Deceit Collection (#4)

At the Masked Ball-Parisian Festivities-New Revels, 1892 (watercolour
988890 At the Masked Ball-Parisian Festivities-New Revels, 1892 (watercolour, brush and India ink over pencil on buff paper) by Toulouse-Lautrec

A Young Lady, Wearing a Yellow Robe, seated at a Table, Beckoning, 1703 (oil on canvas)
990249 A Young Lady, Wearing a Yellow Robe, seated at a Table, Beckoning, 1703 (oil on canvas) by Santerre, Jean Baptiste (1651-1717); 80.6x65.2 cm; Private Collection; (add.info.: A Young Lady)

Dancer and Abonne, at the Opera; Danseuse et Abonne, a l opera, c
1768110 Dancer and Abonne, at the Opera; Danseuse et Abonne, a l opera, c.1905 (oil on canvas) by Forain, Jean Louis (1852-1931); 50.2x61 cm; Private Collection; (add.info.: Dancer and Abonne)

Confidence, 1897 (oil on canvas)
1769031 Confidence, 1897 (oil on canvas) by Renoir, Pierre Auguste (1841-1919); 41.3x33.4 cm; Private Collection; (add.info.: Confidence. Pierre-Auguste Renoir (1841-1919). Oil on canvas

The Tax-Gatherers (oil on panel)
1766795 The Tax-Gatherers (oil on panel) by Reymerswaele, Marinus van (c.1490-c.1567) (follower of); 81.8x71.1 cm; Private Collection; (add.info.: The Tax-Gatherers)

Hagar and the Angel (oil on canvas)
1766788 Hagar and the Angel (oil on canvas) by Rosi, Alessandro (1627-1697); 101.3x80.3 cm; Private Collection; (add.info.: Hagar and the Angel. Alessandro Rosi (1627-1707). Oil on canvas

Lorenzaccio, 1896 (lithograph in colours)
1766954 Lorenzaccio, 1896 (lithograph in colours) by Mucha, Alphonse Marie (1860-1939); 99x37 cm; Private Collection; (add.info.: Lorenzaccio. Alphonse Mucha (1860-1939). Lithograph in colours, 1896

No te escaparas (You Will Not Escape), plate 72 of Los Caprichos
CHT163084 No te escaparas (You Will Not Escape), plate 72 of Los Caprichos, late 18th century (colour engraving) by Goya y Lucientes, Francisco Jose de (1746-1828); Bibliotheque Nationale, Paris

Sapphira Punished by Death, 1608 / 1611. Creator: Jacques Callot
Sapphira Punished by Death, 1608/1611

Plate 6 from Los Caprichos : Nobody knows himself (Nadie se conoce. ), 1799
Plate 6 from Los Caprichos : Nobody knows himself (Nadie se conoce.), 1799

Ixion deceived by Hera, 1620-24. Creator: Pieter van Sompel
Ixion deceived by Hera, 1620-24

The Calumny of Apelles, 1602. Creator: Cornelis Cort
The Calumny of Apelles, 1602

Jupiter and Antiope, 1540-45. Creator: Antonio Fantuzzi
Jupiter and Antiope, 1540-45

Jupiter, in the Guise of Diana, and Callisto, 1763. Creator: Francois Boucher
Jupiter, in the Guise of Diana, and Callisto, 1763

The Angel which redeemed me from all evil, bless the lads, c1840. Creator: George Presbury
The Angel which redeemed me from all evil, bless the lads, c1840. Biblical scene, from Genesis 48: 16: The Angel which redeemed me from all evil, bless the lads; and let my name be named on them

The voice is Jacobs voice, but the hands are the hands of Esau, 19th century? Creator
The voice is Jacobs voice, but the hands are the hands of Esau, 19th century? Biblical scene, from Genesis 27: 22: And Jacob went near unto Isaac his father; and he felt him, and said

Scapin, 1868. Creator: Unknown
Scapin, 1868. The title character Scapin in " Les Fourberies De Scapin" (Scapin the Schemer), a theatrical comedy by Jean Baptiste de Moliere, first staged in 1671

That sprite of air is Schicchi; in like mood of random mischief vents he still his spite, c1890. The alchemist Capocchio is attacked by Gianni Schicchi de Cavalcanti

The guide, who mark d how I did gaze attentive, thus began, c1890. Creator: Gustave Doré
The guide, who mark d how I did gaze attentive, thus began: " Within these ardours are the spirits, each swath d in confining fire", c1890

