Amorous Illustrations of Thomas Rowlandson

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George, Mary Dorothy (1949). Catalogue of Political and Personal Satires Preserved in the Department of Prints and Drawings in the British Museum. Vol.9. Great Britain: British Museum Press. Coloured etching after Rowlandson, possibly plagiarising the similar etching earlier noticed. [236] Here are four different compositions on two plates; two only are free, viz., Luxury and Love. In the former a man and woman are sitting up in bed and drinking tea, which a servant girl is offering them; the woman's bosom is bare, and the man presses one of her breasts with his right hand, which is passed round her waist. In Love, a couple are embracing on a couch; the man seems very eager, and the woman quite indifferent. All four compositions are signed: Luxury and Misery simply "T. Rowlandson", while to the other two are added the dates, Harmony 1785, Love 1796. The Ghost of My Departed Husband, or Wither my Love ah wither art thou gone (59.533.1098)". Metropolitan Museum of Art. Ashbee quotes the opinion of a previous possessor of this drawing, who pronounced it to be "broad and forcible beyond description, and finer than Hogarth." [403]

The amorous illustrations of Thomas Rowlandson

Von Meier, Kurt (1970). The Forbidden Erotica of Thomas Rowlandson. Los Angeles: The Hogarth Guild. One youth and three maidens, all entirely nude, are reclining under trees, on the bank of a river; one of the females is soliciting the young man. In the water, another couple are bathing, the man's left arm around the girl’s waist. Signed, "Francesco Albano".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. Interior. A man and woman, seated on a chair, are playing the same harp together; she is seated on his lap, the lower part of her person entirely naked, two feathers in her head; they are copulating. To the left, behind a screen, sits an old woman asleep before the fire with a bottle and glass under her chair. To the right, a window with a small table and a chair before it. On the floor an open music-book.

Amorous Illustrations by Rowlandson Thomas Introduction Gert Amorous Illustrations by Rowlandson Thomas Introduction Gert

This is a most remarkable and original composition. … This composition displays much force, power and weird humour." [57] Interior. An old man, in wig and spectacles, with one knee on the ground, administers a clyster to a woman, seated on a bed, with her clothes above her middle, and her legs stretched wide asunder; the doctor inserts his syringe in the wrong hole; on the woman's countenance is depicted the horror she feels at his mistake. To the left, three women sit round a table; to the right, are a chamber pot, a night stool, &c.; and behind the doctor is a box labelled "Medicine Chest" Dying for Love, or Captain Careless, Shot Flying by a Girl of Fifteen who Unexpectedly Popped Her Head out of a Casement Phagan, Patricia (2011). Thomas Rowlandson: Pleasures and Pursuits in Georgian England. London: Giles. Paulson, Ronald (1972). Rowlandson: A New Interpretation. New York: Oxford University Press. pp.22, 37, 84.Exterior. A very fat, middle aged woman is leaning against a cannon, her clothes are up above her waist, and a hussar, pipe in mouth, is enjoying her. Several other hussars, their members exposed, stand or sit around. Four nymphs, in various attitudes, lie asleep under the shade of trees; three of them are entirely naked, the fourth has some drapery round her legs only. To the right, a couple of ugly dogs are keeping watch; to the left is a bugle horn. The pudendum of the nymph in the immediate foreground is defined. Perhaps based on rumoured relations between Princess Sophia and Thomas Garth in the summer of 1800. [21] Interior. A woman in bed is imploring mercy from three men and a woman, who are poking her lover, the apprentice, out from under the bed; in the confusion the chamber-pot is upset. Signed "Rowlandson, 1785". 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.

Thomas Rowlandson 1756–1827 | Tate Thomas Rowlandson 1756–1827 | Tate

This composition is not indecent, but the expressions of the old men are most lascivious and suggestive." [200] The match is played by naked women of all shapes and sizes, who are putting forth their energies in the most vigorous and comical manner. The First Night of My Wedding, or Little Boney No Match For an Arch Dutchess (59.533.2050)". Metropolitan Museum of Art.The Sculptor [Preparations for the Academy, Old Joseph Nollekens and his Venus] (59.533.566)". Metropolitan Museum of Art. 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.