Sulamith Wülfing [German artist and illustrator, 1901–1989]. Wülfing's son, Otto Schulze Jr., is keeping her memory alive with projects like 'The Little Mermaid.' "I have left the explanation of [my] drawings completely to the viewer, so that they are not bound by my interpretation of what each picture should be." --Sulamith Wülfing Little Mermaid illustrations: thegoldenagesite.blogspot.com/2013/05/blog-post_7.html ___________ For copyright image permission issues contact: Bluestar Communications Corp: [email protected] Bluestar Corp: www.bluestar.com/hazel-doc/pages/start.html
WORAN ICH FEST GLAUBE, IST ABER DIE UNSTERBLICHKEIT DER SEELE – DIE INDIVIDUALITÄT, DIE URALT IST UND NOCH SEHR VIEL VOR SICH HAT...
Sulamith Wulfing родилась в Германии в 1901 году. Рисовать она начала в 4 года. Её семья была очень верующей, отец даже был теософом. Все работы Sulamith Wulfing пронизаны легким прикосновением сверхъестественного. Образование она получила в художественной школе в Wuppertal, которую закончила в 1921 году. Главная и очень большая часть работ художницы была уничтожена во время Второй...
Sulamith Wülfing 1901 - 1989
Мои рисунки - это визуальное отображение моих глубочайших чувств - удовольствия, страха, печали, счастья, юмора. А для тех людей, кто может настраиваться на мои произведения, они с успехом могут быть отражением их собственных переживаний. Именно поэтому я отдала интерпретацию содержания моих…
Sulamith Wulfing родилась в Германии в 1901 году. Рисовать она начала в 4 года. Её семья была очень верующей, отец даже был теософом. Все работы Sulamith Wulfing пронизаны легким прикосновением сверхъестественного. Образование она получила в художественной школе в Wuppertal, которую закончила в 1921 году. Главная и очень большая часть работ художницы была уничтожена во время Второй...
Мои рисунки - это визуальное отображение моих глубочайших чувств - удовольствия, страха, печали, счастья, юмора. А для тех людей, кто может настраиваться на мои произведения, они с успехом могут быть отражением их собственных переживаний. Именно поэтому я отдала интерпретацию содержания моих…
Sulamith Wülfing 1901 -1989
I was a teenager when I first discovered the art of Sulamith Wulfing (1901-1989). I found her work absolutely enchanting and spent what money I had of my own on prints and posters that could be used to decorate my bedroom walls. A Christmas illustration by Sulamith Wulfing can be found here. . I'm not going to provide a potted history of Sulamith Wulfing's life. There is enough online information available should anyone wish to find out more about her, including this Wikipedia Biography . Instead what I thought I'd do is share some of my favourite examples of her work. (This is just a small sample of her beautiful and complex art.) Two thoughts struck me when I looked at these prints again recently. The first is how timeless they are. If I did not know when they were drawn I would find it very difficult to place them in any historical context. To me they evoke the 1970's because that is the decade when I first saw them and I associate her work very much with that time. In fact, the examples shown here were all completed between the 1930's and 1950's. To my mind though they belong to a time outside time and this is what makes them so powerful. The second thought I had when studying these works again is how universal they are. Sulamith Wulfing was a German artist, but I don't find her work limited to a single region. The Wikipedia entry mentions that some of the patterns on the clothing and furniture resemble Norse knot-work. From my perspective I've always thought there is a distinctly Celtic influence, especially in the designs on the dresses and material. I love her imagery - it creates a world that is spiritual and ethereal but also firmly rooted in the beauty of nature. Looking these images across a gulf of many years has also made me realise what an incredible journey I have experienced myself - from the southernmost tip of Africa to my current surroundings at the edge of a fairy forest in the mountains of Ireland. When I bought these prints I had no inkling of the direction my life would take. In many respects I've always felt the driving force behind events as they have unfolded was not mine - I've been carried along by a tide that has been outside my control. And yet, somehow at the end of it all, I've found myself in a geographical environment that is perhaps the closest it is possible to be in this world to the surroundings depicted in these scenes. Detail of the figure above: This painting called 'The Veil' is perhaps my favourite of them all. Here is a close-up of the figure - I love the detail on the chair and the burnt out candles. I was so in awe of Sulamith Wulfing's art that I spent quite a lot of time studying and copying it in my teens. I've mentioned before that when