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.

Matte Poster

• Printed with Dye/Pigment Reactive Ink on Archival Matte Paper
• Shipped in heavy-duty poster tube
• Heavy weight (210 gsm )paper and an instant-dry coating that resists fingerprints and smudging.

Triunfátor ["The Triumphant"] (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. 

Triunfátor, 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. 

Triunfátor 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?

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 [Puissance et ruse], (1880)
Josef Arpád Koppay (Hongrie, 1859-1927)

Le baron József Árpád Koppay von Drétoma était un portraitiste austro-hongrois. Cette œuvre, Kraft und List, représente un lion (force) avec une chaîne autour du cou. Adossée à elle se trouve une femme ailée aux yeux sombres (rusée). Vraisemblablement, elle tient l’autre extrémité de la chaîne du lion. Il est intéressant de noter que ce dessin est une variante de l'une de ses œuvres antérieures, Le Fort et le Faible . Dans la peinture originale, il n’y avait pas de cimetière et la femme n’avait pas d’ailes.

Affiche mate

Imprimé avec de l'encre réactive aux colorants/pigments sur du papier mat d'archives. Expédié dans un tube d'affiche robuste. Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

• Imprimé avec de l'encre réactive aux colorants/pigments
• Sur papier mat d'archives
• Expédié dans un tube à affiche robuste
• Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

"La Vie De L'Abeille"

Cette belle affiche éducative française antique représente le cycle de vie de l'abeille.

Affiche mate

Imprimé avec de l'encre réactive aux colorants/pigments sur du papier mat d'archives. Expédié dans un tube d'affiche robuste. Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

• Imprimé avec de l'encre réactive aux colorants/pigments
• Sur papier mat d'archives
• Expédié dans un tube à affiche robuste
• Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

Mesmérisme; Télépathie. Guérison magnétique et magnétisme personnel
Livre publié dans les années 1930 par Johnson Smith & Company de Detroit Michigan

Oeuvre inspirée de la couverture d'un livre vintage intitulé « HYPNOTISME et SPIRITUALISME : Comment hypnotiser ».

Affiche mate

Imprimé avec de l'encre réactive aux colorants/pigments sur du papier mat d'archives. Expédié dans un tube d'affiche robuste. Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

• Imprimé avec de l'encre réactive aux colorants/pigments
• Sur papier mat d'archives
• Expédié dans un tube à affiche robuste
• Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

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.

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 Dame de Shalott (1888)
Peinture de John William Waterhouse (anglais, 1849-1917)

La Dame de Shalott est un poème d'Alfred Tennyson, écrit 50 ans avant que Waterhouse ne peint ce tableau. La Dame de Shalott est maudite et obligée de rester dans une tour. Elle n'a le droit de regarder le monde qu'à travers un reflet dans le miroir. Un jour, elle voit un chevalier, Sir Lancelot, et tombe amoureuse de lui. Elle ignore la malédiction et quitte la tour pour le retrouver, ce qui entraîne sa mort. L'histoire de Lady of Shalott peut être lue comme un avertissement concernant le désir féminin. La société victorienne avait des règles et des attentes strictes à l'égard des femmes qui définissaient un comportement « acceptable ».

Affiche mate

Imprimé avec de l'encre réactive aux colorants/pigments sur du papier mat d'archives. Expédié dans un tube d'affiche robuste. Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

• Imprimé avec de l'encre réactive aux colorants/pigments
• Sur papier mat d'archives
• Expédié dans un tube à affiche robuste
• Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

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.

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

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

Zdzisław Jasiński, was a Polish painter known for his works in the Academic style and later Impressionistic style. Jasiński’s work 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.  It features dark thunderclouds that are metaphorically shaped like stampeding black horses, which dominate the sky above a flat green landscape. This imagery of horses is powerful, as it captures the energy, power, and unpredictability of a thunderstorm, paralleling the thundering sound of hooves with the rumbling of thunder.

The use of such dynamic and dramatic symbolism is characteristic of Jasiński’s ability to convey the intensity and movement of natural phenomena through his art. The painting likely employs a palette of dark, ominous colors to represent the storm clouds, contrasted with the serene green of the landscape, highlighting the stark impact of the storm on the environment.

