Examining Samuel Spalding's The Philosophy of Christian Morals (1843) reveals this scene on its fore-edge. Phagan, Patricia (2011). Thomas Rowlandson: Pleasures and Pursuits in Georgian England. London: Giles. Interior. A girl, with her legs very wide apart, her pudendum thoroughly exposed and quite open, is sitting on a raised bank or bench, her right arm is bent over her head, and with her left hand, stretched out, she holds up her shift. Ten men, of whom the wig-covered heads only are visible, are gazing at her. This identification of the two subjects is questioned by the British Museum: "General Upton … looks too young to be a general, nor was there a general of this name in the Army List at this date." [214] Paulson, Ronald (1972). Rowlandson: A New Interpretation. New York: Oxford University Press. pp.22, 37, 84.

Rowlandson Thomas Schiff Gert, First Edition - AbeBooks Rowlandson Thomas Schiff Gert, First Edition - AbeBooks

Coloured etching after Rowlandson, possibly plagiarising the similar etching earlier noticed. [236]Frederic George Stephens, M. Dorothy George Catalogue of political and personal satires preserved in the Department of Prints and Drawings in the British Museum. 11 vols., London, 1870-, Not listed. Hocus Pocus, or Searching for the Philosopher's Stone, published 1800 (1945.5.363)". National Gallery of Art. Exterior. In a cavern by the sea shore, four sailors are disporting themselves with three mermaids; one other man is occupied with the boat which is hauled up on land; while a second man, an oar in hand, is prepared to do battle with a merman who is swimming towards them, his fists brandished in the air in sign of great rage. Copy After Hans Sebald Beham's Woodcut "Vine Pattern With Satyr Family" (Sessler42)". Huntington Library and Art Gallery. Dying for Love, or Captain Careless shot flying by a Girl of Fifteen, who Unexpectedly Popped her Head out of a Casement, 1810 (1945.5.1128)". National Gallery of Art.

Rowlandson Thomas Introduction by Gert Schiff - AbeBooks Rowlandson Thomas Introduction by Gert Schiff - AbeBooks

A young woman, quite nude, her left leg bent, and her left hand pressing her right breast, is refusing the solicitations of a naked Cupid, who is pulling her by the right hand; three obscene and satyric figures around. In the foreground, right, is a vase. Thom, Danielle (2015). "21. Amorous Antiquaries: Sculpture and Seduction in Rowlandson's Erotica". In Dethloff, Diana; Murdoch, Tessa; Sloan, Kim; Elam, Caroline (eds.). Burning Bright: Essays in Honour of David Bindman. UCL Press. pp.207–14. ISBN 9781910634189. JSTOR j.ctt1g69z6q.24. Title in the design upon an open book. Interior of a well furnished bedroom. A quaker, holding up his shirt with both hands, and his breeches about his knees, stands on tip toes in the middle of the room; one girl, with a large feather in her hair, sits on a bed, with her legs wide apart, and exposes her genitals to his astonished gaze; a second girl, reclining on the same bed, handles his enormous member, and a third female, on another couch behind, pushes him forward with her left foot, which she has planted between his shoulders. The three women are naked, with exception of their shifts, which are, as usual, rolled round their waists. Baskett, John; Snelgrove, Dudley (1978). The Drawings of Thomas Rowlandson in the Paul Mellon Collection. New York: The Brandywine Press. Interior. A young man with his breeches down sits upon a table, and holds a girl across, and facing him; her feet are upon the same table; with his right hand he clasps her rump, and with his left holds up her clothes above her waist; both have hats on. An old man peeps out from beneath the table, his fists are clenched, and his face expresses great anger.Interior of a studio. Two gentlemen are entering abruptly, while an artist is painting from a naked girl on a sofa before him; he holds up his hands as if to entreat them to retire; the girl is crying. Unsigned. Interior of a bedroom. A pretty servant-girl, on her knees, is inserting a warming pan into a bed, while a young officer kneels behind her, and enjoys her; with his right hand he holds the girl's clothes above her posteriors, which are entirely exposed, and with his left he raises his own shirt. A lighted candle is on the ground. Smith, Bradley (1974). Erotic Art of the Masters: The 18th, 19th & 20th Centuries. Italy: Lyle Stuart, Inc. and Gemini-Smith, Inc. pp.16–20. Drunkenness and debauchery run riot throughout the composition, which is full of movement. The drawing is not bad, but is scarcely more than in outline." [57]

The amorous illustrations of Thomas Rowlandson

The Sculptor [Preparations for the Academy, Old Joseph Nollekens and his Venus] (59.533.1833)". Metropolitan Museum of Art. Interior. A very fat, and ugly woman, stark naked, is seated up high upon a kind of bench, while twelve men surround her, some drawing, some smoking. Signed: "Pub d by T Rowlandson. No 52 Strand. March 1792." [195]Interior. Fourteen figures in couples round a table; to the right, the president, a glass in his left and a bottle in his right hand, is having connection with a woman astride across his lap, and leaning with her elbows on the table; to the left, a man is vomiting, while a drunken woman is lying upon him and handling his member; the other couples are in various obscene attitudes; all the women have their breasts and the lower parts of their persons bare. Slightly tinted. Interior of a cellar. An old man, in a wig, with his breeches about his knees, is having connection with a young woman against three barrels, on the last of which is a pail; her legs, hips, and breasts are bare. A jug stands under the first barrel, and the liquor is running over; to the left is a flight of stairs. The drawing of this composition is good, and the finish, especially of the girl's legs and haunches, fine." [7] Pendant to above, and serial with it. A wooden legged and one eyed pensioner is giving a purse to a girl, while with the other hand he presses her breast. Signature as above, with omission of the street.