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Afterlife, Folklore, Supernatural & Witchcraft Gallery

Choose from 678 pictures in our Afterlife, Folklore, Supernatural & Witchcraft collection for your Wall Art or Photo Gift. All professionally made for Quick Shipping.


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Predicting the future from reading coffee grounds, engraved by Charles William Sharpe Featured Afterlife, Folklore, Supernatural & Witchcraft Image

Predicting the future from reading coffee grounds, engraved by Charles William Sharpe

CHT223768 Predicting the future from reading coffee grounds, engraved by Charles William Sharpe (1818-99) (engraving) (b/w photo) by Crowley, Nicholas Joseph (1813-57) (after); Bibliotheque des Arts Decoratifs, Paris, France; (add.info.: voyante lisant l'avenir dans le marc de cafe;); A© Archives Charmet; Irish, out of copyright

© Archives Charmet / Bridgeman Images

The Great Day of His Wrath, engraved by Charles Mottram (1807-76) Featured Afterlife, Folklore, Supernatural & Witchcraft Image

The Great Day of His Wrath, engraved by Charles Mottram (1807-76)

CW23045 The Great Day of His Wrath, engraved by Charles Mottram (1807-76), published by Thomas McLean, London in 1857 (hand coloured engraving) by Martin, John (1789-1854) (after); Private Collection; (add.info.: after the original oil painting of 1851-53 now in the collection of the Tate Gallery, London); A© Christopher Wood Gallery, London, UK; English, out of copyright

© Christopher Wood Gallery, London, UK / Bridgeman Images

The Fairy and the Sea Serpent (oil on canvas laid on panel) Featured Afterlife, Folklore, Supernatural & Witchcraft Image

The Fairy and the Sea Serpent (oil on canvas laid on panel)

2956912 The Fairy and the Sea Serpent (oil on canvas laid on panel) by Fitzgerald, John Anster (1832-1906); 19.05x27.94 cm; Private Collection; (add.info.: This strange subject is from the wilder shores of the great fairy painter's imagination. The son of an Irish poet, Fitzgerald was obsessed by fairies, and unusually for a Victorian artist his subjects were more often his own whimsies than borrowed from Shakespeare or Milton, and were much darker than the sweet renderings of his contemporaries. His manner of painting fairies was evidently Boschian, but with an opiate-fuelled Celtic inventiveness distinctly his own. Involved with the London theatre, his paintings were theatrically staged and lit, and are at their most effective when painted sketchily as if in a dream.); Photo A© The Maas Gallery, London; English, out of copyright

© The Maas Gallery, London / Bridgeman Images