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Lesbian love by Julie Delcourt

April 1, 2014, 12:53 am
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 Time for a few more of the elegant watercolours by the mysterious Julie Delcourt.  On this occasion there is not an enema in sight; just a group of pictures of ladies enjoying each others charms.  Here we have just five pictures of women in Sapphic situations.  The first one has a lady delicately stroking the back of her friend's hand as she masturbates.  The way the artist has depicted their heads touching makes this a gently tender scene.



The second picture appears to be one of Delcourt's generation spanning ones; with a younger girl being penetrated by the finger of her elegant older friend who is affectionately nuzzling the soft skin between her thighs.  Delcourt was particularly good at expressions and here she conveys the younger woman's expression of both surprise (perhaps at a first experience) and abandonment.  Her fingers grip the table in ecstasy.




Although these women appear to be the same age the one on the left looks much more dominant as she thrusts her dildo into her girlfriend from behind.  The dildo appears to be held in place rather than a strap-on.  A riding whip lies, enticingly, on the table in the background and there seems little doubt that it will be the brunette wielding it.




The final two paintings are a pair, featuring the same protagonists.  In the first picture, the older woman gazes, hungrily, at the pert posterior of her younger friend, in a fine depiction of physical lust.   The pose of the girl on the right conveys innocence despite her bold display.  She has obviously not thought of the effect she is having on the woman on the right.




In the second painting we see the older woman carrying the object of her lust towards a bed.  In this picture it is patently a strap-on dildo, whose glans brushes the rear end of the younger girl.  It is quite clear that she is going to be ravished from behind.  The girl's expression is a mixture of trust and nervous anticipation.  The older woman just looks determined to get on with her conquest.  An excellent pair of erotic pictures! 

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The Lady and the Lusty Scamp by Jeff Dunas

April 2, 2014, 5:28 am
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The month after The Housebreakers, Jeff Dunas was back with another boy/girl Love Set in Penthouse.  This was only the second time that the magazine had had two successive boy/girl pictorials.




Appearing in the January 1977 issue there would be only three boy/girl pictorials in 1977 compared with four in 1976.  But then 1977 would see the most girl/girl pictorials; a record five.




This was undoubtedly the first Penthouse pictorial to feature a goat.  The story being that the heroine and her brother were taking their goat to an "animal healer" by water but after being caught in a current they were "rescued" by a "ruffian or outlaw" who, not surprisingly grabbed the girl and left the brother to float away.  From this picture it also appears that he took the goat on board too.  Perhaps to serve as a substitute if the girl jumped overboard. 




Anyway, this being one of Penthouse's big budget period pieces we have a full sized pirate ship as a location. This was shot, like many of the pictures in the pictorial in a mock through-a-telescope way.  Perhaps it's supposed to be the view the brother had of his poor sister as he floated away without even the goat to keep him company. 








Also, most unusually the pictorial has three out of eighteen pictures consisting of just the pirate, posing in a very dubious pink shirt.  Although it has to be said that pink did not become identified as particularly a "girls" colour until the late nineteenth century.  These shots would have been more at home in Penthouse's sister magazine for women, Viva.




Oddly, in some of the pictures the pirate is depicted with an eye patch, although for the most part this isn't seen again.  This is also the first Penthouse pictorial which depicts a scene of coercion as the girl is, at first, unwilling to succumb to the pirates advances.




The accompanying text for the pictorial (which was unusually long) was written in the first person from the girl's point of view.  "I became very furious and in a trembling voice, demanded to be immediately released.  The blackguard only grinned more broadly and plucked up my skirt with his sword..."






The girl's struggle continues as "I fought in vain, for the scamp paid not a whit of attention to my entreaties and answered only by roughly tearing off my clothes, forcing a goblet of potent liquid down my throat and, threatening to summon his entire crew to enjoy my favors."





So now we have physical assault, drugging and threats against the girl as well.  Whatever is in the drink seems to work pretty quickly, however, as she is soon indulging in some passionate kissing.






The rest of the pictorial moves away from the deck of the pirate ship down below to the pirate's cabin where he soon removes both her and his clothes.  The whole feature was shot in pretty diffuse soft-focus and its sometimes quite difficult to see what's going on in some of these pictures.




Without his bandana the pirate looks alarmingly like one of the Bee Gees.  Who knew that men had such big hair in days of yore?  Despite the Beverly Hills hairdresser vibe it doesn't mean that he can't enjoy the girls succulent breast and rear end though.