I draw, colour or copy something I'm able to escape almost physically into that world, and this was a magical place to venture into. Unfinished study based on a Sulamith Wulfing painting The head on the right of this drawing is copied from 'The Veil' shown above. The other figure is copied from a work I have not included here as the print I have is far too big to fit into my small scanner. I've also mentioned in at least one previous post that I was fairly obsessed as a teenager with designing my own (opulent fairytale) wedding. Sulamith Wulfing's work gave me masses of inspiration. The two scans below should be one image but it is too big so I've split in in half. This was my dream wedding and I've drawn a bride, flower girl, maid of honour and bridesmaid. Another variation of the maid of honour and bridesmaid. I was fairly adamant that this was what I wanted! The next figure (also a bride) was not copied directly from a Sulamith Wulfing drawing but was certainly inspired by her. Bear in mind that I was a teenager when I did these so hopefully that excuses some of my excessive exuberance! I don't think this last drawing is linked to anything by Sulamith Wulfing, but as I have it kept together with the one above and it has a medieval theme I decided to include it as well. Again I've included these photos in bridal related posts before, but I'm finishing with them as they show that even though my wedding (both the ceremony and reception were held in my mom's garden in Everton, KwaZulu Natal, South Africa) was a fairytale occasion I did not in the end manage the opulent medieval pageantry that I dreamt of as a child and teenager! (I was 37 when I married so long past the age of these flights of fancy.)
Vintage, bevel-matted original print from a series of illustrations compiled in a book of drawings by Sulamith Wulfing and printed in 1978. The prints in this series are printed on glossy paper with a small white border around the image. They are really lovely prints, some depicting scenes of fantasy and others with a more religious theme, all of which would look beautiful in small groupings. ENGLISH TITLE: REFUGE ARTIST: SULAMITH WULFING CONDITION: EXCELLENT / VERY FINE -- This print is clear, clean, bright and colorful (really very vibrant). No foxing or folds.. A really fine image. Excellent definition. Nice clean lines. This print is over 40 years old and guaranteed to be original. It’s an authentic old print from the aforementioned book of drawings, and NOT A COPY MADE FROM THE BOOK. The print is about 7 3/4" x 9 1/2" (including the border, if any, around the print). Matted the print measures 11" x 14". This is a standard size mat that will fit into a standard size frame—no costly custom frames required. ALL OF OUR MATTED PRINTS ARE WRAPPED IN A CLEAR CELLOPHANE ENVELOPE THAT PROTECTS THE PRINT DURING SHIPPING AND IS PERFECT FOR GIFT GIVING. About The Mats All of our prints are bevel matted in a very high quality, and simple off-white/ivory matting. The acid-free backing, WHICH IS NOT ATTACHED TO THE PRINT, also meets the same high quality standard. We take pride in what we sell—look at our feedback. All mats are acid-free and the small piece of tape used to attach the print to the top of the mat is artists tape. This print is truly ready to be framed and preserved. Some Comments about Our Mats: Always a wonderful transaction. Will buy again. Awesome Prints & Mats!!!!! Incredible Print. Fab pkg. Rapid ship. Gorgeous Mat. Great communication. A+ Beautiful Print. Awesome Mat! Fab pkg. Rapid ship. Bought 4 MORE! A++++ As always, a very fine print & mat, well-packed & promptly shipped: A+ This print is better than I imagined, the mat is fabulous, everything is perfect THANK YOU! JUST AS DESCRIBED. GREAT MATTING! A+A+A+ Great vendor. Nicely packaged and matted. Highly recommend this vendor. Great matted print, excellent transaction in every way, A+++ - thank you! Thanks.... great item and nicely matted and shipped!!! Beautiful print and matte, great shape, great packaging, quick service. Very fast shipping, nicely matted, and a nice print. Beautifully matted, just as described. A+ seller! Great print artfully matted. Prompt service. Thanks. Great service-prompt delivery-beautifully matted-perfection! Will buy from again General Information If you have a question don't hesitate to contact us. We are happy to answer questions and can usually do so within 24 hours. Return policy: Please be assured that we strive to provide our customers and potential customers with accurate descriptions and we always do our best to mention any condition issues worth noting. If you are ever dissatisfied with a purchase from us, please contact us immediately. We stand behind what we sell and will do our best to accommodate. All of our items have a full return policy, less return shipping (unless we goofed).
