anonymous, circa 1890, smiling lady on stool, nude but crotchless white lingerie, in right hand a cigarette, on left thigh a strap-on

anonymous, circa 1890
k.u.k. private collection, Vienna

anonymous, cdv, 1860s, “Sie- Pierrot! Siehst du was? Er- Alles schwarz!” – masked Colombina upskirts to Pierrot on stage

cdv, 1860s
k.u.k. private collection, Vienna

https://en.wikipedia.org/wiki/Pierrot

Pierrot (French pronunciation: [pjɛʁo])

is a stock character of pantomime and Commedia dell’Arte whose origins are in the late seventeenth-century Italian troupe of players performing in Paris and known as the Comédie-Italienne; the name is a hypocorism of Pierre (Peter), via the suffix -ot.

His character in contemporary popular culture—in poetry, fiction, the visual arts, as well as works for the stage, screen, and concert hall—is that of the sad clown, pining for love of Columbine, who usually breaks his heart and leaves him for Harlequin.

Guillaume Selgnac (1870-1924):
English: Pierrot’s embrace, circa 1900.

Performing unmasked, with a whitened face, he wears a loose white blouse with large buttons and wide white pantaloons. Sometimes he appears with a frilled collaret and a hat, usually with a close-fitting crown and wide round brim, more rarely with a conical shape like a dunce’s cap. But most frequently, since his reincarnation under Jean-Gaspard Deburau, he wears neither collar nor hat, only a black skullcap. The defining characteristic of Pierrot is his naïveté: he is seen as a fool, often the butt of pranks, yet nonetheless trusting.
It was a generally buffoonish Pierrot that held the European stage for the first two centuries of his history. And yet early signs of a respectful, even sympathetic attitude toward the character appeared in the plays of Jean-François Regnard and in the paintings of Antoine Watteau, an attitude that would deepen in the nineteenth century, after the Romantics claimed the figure as their own. For Jules Janin and Théophile Gautier, Pierrot was not a fool but an avatar of the post-Revolutionary People, struggling, sometimes tragically, to secure a place in the bourgeois world.[1] And subsequent artistic/cultural movements found him equally amenable to their cause: the Decadents turned him, like themselves, into a disillusioned disciple of Schopenhauer, a foe of Woman and of callow idealism; the Symbolists saw him as a lonely fellow-sufferer, crucified upon the rood of soulful sensitivity, his only friend the distant moon; the Modernists converted him into a Whistlerian subject for canvases devoted to form and color and line.[2] In short, Pierrot became an alter-ego of the artist, specifically of the famously alienated artist of the nineteenth and early twentieth centuries.[3] His physical insularity; his poignant lapses into mutism, the legacy of the great mime Deburau; his white face and costume, suggesting not only innocence but the pallor of the dead; his often frustrated pursuit of Columbine, coupled with his never-to-be-vanquished unworldly naïveté—all conspired to lift him out of the circumscribed world of the Commedia dell’Arte and into the larger realm of myth. Much of that mythic quality still adheres to the „sad clown“ of the postmodern era.

https://de.wikipedia.org/wiki/Pierrot

Der Pierrot
(französische Übersetzung des italienischen Namens im Diminutiv Pedrolino, deutsch: „Peterchen“)[1]

ist eine männliche Bühnenfigur, die der Pantomime Jean-Gaspard Deburau in Paris seit 1816 unter anderem aus dem Pedrolino bzw. dem Pagliaccio der Commedia dell’arte und dem Gilles des Pariser Jahrmarktstheaters entwickelt hat.

Georg Richter-Lössnitz (1891-1938):
Balletttänzerinnen mit Pierrot. Mischtechnik. Signiert und datiert 1912.

Geschichte

Figuren, die Pierrot genannt werden, gibt es im französischen Theater schon seit der zweiten Hälfte des 16. Jahrhunderts und entstammen ähnlichen Masken des italienischen Straßen- und Jahrmarkttheaters und der Commedia dell’arte des 15. Jahrhunderts, die durch ihre Gruppen nach Frankreich gekommen sind.

