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Sloane Street: An Erotic Edwardian Tale

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Interviewed late in his life, in the 1870s, he ventured the judgement that Rowlandson "had suffered himself to be led away from the exercise of his legitimate subjects, to produce works of a reprehensible tendency. Each object in our assortment of antique erotica bearing Victorian, Art Nouveau or Arts and Crafts hallmarks is very popular.

There was also plenty of gin and beer, some of the delicate and delightful pleasures of the public gardens, and the sophistication of horse racing at Ascot.Unfortunately her husband finds out and the second half of the book is taken up by his punishment of her.

As the treatment became popular, and doctors became inundated with patients, they needed to hire assistants. Since Denis Diederot anyway there has been an intimate and unhappy connection between a refined sense of personal esthetics and its gross extrapolation into a concern for public morality. But these decisions should never be allowed as excuses to suppress the art denying others access to it. See, for instance, this discussion on the pornography of pain and anti-Catholic sexual views of various mortifications of the flesh, an edited excerpt from Pain, Pleasure and Perversity: Discourses of Suffering in Seventeenth-Century England. The Phoenix of Sodom, written by Robert Holloway in 1813, is based on experiences from the famous The Vere Street Coterie.

This impressive example of antique silverware retains the original gilt interior and two original retaining straps. As the restricting and repressive thicket of censorship has gradually become cleared, we can now set about rediscovering that part of Rowlandson's graphic work upon which doubtless much of genuine popularity was based. Rowlandson's facile draughtsmanship is manifested in his rendering of the voluminous finery and feathers, which typified the costume of well-to-do Londoners of the time.

Another important aspect to incorporate are attitudes towards romance and sexuality in every setting.

The anterior surface is embellished with a central enamel design depicting British Navy Code of Signal flags: 'Blue Ball' - a white flag with a blue center, a red flag with a yellow St George's Cross and a blue field with a central horizontal white stripe. It appears that it was in Grego's power to publish such a work (or one more nearly approximating such an ideal), but that he deliberately suppressed information about Rowlandson and his art--failing even to mention a substantial portion of his erotic work by title or by the still more distant ab‑ straction of number.

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