Witch Riding a Bat (1916)
by Ida Rentoul Outhwaite (Australia, 1888-1960)

Ida Rentoul Outhwaite was an Australian illustrator of children's books, whose work mostly depicted magical creatures such as elves and fairies. Well before modern fairy-tale iterations saw Frozen's Anna and Elsa crowned as unexpected feminist icons, she was celebrating the power of the feminine in subtle ways. The drawings are often emotionally quite intense, depicting a fairy or a feminine child floating above a rocky landscape or scary deep sea, without fear.

Matte Poster

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Safo (1881)
by Miguel Carbonell Selva (Spain, 1854-1896)

In a painting that goes by the title Safo, we see the figure of Sappho at the moment when she is about to leap to her death, plunging into the sea from the heights of Leukas.

Sappho was a famous Greek poet from the island of Lesbos who lived from c. 630 – c. 570 BC. She is sometimes called the ‘Tenth Muse’ because her abilities to play music and write poetry were legendary. An intriguing story about her death has been circulating for millennia, yet there is no evidence as to its veracity. The story holds that Sappho threw herself off the cliffs of the Greek island Leucadia because of her love for Phaon, a ferryman.

Some scholars believe that Sappho was a lesbian and many of Sappho’s poems can be interpreted as homoerotic. Indeed, the adjective ‘sapphic’ can refer to a certain type of lyric poetry or to lesbianism (ie: a sapphic relationship).

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La Femme Chauve-Souris [The Bat Woman] (1890)
Albert Joseph Pénot (France, 1862-1930)

Albert Joseph Pénot was a French painter known for female nudes and landscapes. Today, he is more popularly and specifically recognized for a subset of paintings centering on women of darker, more macabre themes.

Pénot was concerned first and foremost with anatomically accurate portrayals of women. Singular female forms were the implicit focus of his work, whereas the worlds surrounding his characters are seldom realized beyond misty atmospheres and patches of shadow and light. Environments are incidental and are typically shrouded in haze, giving the figures themselves explicit priority.

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The Destruction of Leviathan (1866)
Engraving by Gustave Doré (France, 1832-1883)

Destruction of Leviathan is based on the Biblical story of Leviathan referenced in the book of Job. Leviathan is described as a giant fire-breathing serpent so terrifying that just the sight of it would drive men insane. The Book of Isaiah later says that on Judgement day, God will slay the serpent. 

The serpent's face likely modeled on depictions of the great Midgard Serpent in Norse tales, and the battle scene itself was based on the Rig Veda, where Indra kills Vritra (the first born of dragons), with a thunderbolt. 

The Destruction of Leviathan represents the abolishment of darkness and insanity. In this work, Gustave uses his depiction of the creature to show the resemblances to terrible creatures described in other various religions to showcase his personal unification philosophy. 

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Hypnosis
by Sascha Schneider (Germany, 1904)

Sascha Schneider created various paintings and lithographs of naked men that helped transform the eroticized male into an ubiquitous public image for a brief moment in Germany's history. Schneider operated during an unusual period of German history known as the Health and Hygiene Movement, or Freikörperkultur. Seen as a response to the booming industrialization of the 18th and 19th centuries, the movement advocated for a return to traditional exercise and healthy living pursuits, involving a plethora of natural efforts and, among other things, nudity.

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Fairy Riding a Bat (1921)
by Ida Rentoul Outhwaite (Australia, 1888-1960)

Ida Rentoul Outhwaite was an Australian illustrator of children's books, whose work mostly depicted magical creatures such as elves and fairies. Well before modern fairy-tale iterations saw Frozen's Anna and Elsa crowned as unexpected feminist icons, she was celebrating the power of the feminine in subtle ways.  The drawings are often emotionally quite intense, depicting a fairy or a feminine child floating above a rocky landscape or scary deep sea, without fear. 

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Frog (1814)
by Matsumoto Hoji (Japan, active 1770-1815)

This simple yet amusing print by the Japanese artist Hoji is a woodblock print from "Meika Gafu", 1814, and shows the sad-faced frog in black ink beneath red calligraphy. Toads and frogs were common motifs in "Zenga" or "Zen pictures" during the Japanese Edo period, as Zen monks considered them to be creatures free from the distraction of the mundane world and representing a pure and natural life. 

