Witches Going to their Sabbath (1878) 
by Luis Ricardo Falero (Spanish, 1851-1896)

Witches Going to their Sabbath by Luis Ricardo Falero, painted in 1878, is a captivating work that delves into the fantastical and the supernatural. The painting depicts a group of witches flying through a stormy night sky, heading to their secret Sabbath gathering. The central figure, a witch, gazes directly at the viewer, drawing them into the scene with a mix of allure and menace. Falero’s meticulous detail and focus on the human form, particularly the female form, are evident in this work, with his use of light and shadow creating a dramatic, almost theatrical effect.

Falero incorporates traditional symbols associated with witchcraft and the occult, such as the witches in mid-air and a goat, often linked to the devil. The painting reflects the 19th-century fascination with the occult, presenting a vision that is both alluring and unsettling. It can be seen as a commentary on the fears and fantasies surrounding witchcraft, with its subversive undertones and depiction of powerful, transgressive women challenging conventional norms. This analysis highlights the complexity and richness of Falero’s work, inviting viewers to explore its layers of meaning.

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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 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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Dante and Virgil in Hell (1850)
by William-Adolphe Bouguereau
French, 1825–1905

William-Adolphe Bouguereau was a French academic painter known for his realistic genre paintings and modern interpretations of classical subjects, particularly emphasizing the female body. 

“Dante and Virgil in Hell” is a compelling work which draws inspiration from Dante Alighieri’s “The Divine Comedy,” specifically the “Inferno” section, where Dante, guided by the Roman poet Virgil, traverses the circles of Hell. In this particular scene, Bouguereau captures the moment in the eighth circle, designated for the sin of Fraud. Here, Dante and Virgil witness a violent struggle between two damned souls: Capocchio, an alchemist and heretic, and Gianni Schicchi, who infamously impersonated Buoso Donati to fraudulently claim his inheritance.

Bouguereau’s portrayal is vivid and dramatic, emphasizing the physicality and intensity of the combatants. The artist’s mastery of realism is evident in the precise brush strokes and the meticulous rendering of muscles, nerves, and tendons, which bring the scene to life with a sense of terribilita and horror. This work diverges from Bouguereau’s typical focus on serene and idealized female figures, showcasing his versatility and ability to explore darker themes with the same technical prowess.

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Circe (1888)
by Louis Chalon (French, 1866-1940)

Louis Chalon was a French artist who began his career as an illustrator and was known for his classically inspired paintings, illustrations for books, and decorative objects. Chalon’s works often featured mythological and allegorical subjects.

His painting “Circe” stands as a testament to his skill in capturing the allure and mystique of mythological figures. Chalon’s depiction is noted for its exotic elements, combining various cultural motifs to create a setting that reflects Circe’s otherworldly nature. The painting frames Circe with a radiant sun behind her, alluding to her divine parentage as the daughter of the sun god Helios.

The legend of Circe is rich and complex. She is known as a minor goddess or enchantress in Greek mythology, often associated with magic and transformation. Circe’s most famous myth involves her encounter with Odysseus in Homer’s “Odyssey,” where she turns his men into pigs with a potion. Odysseus, protected by an herb from Hermes, confronts and overcomes Circe, who then helps him on his journey home.

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The Triumphant [Triunfător] (c. 1916)
by Josef Mandl
Czech, 1874–1933

Josef Mandl was a Czech painter and professor of drawing. His style was characterized by elements of symbolism, reflecting his fascination with the mysterious and the subconscious. Mandl's paintings often conveyed emotional depth and explored the interplay between reality and imagination.

Triunfător, the enigmatic harbinger of fate, dances on the precipice between realms. Unlike the somber specter we often envision, this portrayal defies convention—a paradox in brushstrokes.

Here we see the smoldering remnants of a battlefield, where screams have dissolved into ashen air, Death is not the reaper of dread; he is the weaver of endings. Kneeling by a murky watering hole, Death immerses his skeletal hands. Beside him rests the scythe, its blade dulled by ceaseless harvest. Death cleanses it—a ritual of absolution.

Triunfător is not an omen of dread, but a sentinel of cosmic balance. His work here, seemingly done, leaves us pondering: Is he the harbinger or the harbored?

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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.