The girl is still demanding to be freed but "He roared with mirth and buried his head between my legs, licking me until I thought I would go mad with pleasure." Or, more accurately, he actually kisses her leg where her thigh meets her bottom.  The shot looks more explicit than it is.






Again, the angles don't look quite right in the faux intercourse shots but the text makes up for it in lusty, bodice-ripper style:  "With a sardonic smile at my discomposed demeanor, he began slowly to pull my legs apart, trying to force his large, rock-hard organ inside of me.  As his thrusts began to hit home, I again thought I might faint; but the feeling passed, to be replaced by one of delicious ecstasy!"




The text concludes by revealing that the girl happily stays with the pirate and gives us this post-coital shot.  This was cut from the UK edition; probably because the girl's face was just that bit too close to the pirates organ.  Despite the male model boldly displaying his penis this couples pictorial is remarkable in that it was the only one where the female model doesn't show her pubic hair.

So, quite a successful period piece with, perhaps, too much soft focus, too much of the pirate on his own and not enough of the lovely girl, who actually doesn't appear at all in five out of the eighteen pictures.

Next up, from the following month's issue, we will have the first lesbian pictorial of the year in Penthouse's second ever three girl shoot by Ken Marcus.
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Room in Rome: Natasha Yarovenko and Elena Anaya

April 8, 2014, 7:12 am
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Yesterday Triple P decided to watch a film that he has had in his pile (along with about a thousand others!) for some time.  Super-glossy lipstick lesbian movie Room in Rome (2010).  It's a favourite of our particular friend S, from Vancouver.   There has been a lot of fuss about Blue is the Warmest Colour lately but one area where Room in Rome trumped it was in particularly striking stills, from three scenes in the film, which appeared in publicity for it.




The most striking, of course, was the picture of the two stars in the bath; particularly as it was shifted to a vertical format for things such as the DVD cover where it no doubt helped shift a lot more copies than it would have done with a different photograph on the cover.








Indeed, these two US versions of the DVD (middle and bottom) just serve to demonstrate how much more striking the UK version of the cover is (top).








In the film the bath scene is shot with the bath horizontally across the screen, naturally, but as stills they work nuch better in the vertical format.








The next effective image is a still from a love scene under a shower (top).  The positioning of the actresses hands and arms really makes this shot.  In the scene we see their hands in action, as they mutually finger each other in what is the most intense love scene in the film; although it's not really explicit.




The third sequence of stills comes from a love scene in bed which, again, is passionate without being explicit.




The two beautiful actresses in this are, firstly, the Ukrainian born, but Barcelona based, actress Natasha Yarovenko.




Secondly, Spanish actress Elena Anaya, who is best know for her small part in Van Helsing (2004), as one of Dracula's brides but is an experienced actress who has regularly been appearing in films for nearly twenty years (she was 35 when Room in Rome came out -Yarovenko was 30).  She was also the heroine of the Justin Timberlake video for his song SexyBack, where she looks quite sensational.




Elena had already appeared in Room in Rome director Julio Médem's equally steamy Sex and Lucia (2004).




In 2011 a Spanish magazine published pictures of Anaya kissing a woman film director, Beatriz Sanchís, who she later admitted had been her girlfriend for three years, although they broke up last year.

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Happy Easter!

April 20, 2014, 5:05 am
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Agent Triple P hopes the Easter Bunny came for you!
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Class Reunion by Ken Marcus

April 20, 2014, 3:14 pm
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Class Reunion was the second three girl pictorial published by Penthouse after Robert Farber's Moulin Rouge in March 1976.  This time a Ken Marcus shoot, it displayed his characteristic soft focus effect, which he employed extensively from his first shoots at Penthouse in the early seventies.




This pictorial appeared in the February 1977 issue, so a month after the previous "Love Set"The Lady and the Lusty Scamp.  In the UK it appeared in the same issue as Scamp, Volume 11 number 12, which was published the following month, in March.  The UK cover was completely different and shows how much more upfront the UK covers could be compared with the American edition which had taken nipples off the cover from July 1976.




We have sourced the pictures for this post from both UK and US issues, although the pictorials were identical, unlike The Lady and the Lusty Scamp which had some pictures removed in the UK edition.







The story behind this pictorial is not as complex as some Penthouse had had in the past.  In fact basically it is just about three "very, very close friends" and their "voluptuous reunion".  That's it really.






