The Power of Death (1889-90)
by William Holbrook Beard (United States, 1825-1900)

In William Holbrook Beard’s painting “The Power of Death,” the embodiment of Death is depicted in a powerful struggle, firmly clasping the neck of a fiercely struggling tiger. Unlike the typical portrayals of Death’s serene approach to claim a life, this scene mirrors the tiger’s intense turmoil. The foot of Death is triumphantly placed upon an elephant, symbolizing an absolute conquest over the colossal creature. In the backdrop, the carcasses of other formidable predators lay defeated, illustrating the inevitable supremacy of Death over all, regardless of their strength or ferocity.

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

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

Albert Joseph Pénot was a French painter known for female forms 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 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 specific priority.

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

Boreas (1903)
by John William Waterhouse (England, 1849-1917)

“Boreas” by John William Waterhouse is a captivating oil on canvas painting that was created in 1903. It is named after the Greek god of the north wind and features a young girl being swept by a strong wind, her draperies in slate and blue hues billowing around her. The painting is set against a spring landscape, adorned with pink blossoms and yellow daffodils, which adds to the theme of femininity and nature that is prevalent in Waterhouse’s work.

Waterhouse’s use of symbolism is evident in “Boreas”. The swirling clouds in the background represent the chaos and unpredictability of the winds, while the girl’s poised yet dynamic stance suggests resilience in the face of nature’s forces.

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

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).

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

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, 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
• 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

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, 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
• 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

Human Fragility [L'Umana Fragilità] (1656)
by Salvator Rosa (Italy, 1615-1673)

 Human Fragility was painted during a time of great pestilence. The artist himself had lost many close relatives to disease, including his son, brother, and sister. The painting depicts the artist's mistress, Lucrezia, and their son. The Angel of Death is clenching the young boy's wrist and compelling him to write, "Conceptio Culpa, Nasci Pena, Labor Vita, Necesse Mori", meaning "Conception is a sin, Birth is pain, Life is toil, Death a necessity." The background of the image contains many foreboding objects and memento mori. 

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

Mother Mushroom and her Children (1900)
by Edward Okuń (Poland, 1872-1945)

Edward Okuń was a painter, draughtsman and illustrator, representative of the Symbolist movement in the art of the Young Poland period. He was known to paint fantasy scenes based on places he traveled. Mother Mushroom and her Children is an illustration of a young mother looking wearily at her mushroom children. The illustration was originally published with the title, "Where the Beeches Dawn" in the influential German art magazine Jugend. 

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

Jean Simmons as Ophelia in Laurence Olivier's "Hamlet" (1948)
by Universal Pictures

Black and white promotional photo depicting actress Jean Simmons as "Ophelia" in Laurence Olivier's 1948 film adaptation of the famous Shakespeare play "Hamlet". This print is a beautiful example of 1940s Hollywood glamour.

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

Samurai, Yokohama (1866)
Photograph by Felice Beato (Italy, 1825-1903)

Felice Beato was one of the first people to take photographs in East Asia and one of the first war photographers. His travels allowed him to share images of countries, people, and places that were unfamiliar to people in Europe and North America. 

This Japanese Samurai may have been one of the last ever photographed, as the samurai social class was abolished two years later in 1868 as a result of the Meiji Restoration, marking the end of the Edo period in Japan. 

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

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). 

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 German Tango (Lady Dances with Death) (1916)
by Louis Raemaekers (Netherlands, 1869-1956)

Death is a pitiless partner: when called to the dance, it claims eternal possession. This is a merciless verdict of the symbolic cartoon “German Tango” by the Dutch painter Louis Raemaekers. The painter delivered about 1,000 works on World War I and is one of the most prominent cartoonists of this war who largely contributed to the anti-German war propaganda. 

Louis Raemaekers’ The German Tango is a grim wartime illustration that captures the folly of Europe’s ruling class during World War I. A crowned woman, representing aristocratic Europe, appears entranced as she dances with a skeletal figure. Her posture suggests surrender or denial, emphasizing the pull of power and the blindness to looming catastrophe.

