Steffi Grant – { feuilleton }

Spare things

Cthulhu Cultus: The Sun is Sick (no date) by Austin Osman Spare.

I’ve been telling people about this drawing for years but I’ve not posted it here before. Spare produced this piece after Kenneth Grant gave him some of HP Lovecraft’s stories to read. I’ve never seen it dated but it’s probably from the mid-50s when Kenneth and Steffi Grant were corresponding with Spare and commissioning new artworks. What’s notable for me is that this is probably the first Lovecraft-derived drawing that wasn’t either a magazine or book illustration, or something done for one of the horror fanzines.

The Call of Cthulhu (1987) by John Coulthart.

Lovecraft aficionados have never seemed aware of Spare’s drawing since Lovecraft studies tended until very recently to remain fixed on popular media and the often parochial world of genre fandom. When I came to draw the swamp scene for The Call of Cthulhu in 1987 I borrowed the faces from Spare’s pillar for the column in the centre of the picture.

Bulldog Breed.

While we’re on the subject, and in the spirit of showing how all the obsessions here connect in one way or another, Phil Baker’s excellent biography of Austin Spare notes a surprising reference to the artist that predates Man, Myth and Magic via the psychedelic music scene. Bulldog Breed were a short-lived London group, one of many being promoted by the Deram label in the late 1960s. The group’s one-and-only album, Made In England, was released in 1969. The cover art is dreadful but the final song is a number entitled Austin Osmanspare [sic], a paean to the artist that turns AOS into a typical character from British psychedelia: an eccentric, oddly named, Victorian type with a sinister and mysterious glamour. According to Baker one of the band members had an aunt who knew Spare. It’s not a bad song, and the choice of magus gave them an edge over the Beatles who went for the more obvious Aleister Crowley. “They said he was before his time…”

Previously on { feuilleton }
• Dreaming Out of Space: Kenneth Grant on HP Lovecraft
• MMM in IT
• Intertextuality
• Abrahadabra
• The Occult Explosion
• Murmur Become Ceaseless and Myriad
• Kenneth Grant, 1924–2011
• New Austin Spare grimoires
• Austin Spare absinthe
• Austin Spare’s Behind the Veil
• Austin Osman Spare

Abraxas: The International Journal of Esoteric Studies

A welcome arrival in the post recently was two issues of Abraxas, the book-format journal of esoteric studies from Fulgur Esoterica. I’ve always observed the contemporary occult scene from a distance, being more interested in cultural spin-offs whether those happen to be music-oriented—as was the late, lamented Coil—or art-oriented. Something I always enjoyed about Kenneth Grant’s books was the amount of unique art material they contained, much of it by his wife, Steffi Grant, or previously unseen work by Austin Osman Spare. Fulgur have for many years continued this artistic focus, starting out by reprinting Spare’s books (and publishing new ones, such as the revelatory Zos Speaks!), and more recently turning their attention to the work of contemporary artists following similar paths.

Study for Salome (2012) by Denis Forkas Kostromitin.

Abraxas is a venue for the latter group, especially in the most recent issue, no. 3, which features a wealth of new art, photography, essays and poetry. In the past I’ve complained about the misunderstandings Austin Spare’s work used to generate among otherwise intelligent and sensitive critics when faced with the artist’s occult obsessions; the usual response would be to lazily dismiss this side of his work as “black magic”, and therefore either kitsch or nonsense. Things have improved in recent years but it’s taken a long time for critics and curators who would show the greatest respect to a minority belief from South America, say, to offer the same respect to equally sincere artists who happen to be working in London or New York. One of the values of Abraxas for artists such as Jesse Bransford and Denis Forkas Kostromitin, both of whom are interviewed here, is that they can have a conversation with someone who won’t treat their work or their interests in a condescending manner. I’m particularly taken with Kostromitin, a Russian artist whose work I only discovered recently.

M L K (Moloch) (2011) by Denis Forkas Kostromitin.