Harking back to the outdoor settings of Penthouse's original girl/girl sets we have a lot of frolicking about outside. The setting is very much a garden rather than the countryside, though.






We soon move inside and find the girls posing in exactly the same gently sensuous way seen in the magazine five years earlier.








Gradually, however, the caresses become more intimate; lips are kissed, breasts are fondled.  "There is an urgency about their movements now, their hearts beating wildly as they kiss, stroke, and tenderly explore each mouth and body."




Oddly, in all the diffused, washed out colour there is this one crisper full page shot and a very nice shot it is too.  Kissing, nipple sucking and the first of only two pubic shots in the pictorial. 












The shots get bolder with more nipple sucking and several pictures of heads nestling between thighs.  Likewise, the accompanying text gets more lurid.  "White thighs move against each other in the moist, ecstatic rhythms of love.  Two women gently hold down the third - her wrists and legs pinioned as they suck each nipple in turn before descending to the moist cleft between her legs."




These two pictures combine nuzzling with tactile-looking gripping as bottom and bust are clasped.  "As she moans and writhes on the floor she is brought to a shuddering climax by her playmates." Not Playmates of course, that would be a whole different magazine.




Finally, in only the second pubic shot in the pictorial, we have one girl sliding her hand dangerously close to the other's vulva although the soft focus reaches new heights (depths?) of fuzziness. 




This was only Ken Marcus' second "love set" for Penthouse, five years after his first, One and one make free from 1972.  After this he wouldn't do another Penthouse pictorial for ten years.  Marcus was the first American photographer to shoot for Penthouse but he had left the magazine in 1974 to become West Coast contributing photographer at Playboy.  We suspect that, given the style, this may be an old set, which Marcus did prior to his move to Playboy, as it looks more typical of 1973 or 1974 than 1977.
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Happy Star Wars Day!

May 4, 2014, 6:08 am
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It's Star Wars Day and so is as good an excuse as any to post these famous fantasy-inducing shots of Carrie Fisher and her stunt double on the set of Return of the Jedi in Arizona in 1982.




What a welcome contrast with her original Princess Leia costume from the original film.




Who knew that she had such a splendid body under that voluminous white dress?







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Eurovision Polish Passion

May 15, 2014, 1:27 pm
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We conclude our coverage of the ladies from the Polish Eurovision perfomance with these fine black and white studies of butter-churning Paula Tumala getting to grips with a lucky companion.  And a very good grip we know she has too!






S from Vancouver found these and the two colour ones so we thought we would post them for her!
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Swept Away by Patrick Barnes

May 16, 2014, 3:42 pm
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Patrick Barnes only did three pictorials for Penthouse, of which this is the second one.  Of course, the name could be an alias for one of the other regular Penthouse photographers, who sometimes employed a different name if they already had a number of other pictorials in the issue. Although in this case the other photographers in the issues concerned are all different so it may well be a real name.




Anyway, this is his only couples shot.  It comes five months after the last two girl pictorial, The Serpent, which was rather atypical in style.  Here we are back to a more narrative approach.




There is a significant difference, of course, from just posing two naked girls together (as was seen in UK magazines at the time) and posing them in a way that suggested they were in a sexual relationship; something that Penthouse gradually mastered in the mid to late seventies.




The story behind this one is that Erica goes down to stay with her friend Kate by the sea and the sunset walk along the beach starts something up between them.  "Lovely Kate took my hand and led me along the dunes.  When she took me in her arms I felt my desire intensify."






Kate and Erica indulge in some passionate breast play.  The perky thrusting of the pair in the picture above is quite superb!  Who could resist them? 






The success of this pictorial is due, in large part, to the passionate kissing depicted.  As we have observed before, kissing is not that common in girl/girl sets such as this but Kate and Erica put in a convincing performance here.






We have a couple of shots of the girls in stockings and just the one labia flashing shot.  Apart from the very daring The Spider and the Fly from seven months earlier the girl/girl sets in Penthouse had not been nearly as revealing as the solo sets in the magazine.




We get a bit of implied cunnilingus here but, as was usually the case at this point, the text was more explicit than the photographs themselves.  "We made love again and again.  Kate's tongue seemed to have a life of its own - first running along my neck, then thrusting deep inside my mouth, then gently teasing my nipples, and finally lapping furiously between my legs.  Then I turned Kate over; and as she writhed with pleasure, I ran my tongue between the cheeks of her ass, poking it inside one hole and then the other." This was certainly the first mention of anilingus in a Penthouse pictorial.








