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

Step into a world of enchantment with this captivating artwork by renowned Australian illustrator Ida Rentoul Outhwaite, celebrated for her whimsical depictions of fairies, elves, and other magical beings. Long before fairy tales embraced modern heroines, Outhwaite's illustrations quietly celebrated courage, independence, and the enduring strength of the feminine spirit.

In Witch Riding a Bat, a fearless female figure soars through the skies atop an unlikely companion, embodying wonder, adventure, and self-possession. Like much of Outhwaite's work, the image carries an emotional depth that sets it apart, placing its heroine in a mystical landscape where mystery and beauty coexist, yet fear never prevails.

Printed on premium matte paper, this striking poster brings vintage fantasy art and timeless imagination to any space. Perfect for lovers of folklore, fairy tales, witchcraft aesthetics, and classic illustration, it makes a magical addition to home galleries, reading nooks, studios, and creative spaces.

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Chiroptera [Bats] (1904)
plate 67 from Kunstformen der Natur by Ernst Haeckel

Ernst Haeckel (1834-1919) 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, Chiroptera, depicts the unique facial structures of various species of bats: 1-2: Brown Long-eared Bat, 3: Lesser Long-eared Bat, 4: Lesser False Vampire Bat, 5: Big-eared Woolly Bat, 6-7: Tomes's Sword-nosed Bat, 8: Mexican Funnel-eared Bat, 9: Antillean Ghost-faced Bat, 10: Flower-faced Bat, 11: Greater Spear-nosed Bat, 12: Thumbless Bat, 13: Greater Horseshoe Bat,14: Wrinkle-faced Bat, 15: Spectral Bat

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

Mysterious, captivating, and unmistakably dramatic, The Bat Woman exemplifies Albert Joseph Pénot’s fascination with the female figure as both muse and myth. Renowned for his evocative depictions of women, the French artist created works that blend beauty with the supernatural, often exploring darker, more symbolic themes that continue to intrigue audiences today.

In this iconic composition, Pénot places the female form at the center of the visual experience. Emerging from a shadowed, atmospheric backdrop, the figure commands attention with an intense presence that is both alluring and unsettling. As in much of Pénot’s work, the surrounding environment recedes into soft haze and darkness, allowing the subject’s expression, posture, and symbolism to take precedence.

A striking example of Symbolist-inspired imagery, The Bat Woman embodies the artist’s mastery of mood, contrast, and feminine mystique. The result is a timeless work that invites interpretation while adding a bold, dramatic statement to any art collection or interior.

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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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Circle of Women Dancing
by Unknown

Celebrate history, tradition, and feminine unity with this stunning vintage black and white photography poster. Featuring young women dancing in a circle outdoors, possibly during a May Day (Beltane) festival, this artwork captures the beauty of folk customs and community celebrations. The high-quality matte finish enhances the photograph's rich contrast and classic aesthetic, making it perfect for vintage-inspired interiors, bohemian spaces, meditation rooms, or gallery walls. A thoughtful gift for lovers of historical photography, folklore, and cultural heritage.

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Meteoric Shower of Nov. 13, 1833 (1889)
by Adolf Vollmy (Swiss, 1866-1945)

This engraving by Swiss artist Adolf Vollmy depicts a significant event in astronomical history: the 1833 Leonid meteor shower. This celestial phenomenon captivated observers worldwide as it unfolded during the early hours of November 13. Hundreds of thousands of meteors streaked across the night sky, leaving an indelible impression on those fortunate enough to witness it. It was the first recorded meteor storm of modern times.

Beyond its historical significance, Vollmy's engraving captures both the awe and wonder inspired by this extraordinary celestial event. Tiny figures gather beneath a sky ablaze with falling stars, emphasizing the dramatic scale of nature's spectacle and humanity's enduring fascination with the cosmos. The artist's careful attention to light, atmosphere, and perspective transforms a scientific phenomenon into a breathtaking visual narrative, inviting viewers to imagine the astonishment felt by those who witnessed the meteor storm firsthand. Rich in both astronomical and artistic appeal, Meteoric Shower of Nov. 13, 1833 is a striking piece for stargazers, history enthusiasts, and collectors of vintage scientific art.

Please note: The original artwork was reproduced from a drawing published in an antique newspaper. While advanced upscaling technology has been used to improve clarity and sharpness, some graininess and imperfections may remain visible upon close inspection. These characteristics reflect the historical nature of the source material and contribute to its authentic vintage appeal.

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Safo [The Death of Sappho] (1881)
by Miguel Carbonell Selva (Spanish, 1854-1896)

Poised between beauty and tragedy, Safo captures one of the most enduring figures of classical antiquity at a moment of profound emotion. Inspired by the legendary Greek poet Sappho, the painting portrays the famed writer as she stands on the precipice of fate, contemplating the sea below.

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The Castle Rising Sisters
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 Norfolk, England — 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, regular of taverns, inns and alehouses."

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" provided by Henry Howard, Earl of Northampton for special occasions such as Founder's Day.

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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 alabaster skin of the nymphs is 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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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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Fairy Riding a Bat (1921)
by Ida Rentoul Outhwaite (Australia, 1888-1960)

Chauve-Souris D'Egypte [Bats of Egypt] (1809)
by Étienne Geoffroy Saint-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 Bare-Bellied Tomb Bat, the Hollow-Faced Bat, and the Common Pipistrelle Bat. 

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Death of a Crow (2020)
by Unknown Artist

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

Albert Aublet’s mastery of symbolism and atmosphere shines in Selene, a dreamlike vision inspired by the Greek goddess of the moon. Suspended in a luminous, cloud-filled sky scattered with fading stars, the ethereal figure glides above a landscape of violet mountains and shimmering blue waters.