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Hylas and the Nymphs (1896) 
by John William Waterhouse (England, 1849-1917)

The painting depicts a moment from the Greek and Roman legend of the tragic youth Hylas, based on accounts by Ovid and other ancient writers, in which the enraptured Hylas is abducted by Naiads (female water nymphs) while seeking drinking water.

Hylas, a male youth in classical garb, wearing a blue tunic with a red sash, and bearing a wide-necked water jar. He is bending down beside a pond in a glade of lush green foliage, reaching out towards seven young women, the water nymphs, who are emerging from the pond among the leaves and flowers of Nymphaeaceae (water lilies), including an early depiction of the yellow waterlily, Nuphar lutea. The nymphs are naked, their alabaster skin luminous in the dark but clear water, with yellow and white flowers in their auburn hair. They have very similar physical features, perhaps based on just two models.

Hylas is being enticed to enter the water, from which he will not return. One of the nymphs holds his wrist and elbow, a second plucks at his tunic, and a third holds out some pearls in the palm of her hand. The face of Hylas in profile is shadowed and barely visible, but the faces of the nymphs are clearly visible as they gaze upon him. The scene is depicted from a slightly elevated position, looking down at the water like Hylas, so no sky is visible. Hylas's position forces the viewer's focus onto the nymphs in the water and the lack of reference to his relationship with Hercules emphasizes that the narrative of the painting is not about Hylas's experiences, but about the sinister nature of the nymphs.

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1927 Solar Eclipse Photograph (1927)
by Unknown

This photograph of an eclipse in 1927 is an excellent example of early astronomy photography and makes a great minimalist wall art piece.

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Kraft und List [Power and Cunning], (1880)
Josef Arpád Koppay (Hungary, 1859-1927)

Baron József Árpád Koppay von Drétoma was an Austro-Hungarian portrait painter. This work, Kraft und List depicts a lion (strength) with a chain around its neck. Leaning against it is a dark-eyed, winged woman (cunning). Presumably she holds the other end of the lion's chain. Interestingly, this drawing is a variation of one of his earlier works, The Strong and the Weak. In the original painting, there was no cemetery, and the woman did not have wings. 

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Selene (1880)
by Albert Aublet (France, 1841-1938)

Albert Aublet’s brilliant ability to draw upon a wide array of sources to inform his compositions is evident in the remarkable present work--centered on a pale-skinned model floating through a clouded sky, dappled with fading stars, above a landscape of purple mountains and ice-blue waters. 

Aublet’s Selene appears to be at the end of her nightly journey, her back arched, legs and arms wrapped around the slight silhouette of the moon, the sky brightening with the pink hues of the oncoming dawn (brought by her brother Helios). 

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The Nightmare (1781)
by Henry Fuseli (Switzerland, 1741-1825)

The Nightmare is a 1781 oil painting by Swiss artist Henry Fuseli. It shows a woman in deep sleep with her arms thrown below her, and with a demonic and apelike incubus crouched on her chest.

The painting's dreamlike and haunting erotic evocation of infatuation and obsession was a huge popular success.

For contemporary viewers, The Nightmare invoked the relationship of the incubus and the horse (mare) to nightmares. The work was likely inspired by the waking dreams experienced by Fuseli and his contemporaries, who found that these experiences related to folkloric beliefs like the Germanic tales about demons and witches that possessed people who slept alone. In these stories, men were visited by horses or hags, giving rise to the terms "hag-riding" and "mare-riding", and women were believed to engage in sex with the devil. The etymology of the word "nightmare", however, does not relate to horses. Rather, the word is derived from mara, a Scandinavian mythological term referring to a spirit sent to torment or suffocate sleepers. The early meaning of "nightmare" included the sleeper's experience of weight on the chest combined with sleep paralysis, dyspnea, or a feeling of dread. The painting incorporates a variety of imagery associated with these ideas, depicting a mare's head and a demon crouched atop the woman.

Fuseli may have added the horse as an afterthought, since a preliminary chalk sketch did not include it. Its presence in the painting has been viewed as a visual pun on the word "nightmare" and a self-conscious reference to folklore—the horse destabilizes the painting's conceit and contributes to its Gothic tone.