The skeleton, symbolizing death and German militarism, clutches his partner in an eerie waltz that speaks to Raemaekers’ biting criticism. Through sharp visual metaphor, he condemns the elites for their complacency and romanticized diplomacy while war devastated the continent. This piece is a haunting indictment of leadership lost in performance while destruction danced ever closer.

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 Crystal Ball (1902)
by John William Waterhouse (England, 1849-1917)

The model peers into the ball, leaving the viewer to imagine what she might be seeing and thinking at that point. Her appearance suggests it is pure and gentle, though the skull that sits at the back of the scene offers a more sinister touch of symbolism. 

It is the touches of architecture at the back of the room that give the painting an impression of the Renaissance, with a style differing from the Gothic approach that was found in many paintings at this time. The somewhat friendlier construction of vertical and horizontal lines of the Italian papal states of centuries before feels more suited to Waterhouse's artistic style.

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

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 (210 gsm), thick base, and an instant-dry coating that resists fingerprints and smudging

Geraint and Enid Ride Away (1868)
by Gustave Doré (French, 1832-1883)

This picture illustrates the lines from Tennyson's "Enid" idyll (later "Geraint and Enid")

Mounted, and reached a hand, and on his foot
She set her own and climbed; he turned his face
And kissed her climbing, and she cast her arms
About him, and at once they rode away.

Rectangle Canvas Wrap

Gallery quality canvas print displays vibrant artwork that is built to last. Printed with HP Latex Inks that are fade resistant. Inks are water based and solvent free so rest assured there are no harsh chemicals in your home. Assembled with thick wood frame and glued wood core stretcher bars. All canvas prints are wrapped and shipped in fitted packaging

• Ready To Hang - Mounting hardware comes attached.
• Leveling Bumpers Included - For wall protection.
• Semi-Gloss Print - Increased vibrancy of artwork.
• Beveled Wood Stretch Bars - Make frame less noticeable on front of canvas.
• Industrial Strength Staples - Ensure a tight fit that is sure to last.

Départ pour le Sabbat [Departure for the Sabbath] (1910)
by Albert Joseph Pénot (France, 1862-1930)

Albert Joseph Pénot (28 February 1862 – 16 October 1930) was a French painter known for female forms 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.

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

"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 (210 gsm), thick base, and an instant-dry coating that resists fingerprints and smudging

Pyramid of Skulls (1901)
by Paul Cézanne (French, 1839-1906)

This painting depicts four human skulls stacked in a pyramidal formation, a subject matter that increasingly preoccupied Cézanne in later life. Working in isolation in the last decade of his life, Cézanne frequently alluded to mortality in his letters: "For me, life has begun to be deathly monotonous"; "As for me, I'm old. I won't have time to express myself"; and "I might as well be dead."

Cézanne's preoccupation with death was an ongoing theme that can be identified in a number of still life skull paintings that he produced between 1898 and 1905. These paintings, produced in both oils and watercolor, offer a more subtle representation of the traditional theme of vanitas.

Square Canvas Wrap

Gallery quality canvas print displays vibrant artwork that is built to last. Printed with HP Latex Inks that are fade resistant. Inks are water based and solvent free so rest assured there are no harsh chemicals in your home. Assembled with 3/4" thick wood frame and glued wood core stretcher bars. All canvas prints are wrapped and shipped in fitted packaging.

• Ready To Hang - Mounting hardware comes attached.
• Leveling Bumpers Included - For wall protection.
• Semi-Gloss Print - Increased vibrancy of artwork.
• Beveled Wood Stretch Bars - Make frame less noticeable on front of canvas.
• Industrial Strength Staples - Ensure a tight fit that is sure to last.

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 (210 gsm), thick base, and an instant-dry coating that resists fingerprints and smudging

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. 

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

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 (210 gsm), thick base, and an instant-dry coating that resists fingerprints and smudging

Hypnosis (1904)
by Sascha Schneider (Germany, 1870-1927)

Sascha Schneider created various paintings and lithographs of naked men that helped transform the romanticized 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.

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 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. 