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

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.

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 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 owls feathers are rendered with exquisite detail, showcasing Webbe's skill in capturing the texture and softness that is characteristic of an owl's plumage.  

The painting's title, accompanied by the quote "alone and warming his five wits, the white owl in his belfry sits" further emphasizes 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.

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 sorcière (pièce de nuit) (1626)
par Jan van de Velde (Néerlandais, 1620-1662)

Cette scène nocturne représente une sorcière concoctant son breuvage maléfique en compagnie de bêtes bizarres. Elle se tient à l'intérieur d'un "cercle magique" gravé dans le sol, espace surnaturellement consacré à la sorcellerie - une source d'inspiration probable pour les formes circulaires des peintures de Rosa. Elle renverse une corne dans son chaudron englouti par des flammes tourbillonnantes ; se mélangeant à la poudre, deux jets de cendres jaillissent des tuyaux tenus par un démon qui fait des sauts périlleux à gauche. La composition décorative tourbillonnante et la variété de créatures grotesques faisant des grimaces complices et idiotes au spectateur ajoutent des éléments de fantaisie et de farce à ce sujet occulte apparemment sérieux.

Affiche mate

Imprimé avec de l'encre réactive aux colorants/pigments sur du papier mat d'archives. Expédié dans un tube d'affiche robuste. Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

• Imprimé avec de l'encre réactive aux colorants/pigments
• Sur papier mat d'archives
• Expédié dans un tube à affiche robuste
• Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

Photographie de l'éclipse solaire de 1927 (1927)
par Sir Frank Dyson, astronome
Observatoire Royal, Greenwich, Royaume-Uni

En juin 1927, la Grande-Bretagne était en proie à la fièvre des éclipses. Une éclipse totale de soleil, la première visible en Grande-Bretagne depuis plus de 200 ans, était prévue pour le 29 juin. Le chemin de la totalité traversait le nord du Pays de Galles et le centre de l’Angleterre, de Criccieth au nord du Pays de Galles à Hartlepool sur la côte est.

Cette photographie, prise par l'astronome royal Sir Frank Dyson de l'éclipse, est un excellent exemple des premières photographies d'astronomie et constitue une superbe œuvre d'art mural minimaliste.

Affiche mate

Imprimé avec de l'encre réactive aux colorants/pigments sur du papier mat d'archives. Expédié dans un tube d'affiche robuste. Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

• Imprimé avec de l'encre réactive aux colorants/pigments
• Sur papier mat d'archives
• Expédié dans un tube à affiche robuste
• Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

Corbeau par temps nuageux
par Inconnu

Une photographie saisissante d’un corbeau planant sur un ciel orageux.

Affiche mate

Imprimé avec de l'encre réactive aux colorants/pigments sur du papier mat d'archives. Expédié dans un tube d'affiche robuste. Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

• Imprimé avec de l'encre réactive aux colorants/pigments
• Sur papier mat d'archives
• Expédié dans un tube à affiche robuste
• Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

Der Hass [Hatred] (1896)
by Pietro Pajetta
Italian, 1845-1911

Pietro Pajetta) was an Italian painter known for his genre art, which often depicted rustic and everyday scenes with a focus on the human condition. His works are characterized by an exuberance of feeling and a keen observation of life’s various facets.

“Der Hass” (Hatred), painted in 1896, is one of Pajetta’s more evocative works. It takes inspiration from Lorenzo Stecchetti’s “Canto dell’Odio” (Song of Hate), a poem that narrates the story of a rejected suitor who seeks revenge on the corpse of his beloved. The painting is a dark and powerful representation of hatred and vengeance, capturing the intensity of the suitor’s emotions as he enacts his revenge.

The artwork is notable for its dramatic composition and the raw emotion it conveys. Pajetta’s use of dark, muted colors and stark contrasts creates a haunting atmosphere that reflects the theme of the poem. The painting’s subject matter and its execution make it a compelling study of the darker aspects of human emotions and the lengths to which they can drive a person.