Gracefully embracing the crescent moon, Selene appears at the close of her nightly passage across the heavens. Aublet’s delicate use of color and light creates a scene that is both serene and enchanting, capturing the quiet transition between night and dawn. The painting’s blend of mythological subject matter and Art Nouveau elegance makes it a captivating example of late 19th-century symbolism.

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• Instant-dry coating helps resist fingerprints and smudges
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Departure for the Sabbath [Départ pour le Sabbat] (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.

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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.

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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 the merciless verdict of The German Tango, a symbolic cartoon by the Dutch painter Louis Raemaekers. Raemaekers produced about 1,000 works on World War I and is one of the most prominent cartoonists of the war, contributing significantly to anti-German 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.

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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.

Okuń's whimsical composition blends folklore, fantasy, and the natural world into a scene that feels both enchanting and deeply human. The weary yet watchful mother figure lends the illustration a touch of humor and tenderness, while the anthropomorphic mushrooms evoke the dreamlike imagination characteristic of Symbolist art. Rich with storybook charm and woodland magic, this captivating print is perfect for cottagecore interiors, nature lovers, fantasy enthusiasts, and collectors of vintage illustration.

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

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

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The White Owl (1856)
by William James Webbe (English, 1830–1904)

The White Owl is a captivating piece that exemplifies the artist’s meticulous attention to detail and his importance within the Pre-Raphaelite movement. Painted in 1856, the artwork features a solitary white owl resting on its perch within a belfry, a setting that evokes a sense of solitude and contemplation. The owl’s feathers are rendered with exquisite detail, showcasing Webbe’s skill in capturing the texture and softness characteristic of an owl’s plumage.

The painting’s title is accompanied by the quote “alone and warming his five wits, the white owl in his belfry sits” — further emphasizing the owl’s isolation and introspective mood. The artwork stands out not only for its technical prowess but also for its ability to convey a deeper narrative through the simple yet profound subject of a white owl in quietude.

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• Instant-dry coating helps resist fingerprints and smudges
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Trio of Women Dancing (1918)
Photograph from Dancing with Helen Moller

Bring the grace and enduring beauty of classical movement into your space with Trio of Women Dancing, a striking fine art poster drawn from Dancing with Helen Moller. Originally published as one of 43 illustrations celebrating classical dance, this evocative image reflects Moller's vision of movement inspired by the ideals of ancient Greece and adapted for the modern world.

Accompanied by Moller's powerful reflection on the contrast between classical harmony and human struggle, the artwork celebrates a timeless ideal of balance, beauty, and serenity. The three dancers move in elegant unity, embodying the calm strength and elevated spirit that Moller admired in Greek art and philosophy.

Printed on premium matte paper, this museum-inspired reproduction offers rich detail and a soft, glare-free finish, making it a sophisticated addition to living rooms, studios, libraries, offices, or creative spaces. Perfect for lovers of dance, classical art, and vintage illustration, this piece serves as both a captivating visual statement and a tribute to the enduring pursuit of beauty through movement.

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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 an apelike demonic creature crouched on her chest. The painting’s dreamlike and haunting evocation of infatuation and obsession was a huge popular success. For contemporary viewers, The Nightmare invoked the relationship of the creature 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 — including Germanic tales about demons and witches that possessed people who slept alone.

The etymology of the word “nightmare” 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 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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• Instant-dry coating helps resist fingerprints and smudges
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The Crystal Ball (1902)
by John William Waterhouse (English, 1849–1917)

Enchanting and richly atmospheric, The Crystal Ball is one of John William Waterhouse’s most celebrated works, capturing a moment suspended between reality and the unknown. With her gaze fixed on a glowing crystal sphere, the central figure invites viewers into a world of mystery, wonder, and quiet contemplation.

A master of storytelling through symbolism, Waterhouse balances the painting’s serene beauty with subtle intrigue. The figure’s graceful presence suggests innocence and introspection, while hidden details within the composition hint at deeper themes of fate, mortality, and the supernatural. Every element is carefully arranged to draw the viewer further into the scene and spark their own interpretation of what visions may be unfolding within the crystal ball.

Distinguished by its Renaissance-inspired architectural setting and Waterhouse’s signature attention to color, light, and texture, The Crystal Ball remains a timeless example of the artist’s ability to blend elegance with mystery. Reproduced on a premium matte poster, this captivating artwork brings a sense of romance, imagination, and classic beauty to any space.

Matte Poster

• Printed with dye/pigment reactive inks on archival-quality matte paper
• Heavyweight 210 gsm paper with a thick, durable base
• Instant-dry coating helps resist fingerprints and smudges
• Carefully packaged and shipped in a heavy-duty protective poster tube

The Vampire Queen [Marie Schleinzer in Bat Costume] (1896)
Photograph by Atelier Adele Studio (Austria, 1862–1905)

Austrian stage actress Marie Schleinzer in costume for the ballet Around Vienna (“Rund um Wien”), in which Schleinzer plays the allegorical force of evil. This is one of a series of photographs published in the Austrian photographic journal Photographische Correspondenz.

The photography studio was owned by Adele Perlmutter-Heilperin and her two brothers, Max and William Perlmutter, who founded Atelier Adele in 1862. Adele was the first and only female “k.u.k. Hofphotograph” of the Austro-Hungarian monarchy in Vienna and was famous for her ability to photograph women.

Matte Poster

• Printed with dye/pigment reactive inks on archival-quality matte paper
• Heavyweight 210 gsm paper with a thick, durable base
• Instant-dry coating helps resist fingerprints and smudges
• Carefully packaged and shipped in a heavy-duty protective poster tube

Portrait of Maud Wagner (1907)
by Unknown Photographer

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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