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

1927 Solar Eclipse Photograph (1927)
by Sir Frank Dyson, Royal Astronomer
Royal Observatory, Greenwich, UK

June 1927 saw Britain in the grip of eclipse fever. A total eclipse of the sun, the first to be visible in Britain for more than 200 years, was predicted for 29 June. The path of totality ran across North Wales and Central England, from Criccieth in North Wales to Hartlepool on the east coast. 

This photograph, taken by Royal Astronomer Sir Frank Dyson of the eclipse, is an excellent example of early astronomy photography and makes a great minimalist wall art piece.

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

"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."

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

1927 Solar Eclipse Photograph (1927)
by Sir Frank Dyson, Astronomer
Royal Observatory, Greenwich, UK

June 1927 saw Britain in the grip of eclipse fever. A total eclipse of the sun, the first to be visible in Britain for more than 200 years, was predicted for 29 June. The path of totality ran across North Wales and Central England, from Criccieth in North Wales to Hartlepool on the east coast. 

This photograph, taken by Astronomer Royal Sir Frank Dyson of the eclipse, is an excellent example of early astronomy photography and makes a great minimalist wall art piece.

Rectangle Canvas Wrap

Gallery quality canvas print displays vibrant artwork that is built to last. Printed inks that are fade resistant. Inner frame is 1.25" deep and made with radiata pine sourced from renewable forests.

All canvas prints are wrapped and shipped in fitted packaging.

• Materials: cotton and polyester composite (canvas), pine wood (frame)
• Inner frame made with radiata pine sourced from renewable forests
• Leveling Bumpers Included - For wall protection
• Ready To Hang - Mounting hardware comes attached
  

Care instructions: If the canvas does gather any dust, you may wipe it off gently with a clean, damp cloth.

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

Step into a world of dark enchantment with "The Witch (Night Piece)" Rectangle Canvas Wrap. This mesmerizing piece captures a nocturnal scene where a sorceress concocts her evil brew amidst a company of bizarre beasts. She stands within a "magic circle" etched into the ground—a supernaturally consecrated space for witchcraft.

The sorceress overturns a horn into her cauldron, which is engulfed in billowing flames. Mixing with the powder are two streams of ash that spew forth from pipes held by a somersaulting demon on the left. The swirling, decorative composition and the variety of grotesque creatures, making both knowing and silly faces at the viewer, add elements of whimsy and farce to this ostensibly serious, occult subject.

Perfect for those who appreciate the mysterious and the macabre, this rectangular canvas wrap is an evocative addition to any art collection. Its intricate details and supernatural elements make it a standout piece that invites closer inspection and admiration.

Rectangle Canvas Wrap

Gallery quality canvas print displays vibrant artwork that is built to last. Printed inks that are fade resistant. Inner frame is 1.25" deep and made with radiata pine sourced from renewable forests.

All canvas prints are wrapped and shipped in fitted packaging.

• Materials: cotton and polyester composite (canvas), pine wood (frame)
• Inner frame made with radiata pine sourced from renewable forests
• Leveling Bumpers Included - For wall protection
• Ready To Hang - Mounting hardware comes attached

Skeletons, also known as Allegory of Death and Fame (1518)
by Agostino Veneziano (Italian, 1490-1540)

Although for centuries scholars have attempted to understand the allegorical meaning of this print, 16th-century artist and author Giorgio Vasari described it simply as “an anatomy of desiccated bodies and of bones of the dead.” A central figure of winged Death stands over an interred skeleton, surrounded by a variety of skeletal and living human figures who appear to debate the fate of the soul. At far left is a “marasmic” man, a type of sun-dried body used by anatomists to study the muscles without removing the skin. Rosso Fiorentino, who designed the composition of this print to be engraved by Agostino Veneziano, was a Florentine contemporary of Michelangelo who planned a book on anatomy that was never published.

Rectangle Canvas Wrap

Gallery quality canvas print displays vibrant artwork that is built to last. Printed inks that are fade resistant. Inner frame is 1.25" deep and made with radiata pine sourced from renewable forests.

All canvas prints are wrapped and shipped in fitted packaging.

• Materials: cotton and polyester composite (canvas), pine wood (frame)
• Inner frame made with radiata pine sourced from renewable forests
• Leveling Bumpers Included - For wall protection
• Ready To Hang - Mounting hardware comes attached