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

The Lady of Shalott (1888)
Painting by John William Waterhouse (English, 1849–1917)

Ethereal, poignant, and richly romantic, The Lady of Shalott is one of John William Waterhouse’s most beloved masterpieces. Inspired by Alfred Tennyson’s celebrated poem, the painting captures the tragic heroine at a pivotal moment, embarking on a journey that will forever alter her fate.

Waterhouse masterfully combines Pre-Raphaelite beauty with powerful storytelling, surrounding the solitary figure with luminous light, intricate detail, and a dreamlike atmosphere. The work evokes themes of longing, destiny, and the courage to follow one’s heart, even in the face of profound consequences.

Renowned for its emotional depth and visual elegance, The Lady of Shalott remains an enduring symbol of romance and resilience. Reproduced on a premium matte poster, this timeless masterpiece brings literary history, artistic sophistication, and captivating beauty to any home, office, or gallery wall.

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Hypnotism Owl (1903)
Cover of a book by A. Alpheus
published in Chicago by publisher M.A. Donohue

Unlock the mysterious allure of hypnotism and mesmerism with our unique Hypnotism Owl Matte Poster. Inspired by the captivating cover of the antique book Complete Hypnotism, Mesmerism, Mind-Reading and Spiritualism: How to Hypnotize, this artwork embodies the essence of vintage charm and esoteric knowledge. This print is perfect for those fascinated by the mystical and the unusual.

This high-quality print boasts sharp, vibrant details on a premium matte finish. The historical inspiration is based on the enigmatic cover of a renowned hypnotism and mesmerism guidebook. The intriguing design features an owl, symbolizing wisdom and mystery, making it an eye-catching piece for any room. The versatile decor is ideal for adding a touch of vintage mystique to your home, office, or study.

Transform your space into a haven of curiosity and intrigue with the Hypnotism Owl Matte Poster. This artwork celebrates the fascinating history of hypnotism and spiritualism, offering a glimpse into a world of wonder and mysticism. Whether you're an avid collector of vintage-inspired pieces or simply looking to add a conversation starter to your decor, this poster is a must-have.

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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) Matte Poster. 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 matte poster 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.

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In The Name of Humanity [In Naam der Menscheid] (1914)
by Johannes Leonardus Kleintjes (a.k.a. Jan L. Kleintjes) (Dutch, 1872–1955)

Johannes Leonardus Kleintjes is known for his genre, history, and landscape paintings. He married painter Hedwig Cecile Albertine van Osselin and he and his wife often exhibited their works together. After her death, Kleintjes painted still lifes of flowers as a tribute to her.

"In Naam der Menschheid" (In the Name of Humanity) is a painting that was created in Brussels in February 1914, as noted by the artist on the back of the canvas. This work can be seen as a protest against the rising popularity of militarism and radical nationalism at the time. The tensions between countries in Europe, which this painting addresses, would lead to the outbreak of World War I later that summer.

The painting's title itself, "In the Name of Humanity," suggests a plea for compassion and reason in the face of growing militaristic fervor. Given the historical context and the symbolic nature of Kleintjes' work, the painting likely serves as a poignant reminder of the human cost of war and the importance of maintaining our shared humanity amidst political turmoil.

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Kriemhild (1924)
Promotional photo of Margarete Schön
by Universum Film (UFA)

"Die Nibelungen: Kriemhild's Revenge" is a silent film directed by Fritz Lang, released in 1924. It is the second part of Lang's two-part series, the first being "Die Nibelungen: Siegfried." It is considered one of the greatest artistic and technical achievements of the German silent cinema era. Lang's adaptation of the epic poem "The Song of the Nibelungs" was a monumental task that showcased the capabilities of early cinema.

In the film "Die Nibelungen: Kriemhild's Revenge," Kriemhild's character is portrayed by Margarete Schön as a figure of remorseless and implacable determination, seeking revenge for the murder of her husband, Siegfried. Her costume design plays a significant role in conveying this transformation from a grieving widow to a vengeful queen.

The costume obscures much of her, leaving her face, and particularly her eyes, to express the depth of Kriemhild's emotions. This design choice emphasizes her intense gaze, which conveys her inner turmoil and unyielding resolve. The costume likely includes elements that are both regal and somber, reflecting her royal status and her dark purpose.

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Crow on a Cloudy Day
by Unknown 

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Saturn Devouring His Son (1819–1823)
by Francisco Goya (Spanish, 1746-1828)

Saturn Devouring His Son stands as one of Goya’s most disturbing and unforgettable creations. Painted directly onto the walls of his home during the final years of his life, it belongs to the group known as the Black Paintings, a series marked by unfiltered emotion and a stark rejection of idealized beauty. This work confronts the viewer with a vision of myth stripped down to its most brutal core.