Pajetta’s life was marked by his service in the Italian army during the War of Italian Independence and his subsequent struggles with economic instability. Despite these challenges, he managed to create art that resonated with the public and earned him recognition at various exhibitions. “Der Hass” stands as a testament to his artistic talent and his ability to translate complex emotions into compelling visual narratives.

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 Truth Lies in Old Books (1910)
by Marian Wawrzeniecki
Polish, 1863-1943

Marian Wawrzeniecki was a Polish archaeologist, ethnographer, painter, draughtsman, and art historian from Warsaw, Poland. Wawrzeniecki’s paintings are known for their evocative imagery and often feature mystical and allegorical subjects.

The painting The Truth Lies in Old Books is a striking work that depicts a woman’s fleshy body with a skull for a head, collapsed upon an open book and gripping a bloody root. The painting’s title suggests a commentary on the search for knowledge and truth through literature and the written word, with the visual elements adding a layer of depth to this interpretation. It reflects the symbolism movement, which often explored themes of life, death, and the human condition through allegorical and sometimes macabre imagery.

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

L'ostéologie comparée (1821-1838)
de Die vergleichende Osteologie [L'ostéologie comparée]
collecté par Christian Heinrich Pander et illustré par Eduard d'Alton

Eduard d'Alton était professeur d'histoire de l'art à l'Académie prussienne des arts de l'Université de Bonn. Christian Heinrich Pander était un biologiste allemand balte qui vivait en Lettonie et était membre de l'Académie des sciences de Saint-Pétersbourg, où il était surtout connu pour ses études révolutionnaires sur les trilobites. Leur collaboration a abouti à Die vergleichende Osteologie [L'ostéologie comparée], un extraordinaire guide illustré sur les os d'animaux.

La diversité des animaux comprend de la grande faune comme les éléphants, les rhinocéros et les hippopotames, jusqu'aux créatures plus familières comme les porcs-épics et les écureuils roux. La collection comprend même une représentation du paresseux géant disparu.

Affiche mate

Imprimé avec de l'encre réactive aux colorants/pigments sur du papier mat d'archives. Expédié dans un tube d'affiche robuste. Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

• Imprimé avec de l’encre réactive colorant/pigmentaire sur du papier mat d’archives
• Expédié dans un tube à affiche robuste
• Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

Geraint et Enid s'en vont (1868)
de Gustave Doré

Cette image illustre les lignes de l'idylle "Enid" de Tennyson (plus tard "Geraint et Enid")

Monté, et tendit la main, et sur son pied
Elle posa le sien et grimpa ; il a tourné son visage
Et je l'ai embrassée en grimpant, et elle a jeté les bras
À propos de lui, et aussitôt ils s'en allèrent.

Affiche mate

Imprimé avec de l'encre réactive aux colorants/pigments sur du papier mat d'archives. Expédié dans un tube d'affiche robuste. Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

• Imprimé avec de l'encre réactive aux colorants/pigments
• Sur papier mat d'archives
• Expédié dans un tube à affiche robuste
• Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

Borée (1903)
par John William Waterhouse (Angleterre, 1849-1917)

Borée est le nom du dieu grec du vent du nord et représente une jeune femme secouée par le vent. À l'origine une peinture à l'huile de style préraphaélite créée en 1903, cette affiche de reproduction conserve toujours les beaux détails de l'original.

Affiche mate

Imprimé avec de l'encre réactive aux colorants/pigments sur du papier mat d'archives. Expédié dans un tube d'affiche robuste. Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

• Imprimé avec de l'encre réactive aux colorants/pigments
• Sur papier mat d'archives
• Expédié dans un tube à affiche robuste
• Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

Planche XV de Papillons britanniques, figures et descriptions de chaque espèce indigène
de William Stephen Coleman (1897)

Cette belle illustration du rare livre victorien British Butterflies représente six espèces de papillons communes originaires d'Angleterre : Scarce Swallow-tail, Apollo, Arran Brown, Weaver's Fritillary, Purple-edged Copper et Tailed-Blue. William Stephen Coleman (1829-1904) était un peintre et illustrateur anglais.