I was a teenager when I first discovered the art of Sulamith Wulfing (1901-1989). I found her work absolutely enchanting and spent what money I had of my own on prints and posters that could be used to decorate my bedroom walls. A Christmas illustration by Sulamith Wulfing can be found here. . I'm not going to provide a potted history of Sulamith Wulfing's life. There is enough online information available should anyone wish to find out more about her, including this Wikipedia Biography . Instead what I thought I'd do is share some of my favourite examples of her work. (This is just a small sample of her beautiful and complex art.) Two thoughts struck me when I looked at these prints again recently. The first is how timeless they are. If I did not know when they were drawn I would find it very difficult to place them in any historical context. To me they evoke the 1970's because that is the decade when I first saw them and I associate her work very much with that time. In fact, the examples shown here were all completed between the 1930's and 1950's. To my mind though they belong to a time outside time and this is what makes them so powerful. The second thought I had when studying these works again is how universal they are. Sulamith Wulfing was a German artist, but I don't find her work limited to a single region. The Wikipedia entry mentions that some of the patterns on the clothing and furniture resemble Norse knot-work. From my perspective I've always thought there is a distinctly Celtic influence, especially in the designs on the dresses and material. I love her imagery - it creates a world that is spiritual and ethereal but also firmly rooted in the beauty of nature. Looking these images across a gulf of many years has also made me realise what an incredible journey I have experienced myself - from the southernmost tip of Africa to my current surroundings at the edge of a fairy forest in the mountains of Ireland. When I bought these prints I had no inkling of the direction my life would take. In many respects I've always felt the driving force behind events as they have unfolded was not mine - I've been carried along by a tide that has been outside my control. And yet, somehow at the end of it all, I've found myself in a geographical environment that is perhaps the closest it is possible to be in this world to the surroundings depicted in these scenes. Detail of the figure above: This painting called 'The Veil' is perhaps my favourite of them all. Here is a close-up of the figure - I love the detail on the chair and the burnt out candles. I was so in awe of Sulamith Wulfing's art that I spent quite a lot of time studying and copying it in my teens. I've mentioned before that when I draw, colour or copy something I'm able to escape almost physically into that world, and this was a magical place to venture into. Unfinished study based on a Sulamith Wulfing painting The head on the right of this drawing is copied from 'The Veil' shown above. The other figure is copied from a work I have not included here as the print I have is far too big to fit into my small scanner. I've also mentioned in at least one previous post that I was fairly obsessed as a teenager with designing my own (opulent fairytale) wedding. Sulamith Wulfing's work gave me masses of inspiration. The two scans below should be one image but it is too big so I've split in in half. This was my dream wedding and I've drawn a bride, flower girl, maid of honour and bridesmaid. Another variation of the maid of honour and bridesmaid. I was fairly adamant that this was what I wanted! The next figure (also a bride) was not copied directly from a Sulamith Wulfing drawing but was certainly inspired by her. Bear in mind that I was a teenager when I did these so hopefully that excuses some of my excessive exuberance! I don't think this last drawing is linked to anything by Sulamith Wulfing, but as I have it kept together with the one above and it has a medieval theme I decided to include it as well. Again I've included these photos in bridal related posts before, but I'm finishing with them as they show that even though my wedding (both the ceremony and reception were held in my mom's garden in Everton, KwaZulu Natal, South Africa) was a fairytale occasion I did not in the end manage the opulent medieval pageantry that I dreamt of as a child and teenager! (I was 37 when I married so long past the age of these flights of fancy.)
Sulamith Wulfing родилась в Германии в 1901 году. Рисовать она начала в 4 года. Её семья была очень верующей, отец даже был теософом. Все работы Sulamith Wulfing пронизаны легким прикосновением сверхъестественного. Образование она получила в художественной школе в Wuppertal, которую закончила в 1921 году. Главная и очень большая часть работ художницы была уничтожена во время Второй...