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Chauve-Souris D'Egypte [Bats of Egypt] (1809)
by Geoffrey St. Hilaire (French, 1772-1844)

The French campaign in Egypt and Syria was Napoleon's Bonaparte's invasion of Ottoman territories in the name of protecting French trade interests. An unusual aspect of the expedition was the inclusion of many scientists and scholars. 

This print is the first plate from the Histoire Naturelle volumes of the books containing the various animals, plants, and rocks that French scholars discovered during the Egyptian campaign. This plate depicts three species of bats: the Naked-Bellied Tomb Bat, the Hollow-Faced Bat, and the Common Pipistrelle Bat. 

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"La Vie De L'Abeille" [The Life of the Bee] 

This beautiful antique French educational poster depicts the life cycle of the honeybee. 

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"The Castle Rising Sisters" (a.k.a. "Welsh Witches' Tea Party")
Photograph by Unknown (England)

This photograph is commonly titled "Welsh Witches' Tea Party", but the subjects are not witches, nor are they Welsh. They are posed at Trinity Hospital, Castle Rising in Northampton, England. Trinity Hospital, Castle Rising was an Almshouse Charity, a place for unmarried (or widowed) poor women over age 56 to live.

The original requirements (circa 1600) were: “They must be of honest life and conversation, religious, grave and discreet, able to read, if such a one be had, a single woman, her place to be void on marriage, to be of 56 years at least, no common beggar, harlot, scold, drunkard, haunter of taverns, inns and alehouses.”

Residents of Trinity Hospital were asked to go to prayers three times each day to say the Lord’s Prayer, the Creed and a prayer ordered by the Founder for himself and his noble family.

Fast-forward to the present day and the criteria of this almshouse charity is not quite as strict. The only qualifying requirement is for single women from parishes of Castle Rising, North Wootton, and Roydon who are in reduced financial circumstances. There’s no dress code these days either, yet the residents take great pride in dressing in the “uniform” (such as in the picture) provided by Henry Howard, Earl of Northampton for special occasions such as Founder’s Day.

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Portrait of Maud Wagner (1907)

Maud Stevens Wagner (née Stevens; February 12, 1877 – January 30, 1961) was an American circus performer. She was the first known female tattoo artist in the United States. Wagner was an aerialist and contortionist, working in numerous traveling circuses. She met Gus Wagner—a tattoo artist who described himself as "the most artistically marked up man in America" while traveling with circuses and sideshows—at the Louisiana Purchase Exposition (World's Fair) in 1904, where she was working as an aerialist. She exchanged a romantic date with him for a lesson in tattooing, and several years later they were married. 

After leaving the circus, Maud and Gus Wagner traveled around the United States, working both as tattoo artists and "tattooed attractions" in vaudeville houses, county fairs and amusement arcades. They are credited with bringing tattoo artistry inland, away from the coastal cities and towns where the practice had started.

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Kaloma (1914)
Photograph by Pastime Novelty Co. of New York

An iconic American photograph, at once time purported to have been of Josie Earp, wife of Wyatt Earp. In the 1960s, Kaloma was revived as a risqué and nostalgic image, appearing in many hippie publications and concert poster art.

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Witches' Sabbath [El Aquelarre] (1798) 
Painting by Francisco Goya (Spanish, 1746-1828)

Witches' Sabbath shows the Devil in the form of a garlanded goat, surrounded by a coven of disfigured, young and aging, witches in a moonlit barren landscape. The goat possesses large horns and is crowned by a wreath of oak leaves. On the right, an old crone can be seen holding an extremely starved looking, but apparently still living, infant in her hands, while a younger witch to her right does the same with a healthier looking child, implying they will follow the same fate. The Devil seems to be acting as a sort of priest at an initiation ceremony for the children, although popular superstition at the time believed the Devil often fed on children and human fetuses. The dead body of an infant can be seen discarded to the left, whereas the legs of another can be seen held down with force to the ground by a presumably younger witch in the center foreground. More witches, young and old, can be seen in the background, as well as three dead infants, apparently manacled, hanging from the neck on a stake to the left in the distance.