Elsewhere in Abraxas 3 there’s a feature on the recent exhibition of Aleister Crowley’s extravagant daubs, an article by Francesco Dimitri about tarantism in southern Italy, a piece about Dada by Adel Souto, and text by Paracelsus with illustrations by Joseph Uccello which is printed on a different paper stock. The production quality is as good as any art book but then that’s standard for a Fulgur publication. Mention should be made of the interior design of this issue which far exceeds the often perfunctory layout of many publications from smaller publishers. Tony Hill is credited on the masthead as Creative Director so I’m assuming he’s the person responsible. Abraxas is an essential purchase for anyone interested in contemporary occult art. The hardback of no. 3 is a limited edition that includes a signed and numbered lithograph by Denis Forkas Kostromitin.

Previously on { feuilleton }
• I:MAGE: An Exhibition of Esoteric Artists

I:MAGE: An Exhibition of Esoteric Artists

El Trigono de las lesiones (2010) by Cristina Francov.

I:MAGE is an exhibition of occult-inspired art which opens a week on Sunday, 19th May at the Store Street Gallery, Bloomsbury, London. As exhibitions go it’s modest in scale but with an impressive roster of contributors old and new: Agostino Arrivabene, Ithell Colquhoun, Denis Forkas Kostromitin, Steffi Grant, Orryelle, David Chaim Smith, Michael Bertiaux, Andrew Chumbley, Cristina Francov, Barry William Hale, Francesco Parisi, Austin Osman Spare, Jesse Bransford, Peter Dyde, Rik Garrett, Noko, Residue, and Michael Strum. A few examples of the work on display are shown here, some of which will be available for purchase.

The event is being organised by Fulgur Esoterica, and their website has details of some related events including John Constable’s one-man play, Spare (about artist Austin Osman Spare), a one-off performance which will be held at Treadwell’s, London, on the 24th. This catches my attention because Constable was responsible for the acclaimed theatre adaptation of Mervyn Peake’s Gormenghast which David Glass and company staged in the 1990s. It’s always good to find one’s favourite people joined through these lateral connections.

The Earth Magic Series (2012) by Rik Garrett.

Steffi Grant.

Demon by Denis Forkas Kostromitin.

Kenneth Grant, 1924–2011

Kenneth Grant by Austin Spare (c. 1951).

Kenneth Grant, writer and occultist, died last month but the event was only announced this week. He’ll be remembered for the nine fascinating occult treatises he wrote from 1972 to 2002, and for continuing the work of Aleister Crowley as head of the Ordo Templi Orientis, a position which became fraught in later years as various occult factions disputed his authority. Having collected occult books for much of the 1980s I find his name calls out from the shelves more than many other writers; as well as authoring his own works he edited all the major Crowley texts with Crowley’s executor John Symonds, presenting them in authoritative editions for a new readership.

Grant proved a very loyal champion of people he admired, significantly so in the case of Austin Osman Spare whose work he collected, exhibited and republished from the 1950s on. It was Grant’s position as one of the many advisors for Man, Myth & Magic in 1970 which resulted in the part-work encyclopedia using one of Spare’s stunning drawings as the cover picture for its first issue. That effort alone gave Spare an audience far beyond anything he received during his lifetime, and Grant ensured the magazine featured Spare’s work in subsequent issues. Grant’s occult works made liberal use of unique illustrations by his wife, Steffi Grant, Austin Spare and others. The books were singular enough even without their pages of curious artwork, a beguiling and sometimes incoherent blend of western occult tradition, tantric sex magick and hints of cosmic horror which were nevertheless always well-written, annotated and crammed with technical detail. Alan Moore in 2002 examined the experience of an immersion in Grant’s mythos with a wonderful review he called “Beyond our Ken“. He notes there the influence of HP Lovecraft, another of the visionary figures who Grant championed throughout his life.

In Spaces Between from The Great Old Ones (1999).