Мои рисунки - это визуальное отображение моих глубочайших чувств - удовольствия, страха, печали, счастья, юмора. А для тех людей, кто может настраиваться на мои произведения, они с успехом могут быть отражением их собственных переживаний. Именно поэтому я отдала интерпретацию содержания моих…
Sulamith Wülfing [German artist and illustrator, 1901–1989]. Wülfing's son, Otto Schulze Jr., is keeping her memory alive with projects like 'The Little Mermaid.' "I have left the explanation of [my] drawings completely to the viewer, so that they are not bound by my interpretation of what each picture should be." --Sulamith Wülfing Little Mermaid illustrations: thegoldenagesite.blogspot.com/2013/05/blog-post_7.html ___________ For copyright image permission issues contact: Bluestar Communications Corp: [email protected] Bluestar Corp: www.bluestar.com/hazel-doc/pages/start.html
Суламифь Вульфинг ( Sulamith Wulfing ) - (1901 - 1989) родилась в Германии, на заре нового века. Она очень рано начала рисовать - в 4 года. Её отец был теософом - и это многое объясняет. Теософия - мудрость о Боге, религиозно-философская система, главной целью которой является (в…
I was a teenager when I first discovered the art of Sulamith Wulfing (1901-1989). I found her work absolutely enchanting and spent what money I had of my own on prints and posters that could be used to decorate my bedroom walls. A Christmas illustration by Sulamith Wulfing can be found here. . I'm not going to provide a potted history of Sulamith Wulfing's life. There is enough online information available should anyone wish to find out more about her, including this Wikipedia Biography . Instead what I thought I'd do is share some of my favourite examples of her work. (This is just a small sample of her beautiful and complex art.) Two thoughts struck me when I looked at these prints again recently. The first is how timeless they are. If I did not know when they were drawn I would find it very difficult to place them in any historical context. To me they evoke the 1970's because that is the decade when I first saw them and I associate her work very much with that time. In fact, the examples shown here were all completed between the 1930's and 1950's. To my mind though they belong to a time outside time and this is what makes them so powerful. The second thought I had when studying these works again is how universal they are. Sulamith Wulfing was a German artist, but I don't find her work limited to a single region. The Wikipedia entry mentions that some of the patterns on the clothing and furniture resemble Norse knot-work. From my perspective I've always thought there is a distinctly Celtic influence, especially in the designs on the dresses and material. I love her imagery - it creates a world that is spiritual and ethereal but also firmly rooted in the beauty of nature. Looking these images across a gulf of many years has also made me realise what an incredible journey I have experienced myself - from the southernmost tip of Africa to my current surroundings at the edge of a fairy forest in the mountains of Ireland. When I bought these prints I had no inkling of the direction my life would take. In many respects I've always felt the driving force behind events as they have unfolded was not mine - I've been carried along by a tide that has been outside my control. And yet, somehow at the end of it all, I've found myself in a geographical environment that is perhaps the closest it is possible to be in this world to the surroundings depicted in these scenes. Detail of the figure above: This painting called 'The Veil' is perhaps my favourite of them all. Here is a close-up of the figure - I love the detail on the chair and the burnt out candles. I was so in awe of Sulamith Wulfing's art that I spent quite a lot of time studying and copying it in my teens. I've mentioned before that when I draw, colour or copy something I'm able to escape almost physically into that world, and this was a magical place to venture into. Unfinished study based on a Sulamith Wulfing painting The head on the right of this drawing is copied from 'The Veil' shown above. The other figure is copied from a work I have not included here as the print I have is far too big to fit into my small scanner. I've also mentioned in at least one previous post that I was fairly obsessed as a teenager with designing my own (opulent fairytale) wedding. Sulamith Wulfing's work gave me masses of inspiration. The two scans below should be one image but it is too big so I've split in in half. This was my dream wedding and I've drawn a bride, flower girl, maid of honour and bridesmaid. Another variation of the maid of honour and bridesmaid. I was fairly adamant that this was what I wanted! The next figure (also a bride) was not copied directly from a Sulamith Wulfing drawing but was certainly inspired by her. Bear in mind that I was a teenager when I did these so hopefully that excuses some of my excessive exuberance! I don't think this last drawing is linked to anything by Sulamith Wulfing, but as I have it kept together with the one above and it has a medieval theme I decided to include it as well. Again I've included these photos in bridal related posts before, but I'm finishing with them as they show that even though my wedding (both the ceremony and reception were held in my mom's garden in Everton, KwaZulu Natal, South Africa) was a fairytale occasion I did not in the end manage the opulent medieval pageantry that I dreamt of as a child and teenager! (I was 37 when I married so long past the age of these flights of fancy.)