Typical of the imagery of witchcraft, many of the symbols used are inverted. The goat extends his left rather than right hoof toward the child, while the quarter moon faces out of the canvas at the top left corner. In the middle high-ground, a number of bats can be seen flying overhead, their flocking motion echoing the curve of the crescent moon.

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Lilith (1889)
by John Collier (England, 1850-1934)

The apparent sweetness of this work by John Collier, a Pre-Raphaelite painter, is a wonderful testimony of the two sides of Lilith’s figure. Juggling between the images of sensuality, beauty, and that of a cold murderess, Collier is one of the artists that has transformed her image. From the Assyrio-Babylonian goddess, later known as the first woman in Jewish mythology, Lilith slowly turns into a powerful icon.

The contrasting colors of the painting, and its warm palette, further enhance the atmosphere that emerges from the work. This use of the colors, in Lilith as well as in Collier’s other portraits, earned him a certain recognition from his contemporaries. Seen as solemn, his work, however, offers an obvious mastery of tones and light.

Eventually, the figure of Lilith evolves gradually from the dangerous demoness depicted by the religious writings to a symbol of sensuality, but also of feminism. By her aspect of being equal to Adam, from whom she does not depend, the succubus becomes a feminist icon, a perfect opposition to Eve’s figure. Many powerful, sometimes feared, historical and mythological female figures are associated with snakes. These include Cleopatra and Medusa, whose association with snakes makes them desired, sensual, or monstrous.

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Flight of Fancy... Off for the Sabbot (1927)
by William Mortensen (United States, 1897-1965)

In a roll call of the pioneers of modern photography, one name is never invoked. From the late 1920s to the 1950s, William Mortensen was one of the most famous and celebrated photographers in America. However, his subject matter – which veered towards the savage, indecorous, gothic and grotesque – as well as his use of montage and illustration, made him a pariah among the puritanical new guard in photography, led by Ansel Adams, who tried to write him out of history, and even called him "The Antichrist". 

Mortensen’s methods often made it hard to distinguish whether the results were photographs or not. He used traditional printmaking techniques, such as bromoiling, and developed many of his own. He would create composite images, scratch, scrape and draw on his prints, then apply a texture that made them look like etchings, thereby disguising his manipulations. Consequently, every print was unique. Ultimately, Mortensen’s aim was to create something that, for all intents and purposes, appeared to be a photograph, yet portrayed scenes so fantastic they caused wonder and astonishment in the viewer.

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"Trio of Women Dancing" (1918)
Photograph from Dancing with Helen Moller

One of a series of 43 plates depicting classical dance from the book Dancing with Helen Moller which is described as, "a statement of her philosophy, practice, and teaching formed upon the classic Greek model, and adapted to meet the aesthetic and hygienic needs of today."

This image is captioned, "The Classic Ideal—and Ours world! Not even Michelangelo could grasp it. His vision is of man burdened and disquieted, oppressed by mysteries which he cannot penetrate, writhing in conflict with forces too great for his control. In the sculptures of the Greeks, on the other hand, man is calm and untroubled—and the gods, we must remember, are but man exalted and made immortal."

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"Tubulariae" [Hydra] (1904)
plate 6 from Kunstformen der Natur by Ernst Haeckel

Ernst Haeckel (1934-1919) was a German zoologist and naturalist who described and named thousands of new species and created many terms used today in biology. His work of over one hundred illustrations of animals and sea creatures, Kunstformen der Natur ("Art forms in Nature"), would go on to influence the Art Nouveau artistic movement. 

This plate Tubulariae depicts many species of Hydroids. 

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Śmierć (1902)
by Jacek Malczewski

Jacek Malczewski is one of the most important Polish symbolist painters. Malczewski is associated with the Young Poland movement (Młoda Polska), a modernist period in Polish culture following more than a century of Partitions of Poland. Therefore Polish martyrdom, romantic ideas of independence, local folklore, and death were recurrent motifs in Malczewski’s oeuvre.

