Albin Grau (1884–1971) - Poster concept art for 'Nosferatu, eine Symphonie des Grauens'
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Albin Grau (1884–1971) - Poster concept art for 'Nosferatu, eine Symphonie des Grauens'
Art by Albin Grau
producer albin grau's time on the serbian front in wwi had inspired the making of the film. he'd encountered a man who insisted his father had become an undead vampire.
painted poster promoting 'nosferatu' (1922) dir. f.w. murnau, illustration by albin grau, german, 1922.
Herr Knock Blood sigil
The sigil Herr Knock was drawing during the invocation ritual to communicate with Count Orlok, using his own blood, is not the Count's sigil. As usual in cinema, it, most likely, doesn't translate into any real occult sigil, even though it's visually reminiscent. The heptagram appears to be a reference to the Great Pentacle of Solomon (establishing the connection to the Solomonari).
The symbol at the center seems evocative of Agrippa's sigils of Saturn, and a combination of these figures. The planetary sigil of Saturn is associated with the dark spirit (demon) Zâzêl, and the angel Agiel.
Heinrich Cornelius Agrippa; “Of Occult Philosophy, Book II” (1651)
Finding sigils connected to Saturn in Robert Eggers' adaptation of “Nosferatu” is not surprising, since Albin Grau (the producer and production designer of 1922 “Nosferatu”) redefined the vampire as a symbol of Saturnian initiation, connected to his occult beliefs as a member of the German magic order Fraternitas Saturni.
In esoteric tradition, Saturn represents restriction, death and rebirth, and Grau's Nosferatu is a shadowy force that compels the initiate to face mortality, fear and their own inner darkness. Which isn’t so different from the metaphysical meaning of Eggers' Count Orlok.
Nosferatu (1922) Art by Albin Grau
Albin Grau, Nosferatu, 1922
Concept art and sketches for 'Nosferatu, A Symphony of Horror' (1922) by architect and visual artist Albin Grau (1884–1971).
Poster for F. W. Murnau’s Nosferatu – Eine Symphonie des Grauens by Albin Grau (1922)