Goya shows Saturn as a frantic, hollow‑eyed figure caught in the act of consuming his child. His body is gaunt and sinewy, illuminated by a harsh light that exposes every tense muscle and every trace of desperation. The background offers no comfort or context. It is a dark void that forces the viewer to face the horror without distraction. The intimacy of the scene makes it feel as though we have stumbled into a moment we were never meant to witness.

The painting draws from the ancient myth of Kronos, who devoured his children to prevent them from rising against him. Goya transforms this story into something far more psychological. It becomes a reflection on fear, power, and the violence that erupts when terror overwhelms reason. Created during a period of illness, political turmoil, and personal disillusionment, the work reads like a raw confession rendered in paint.

This description captures the intensity and emotional depth of Goya’s masterpiece, a piece that continues to unsettle and fascinate viewers centuries after its creation. 

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Storm (1925)
by Zdzisław Jasiński (Polish, 1863–1932)

Zdzisław Jasiński was a Polish painter known for his works in the Academic and later Impressionistic styles. His art often captures the dynamic and dramatic elements of nature, and Storm is no exception.

Storm features a vivid and evocative depiction of a summer thunderstorm. Dark thunderclouds, metaphorically shaped like stampeding black horses, dominate the sky above a flat green landscape. This imagery is powerful — it captures the energy, force, and unpredictability of a thunderstorm, paralleling the thundering sound of hooves with the rumbling of thunder.

The use of dynamic symbolism is characteristic of Jasiński’s ability to convey the intensity and movement of natural phenomena through his art. A palette of dark, ominous colors represents the storm clouds, contrasted with the serene green of the landscape below — highlighting the stark impact of the storm on the environment.

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• Printed with dye/pigment reactive inks on archival-quality matte paper
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Scops Owl in Flight, Cherry Blossoms and Full Moon (1926)
by Ohara Koson (Japanese, 1877–1945)

Ohara Koson, also known as Ohara Shōson and Ohara Hōson, was a Japanese painter and printmaker particularly renowned for his kachō-e (bird-and-flower) woodblock prints. Koson’s work was part of the shin-hanga (“new prints”) movement, which revitalized traditional ukiyo-e art by integrating Western elements. He produced a prolific number of prints, many of which were exported to the United States, contributing to his international acclaim.

Scops Owl in Flight, Cherry Blossoms and Full Moon (1926) is a quintessential example of Koson’s mastery in capturing the beauty of nature. The woodblock print features a scops owl in mid-flight against a backdrop of cherry blossoms and a full moon, encapsulating the transient beauty of spring and the serene elegance of the nocturnal bird. The owl’s detailed feathers and the delicate petals of the cherry blossoms are set against the muted colors of the night sky, creating a harmonious and dynamic composition. This work reflects the Japanese appreciation of nature’s fleeting moments — a theme often explored in Koson’s art.

The print is celebrated for its fine detail and the interplay of light and shadow, showcasing Koson’s skill in the traditional Japanese woodblock printing technique. Scops Owl in Flight remains a beloved piece for its poetic depiction of nature and its embodiment of the shin-hanga style.

Matte Poster

• Printed with dye/pigment reactive inks on archival-quality matte paper
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• Instant-dry coating helps resist fingerprints and smudges
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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.

Doré's masterful engraving style brings warmth and emotion to the scene, transforming a brief passage of poetry into a vivid visual narrative. The graceful composition and delicate details highlight themes of love, loyalty, courage, and companionship, making this piece a standout work of Victorian illustration.

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 * Heavy weight (230 gsm), thick base (9.5 mil), 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.

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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 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 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 strength or ferocity.

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Plate XV from British Butterflies, Figures and Descriptions of Every Native Species
by William Stephen Coleman (1897)

This beautiful illustration from the rare Victorian book British Butterflies depicts six common butterfly species native to England: Scarce Swallow-tail, Apollo, Arran Brown, Weaver's Fritillary, Purple-edged Copper, and Tailed-Blue. William Stephen Coleman (1829-1904) was an English painter and illustrator.  

