’s from a woman and my work is a threat to the nurturing, soft sensual image of the female stereotypes, which are deemed in art / occultism / society as acceptable. Though, more and more, as I develop my art, do I not care what people think and I think that if I did take notice and think about such things I wouldn’t be around now, making the work I do. I would be hiding under a rock somewhere, muted of my distinctive voice. But to me life is too short to care what other, usually insignificant people think about you or your work. I am pretty thick-skinned about this and no amount of uninformed opinions or judgements or jealousy on me or my work will stop me creating the work that I want to do.

I have one more question on mind, which concerns outsiders, who do not know anything about religio-magical traditions or who may have reservations. Can they still understand your art? What would be a good approach?

Well I make art, I consider my work fine art. It’s not a religious cult or philosophy but anybody can understand human or religious symbolism. For example crucifixions are a constant subject matter for artists, from Francis Bacon to a recent Tracey Emin exhibition show I attended. The last adventure is you. We all have our own mystical and religious experiences and none are more valid than another. There is no right or wrong way to experience religion or ritual, it’s a very individual thing. Unless we are placing something, be it art or work, in context of something historical, like say for example traditional hinduism etc., where for centuries a certain legacy and rituals have been specifically in place. I feel art and mysticism crossover, and art and religion are to some people one of the same. We can all of course, no matter what background we are from, relate to being human, sex, death, pain, loss – the human conditions – these are constant themes for us all that are not only restricted to an elite, or people with a background with philosophical and mystical books or traditions. I may have read and researched a lot of mystical traditions and philosophy, so my work can be seen as maybe elitist or highbrow. Though, besides these elements, I feel I make work that can also relate in its human aspects to all types of people from all backgrounds. After all we can all feel, can’t we.

What are your plans and wishes for the future?

To continue with my creative practice and to keep pushing boundaries and making ART… I am currently working on a new body of work, one piece is a huge sculptural bed installation, more paintings and editing my ritual films. I hope to exhibit my work at some point, but until then I will keep on producing art and expressing these parts of myself. I also have a few performance ideas I am working on.

Thank you very much for taking the time to answer these questions!

For more about the artist, her work, links and purchasing her art visit the website at  www.angelacarolinedwardsart.com

This interview has been conducted by me and Angela via e-mail and over the course of several weeks. You may like, comment and share this interview online as long as original links are kept in tact and its source is mentioned including a link to this page. You may not reproduce commercially or alter this interview in any way.
Interview © Angela Edwards & Teufelskunst. All rights reserved.

November 7, 2014

Posted In: Art, Interviews

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Autumn Fire, October New Moon & Belladonna Harvest

Deadly Nightshade HarvestIn my part of the world the past new moon occured close to the midnight hour and when the moon was just entering into the sign of Scorpio. In addition friends and followers in Eastern Asia and most of North America could simultaneously witness a beautiful partial solar eclipse. An astrologically and magically interesting time, some would already hold their Samhain celebrations on this night, closing another circle, saying farewell to the old and inaugurating a new year. It is the beginning of a liminal time, when the veil between the world of the living and the other side thinnens. It is believed the souls of the deceased – both beloved or malign, familiar or nameless – come to visit and contact the living, in dream or even physically. Temperatures are dropping, you see your breath in the cold air. The trees are yet aflame in autumn colors but will soon turn barren. Winter is just around the corner.

I felt it sooner this year than usual, perhaps owed to the early arrival of summer, autumn and winter are coming earlier as well. And it feels like its going to be a cold one. I experienced some dark days and nights, where I turned inside and contemplated, what has been done and what can and will be done. I got inspired and wrote these lines:

Autumn Fire

I feel the change of season
this autumn fire
the nights getting longer
the impending darkness
this cold breath down my neck.

But I am aflame and
burning with passsion
to a degree that it
almost consumes me.

Memories and dreams
the future and the past
they are merging
in a round-dance of autumn leaves
in the yellow light of street lamps
or in the dim grayness of
one drizzly September day.

I am day dreaming
and the world around me becomes
like the surface of a pond
into which I dip my finger
and suddenly the whole picture
starts to ripple and disperse
and the voices of people talking to me are muted
and I hear something else.


The veil is thinning.

I am dreaming of reconciliation.

I hear from a lot of people this year has been their worst by far. Some say they felt a strong negative Saturn influence in their life. Things being stolen or lost, relationships breaking apart, unexpected changes for the worse and in some instances also suicide attempts. There was a lot happening around me and for all I know there is little in life to rely on. Believes and faith, relationships and worldly values are questioned and challenged. And the idea that from loss and pain still something good or even better arises, may infact not always hold true. Yet the quality of conversations improves, deepens. Superficialties don’t suffice any longer. And I still feel lucky. I do have my self, my work, and spirits and friends to turn to. Even if they may be struggeling themsselves; as long as there is a shared will to continue and work towards better times – not sit and wait – there is reason for hope.

What really helps me during times, when there is apparently nothing positive at all, is the feedback I receive from you, my customers and followers. It does indeed mean a great deal to me. It is one reason why I’m doing what I’m doing and why I continue this project. Feedback such as this:

Having received one of your plant sigil card sets, I wanted to thank you for your work and express my gratitude in having received one. It is a beautifully crafted work, with an obvious spine of honesty, experience and exploration. A profound expression of the green, from the veils of the divine. – JR/O.

Thank you and all who write me messages, comment, like and fave! Thanks to over 2000 followers on facebook and 500 on tumblr, thanks to my watchers on deviantArt and elsewhere! Thanks to the loud and silent supporters and the imps and gnomes and wizzards doing ‘magic’ in the background and spreading the word! You know who you are.