And speaking of Lovecraft, I’ve often wondered whether Kenneth Grant ever saw a copy of my Haunter of the Dark collection. For the opening of the Great Old Ones Kabbalah sequence which Alan Moore and I created for the book I added an extra piece of art entitled In Spaces Between, a reference to Coil via an epigraph from Grant’s Outside the Circles of Time (1980) which I borrowed for the facing page:

For there are Thrones under ground
And the Monarchs upon them
Reign over Space and Beyond

Invoke Them in Darkness, Outside
The Circles of Time

In Silence, in Sleep, in Conjurations
Of Chaos, the Deep will respond…

Coil aficionados will recognise those words as the origin of some lines from Titan Arch (1991):

There are Thrones under ground
And Monarchs upon them
They walk serene
In spaces between

Grant followed his epigraph with another quote, from Lovecraft’s Necronomicon.

In addition to Alan Moore’s Grant review, Fulgur have a detailed Kenneth Grant bibliography on their pages. They were also the publishers in 1998 of Zos Speaks! Encounters with Austin Osman Spare by Kenneth and Steffi Grant, a memoir and celebration of Spare’s work which revealed this trio of remote astral voyagers to be human beings after all. The book is currently out of print but it’s essential for anyone interested in Austin Spare or, for that matter, Mr and Mrs Grant.

Previously on { feuilleton }
• New Austin Spare grimoires
• Austin Spare absinthe
• Aleister Crowley on vinyl
• Austin Spare’s Behind the Veil
• Austin Osman Spare

Aleister Crowley on vinyl

The appearance of occultist Aleister Crowley on the sleeve of Sgt Pepper is well-documented—here he is looking rather grainy on my CD insert—although I always forget which of the Beatles it was who put him in the list of “people that we like”. I’d guess John Lennon who would have appreciated Crowley’s obscene poetry, copious drug intake and ability to consistently épater la bourgeoisie.

Less well-known is what I presume must be the first outing for Crowley’s voice on this rare undated single from the mid-Seventies. Along with the cassette tapes I discussed earlier, this was another item turned up during a recent clearout of household junk. I’ve yet to see a detailed description of the origin of these Crowley recordings. I have the first CD pressing and haven’t looked at later editions so can’t say whether they contain more information about what are supposed to be wax cylinder recordings copied to acetates. The first complete collection of the recordings was a vinyl release produced by David Tibet in a limited edition in 1986. I was among those that ordered a copy.

The Marabo single features two of the same recordings, of course, albeit in slightly poorer quality. (And I love the way it has a removable centre, as though it might well end up in a jukebox.) One feature of the continual reissuing of Crowley the recordings is that sound quality has improved over the years. The versions of The Pentagram and La Gitana on YouTube sound better than the ones on my CD. The occult resonance of Crowley’s voice (which always reminds me of Winston Churchill) have inevitably made it a popular sampling source. In the pre-sampling era 23 Skidoo and Psychic TV (both with David Tibet) used loops of the Enochian Calls. Bill Laswell later took to using samples on his ambient releases, while the most recent CD version includes an entire disc of ambience with Crowley’s voice subjected to digital processing.

The sleeve art for the single was by Steffi Grant, occultist wife of occultist Kenneth Grant, and it’s possible the pair sing backing vocals on the less-than-compelling B-side, a soft rock number entitled Scarlet Woman by Chakra. The song is credited to “Ponton/Ayers/Grant/Magee” so even if one or other of the Grants didn’t sing they helped with the lyrics. It should be noted that Mrs Grant’s artwork is often better than these illustrations and does much to enliven her husband’s volumes of occult philosophy. Some of their work was also featured in the seven-volume encyclopedia, Man, Myth and Magic, which featured Kenneth among the staff of consultants.

Before anyone asks: no, the single isn’t for sale. I’ve sold a lot of old vinyl over the past few years but I’m keeping this particular item. I know a couple of unreleased recordings by Chakra exist; if anyone has further information about the group, please leave a comment.

Update: Jok posted a link which resolves the mystery. It was indeed Kenneth Grant on backing vocals.

Previously on { feuilleton }
• Old music and old technology
• The Man We Want to Hang by Kenneth Anger
• The art of Cameron, 1922–1995
• Austin Osman Spare