Sie sind, ähnlich wie Brighella, Rivalen von Arlecchino, dem späteren Harlekin.

Molière nennt in seiner Komödie Dom Juan ou le Festin de pierre (1665) eine ländliche Nebenfigur Pierrot.

In der Opéra comique Le Tableau parlant (1769) von André-Ernest-Modeste Grétry kommt ein Pierrot als Diener vor.

Den älteren Pierrot als Intriganten und Spielverderber gab es auch noch im 19. Jahrhundert (siehe etwa die Wiener Pantomime Der siegende Amor von 1814).

Seine herrische, mitunter unsympathische Seite hat sich im Weißclown des Zirkus erhalten.

Deburaus Vorstellungen im Théâtre des Funambules auf dem Boulevard du Temple in Paris, und vor allem ihr Reflex in der Literatur der Zeit, machten seine Figur weltberühmt und zum modernen Inbegriff des Pierrot. Deburaus Pierrot war nicht mehr bösartig, sondern eher bemitleidenswert, überaus sympathisch und eignete sich für Liebhaberrollen. Er war bewusst naiv und melancholisch, weiß geschminkt und in weiße, wallende Gewänder gekleidet. Er war stumm, weil das Theater keine Lizenz für Sprechstücke hatte. Deburau vererbte seine Figur an seinen Sohn Charles. Berühmt wurde das 1854 aufgenommene Foto von Nadar, das Charles Deburau mit einem Fotoapparat zeigt.
In Marcel Carnés Film Kinder des Olymp (1945) spielt Jean-Louis Barrault Deburau (im Film als „Baptiste Debureau“ [sic!]) und seinen Pierrot. Auch Barraults Kollege Marcel Marceau hat seine Figur Bip an Deburaus Pierrot angelehnt.
Der russische Sänger Aleksandr Wertinski hat einen schwarzen Pierrot erfunden. Richard Hirzel vom Circus Roncalli hat sich den Pierrot zum Vorbild für seine Figur Pic genommen.

https://de.wikipedia.org/wiki/Colombina

Colombina
(ital. Vorname, Verkleinerung von colomba für „Taube“)

ist eine Figur aus der Commedia dell’arte und wird den Zanni zugerechnet. Sie ist eine Person der unteren sozialen Schicht. Meistens spielt sie die Rolle der Magd oder Köchin. Ihr fehlt jedes gekünstelte Element der Oberschicht und sie ist eine lebenslustige und selbstsichere Figur, die kein Blatt vor den Mund nimmt.

Leo Rauth (1884-1913):
Pierrot und Colombine, 1911.

Durch ihre dominante und verführerische Art zieht sie oft Verehrer (zum Beispiel Brighella) an, gegen die sie sich zu wehren weiß.

Oft ist sie die Geliebte des Arlecchino, den sie am Ende eines Stücks mitunter heiratet.

Die Figur der Colombina trägt keine Maske und meistens schlichte Frauenkleider.

Als erste Trägerin dieser Figur gilt die italienische Schauspielerin Teresa Biancolelli aus einer Dynastie von bekannten Commedia-dell’arte-Schauspielern. Seit 1560 hielt sich diese Rolle über weitere Generationen, bis sie ab dem 18. Jahrhundert durch das vermehrte Auftreten der Theatergruppen vor höfischem oder bürgerlichem Publikum immer mehr verblasste.
Die „Muntere“ oder „Kokette“ als Fach im Schauspiel des 18./19. Jahrhunderts ist aus ihr hervorgegangen. Im Musiktheater entspricht ihr zumeist die Soubrette.

anonymous, cdv, 1860s, lady and military fly home on winged fascinum over animated landscape

cdv, 1860s
k.u.k. private collection, Vienna

https://en.wikipedia.org/wiki/Fascinus

In ancient Roman religion and magic,

the fascinus or fascinum

was the embodiment of the divine phallus.