Finally, the girls end up in the hot tub for more passionate caressing.  In fact, the bottom picture was so passionate that the UK edition of Penthouse left it out of its version of the pictorial.  Perhaps the implied cunnilingus wasn't implied enough for British sensitivities! 

So, overall, this is a good pictorial; only suffering from the fact that it was a bit short at six pages and just thirteen pictures.  The three girl set Class Reunion, from two months previously, had had fourteen pages and nineteen images, for example.

Next up (and S from Vancouver says I need to post these Penthouse sets more often!) will be a boy/girl set starring Pet of the Month for October 1976, the gorgeous Suzanne Saxon.  Fortunately, we have already scanned this so it won't be a long wait!

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Two Reflected Ladies: French Postcards by Grundworth

May 22, 2014, 12:23 am
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Our most recent Centrefold Venus on our Venus Observations site makes use of a mirror to offer an alternative view of its subject in the same frame. Proving that there is nothing new in the erotic depiction of women's bodies we have these four studies from a series produced by the French postcard studio Grundworth. 




Like most of these postcard publishing outfits of the time, little is known about it, as, despite the widespread circulation of these cards (which were certainly tolerated amongst troops during the Great War) their production and distribution was illegal in France, hence the requirement for anonymity.




Grundworth produced erotic postcards from the 1890s to the 1930s.  Given the timespan and a number of different styles the name is unlikely to represent an individual photographer but more likely a group of photographers who were, perhaps better known, but wanted to hide their real identities.  Grundworth cards were very collectable and are even more so today.  You can expect to pay from £75 to £150 each for these little treasures.




These photographs are often dated at 1935 and certainly the hairstyles are right for this period.  The gartered stockings may indicate a slightly earlier date in the late twenties, however.  These pictures are also sometimes knows as women on a chaise longue but the width of the piece of furniture is more likely to indicate some from of divan or other bed.

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Mario Tauzin for One Million page views

May 26, 2014, 2:31 pm
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We have just noticed that we have passed one million page views here on The Seduction of Venus so we would like to thank all those who stop by.  To celebrate we offer up this seductive picture by Mario Tauzin.  This is from the set of 30 famous etchings which he did dated 1930.  Tauzin was born, it is thought, in 1909 (he died in 1979) so would have been comparatively young when he produced these pictures.  
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Penthouse Pictorials Indexed

June 3, 2014, 2:47 am
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Our "Love Sets" (as they called them) from Penthouse magazine are some of the most popular posts on the site so we have indexed them in the sidebar by type: boy/girl, girl/girl, girl/girl/girl and groups.  We will be posting another one in the next couple of days.
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Two Satyrs by Norman Lindsay

July 6, 2014, 12:37 pm
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Australian artist Norman Lindsay (1879-1969) is best known for being the subject of the enjoyable film Sirens (1993), in which Sam Neill portrayed the artist.  Lindsay was a painter, sculptor, cartoonist and writer.  He also produced many fine etchings such as this one, which features one of his characteristic sumptuous female nudes.  

It's a humourous and affectionate picture depicting a classical half man half goat satyr copulating, not with the usual nymph but a lady satyr or, more properly, a satyress.  The latter were a comparatively late creation in classical art and are rarely depicted.
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The Lady and the Stableboy by Earl Miller

July 16, 2014, 10:48 am
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Time for another Penthouse "love set"The Lady and the Stableboy by Earl Miller.  It's about, er, a lady and her stableboy. The lady is called Amanda in the accompanying story and is played by the lovely Pet of the Month from October 1976, Suzanne Saxon, who was just 21 at the time this pictorial was published.  The stableboy, Sven, is played by a very nineteen seventies looking man with a very nineteen seventies looking mustache.




This set comes from the May 1977 issue and is the second of what would eventually be four boy/girl pictorials in that year.






The writer can't resist lots of references to stallions, of course, and the text is rather more graphic and less poetic than some of the previous ones. "My pussy was wet and my whole body ached with lust!" it begins, breathlessly. 






Saxon looks just gorgeous in this and her lovely smile adds considerably to her allure in the opening shots.






Unusually, there aren't any shots of the couple removing their clothes in stages, as was usually the case in couples pictorials. First they are fully dressed and next they are naked, although, enticingly Suzanne keeps her boots on for her initial poses.






Sazon displays her awesome bush to great effect; set off by her  strong tan lines.  She doesn't need the disguising effect of clothes as her wonderful body looks great from any angle.