And though it is true that this is often a lonely path we do take inspiration from another, consciously or unconsciously. I like to think that the same spirits contact us individually and sometimes they whisper the same and other times different things into our ears. Tuesday I thought about harvesting Belladonna under the waning moon. But the night was cold and rainy and there was no sharp shining crescent sickle to be seen that would have called for harvest. Thursday I read of Harold Roth‘s plan to harvest Belladonna under the new moon. I first thought no, lets leave them for another month or wait for next year’s Walpurgis. But then I gave it a second thought, went outside short before midnight and the conditions were just right.

Deadly Nightshade 'soulpainting'The midnight hour was the hour of Venus and the dark moon had just entered Scorpio. A fitting constellation for working with the poisonous (scorpio) green (venus), and the darker aspects of the goddess (black moon), of whom the Belladonna is evocative. The Deadly Nightshade also has connections to the Germanic myths of the Wild Hunt, especially the Valkyries, daughters of heaven and earth (Wotan and Erda), who accompany the souls of the warriors that died in battle, to their final destination in Valhalla, which is reflected in the German name “Walkerbeere”. The Wild Hunt is said to begin with Samhain and culminates during the Winter Solstice and following nights. My first abstract vision of the plant’s essence shows her infront of a dark stormy sky with flashes of lightning and blood is raining from black clouds.

I took two roots, grown in pots, and both about 3 years old. The plants have flowered ready and the lasts berries are also ripe. In fact the stems are already slowly dying back and new green sprouts come from the root base. So it was indeed good timing. Especially since the following nights were even colder and the green parts don’t survive freezing. It makes sense that the time around Samhain is traditionally the time for the last harvest, which is then put up in the home for drying.

I also encountered a surprise when digging up the second plant as it had grown a long tap-root. It wouldn’t take an end and I actually could not unearth it wholly. I had to dig much deeper to get to the end of the part still stuck in the ground and it turned out that entire thing was indeed over 40 cm long!

I removed the soil manually, then cleaned them in rainwater and put them on the harvest altar, together with previously harvested roots. I lit beeswax candles and offered libation. I noticed a spicy smell and, though I used gloves, felt actually a bit benumbed from the fumes. I learned that the alkaloids concentrate in the root during autumn and winter. It may well be possible these two roots have a higher potency. They are now drying slowly and I plan to later make fetishes with them that tie together visullay the mentioned astrological and magical aspects. Below are a few pictures to show you their raw beauty:

In September I had already gathered leaves and sprigs, which I put between newspaper pages for drying. What do you read in there? It’s been a Belladonna year for sure!

IMG_7617+ copy2Yet there are plenty of other herbs (and for that matter also seeds!) and so I find myself again running around the house and garden, collecting, sorting and processing all sorts of green harvest. It will still be a giant task to take photos of everything and make it available for ordering. I am also working on a larger herbal commissions, which includes labeling and filling custom bottles for a client.

At least I am ready now with rearranging our front garden (more about this later) and next is the raised bed. So lots to do this week until the official Samhain date. And I still have a very special interview in the making, as well as news concerning my contributions to the third Pillars Periodical Journal! But all in good time. 🙂

IMG_7979 copy+So long, after so much deadly nightshade here is now another plant, which embodies the month of October: the Chinese Aconite (Aconitum carmichaelii), or Herbst-Eisenhut, as it is called in German, is the last of the aconites to flower and brightens up the October month with its lush blue-violett inflorescences. It’s poisonous as hell too and another name for aconite was in fact Scorpio. The aconite, as the ‘king of poisons’ is in different ways to be seen as a counterpart to the belladonna or ‘queen of poisons’, who’s atropine is the physiological antidote in aconite poisoning. Now I certainly wouldn’t recommend doing the test. However I do like to grow them besides each other, for higher inspiration and guidance. In fact, I do have quite a few aconite and belladonna seedlings to plant out yet… Yep, lots do! 🙂

October 26, 2014

Posted In: Herbs & Seeds, Art, Feast Days, Ritual, Rootwork, Natural Magic, Garden

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Plant Sigil Card Sets, Autumn Equinox Edition

Finally done! Here are the latest sets of cards with my plant-inspired sigils. Wrapped in autumn-colored peacock marble paper, fitting for the autumnal equinox.

As you know I am dedicating sigils to each herb I work with and keep posting these sigils here and elsewhere. In March this year I made a first print set of these abstract sigilic emanations, which I brought with me for the London Magical Arte event. The cards were passed around, single motifs were discussed and became the basis for inspired conversation. At the time I had only printed the cards but not yet made a nice packaging for them. Later I made a slipcase with paper bought from my local bookbinder. Thus far two smaller editions have been done for the Spring Equinox and Summer Solstice, now followed by a 3rd for the Autumn Equinox of 15 sets, the content being:

  • 45 cards with plant sigils printed black on heavy paper vergé
  • 4 colored cards with my ‘soul-paintings’
  • numbered edition specific title card
  • list with names of corresponding herbs
  • introduction to the cards

All cards are hand-numbered on the back. With the help of a list you find the name of the corresponding herb for each card. There is no prescribed method of laying the cards. Possible ways of interpreting and laying them are outlined in the introduction that comes with each set.

Price: 31 Euro for one set + shipping – SOLD

Update: as of September 28 these are all sold. I hope to be doing a larger edition in the future with the help of the funds gathered through the sale of these first editions. If you wish to receive one of the next please message me at info@teufelskunst.com

September 25, 2014

Posted In: Art, Feast Days

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