The word can refer to the deity himself (Fascinus), to phallus effigies and amulets, and to the spells used to invoke his divine protection.[1]

Pliny calls it a medicus invidiae, a „doctor“ or remedy for envy (invidia, a „looking upon“) or the evil eye.

Amulettes phalliques gallo-romaines trouvées à Reims. Musée Saint-Remi à Reims, 2008.

Public religion

The Vestal Virgins tended the cult of the fascinus populi Romani, the sacred image of the phallus that was one of the tokens of the safety of the state (sacra Romana). It was thus associated with the Palladium.[2] Roman myths, such as the begetting of Servius Tullius, suggest that this phallus was an embodiment of a masculine generative power located within the hearth, regarded as sacred.[3] When a general celebrated a triumph, the Vestals hung an effigy of the fascinus on the underside of his chariot to protect him from invidia.[4]

Augustine, whose primary source on Roman religion was the lost theological works of Varro, notes that a phallic image was carried in procession annually at the festival of Father Liber, the Roman god identified with Dionysus or Bacchus, for the purpose of protecting the fields from fascinatio, magic compulsion:[5]

“ Varro says that certain rites of Liber were celebrated in Italy which were of such unrestrained wickedness that the shameful parts of the male were worshipped at crossroads in his honour. … For, during the days of the festival of Liber, this obscene member, placed on a little trolley, was first exhibited with great honour at the crossroads in the countryside, and then conveyed into the city itself. … In this way, it seems, the god Liber was to be propitiated, in order to secure the growth of seeds and to repel enchantment (fascinatio) from the fields.[6]
”
As a divinized phallus, Fascinus shared attributes with Mutunus Tutunus, whose shrine was supposed to date from the founding of the city, and the imported Greek god Priapus.[7]

Magic symbols

A graphic representation of the power of the fascinus to ward off the evil eye is found on a Roman mosaic that depicts a phallus ejaculating into a disembodied eye.[8] The motif is also known from multiple relief sculptures from Leptis Magna in present-day Libya.[9] A 1st-century BC terracotta figurine shows „two little phallus-men sawing an eyeball in half.“[10]

Phallic charms, often winged, were ubiquitous in Roman culture, from jewelry to bells and wind chimes to lamps.[11] The fascinus was thought particularly to ward off evil from children, mainly boys, and from conquering generals. Pliny notes the custom of hanging a phallic charm on a baby’s neck, and examples have been found of phallus-bearing rings too small to be worn except by children.[12]
The „fist and phallus“ amulet was prevalent amongst soldiers. These are phallic pendants with a representation of a (usually) clenched fist at the bottom of the shaft, facing away from the glans. Several examples show the fist making the manus fica or „fig sign“, a symbol of good luck.[13]

The largest known collection comes from Camulodunum.[14]

https://de.wikipedia.org/wiki/Fascinum

Fascinum (Plural: Fascina) bzw. Fascinatio

bezeichneten in der römischen Antike ursprünglich „Beschreiung“ und „Behexung“, später die Darstellung eines erigierten Penis als Mittel gegen den Bösen Blick.

Etymologie

Die Etymologie des Wortes war bereits in der Antike strittig: Aulus Gellius zitiert Cloatius Verus, der es vom griechischen βασκανία ableitet, was „Verleumdung“, aber auch „Behexung“ bedeutet. Entsprechend ist βασκάνιον ein Mittel gegen Behexung.[1] Bei Sextus Pompeius Festus wird Fascinum und Fas dagegen von fari („künden“, „sprechen“) abgeleitet.[2]

Apotropäischer Phallus

Nimmt man an, dass die Ableitung aus dem Griechischen richtig ist, so ist der Bedeutungswandel von Fascinum von einer Bezeichnung des Bösen Blicks zu einem Mittel zur Abwendung desselben nicht groß. Dieses Mittel nahm dabei speziell die Form eines meist grotesk vergrößerten ergierten Penis an, das

als Amulett getragen,

English: Secret Cabinet in the Museo Archeologico (Naples), 2013.

