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Psychic Artists some information Empty Psychic Artists some information

Post  Elizabeth on Mon 04 Apr 2011, 8:47 am

I just thought I would start this Psychic art section with some info on various Psychic Artist that have done amazing things;

David Duguid, a psychic artist under the control of Jan
Steen his spirit guide. (Jan 1895)
David brought his paints with him in a long tin box that
had seen long service; it was untidy and unclean
inside as if it belonged to a professional artist. There
was also a piece of cardboard of thirty or forty square
inches, which was dirty to start with, and very dirty
before the painting began. I wanted to examine this
but was solemnly warned by one of the party who had undergone this
experience, to let alone. “If you touch it, Jan will be at you for certain;
and if his brushes are meddled with, I won’t answer for the
In the meantime, as our Scottish friend himself would have put it, Jan
Steen has taken possession, and was opening the box and arranging
the brushes and tubes, but never a word was spoken. Duguid’s eyes
were closed fast, but his right hand readily found each article as wanted.
Presently he withdrew his fingers from the box and looked at them with
closely sealed eyes, but, nevertheless, looked at them. The tips were
decorated with daubs of dark paint. He took his rag and wiped them.
The rag was full of paint too, and made matters worse. Both hands
were now covered. He gazed at them with comical consternation,
rubbed them well together to distribute the mixture, and let them go as
they were.
Then he took up the card, examined it critically, transferred a good deal
of paint to it from his fingers, mad a few rapid strokes with a pencil
stump, and prepared for execution. The white lead he laid on with a knife, just as you might spread bread and butter, and, as he did it, smiled
amiably on the lady at his left, as if he would say, “you think that funny?
It is.” And all the while too, with closed lids.
Next he dipped his brush in the oil and applied it to the white on the card.
I don’t know if that is the way of artists in oil, but Jan mixed his colours
so, on the card. It was as if he was adding Jam to the Butter.
In a very few moments half the white part became sky, with flecks of
blue and rosy tipped clouds, and half, the surface of a lake, with lights
and shadows, ripples and reflections. A few more rapid touches, and
there grew under the brush, grey and Blue Mountains, with dark woods
and a somber ruined castle to the fore. The painting was done, and
very well done for one who was working with shut eyes during the whole
of the thirty minutes or so that the operation covered. “Loch Katrine,”
said those who knew, as the picture passed around the admiring circle.
The medium now brought forth from a little pocket-case two cards of the
size used for carte-de-vista portrait’s, and tore a small corner from each,
which he presented respectively to the lady at his side and to a
gentleman selected for special favour, care being taken to observe that
the pieces so given were really the pieces that had been torn from the
cards which were retained by the medium. He took up a wet brush by
the business end, held up to view the painted fingers with a humorously
mournful expression, had recourse to the rag and made them worse
again, and then mixed all the paint on his palate well together into one
unlovely mess, placed the slab on the top of the box, with a single brush
by the side, and two cards close at hand.
By dumb show he indicated a wish to have his hands tied together; and
much amusement was occasioned by the demonstration of how knot to
do it afforded by the sitter who essayed the operation. At length Jan
tired of showing how easily the mediums hands could be withdrawn from
the knotted handkerchief. For the first time Jan broke his silence,
mumbling, “Let me show you”, and in a few moments the tying was
satisfactorily effected. The gas was then turned out.
A minute or two passed in silence, and Jan was heard to mutter that he
feared the experiment would result in failure. Happily, however, the
apprehension proved unfounded. And after less than five minutes of
darkness we lighted up, and found every article exactly as left, but a
pretty little picture, glistening with wet paint, on each of the two cards.
Jan after obtaining release from the handkerchief, handed the cards to the respective holders of the torn corners, who fitted these to the cards,
and announced them to be the same. One of the pictures represented
Loch Lomond, and the other was a replica in miniature of the larger
picture of Loch Katrine.
A few questions to Steen elicited the information that a hand was
materialized for this work, that one brush only was used, and that the
messy mixture was all the colouring it employed, the paint flowing from
the point of the brush and separating when it touched the paper. All
this, he said, could be easily observed by a clairvoyant, and often has
been. Having no clairvoyant among ourselves, we, of course, had no
conformation of this statement, but what we were able to observe was, in
the first place, a very plausible picture produced by his hand while the
medium’s eyes were to appearance, closed fast all the while, and in the
second place, a couple of very passable little pictures produced in the
dark in three of four minutes whilst the mediums hands were ties.
The curious fact was noticeable during the painting of the earlier picture
that, although his eyes were closed, the medium followed with his face
every movement that was made in the operation, even holding up a tube
and seeming to closely observe the quantity of colour squeezed out, and
every now and again stopping, as artist usually do, to examine and
consider the progress of his work. He always readily found what was
wanted, and never made a mistake with the colours, but contrived once
to pick up a brush by the wrong end, just as one with eyes open might
absently do.
The moral of all which is, I suppose, that eyes are not always necessary
to sight.
“The Light” A journal of Physical, Occult and Mystical Research dated 12th
January 1895.