Although Sven never flashes his manhood (it was still very rare in Penthouse at the time) Suzanne's hand position suggests an implied erection here.




There are a much higher number of oral shots in this pictorial compared with its predecessors.  Here Sven gets a good mouthful of Suzanne's bushy pussy. Her hanging from the branch pose looks quite precarious but very sexy!










One positive aspect of Miller's shoot here is the number of sensual caressing shots of the couple.  They do have a convincing chemistry which certainly had not always been the case in Penthouse's love sets.




Certainly, Suzanne must have been pretty comfortable with the male model to pose for another intimate oral shot like this.




Finally, we get a, still unusual, implied fellatio shot.  Although The Lady and the Stableboy is not as explicit as some of Penthouse's previous girl/boy love sets, Miller did an excellent job on it and Saxon is an utter delight throughout.
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Satyr and Nymph by Arthur Fischer

July 21, 2014, 5:12 am
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Satyr and Nymph (1900)


Here is a lusty satyr, warming up his chosen nymph in a picture attributed to German painter Arthur Fischer.  Fischer was born in Berlin in 1872 and concentrated on landscapes and large scale portraits. Employing a studio of 30 assistants he was a court painter to Kaiser Wilhelm II and his pictures were sold as postcards and prints.  In the nineteen thirties he painted portraits of Hitler and Mussolini.  He died in 1948.  


Fischer with portraits of Mussolini and Hitler


This picture does show some similarities to some of his other nudes so if it is by Fischer it must have been done for a private collector.
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Eighteenth Century frolics by Milo Manara

August 14, 2014, 7:18 am
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These charming pictures are by Italian comic book artist Milo Manara and are illustrations from a book called Pentiti! (repent) by Rudolph Angermüller, which illustrates the story of Mozart's Don Giovanni, Così fan tutte and Le nozze di Figaro. 




The eighteenth century was a thriving period for erotic art and conventional artists like Boucher and Fragonard produced some paintings which would have been frowned upon a hundred years later.  




Life in the large capital cities was positively licentious with London, surprisingly, being the sex capital of Europe, it's streets awash with prostitutes catering to all levels of society from princes to sailors.




We have decided to have an eighteenth century month on The Seduction of Venus and will feature genuine art from the period as well as art set in the century.  Wigs! Lacy frills!  Big skirts! Silk stockings!  And that's just the men. Zounds!



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The Dream of Love by Jean-Honoré Fragonard

August 16, 2014, 6:25 am
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Here, as part of eighteenth century month on The Seduction of Venus, we have this  painting by Fragonard (1732-1806) called The Dream of Love.  Now, this blog is supposed to be about pictures of women having erotic encounters with others but we have stretched our definition here because there is no doubt that this young lady is dreaming of just that.  

This is a good example of Fragonard's loose, flowing brushwork, so different from his teacher Boucher's.  Probably painted in the 1760's it still carries a powerful erotic charge today.
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The Soldier and the Squaw by James Baes

August 24, 2014, 12:16 pm
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Eighteenth century month continues on The Seduction of Venus with this pictorial from November 1981's Hustler magazine, photographed by James Baes.  In reality, as we started this theme mid-way through the month it will really be eighteenth century four weeks rather than a calendar month.




Although most of our material will originate from or be set in eighteenth century Europe we cannot forget the New World, of course.  We have featured an eighteenth century-set magazine pictorial before, of course: Jeff Dunas'1776 which appeared in Penthouse's July 1976 issue as part of its bicentennial celebrations.




Although he could be a soldier his costume is more likely to make him a militiaman or even just a backwoodsman, although the wig adds a certain formal touch.  We are less certain about the authenticity of our squaw whose ornaments seem rather too brightly coloured for the period.  Still, she has an authentically bushy pussy!  She seems very pleased to see our soldier in this one, anyway.  Maybe it's the prospect of some spit-roasted fowl.  Turkey or duck?




Here, he  is starting to look like he's pleased to see her too.  Hustler was going back and forth (or, more properly, up and down) as to what extent it showed its male models with erections at this time.  This was at the softer end, so to speak.




Much less prominent in this shot it is, nonetheless, engagingly suggestive as our squaw demonstrates that she simply can't wait for a lovely duck.