Мои рисунки - это визуальное отображение моих глубочайших чувств - удовольствия, страха, печали, счастья, юмора. А для тех людей, кто может настраиваться на мои произведения, они с успехом могут быть отражением их собственных переживаний. Именно поэтому я отдала интерпретацию содержания моих…
A photo of artwork done by Sulamith Wulfing As I went out walking this fall afternoon, I heard a wisper wispering. I heard a wisper wispering, Upon this fine fall day… As I went out walking this fall afternoon, I heard a laugh a’laughing. I heard a laugh a’laughing, Upon this fine fall day… I heard this wisper and I wondered, I heard this laugh and then I knew. The time is getting near my friends, The time that I hold dear my friends, The veil is getting thin my friends, And strange things will pass through. ~The Veil Is Getting Thin by Wolfdancer It has just dawned on me that I still haven't done a comprehensive post on the lore of my favourite holiday, Samhain. I have already done some on holidays such as Bealtaine and Lughnasadh, so I suppose this is a good excuse to do a blog post. ;) Snap Apple Night by Daniel Maclise, 1833 Samhain is generally accepted to translate from old Irish to mean "end of summer" or "summer's end". At one time there were only two seasons observed in Ireland, Summer and Winter, or the Light and Dark halves of the year. Bealtaine heralded the beginning of Summer/Light half and Samhain the beginning of Winter/Dark half. {You can read more about the origins of the name and the Celtic year here.} The Dark half was ruled by forces associated with Unseen, Otherworld, and Death. It was a time for divination, honouring ancestral spirits {and of course the Gods}, and the final harvest. It was also the start of a new year. Besides also being Hallowe'en, there is Nos Galan Gaeaf in Wales, Hop-tu-Naa in the Isle of Man, Allantide in Cornwall, Día de los Muertos in Mexico, and All Saints Day for Catholics. La ronde des Farfadets de Les Farfadets by David Ryckaert III, 1600's Because it was thought that the dead roamed freely on this side around Samhain, some folks would leave meals prepared for their deceased loved ones. I have already talked about this a bit in other posts such as here and here. But it wasn't only loved ones afoot! There were also other Otherworldy folk that one might run into who weren't as benign. According to Land, Sea & Sky travellers would disguise themselves in the hopes that they would be overlooked or would avoid being out at night altogether. The text also mentions how people would kiss goodbye any leftover crops not yet harvested by Samhain, as they were believed to be spoiled or they were left out as offerings to the Faeries. Just like Bealtaine, bonfires played an important role at Samhain. However, it would seem that Bealtaine bonfires were lit at daybreak, while the ones for Samhain were lit at sundown {The Gaelic Otherworld by John Gregerson Campbell}. Bonfires were probably seen as a symbol of renewal and purification, and no doubt was thought to protect the living from being harmed by supernatural forces. Traditional Irish Jack-O'-Lantern An iconic symbol of this holiday is of course the Jack-O'-Lantern. You can hear about it's supposed beginnings here, in a video I posted last year. Carving veggies into lanterns is a tradition that has quite a long history in Ireland and Scotland, but it wasn't made into a Hallowe'en tradition until the practice was taken up in America in the late 19th century. And while most folks make theirs out of pumpkins, veggie lanterns over the pond were usually turnips or swedes. You can learn how to carve a traditional turnip Jack-O'-Lantern here. Another popular activity associated with this time of year is dressing up in costumes. As previously mentioned, folks would sometimes disguise themselves as a protective measure against malignant spirits. In his book Hallowe'en, Nicholas Rogers remarks how in both Scotland and Ireland, there is a fairly strong tradition of guising at this time of year. Anywhere from an Irish traveller turning their coat inside out to avoid being nabbed by Faeries {The Year in Ireland by Kevin Danaher} to young Scottish men blackening their faces or wearing masks going out and about to cause mischief or entertain other folks in exchange for money, food, and drink. This is something you see at other times of year, especially around Yule/Christmas with Mummers. I suppose this was the beginnings off our modern trick or treating. 