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The Four Horsemen, from The Apocalypse (1498)
Engraving by Albrecht Dürer (German, 1471–1528)

Dynamic, dramatic, and masterfully detailed, The Four Horsemen is one of the most iconic images of the Northern Renaissance. Created by Albrecht Dürer as part of his groundbreaking Apocalypse series, the work brings the powerful imagery of the Book of Revelation to life with extraordinary energy and precision.

Charging across the composition with unstoppable force, the four riders embody a vision of fate, judgment, and transformation. Dürer’s genius is evident in every line — from the flowing garments and turbulent clouds to the figures overwhelmed beneath the horses’ hooves. The result is a scene of remarkable movement and intensity that remains as compelling today as it was more than five centuries ago.

Widely regarded as a landmark achievement in printmaking, The Four Horsemen showcases Dürer’s unmatched ability to balance technical mastery with emotional impact. Reproduced on a premium matte poster, this historic masterpiece makes a bold statement in any space, offering a striking blend of artistic excellence, symbolism, and timeless drama.

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 Souls of Acheron (1898)
by Adolf Hirémy-Hirschl (Hungarian, 1860–1933)

Adolf Hirémy-Hirschl was a Hungarian artist renowned for his historical and mythological paintings, particularly those related to ancient Rome. The Souls of Acheron, painted in 1898, is a vivid portrayal of the Greek mythological concept of the afterlife.

In this painting, Hirémy-Hirschl depicts the god Hermes, identifiable by his winged hat and dark blue robes, as he leads the recently deceased to the lower world. The scene is set on the banks of the River Acheron — known in mythology as the river of woe, one of the five rivers of the Greek underworld. The dead are shown pleading with Hermes to allow them to return to the upper world, but he ignores their cries as he strides through the bodies to meet Charon at the shore, who will ferry these souls across the river into the underworld.

Hirémy-Hirschl’s painting captures the essence of this mythology with a dramatic composition that emphasizes the contrast between the divine figure of Hermes and the despairing souls. The use of light and shadow, along with the somber color palette, evokes the emotional weight of the scene and reflects the artist’s skill in conveying narrative through visual art.

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
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Tamara and the Demon (1889)
by Konstantin Makovsky (Russian, 1839–1915)

Konstantin Makovsky was an influential Russian painter affiliated with the “Peredvizhniki” or “Wanderers.” He was known for his historical paintings that often presented an idealized view of Russian life in previous centuries.

Tamara and the Demon is a captivating painting that delves into the themes of virtue and evil, drawing inspiration from Mikhail Lermontov’s poem Demon — a story of a fallen angel who wanders the earth filled with bitterness and loneliness. Set in the Caucasus Mountains, the Demon encounters Tamara, a beautiful Georgian princess, and becomes infatuated with her. He indirectly causes the death of her betrothed and eventually reveals himself to her. Tamara is drawn to him and succumbs to his embrace, which proves fatal. In the end, Tamara’s soul ascends to heaven, while the Demon is left alone once again, despairing and without hope.

The poem — and Makovsky’s interpretation of it — is a complex exploration of the nature of evil, redemption, and the possibility of love and compassion for even the most damned beings.

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

Nymphs and Satyr (1873)
by William-Adolphe Bouguereau (French, 1825-1905)

William-Adolphe Bouguereau was a French academic painter known for his realistic genre paintings and modern interpretations of classical subjects, particularly emphasizing the female human body. 

Nymphs and Satyr depicts a group of nymphs who have surprised a satyr while bathing in a secluded pond. The nymphs, embodying both innocence and mischief, attempt to pull the reluctant satyr into the water. This scene is based on Greek mythology and captures a moment of playful yet seductive interaction between the creatures of the forest and the mythical satyr.

The composition is classical, with Bouguereau’s use of interconnected poses and careful sketches contributing to the painting’s rhythmic and realistic effect. The painting was exhibited at the Paris Salon of 1873 and was accompanied by a verse from the Roman poet Publius Statius, which emphasizes the satyr’s hesitation to enter the water due to his inability to swim.

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Trochilidae [Hummingbirds] (1904)
plate 99 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, Trochilidae, depicts many species of Hummingbirds, including the Ruby-Throated Hummingbird, Horned Sungem, Crimson Topaz, Red-tailed Comet, Tufted Coquette, Sword-billed Hummingbird, Buff-tailed Sicklebill, Dot-eared Coquette, White-vented Violetear, Hooded Visorbearer, Juan Fernandez Firecrown, and the Booted Racket-tail.

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