The Four Witches (1497)
Engraving by Albrecht Dürer (German, 1471-1528)

Dating from early in Albrecht Dürer’s career, this engraving cannot be tied to a specific narrative but may allude to the Greek goddess of the underworld, Hecate. Four nude women gather under an orb with a skull at their feet, while a ghoul emerges to their left. Three of the women could represent Hecate, who was often depicted with three faces or bodies; the fourth may be Diana, Hecate’s counterpart on Earth. The nudity and allusions to black magic suggest mischief and the realm of witches. Prints offered a new medium for exploring subject matter that was deemed inappropriate in other media, such as painting.

Matte Poster
• Printed with Dye/Pigment Reactive Ink on Archival Matte Paper
• Shipped in Heavy Duty Poster Tube
• Heavy weight (210 gsm), thick base, and an instant-dry coating that resists fingerprints and smudging

Woman Seen from the Back (1860s)
Photograph by Vicomte Onesipe Aguado de las Marismas (French, 1830-1893)

The portrait, Woman Seen from the Back, a salted paper print from glass negative, suggests the wit and playfulness of its photographer. The image is devoid of depth, possibly an extension of the artists' work on foreshortening, making the sitter appear two dimensional and merely a silhouette.

Matte Poster
• Printed with Dye/Pigment Reactive Ink on Archival Matte Paper
• Shipped in Heavy Duty Poster Tube
• Heavy weight (210 gsm), thick base, and an instant-dry coating that resists fingerprints and smudging

The Witch (Night Piece) (1626)
by Jan van de Velde (Dutch, 1620-1662)

This nocturnal scene depicts a sorceress concocting her evil brew in the company of bizarre beasts. She stands within a "magic circle" scratched into the ground, the supernaturally consecrated space for witchcraft -- a likely inspiration for the circular forms of Rosa's paintings. She overturns a horn into her cauldron engulfed in billowing flames; mixing with the powder are two streams of ash that spew forth from pipes held by a somersaulting demon at left. The swirling, decorative composition and the variety of grotesque creatures making knowing and silly faces at the viewer add elements of whimsy and farce to the ostensibly serious, occult subject.

Matte Poster
• Printed with Dye/Pigment Reactive Ink on Archival Matte Paper
• Shipped in Heavy Duty Poster Tube
• Heavy weight (210 gsm), thick base, and an instant-dry coating that resists fingerprints and smudging

The Green Masque (1921)
Painting by Sir Oswald Birley (English, 1880-1952)

If you were a person of consequence in the 1920s, 1930s or 1940s, or wanted to choose a suitable portrait painter for a commission of an important member of society, then it is very likely that the artist you would place at the top of your wish list was Sir Oswald Birley (1880–1952).

A frequent subject of his paintings was his wife, Rhoda. Widely regarded as a beauty, she married Birley at the age of 20 when he was 41. The exhibition features a particularly beautiful portrait made by Birley soon after their marriage in 1921. Entitled The Green Masque, it depicts Rhoda in Venetian carnival attire, her alabaster face glowing against a dark background, her eyelashes demurely lowered.

Matte Poster
• Printed with Dye/Pigment Reactive Ink on Archival Matte Paper
• Shipped in Heavy Duty Poster Tube
• Heavy weight (210 gsm), thick base, and an instant-dry coating that resists fingerprints and smudging