zusammen mit anderen apotropäischen Objekten (z. B. Zwergen) in sogenannten Tintinnabula kombiniert wurde, Glöckchenspielen, die als Türklingel dienten, oder

Italiano: Amuleto romano in bronzo: Tintinnabulum a forma di quadrupede-uccello con coda scorpionica fallica e due insetti sul dorso (cicale?), rinvenuto ad Pompei, oggi esposto nel Gabinetto Segreto del Museo Archeologico Nazionale di Napoli (inv. 27839).
English: Roman bronze amulet: Tintinnabulum quadruped-shaped bird with tail scorpionic phallic and two insects on the back (cicadas?), Found in Pompeii, now on display in the Secret Cabinet of the National Archaeological Museum of Naples (inv. 27839).
Français : Tintinnabulum en forme de phallus ailé quadrupède.
1st century AD

aufgemalt oder als Basrelief an Häusern oder eingehauen im Straßenpflaster gegen das Böse schützte.

English: Bas-relief of fascinus or fascinum (amulet for protecting of „Evil eye“in Leptis Magna, 2nd century A.D. (Libya), 2009.
Русский: Барельеф – оберег от сглаза Фасцин (лат. Fascinus), Лептис Магна, 2й век Н.Э. (Ливия), 009.

anonymous, cdv, very used, 1860s, “Nero”- reclining Venus Callipyge gets Nero’s boner from behind in Domus Aurea’s camera

cdv, 1860s
“Nero”
k.u.k. private collection, Vienna

https://de.wikipedia.org/wiki/Domus_Aurea

Die Domus Aurea (lateinisch für das Goldene Haus)

war ein riesiger Palast in Rom, den der römische Kaiser Nero nach dem Brand der Stadt (64 n. Chr.) auf dem Gelände eines früheren Palastes, der Domus Transitoria, errichten ließ. Er glich eher einem Landgut als einem Palast, die gesamte Anlage umfasste ca. 80 ha.

https://upload.wikimedia.org/wikipedia/commons/c/cd/Domusaurea.jpg?uselang=de

English: Domus Aurea
Français : Fresque, dans la Domus Aurea de Rome.

Die Wände wurden von dem römischen Maler Fabullus bemalt.

Die Deckenmalerei war wichtiger als die Wandmalerei.

Kleine Zimmer und Korridore sind vollständig ausgemalt, sonst sind die Wände mit Marmorplatten verkleidet oder vergoldet. Figurenbilder sind eher schlecht erhalten. Die Malereien fallen in den 4. Stil/Phantasiestil der römischen Wandmalerei.
Der Speisesaal ist der erste Kuppelbau, dessen Grundriss ein Oktogon beschreibt, und der früheste in der Palastarchitektur überhaupt.[1]

Heute weist das Haus schwere Feuchtigkeitsschäden an den Gemälden auf und ist nach einigen Jahren der Zugänglichkeit um das Jahr 2000[2] derzeit wieder für den Publikumsverkehr geschlossen.

https://commons.wikimedia.org/wiki/Category:Watercolor_paintings_of_the_Domus_Aurea_in_the_National_Museum_in_Warsaw?uselang=de

Vincenzo Brenna and Franciszek Smuglewicz – original artwork, Marco Carloni – engraving, 1776:
English: Mars and Venus.
Polski: ‚Mars i Wenus.

https://en.wikipedia.org/wiki/Domus_Aurea

The Domus Aurea (Latin, „Golden House“)

was a large landscaped portico villa built by the Emperor Nero in the heart of ancient Rome, after the great fire in A.D. 64 had cleared away the aristocratic dwellings on the slopes of the Palatine Hill.[1