Last edited by Elizabeth on Mon 04 Apr 2011, 10:18 am; edited 1 time in total


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Psychic Artists some information Empty Coral Polge. England. UK.

Post  Elizabeth on Mon 04 Apr 2011, 9:15 am

Coral Polge. England. UK.

The world-renowned British psychic artist, Coral Polge, passed into the Spirit World on 29th April 2001 in Surrey, England. Coral had given 54 years of dedicated service to the people in the world of the spirit, and to their loved ones who searched for evidence of their survival here on the earth.
Just take a look at the psychic portraits below, and you'll see why her mediumistic gift was so highly valued and praised, and why it will be so greatly and sadly missed.
Coral Polge worked tirelessly across the globe to promote the wonderful message of the survival of the soul after death, and her excellent book Living Images contains startling examples of her work.
It would be impossible to say how many people were helped by this remarkable woman's talent and psychic gift: she worked in nearly every country of the world, was often interviewed on television and radio, and in the press, and she dried the eyes of countless thousands of bereaved people worldwide. It is fitting that she is remembered and paid tribute to here.
On hearing the news of her passing, the renowned British medium, healer and psychic author Stephen O'Brien, with whom she'd worked many times, wrote a tribute to her work in Psychic News. In it he said of her:
'She raised the spiritual awareness of her audiences. Huge crowds of people sat entranced as, from out of nowhere, their loved ones� faces appeared again before their tearful eyes. Mourners were comforted; broken hearts were mended; and her delighted recipients were always thrilled with their sketches. Her mediumistic skills will be praised as highly as they will be missed. Coral Polge has earned her place as one of the twentieth century�s most outstanding psychic artists.'
And those whom she helped worldwide, would certainly agree.

The above is the father of Kay Hunter, who wrote Living Images with Coral Polge; but Coral knew nothing of the writer's family history prior to drawing this sketch.

The son of Mrs Bayles of Rhodesia (S. Africa), who died while having an operation to correct his broken nose, which is shown in the psychic portrait as being in slightly better shape in his spirit body.
This drawing was done as a 'postal reading', and the lad's character is clearly captured.

The book Living Images was written by Coral Polge, with Kay Hunter, and has appeared in several editions and in several languages: Regency Press/Thorsons publishers/ and there's a current 1997 paperback edition by the Spiritualist Association of Great Britain; ISBN: 090069717)

I met Coral quite a few times BUT the most memorable occasion was in the Liverpool Spiritualist Church in Daulby Street. when she was doing a demonstration with another Medium, she often worked in tandem. Unfortunately the lady in question Coral was working with escapes my memory.

The clairvoyant Medium working with Coral was giving out information as was Coral about a boy who had had an accident in Liverpool, Coral was all the time continuing to draw the picture of a boy. Both Mediums went on to say the boy died after a brick wall fell on him. and could anyone take the picture no person there could take the picture, but two ladies in the audience could take the story and they lived by the person when the accident happened. Unfortunately they said the family had moved away from the area after the tragedy. The two ladies said they would take the drawing and try to find the family in the area where they thought they had moved to which was 20 odd miles away in Runcorn, Cheshire. They said they would relay the messages of comfort and tell the mother their son had made contact with Coral and her partner Medium. we all heard two weeks later in church the two ladies were successful in finding the house and the family. The ladies had gone out in their car the following Sunday to Runcorn, but did not know how they were going find the house, nor did they know what sort of a reaction, the two of them as strangers with a strange story would get from the mother and the family. So they set off to Runcorn and ended up in Castlefields where they thought the family had gone to. They parked the car and asked a passerby if they knew of a family who had move to around here who had lost a son under a wall in Liverpool, and it surprised them to find that they had parked up across the road from the ladies house. Apprehensively they knocked on the door and a lady answered it. The pair showed the drawing to the lady who was taken aback by the likeness of her son so they related the story about the demonstration and the information that was given by Coral and her partner. The lady got all emotional and invited them in for a cup of tea and they stayed talking for many hours. The Spirit World work in many different ways. I know I should not be, but I am always amazed at the way they get their messages over at the right moment in a person's life.