This hopeful message certainly bears some religious undertones. Look at this old man: he seems to be ready to die, his head turned towards death and his neck tense. His hands clutched in prayer, his fingers fiddling with a small medallion with Virgin Mary, something that many Polish Catholics wear even today.
Death looks almost like a Greek goddess. However, it’s difficult to understand her facial expression: is she feeling pity for this old man? Or is she just focused on doing her job?

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The Unicorn is in Captivity and No Longer Dead (1495-1505)
Woven in South Netherlands by unknown artisans

The Unicorn is in Captivity and No Longer Dead is the final panel in a series of tapestries showing pagan and Christian symbolism. The pagan themes emphasize the medieval lore of beguiled lovers, whereas Christian writings interpret the unicorn and its death as the Passion of Christ. The unicorn has long been identified by Christian writers as a symbol of Christ, conscripting the traditionally pagan symbolism of the unicorn. The original pagan myths about The Hunt of the Unicorn refer to an animal with a single horn that can only be tamed by a virgin; Christian scholars translated this into an allegory for Christ's relationship with the Virgin Mary.

In the Gothic tapestry, the makers considered biblical events as historical, and linked the biblical and secular narratives in the tapestry weaving. Medieval art illustrated moral principles, and the tapestries used narrative allegories to illustrate these morals. The secular unicorn hunt was not simply Christian art, but also an allegorical representation of the Annunciation.

Acknowledging speculation that the tapestries were commissioned to celebrate a marriage, it is noted that medieval poets connected the taming of the unicorn to the devotion and subjugation of love. The taming of the unicorn symbolizes the secular lover or mate who was enchained by a virgin and entrapped in the fence (in the tapestry The Unicorn in Captivity). In addition, the author pointed out that the concept of an overlapping God of Heaven and God of love was accepted in the late Middle Ages.

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Crow on a Cloudy Day
by Unknown 

A striking photograph of a soaring crow against a stormy sky. 

Matte Poster

Printed with Dye/Pigment Reactive Ink On archival matte paper Shipped in heavy duty poster tube Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

• Printed with Dye/Pigment Reactive Ink
• On archival matte paper
• Shipped in heavy duty poster tube
• Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

Orpheus Returning from the Shades (1885)
by Sir William Blake Richmond (England, 1842-1921)

This painting depicts the Greek hero Orpheus at the moment of anguish after his failed attempt to rescue his wife, Eurydice, from death and the underworld. 

Orpheus was a character in many Greek epics and was described as having superhuman musical skills. Orpheus joined the expedition of the Argonauts and saved the crew from the Sirens by playing his own, more powerful music. On his return, he married Eurydice, but she was soon killed by a venomous snake. Overwhelmed by grief, Orpheus traveled to the land of the dead to meet with Hades and plead for her return. Hades was so touched by Orpheus' story and music that he agreed to allow Eurydice to return on one condition: neither she nor Orpheus must look back during their journey to the land of the living. 

As the couple approached the opening, Orpheus caught sight of the sun and, in his excitement, turned to face Eurydice to share his relief with her. It was in that moment that she disappeared forever.  

Matte Poster

Printed with Dye/Pigment Reactive Ink On archival matte paper Shipped in heavy duty poster tube Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

• Printed with Dye/Pigment Reactive Ink
• On archival matte paper
• Shipped in heavy duty poster tube
• Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

"Circle of Women Dancing"
by Unknown

This captivating vintage black and white photograph depicts young women dancing in a circle outdoors, possibly as part of a May Day (Beltane) festival. 

Matte Poster

Printed with Dye/Pigment Reactive Ink On archival matte paper Shipped in heavy duty poster tube Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

• Printed with Dye/Pigment Reactive Ink
• On archival matte paper
• Shipped in heavy duty poster tube
• Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

Illustration of the Devil, from "La Poule aux Oeufs D'or" (Goose with the Golden Egg) (1850)
by Paul Henrion

This illustration depicts a demon, or the Devil himself, in an elaborate costume. This illustration appeared alongside sheet music for the French musical play, "La Poule aux Oeufs D'or" and may have been a suggestion for a costume design.

Matte Poster

Printed with Dye/Pigment Reactive Ink On archival matte paper Shipped in heavy duty poster tube Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

• Printed with Dye/Pigment Reactive Ink
• On archival matte paper
• Shipped in heavy duty poster tube
• Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.