Finally, just as he is getting down to business it looks like the squaw's husband (or brother) has spotted them and lets loose a flurry of arrows, one of which appears to have hit our soldier in his rear.  The success of this short pictorial is largely down to the girl whose manages to play sensuous, playful and alarmed very nicely.
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Les Deux Amies by Jean-Honoré Fragonard

September 3, 2014, 3:49 am
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Here, as part of eighteenth century month, we have a rather saucy painting of two girls kissing, by that master of eighteenth century playful sensuality, Fragonard (1732-1806).  To add to the frisson, one is naked and one is fully dressed.  Interestingly, the clothed girl has much darker skin than the naked one.  At a time when a pale complexion was fashionable could this mean that the darker skinned girl is, perhaps, a servant of her mistress.  Perhaps she was selected from the women working in the fields on madame's estate for some indoor recreation.
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La Toilette Intime by Antoine Watteau

September 6, 2014, 9:28 am
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This erotic confection is by Jean-Antoine Watteau (1684-1721) and was believed to have been painted some time between 1715 and his death, at the age of just 36, in 1721.  Although his work was hugely influential on eighteenth century art he was not that well known during his life, lacking in aristocratic patrons and producing works for a comparatively small group of middle class enthusiasts.

Agent Triple P first became aware of this painting at about the age of 12 from a black and white illustration in a book of his father's The Female Nude in European Painting by the French art historian Jean-Louis Vaudoyer (1883-1963).  The painting was called The Secret Toilet in that book (it does not seem to have an official name bestowed upon it by Watteau), which added to its allure to a young Triple P.

A maid offers her mistress a bowl containing a sponge for washing her intimate areas.  The whole picture is erotically charged; with the mistress brazenly presenting her groin between elegantly spread thighs, whilst her servant gazes raptly upon the forbidden area.   Some critics have decided that it is almost a parody of a religious scene with the maid kneeling before the white altar of the bed and worshipping her mistress' sex.   Certainly Watteau's implication here is not that the haughty woman would wash herself but that her maid will soon be rubbing her sponge deliciously over her mistresses loins.






There are at least two painting based on Watteau's original by some of his followers.  Interestingly they are both mirror images of the original and they may be based on some of the many prints of Watteau's work which were issued after his death and which increased his popularity enormously.  They both use the same colour scheme for the maid's clothes so may have been been based on a viewing of the original painting.  Both mistress figures wear very much more clothes than  in Watteau's version and, in the second one, the maid is black.  Neither give the erotic frisson of Watteau's original, however.
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Eighteenth Century scenes by Anonymous

September 22, 2014, 12:13 pm
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We have seen this collection of pictures, which look like book illustrations, described in several places as the work of French artist Gabriel Ferrier (1847-1914).  However the style is all wrong for him and his period of activity and they look later (nineteen forties?).  We would be interested to hear from anyone who can positively identify the artist.




Here we have a typical eighteenth century meal with big wigs, big dresses and passionate bosom clasping.  The Champagne ice bucket looks more modern than the ornate ones seen in the eighteenth century.




A common mistake in illustrations set in the past are the length of stockings.  In the eighteenth century they would have only been just above the knee as until elastic fabric was invented they wouldn't have stayed up if they finished higher up the thigh.  Even into the nineteen twenties stockings were shorter than they are today.  This lady's elegantly displayed leg shows a stocking far too long for the period but what a lovely slice of naked upper thigh/




The same is true of this Venetian masquerade lady.  The stockings would also have been much looser above the garters.




It is the look of this lady which dates her as (much) later than Ferrier.  She has something of Gone with the Wind about her hairstyle although she is nicely unveiled here.



Very much of her time, too, is madame here, who looks like a nineteen thirties ofrforties Hollywood portrait.  It reminds us of a photograph we have seen somewhere.





You can't possibly have a set of illustrations like this without a gratuitous lesbian picture.  The ladies here appear to be in considerable less splendour than the other denizens of this world.  Milady slumming it with a servant girl again, perhaps.


Here is an enticingly diaphanous gown with which to tempt the master of the house.  Or perhaps he is just a special guest who needs "looking after".  




In this one we aren't sure if the passionate scene in the background is  a painting, a mirror or a dream of what is to come. The Champagne flutes are unlikely to have been used in the eighteenth century.  In fact they would have been unusual up until the seventies.  Are these pictures even more recent?



Some rather more passionate embracing here as the young lady gets her perky nipple nibbled.



Finally, what is this naked nymph thinking?  Somehow we thing that the gentleman is the innocent here!

So, this a nice set of drawing but obviously not contemporary, not late nineteenth or early twentieth century like Ferrier and possibly even quite recent.  Does anyone have any information?

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