Renaissance

When a young Roman inadvertently fell through a cleft in the Esquiline hillside at the end of the 15th century, he found himself in a strange cave or grotta filled with painted figures. Soon the young artists of Rome were having themselves let down on boards knotted to ropes to see for themselves. The fourth style frescoes that were uncovered then have faded to pale gray stains on the plaster now, but the effect of these freshly rediscovered grottesche[16] decorations was electrifying in the early Renaissance, which was just arriving in Rome. When Pinturicchio, Raphael and Michelangelo crawled underground and were let down shafts to study them, carving their names on the walls to let the world know they had been there, the paintings were a revelation of the true world of antiquity. Beside the graffiti signatures of later tourists, like Casanova and the Marquis de Sade scratched into a fresco inches apart (British Archaeology June 1999), are the autographs of Domenico Ghirlandaio, Martin van Heemskerck, and Filippino Lippi.[17]
It was even claimed that various classical artworks found at this time – such as the

Laocoön and his Sons

and

Venus Kallipygos

– were found within or near the Domus’s remains, though this is now accepted as unlikely (high quality artworks would have been removed – to the Temple of Peace, for example – before the Domus was covered over with earth).
The frescoes‘ effect on Renaissance artists was instant and profound (it can be seen most obviously in Raphael’s decoration for the loggias in the Vatican), and the white walls, delicate swags, and bands of frieze — framed reserves containing figures or landscapes — have returned at intervals ever since, notably in late 18th century Neoclassicism, making Famulus one of the most influential painters in the history of art.

https://en.wikipedia.org/wiki/Venus_Callipyge

The Venus Callipyge,
also known as the Aphrodite Kallipygos
(Greek: Ἀφροδίτη Καλλίπυγος)
or the Callipygian Venus, all literally meaning „Venus (or Aphrodite) of the beautiful buttocks“,[2]

is an Ancient Roman marble statue, thought to be a copy of an older Greek original.
In an example of anasyrma, it depicts a partially draped woman, raising her light peplos to uncover her hips and buttocks, and looking back and down over her shoulder, perhaps to evaluate them.
The subject is conventionally identified as Venus (Aphrodite), though it may equally be a portrait of a mortal woman.
The marble statue extant today dates to the late 1st century BC.[3] The lost Greek original on which it is based is thought to have been bronze, and to have been executed around 300 BC, towards the beginning of the Hellenistic era.[3] The provenance of the marble copy is unknown, but it was rediscovered, missing its head, in the early modern era. The head was restored, first in the 16th century and again in the 18th century (in which case the sculptor followed the earlier restoration fairly closely); the restored head was made to look over the shoulder, drawing further attention to the statue’s bare buttocks and thereby contributing to its popularity.[4] In the 17th and 18th centuries the statue was identified as Venus and associated with a temple to Aphrodite Kallipygos at Syracuse, discussed by Athenaeus in his Deipnosophists. The statue was copied a number of times, including by Jean-Jacques Clérion and François Barois.

https://commons.wikimedia.org/wiki/Category:Venus_Kallipyge_(Naples)?uselang=de

Italiano: La famosa statua della

Venere kallipige (da kalòs = bello; e pyghè = sedere)

è una replica romana di un originale ellenistico di II sec. a.C., rinvenuta a Roma nella Domus Aurea, facente parte della Collezione Farnese, oggi esposta nel Museo Archeologico Nazionale di Napoli (inv. 6020).

Il nome attribuito erroneamente a questa statua, si riferiva invece in antico ad un’altra statua esposta in un tempio a Siracusa.

Questa opera, per il suo carattere malizioso e leggero, viene inquadrata nel cd. „rococò ellenistico“.

La dea, in procinto di bagnarsi, solleva la pesante veste e si volge indietro per guardare la sua splendida nudità posteriore che si rispecchia nell’acqua. Seppure integrata dall’Albacini nella testa e nella spalla, tuttavia l’immagine è corretta come ci viene attestato da gemme e statuette in bronzo.