The pictures didn't copy across yet if you would like to check them out the sit is:



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Psychic Artists some information Empty The Bangs Sisters

Post  Elizabeth on Mon 04 Apr 2011, 9:46 am

I love the way the Bangs sisters art just appeared on the canvas without either of them actually touching the canvas or any impliments. This is just one article on the sisters for any more info. if your interested look up :

The Mediumship of the Bangs Sisters and an examination of their precipitated Spirit Portraits. Part I. By N. Riley Heagerty

It is August, the year is 1911. A large audience has filled to capacity the auditorium at the world famous Chesterfield Spiritualist Camp in the State of Indiana, America. They have come to witness a demonstration of psychic power, one of the most unique and marvellous in the entire world.
A select committee has arranged beforehand that upon entering the building, all have been given a numbered ticket, the stub of which is torn off and put into a large vat to be thoroughly mixed up; later on, one stub will be randomly drawn from the collection. Now, after a close examination by the committee to see that there are no markings or paint of any kind, or signs of chemical treatment, a large plain canvas is placed on an easel in the centre of the stage. The spirit mediums who will demonstrate the phenomena now enter the auditorium, they are sisters and appear to be about 35 to 40 years of age. Both take their seats on the rostrum, one situated on each side of the easel and clearly four to five feet from it; they will never touch the canvas throughout the entire demonstration.
A member of the committee now reaches in and selects from the vat one ticket stub and reads the number aloud to the audience; it belongs to a Mrs Alice Alford. Mrs Alford and her husband are now invited to come up and take a seat on the stage; they will be sitting for a portrait but in this particular instance the painting will not be of the Alfords; the artist and the subject of this session are from another dimension; the world of Spirits.
When all is ready, the mediums slowly bow their heads and close their eyes as if in prayer and deep concentration; the silence in the auditorium for five straight minutes is so absolute that the air itself seems to stand still. Suddenly, many in the audience lead forward in their chairs, sitting rigidly, their eyes tense and fixed on the canvas, from which a thin, vapour-like cloud, or shadow it seems, sweeps across it, pulsates, and then flickers out. After a few more tense moments, shades of definite colour begin to appear, as if successive layers of fine dust have been thrown, or precipitated on to the canvas to form a cloudy background and this also seems to pulsate and flicker and then quickly disappear. On and on it goes for several minutes; the other-worldly artist it seems, is making preliminary sketches, and trying out different colour schemes.
Suddenly, all at once, the background slowly and steadily now precipitates into view; clearer and clearer it comes, only this time with it there is an astounding addition; three pairs of eyes have suddenly appeared on different parts of the canvas; two pairs of which are open and the last, situated directly in the centre of the canvas, are closed. The two open pairs immediately disappear and the closed eyes remain only to also instantaneously disappear; the audience gasps in astonishment.

With each successive phase of the unfolding phenomena, the background becomes clearer and clearer and now, a faint outline of a face and bust slowly precipitates itself into view, disappearing and reappearing several times before remaining in focus on the canvas. It is the unmistakable likeness of a young girl, perhaps 14 to 15 years old: many in the audience are now standing, some pointing in wonderment. Gradually, the appearance becomes more clearer and more distinguishable; she is transcendently beautiful and her hair, clearly auburn brown, falls luxuriously to her bare shoulders, revealed by the white dress she is wearing having been pulled down. Around her neck she is wearing a black onyx teardrop necklace, and pink roses surround the top of her dress as embroidery. Her eyes are closed.

With the portrait now having been completely precipitated on to the canvas, to the utter and absolute astonishment of all, the eyes suddenly open, and the audience thunders in applause. To the front of the stage now steps the Alfords, clearly shaken by the experience, and Mr Alford announces to the gathering that the portrait is an exact likeness of their deceased daughter, Audrey. The Alfords, as it turns out, are a prominent family of Marion, Indiana, are not Spiritualists in belief, and this was their first visit to Camp Chesterfield. Mrs Alford wore around her neck, hid from sight, a locket containing a photograph of her daughter almost duplicate in likeness of the spirit picture obtained, but different in poise and position. The mediums had not seen the locket picture or any photo of the child, nor had they ever made the acquaintance of the Alfords. The finished portrait was precipitated on to the canvas in twenty-two minutes. The spirit mediums of this extraordinary event, The Bang Sisters.