1920's Hallowe'en card There are folks who feel that now is the best time for divination, making charms, and other magical practices. Many of these practices traditionally involve food {especially fruit and nuts}. If you are wanting to leave a message for those who have passed, Robin Artisson suggests the following on the Tracks in the Witchwood blog: Split an apple in two, and write a letter to that dead one you wish to communicate with on a small round of parchment, using Saturnian ink mingled with a dab of blood- then put it between the apple-halves and spear the halves “back into whole” with long, sharpened thin stakes of some Saturnian wood. Bury these messages in a ground that also has graves dug in it- or bury them under the roots of the Elder, the Apple, the Thorn, the Yew, or the Cypress. Thus, the deed is done. And this isn’t just a Hallows letter-writing; do it year-round, if you will. Bobbing for apples, while seemingly just a game was also used as a form of divination. Over at the Tairis website it says that while dookin' for aipples in Scotland there was a penny added to the water and the finder would have luck in the coming year and that the apple caught was often used in other divination. The website also talks about other forms of divination involving food as well, including nuts: {in Ireland} Two hazel nuts, walnuts, chestnuts or grains of wheat were taken and named after the two potential lovers, and were then placed in the ashes or on the grate to see how they would behave. Spitting and jumping showed the couple were not meant to be together, whereas nuts or grains that burned happily together indicated an altogether happier fate. And that both in Ireland and Scotland people would put various charms in food such as pies or potato-based dishes. A way for a girl in Lewis to bring her chosen lover to her was to use a dumb cake: Girls were each apportioned a small piece of dough, mixed with any but spring water. They kneaded it with their left thumbs, in silence. Before midnight they pricked initials on them with a new pin, and put them by the fire to bake. The girls withdrew to the farther end of the room, still in silence. At midnight each lover was expected to enter and lay his hand on the cake marked with his initials. {The Book of Hallowe'en by Ruth Edna Kelley} In various places a young woman could find out who her future husband was by looking in a mirror on Hallowe'en, where she was supposed to see him. If you are looking to erect an altar or shrine, some items you might want to consider putting on it besides that nifty turnip Jack-o'-Lantern I hope that you all are going to make { ;) } are photos or belongings of deceased loved ones; representation of animals such as owls, deer, crows, ravens, hounds, and horses; food and plants such as apples, pumpkins, pomegranates, nuts, dried roses, dried leaves, poppies; also items to place offerings on {i.e. bowl, cup, incense burner} are of course suitable. Here are a few luverly photos from other people for inspiration: by Sinjy and Sadie by Annie in Beziers by Crimthann Fid-Nemed by kightp by Raul D by Katie Cowden by autumndragyn by FreeCat by Great Beyond by Carlitos by LoopZilla by Avia Venefica Also, here are a few previously posted videos that might be of interest in regards to altars, as well as other things for Samhain/Hallowe'en. Necromancy: Plants for the Dying & Deceased: Sláinte! Laurel
Back in the 90's when I used to hang out up in Marin County a lot, I scoured the thrift stores religiously...
Sulamith Wülfing 1901 - 1989
WORAN ICH FEST GLAUBE, IST ABER DIE UNSTERBLICHKEIT DER SEELE – DIE INDIVIDUALITÄT, DIE URALT IST UND NOCH SEHR VIEL VOR SICH HAT...
Sulamith Wulfing ~ Expectancy
Sulamith Wulfing
Мои рисунки - это визуальное отображение моих глубочайших чувств - удовольствия, страха, печали, счастья, юмора. А для тех людей, кто может настраиваться на мои произведения, они с успехом могут быть отражением их собственных переживаний. Именно поэтому я отдала интерпретацию содержания моих…
Sulamith Wülfing 1901 - 1989
Illustrator, child of theosophist parents, kind of reminds me of a more softened Dulac or Rackham. The pastel fuzziness could be more cheesy in the wrong hands (not terribly shocking that Stevie Nicks is a fan), but the intricate detailing really makes it for me, especially in the black and white decorations here.
Sulamith Wülfing
Мои рисунки - это визуальное отображение моих глубочайших чувств - удовольствия, страха, печали, счастья, юмора. А для тех людей, кто может настраиваться на мои произведения, они с успехом могут быть отражением их собственных переживаний. Именно поэтому я отдала интерпретацию содержания моих…
Sulamith Wulfing.