Berthold Werner:
Deutsch: Neapel, Archäologisches National Museum, Inv. 6020, 2013.
English: Naples, National Archaeological Museum, Inv. 6020, 2013.
Italiano: Napoli, Museo archeologico nazionale, Inv. 6020, 2013.

https://en.wikipedia.org/wiki/Nero?uselang=de

Nero

(/ˈnɪəroʊ/; Latin: Nerō Claudius Caesar Augustus Germanicus;[1] 15 December 37 – 9 June 68)[2]

was Roman Emperor from 54 to 68, and the last in the Julio-Claudian dynasty. Nero was adopted by his grand-uncle Claudius to become his heir and successor, and succeeded to the throne in 54 following Claudius‘ death.

Nero focused much of his attention on diplomacy, trade and enhancing the cultural life of the Empire, but according to the historian Tacitus he was viewed by the Roman people as compulsive and corrupt. He ordered theatres built and promoted athletic games. During his reign, the redoubtable general Corbulo conducted a successful war and negotiated peace with the Parthian Empire. His general Suetonius Paulinus crushed a revolt in Britain. Nero annexed the Bosporan Kingdom to the Empire and began the First Roman–Jewish War.

In 64 AD, most of Rome was destroyed in the Great Fire of Rome, which many Romans believed Nero himself had started in order to clear land for his planned palatial complex, the Domus Aurea. In 68, the rebellion of Vindex in Gaul and later the acclamation of Galba in Hispania drove Nero from the throne. Facing a false report of being denounced as a public enemy who was to be executed, he committed suicide on 9 June 68 (the first Roman emperor to do so).[3] His death ended the Julio-Claudian Dynasty, sparking a brief period of civil wars known as the Year of the Four Emperors. Nero’s rule is often associated with tyranny and extravagance.[4] He is known for many executions, including that of his mother,[5] and the probable murder by poison of his stepbrother Britannicus.

Nero was rumored to have had captured Christians dipped in oil and set on fire in his garden at night as a source of light.[6] This view is based on the writings of Tacitus, Suetonius and Cassius Dio, the main surviving sources for Nero’s reign, but a few surviving sources paint Nero in a more favourable light.[7] Some sources, including some mentioned above, portray him as an emperor who was popular with the common Roman people, especially in the East.[8] Some modern historians question the reliability of ancient sources when reporting on Nero’s tyrannical acts.[9]

https://de.wikipedia.org/wiki/Nero

Nero Claudius Caesar Augustus Germanicus

(* 15. Dezember 37 in Antium; † 9.[1] oder 11. Juni[2] 68 bei Rom)

war von 54 bis 68 Kaiser des Römischen Reiches. Er sah sich selbst als Künstler und war der letzte Vertreter der julisch-claudischen Dynastie.

anonymous, cdv, very used, 1860s, “Der moderne Diogenes – 85”, bent-over lady with mask opens her love grotto for gent with lantern and boner

cdv, 1860s
k.u.k. private collection, Vienna

https://en.wikipedia.org/wiki/Diogenes_of_Apollonia

Diogenes of Apollonia

(/daɪˈɒdʒəˌniːz/; Greek: Διογένης ὁ Ἀπολλωνιάτης; fl. 425 BC)

was an ancient Greek philosopher, and was a native of the Milesian colony Apollonia in Thrace. He lived for some time in Athens. His doctrines are known chiefly from Diogenes Laërtius and Simplicius. He believed air to be the one source of all being, and, as a primal force, to be intelligent. All other substances are derived from it by condensation and rarefaction. Aristotle has preserved a long passage by Diogenes concerning the organization of the blood vessels.

https://de.wikipedia.org/wiki/Diogenes_von_Apollonia

Diogenes von Apollonia

(altgriechisch Διογένης ὁ Ἀπολλωνιάτης Diogénēs ho Apollōniátēs; * ca. 499 v. Chr. in Apollonia Pontike; † ca. 428 v. Chr.)

war ein antiker griechischer Philosoph und Arzt.