Within the vast and marvellous records of American physical mediumship, one of the most outstanding chapters belongs indeed, to the turn of the century mediums, the Misses Elizabeth S and May E Bangs, of Chicago, Illinois. Their gifts included above board, independent writing in broad daylight (mostly slates), and independent drawing and painting; all forms of fully developed clairvoyance, materialisations, and direct voices, but their most wondrous and spectacular phenomena was that of precipitated spirit portraits in full colour.
In researching these mediums, three things initially and not surprisingly, stand out. First, like the majority of the most powerful and famous physical mediums from this country, many of whom were the highest ranking in Spiritualism, they too lived and developed their many gifts within the Great Lakes region of the North-eastern United States (see The Spirit Zone Newsletter, Aug 1994), a mystery zone of electrical energy in this section of the country said by the spirits themselves to be perfect for the manifestation of physical phenomena due to the great bodies of water and the dry, crisp atmosphere; the Bangs sisters' hometown of Chicago, Illinois is situated right on Lake Michigan, secondly that they were in fact, siblings, giving us yet another outstanding example of a genetically connected powerhouse of mediumistic force.
*Other examples of this type of 'industrial strength' mediumship which comes to mind is of course the Fox sisters, the brothers Davenport, the Misses Moore, the Eddy brothers and family, the Berry sisters, the Jonathan Koons family, the Misses Dunsmore and the list goes on, and thirdly, in the case of May and Lizzie Bangs, there is not one single definitive and complete book as far as I know, in existence about these sister mediums and I find this to be absolutely unbelievable considering the nature of their phenomena and the vast amount of years put in for the cause of Spiritualism and physical mediumship by these wonder workers.

Research material that I found had to be collected piece by piece and page by page over a long period of time. This in itself is very good research practice as it involves extreme patience like everything connected with physical mediumship does. I have had to work very very hard for every bit of research material I have ever uncovered, some has involved years; make no mistake though, it is always a labour of love and I attribute all I know of this wonderful subject to perseverance and persistence; a continuing unfolding process, the education which automatically comes when one is patient while following the trails of truth.
With most of our most famous physical mediums there is nothing recorded of their early, childhood lives; the very beginnings of their visions, sights and sounds, an area I find to be one of the most blessed and wonderful, in many cases, has simply been lost to the ages. With the Bangs Sisters I was fortunate to find one source containing information on their early days.

'Transcendence In Oil (The Bangs Sisters)', The National Spiritualist, July 1, 1940.
Who were these miracle-working women? Born of a typical American family named Bangs, they were reared in average American surroundings. These sisters, Lizzie and May, were scarcely past toddling age when they began astonishing the neighbourhood with phenomena of a very unusual sort. Pieces of coal falling seemingly from the ceiling to the floor of their home - coal that bore no similarity whatsoever to any ever seen in the surrounding country - was one of the first visible instances of the girls' strange power. By their fourth of fifth years spirit rappings, voices from the world beyond, and the moving of heavy pieces of furniture by invisible forces were within their grasp.
Strange, indeed, for girls scarcely past babyhood, and certainly beyond comprehension of childish minds. They must have suffered more than their share of qualms at their difference from girls of the same age.
Physical manifestations, such as materialisations of hands, automatic writing, independent slate writing, full-form etherialisation, clairvoyance and clairaudience were by now almost daily occurrences. Within the next few years an even more remarkable ability was demonstrated by the sisters. Something no medium had ever achieved before - spirit communication by typewriter. Later, when word of the spirit paintings got out, Lizzie and May Bangs were now famous indeed.
This new power baffled the keenest intellects. The portraits reproduced were work of high order as well as excellent likenesses. The conditions under which the paintings were made precluded all possibility of deception. When one considers that an artist would require at least five hours to produce even a poor portrait, the fact that the Bangs portraits only required from twenty minutes to three hours becomes more astounding. (Less and less time was required as the mediumship developed - NRH)
The story of the paintings and the history of the Bangs girls were headlined in papers and magazines throughout the country. Fakirs and magicians tried to imitate the performance. They came, were unmasked, and passed in steady procession. Sceptics reversed their opinions and wrote favourable notices. Meanwhile the sisters carried on quietly and serenely, unmoved by the storm raging around them. Such headlines as: 'The Facts of Immortality Verified' left them unmoved. They had a job to do and they did it.
Caring nothing for the pomps and vanities of this world, they wasted no precious time on shams. They lived comfortably but simply. Their lives were dedicated to helping others: the needy, the sick in body and soul. With only a strand of hair, or perhaps a message locked tight between slates - mute pleas of supplication from aching hearts - to help them, the sisters were able to bring what had seemed forever gone into the light of day. Countless were the thousands who received comfort and happiness in this way. Many famous men and women who travelled to their doors to criticise, left singing hymns of praise.
The Bangs Sisters, according to themselves, and from what I have gathered were mediums from the time they were born: the phenomena revealed itself throughout their entire childhood and, thanks to the sympathetic and understanding nature (obviously) of their parents, friends and the Spiritualists, they were not 'burned at the stake' and their glorious gifts were able to be fully developed and thousands were helped because of it.

Regards Elizabeth


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