Affiche mate

Imprimé avec de l'encre réactive aux colorants/pigments sur du papier mat d'archives. Expédié dans un tube d'affiche robuste. Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

• Imprimé avec de l'encre réactive aux colorants/pigments
• Sur papier mat d'archives
• Expédié dans un tube à affiche robuste
• Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

Les quatre cavaliers, de L'Apocalypse (1498)
Gravure d'Albrecht Dürer (allemand, 1471-1528)

En 1498, Dürer publie un livre illustrant l'Apocalypse de Jean, le dernier livre du Nouveau Testament. Les images étaient uniques par leur grande échelle, l’étendue de leur concept et l’unité de leur conception. Premier livre à la fois publié et illustré par l'artiste, il comprenait une page de titre et 15 gravures sur bois en pleine feuille comportant du texte au verso de toutes les feuilles sauf la dernière. Souvent visible à travers le papier, le texte gâche l'image au recto de la feuille. Les plus belles épreuves étaient le plus souvent imprimées sans texte, comme celle-ci des Quatre Cavaliers . Ici, Dürer suggère l'élan vigoureux des cavaliers à travers les vêtements des cavaliers soufflés par le vent, les nuages ​​balayés par le vent et les personnages piétinés sous les sabots des chevaux qui s'approchent.

Affiche mate

Imprimé avec de l'encre réactive aux colorants/pigments sur du papier mat d'archives. Expédié dans un tube d'affiche robuste. Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

• Imprimé avec de l'encre réactive aux colorants/pigments
• Sur papier mat d'archives
• Expédié dans un tube à affiche robuste
• Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

Bellone menant les armées de l'empereur contre les Turcs (1600)
par Jan Muller (Néerlandais, 1571-1628)

La figure centrale, Bellona (la déesse romaine de la guerre), serait soit la sœur, soit l'épouse de Mars, le dieu de la guerre. L'aigle à deux têtes des Habsbourg apparaît sur le drapeau derrière elle. Né à Amsterdam, Jan Muller a probablement appris la gravure auprès de son père, Harman Muller, graveur et éditeur. Il s'est rendu en Italie dans les années 1590 et s'est probablement arrêté à Prague en cours de route. Là, il réalisa des estampes basées sur des dessins d'artistes employés à la cour des Habsbourg, dont Bartholomeaux Spranger (1546-1611).

Affiche mate

Imprimé avec de l'encre réactive aux colorants/pigments sur du papier mat d'archives. Expédié dans un tube d'affiche robuste. Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

• Imprimé avec de l'encre réactive aux colorants/pigments
• Sur papier mat d'archives
• Expédié dans un tube à affiche robuste
• Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

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. 

Matte Poster

• Printed with Dye/Pigment Reactive Ink on Archival Matte Paper
• Shipped in heavy duty poster tube
• Heavy weight (210 gsm)paper and an instant-dry coating that resists fingerprints and smudging.

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. His work “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 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

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”, which tells 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. The Demon indirectly causes the death of Tamara’s betrothed and he 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 is a complex exploration of themes such as 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 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

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,” created in 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, Cherry Blossoms and Full Moon” 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 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 at a Mirror (c. 1850)
by Johann Mongels Culverhouse
Dutch, 1820-1895

Johann Mongels Culverhouse was a Dutch artist known for his “candlelight paintings,” which were nocturnal scenes illuminated by moonlight or candlelight, reflecting the tradition of 17th-century Dutch painting. He is also recognized for his genre subjects, including taverns, markets, and streets, which he continued to paint after moving to the United States around 1849.

“Woman at a Mirror” is a work that draws on the Dutch tradition of genre painting. Culverhouse’s painting captures the spirit of ordinary life, focusing on a woman looking at herself in the mirror. This scene is likely to emphasize themes of vanity, beauty, or self-reflection, common in genre paintings of the time.

The painting’s style, with its attention to the effects of light and shadow, as well as the detailed rendering of textures and materials, showcases Culverhouse’s skill and his adherence to the techniques and themes of his Dutch predecessors. “Woman at a Mirror” stands as a testament to Culverhouse’s ability to blend traditional Dutch artistry with his own unique perspective, creating works that appealed to both European and American audiences of his time.

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

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.

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