Er wird zu den Vorsokratikern gezählt.

Leben

Diogenes wurde in Apollonia am Schwarzen Meer (griechisch Ἀπολλωνία Ποντική Apollōnía Pontikḗ), der heutigen Stadt Sosopol in Bulgarien geboren und verbrachte dort auch den Großteil seines Lebens. Sein Vater, Apollothemis, war ein bekannter Naturphilosoph. Es besteht kein Zweifel, dass er während seines Aufenthaltes in Athen so unbeliebt wurde, dass er zeitweise in Lebensgefahr schwebte.

Lehre

Diogenes war ein Zeitgenosse des Anaxagoras. Wie der frühere ionische Naturphilosoph Anaximenes hielt Diogenes die Luft für den Grundstoff der Welt, alle Dinge nur für eine unterschiedliche Konzentration der Luft. Schlamm, aus dem alle Lebewesen hervorgehen, ist also beispielsweise stark verdichtete Luft. Während alle Einzeldinge entstehen und vergehen, ist der Urstoff selbst unvergänglich.[1]

Die wichtigste Ähnlichkeit zur Lehre des Anaxagoras ist, dass Diogenes als Auslöser dieser Ver-/Entdichtung den Nous sieht, eine intelligente Kraft, die damit das Universum ordnet und beherrscht und so Denken, Seele und Leben hervorbringt. Wie auch viele andere griechische Philosophen nahm Diogenes eine unendliche Reihe von Welten an.

Werke

Seine wichtigste Arbeit war eine naturphilosophische Schrift, die später unter dem Titel Περὶ φυσέως („Über die Natur“, lateinisch De natura) zitiert wurde und von der beträchtliche Fragmente erhalten sind, hauptsächlich in Simplikios’ Kommentar zur Physik des Aristoteles. Es ist möglich, dass Diogenes zudem Werke mit den Titeln Gegen die Sophisten und Die Natur des Mannes schrieb. Außerdem spielt Aristophanes in seiner Komödie Die Wolken mit den Aussagen, die er dort Sokrates in den Mund legt, wohl auf Theorien des Diogenes an.

attributed Otto Schmidt Vienna, circa 1900, lady in white crotchless lingerie gets boner feeling at Mons Veneris

attributed Otto Schmidt Vienna, circa 1900
k.u.k. private collection, Vienna

Some other

“Otto Schmidt Vienna attributed”

photo-erotic works at sparismus.wordpress.com:

Otto Schmidt Kunstverlag, two tender Peter Altenberg funnies, Vienna around 1900, white lingerie, crotchless, black overknees and pumps https://sparismus.files.wordpress.com/2014/05/otto-schmidt-wien-1900-altenberg-gazellen-im-schritt-frei-zensurbehoerde.jpg

Otto Schmidt “…”, busty Viennese salon bunny, offering her crotchless white pants, circa 1900

Otto Schmidt “…”, two tender Viennese beauties, only in black gartered overknees, Peter Altenberg’s brain blooms of no age, lifting the white lingerie, Richard Englaender’s never ending love to Berta Lecher, circa 1900

Otto Schmidt “2366”, charming Viennese mamsell in crotchless lingerie, sitting in fauteuil at sunny window, circa 1900

anonymous, circa 1900, lady squats on chair – the right’s forefinger on clitoris

anonymous, circa 1900
k.u.k. private collection, Vienna

anonymous, “90-8”, 1900, fully clothed sex – she legs-up on table, he standing-up gets his boner into her love grotto

anonymous, “90-8”, 1900, k.u.k. private collection, Vienna

anonymous, “34-4”, 1880s, sex a tergo – big butt lady kneels on stool, ready for artist’s big boner

anonymous, “34-4”, 1880s, k.u.k. private collection, Vienna

anonymous, cdv, 1860s, Biedermeier lady inserts his boner to her love grotto bibliophilically

cdv, 1860s, k.u.k. private collection, Vienna