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.

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)

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 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.

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.

Matte Poster
• Printed with dye/pigment reactive ink on archival matte paper
• Packaged in a heavy-duty poster tube for protection during shipping
• Features heavyweight paper with a thick base and an instant-dry coating

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 Rectangle Canvas Wrap. 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 Rectangle Canvas Wrap. 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 piece is a must-have.

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.

All Seeing Eye

Invite timeless protection and cultural charm into your space with the "All Seeing Eye" (Violet) Square Canvas Wrap. Featuring the symbolic Eye of Nazar, this captivating design is believed by many cultures to shield against the Evil Eye, warding off negativity and envious energy.

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.

All Seeing Eye

Invite timeless protection and cultural charm into your space with the "All Seeing Eye" (Teal) Square Canvas Wrap. Featuring the symbolic Eye of Nazar, this captivating design is believed by many cultures to shield against the Evil Eye, warding off negativity and envious energy.

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.

"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 

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

Bellona Leading the Armies of the Emperor against the Turks (1600)
by Jan Muller (Dutch, 1571-1628)

The central, striding figure, Bellona (the Roman goddess of war), is said to be either the sister or the wife of Mars, god of war. The double-headed eagle of the Hapsburgs appears on the flag behind her. Born in Amsterdam, Jan Muller probably learned engraving from his father, Harman Muller, a printmaker and publisher. He traveled to Italy in the 1590s and presumably stopped in Prague along the way. There he made prints based on designs by artists employed at the Hapsburg court, including Bartholomeaus Spranger (1546–1611).

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

In 1498 Dürer published a book illustrating the Revelation of John or the Apocalypse of John, the last book of the New Testament. The images were unique in their large scale, breadth of concept, and unity of design. The first book to be both published and illustrated by the artist, it comprised a title page and 15 full-sheet woodcuts featuring text on the verso of all the sheets except the last one. Often visible through the paper, the text mars the image on the recto of the sheet. The finest impressions were most often printed without text, like this one of The Four Horsemen. Here, Dürer suggested the vigorous momentum of the horsemen through the windblown clothing of the riders, the windswept clouds, and the figures trampled beneath the hooves of the approaching horses.

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

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.

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

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.

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

The Lady of Shalott is a poem by Alfred Tennyson, written 50 years before Waterhouse painted this picture. The Lady of Shalott is cursed and forced to stay in a tower. She is only allowed to look at the world through a reflection in the mirror. One day, she sees a knight, Sir Lancelot, and falls in love with him. She ignores the curse and leaves the tower to find him, which results in her death. Lady of Shalott’s story can be read as a warning about female desire. Victorian society had strict rules and expectations for women that defined ‘acceptable’ behavior.

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

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.

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

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 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.

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 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 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

The Satyr Family (1505)
Engraving by Albrecht Dürer (German, 1471-1528)

Dürer’s interest in mythological imagery stemmed from his familiarity with the Italian Renaissance. In this ambiguous engraving, Dürer depicted a satyr - a hybrid woodland creature typically associated with debauchery - in the role of father and family man. Instead of carousing in the forest, he plays music to his newborn child. Dürer’s play on the mother and child theme and the satyr’s unconventional fatherly behavior draws attention to a primal and simplified way of life. 

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

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.  

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

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.

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

Śmierć (1902)
by Jacek Malczewski
Polish (1854-1929)

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?

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

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

An iconic American photograph, at once time purported to have been of Josephine Sarah "Sadie" Marcus Earp, wife of Wyatt Earp. It is associated with Wyatt Earp, mainly because it appeared on the cover of a book called I Married Wyatt Earp.

However, this is unlikely to be her. According to antiques appraiser C. Wesley Cowan, The Pastime Novelty Company in New York City specialized in suggestive pictures and hired models as they could find them. Could Sadie have been one of them? Not likely. She was born in 1861. This photo was taken in 1914, meaning that she would have been 53 years old.

By the 1960s, Kaloma was revived as a risqué and nostalgic image, appearing in many hippie publications and concert poster art.

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

Witches' Flight (Vuelo de Brujas) (1798)
Painting by Francisco Goya (Spain, 1746-1828)

At center point are three semi-clothed witches wearing penitential coroza bearing aloft a writhing figure, their mouths close to their victim, as if to devour him or suck his blood. Below, two figures in peasants' garb recoil from the spectacle: one has thrown himself to the ground covering his ears, the other attempts to escape by covering himself with a blanket, making the fig hand gesture to ward off the evil eye. Finally, a donkey emerges on the right, seemingly oblivious to the rest of the scene.

The general scholarly consensus is that the painting represents a rationalist critique of superstition and ignorance, particularly in religious matters: the witches' corozas are not only emblematic of the violence of the Spanish Inquisition (the upward flames indicate that they have been condemned as unrepentant heretics and will be burned at the stake), but are also reminiscent of episcopal mitres, bearing the characteristic double points. The accusations of religious tribunals are thus reflected back on themselves, whose actions are implicitly equated with superstition and ritualized sacrifice. The bystanders can then be understood either as appalled but unable to do anything or willfully ignorant and unwilling to intervene.

The donkey, finally, is the traditional symbol of ignorance.

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

Death of a Crow (2020)
by Unknown Artist

The crow is often associated with mystery or intelligence in various cultures. The overall composition of the image, with the detailed bird and the ornate background, suggests themes of transformation, the unknown, and the crossing between life and death.

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

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.

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 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.”

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.

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

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

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

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. 

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

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. 

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