Isaac Blessing Jacob, c1638, (1914). Creator: Govaert Flinck
Isaac Blessing Jacob, c1638, (1914). Biblical scene: Jacob, pretending to be his brother Esau, tricked their blind father into bestowing Esaus rightful blessing on him

Allegory, c. 1485-90 (oil on panel)
2562885 Allegory, c.1485-90 (oil on panel) by Lippi, Filippino (c.1457-1504); Galleria degli Uffizi, Florence, Tuscany, Italy; (add.info.: No Plague is Worse Than an Enemy in the Family ; ); Italian

My Sister Is Not In, 1879 (oil on panel)
WLT206596 My Sister Is Not In, 1879 (oil on panel) by Alma-Tadema, Lawrence (1836-1912); 40.5x31.2 cm; Walters Art Museum, Baltimore, USA; English, out of copyright

Emblem hook garden pond foreground putto puts
Emblem: hook, A garden with a pond. In the foreground, a putto puts a worm on a hook. In the center a putto fishes in the garden pond and in the background a fish is caught

An Illustration Depicting The Old Husband And His Young Bride From Chaucers The Merchants Tale Aka January And May. The Keys Refer To A Key Which May Gave To Her Secret Lover

Then The Emperor Walked Along In The Procession Under The Gorgeous Canopy, And Everybody In The Streets And At The Windows Exclaimed, " How Beautiful The Emperors New Clothes Are!"

Colombus when Cortes arrived in Cuba, (15th century), 1920s
Colombus when Cortes arrived in Cuba. On his second trip Colombus went into the south coast of Cuba and when Cortes arrived in Guaniguanico province, Colombus made his crew swear on June 12

Trojans Deceived, 1830. The raiding party secreting themselves in the great wooden horse. The story of the legendary wars between the Greek confederation and Troy

Wall painting that may show Rhea deceiving Saturn.. Painting that may show Rhea deceiving Saturn, or Ceres secret child being given to the goddess Regina and the horse Arion

The Bawd of the Nation, or the Way to Grow Rich, published by Matthew Darly, 1757
XJF863024 The Bawd of the Nation, or the Way to Grow Rich, published by Matthew Darly, 1757 (engraving) by English School, (18th century); Private Collection; (add.info.: Henry Fox)

The Last Supper (fresco)
XIR386038 The Last Supper (fresco) by French School, (12th century); Eglise de St. Martin de Nohant-Vic, France; (add.info.: La Derniere Cene; Judas gives bread to Jesus; ); French, out of copyright

Niccolo Machiavelli, 1724 (engraving) (b / w photo)
XJF368401 Niccolo Machiavelli, 1724 (engraving) (b/w photo) by Morellon la Cave, Francois (1706-66); Private Collection; (add.info)

Rousillon, the Counts Palace, Act V, Scene III, from Alls Well That Ends Well
KW323353 Rousillon, the Counts Palace, Act V, Scene III, from Alls Well That Ends Well, from The Boydell Shakespeare Gallery, published late 19th century (litho) by Wheatley

Titus Oates on the third day of his punishment in 1685, when he was stripped, tied to a cart
XJF322577 Titus Oates on the third day of his punishment in 1685, when he was stripped, tied to a cart and whipped from Aldgate to Newgate (etching) by English School

The Angelic Child Presented to the ----- of Golconda, 1791 (hand-coloured engraving)
XCF306893 The Angelic Child Presented to the ----- of Golconda, 1791 (hand-coloured engraving) by English School, (18th century); Private Collection; (add.info)

The Cuckold departs for the Hunt, c. 1800 (pen & ink with w / c on paper)
XYC284846 The Cuckold departs for the Hunt, c.1800 (pen & ink with w/c on paper) by Cruikshank, Isaac (1756-1811); 17.1x22.9 cm; Yale Center for British Art, Paul Mellon Collection, USA; Scottish

Cheating at Cards (w / c with pen & ink on paper)
XYC281122 Cheating at Cards (w/c with pen & ink on paper) by Rowlandson, Thomas (1756-1827); 12.7x20 cm; Yale Center for British Art, Paul Mellon Collection, USA; English, out of copyright

The delegates in council or beggars on horseback, 1797 (colour etching)
XCF290950 The delegates in council or beggars on horseback, 1797 (colour etching) by Cruikshank, Isaac (1756-1811); 26.5x39.8 cm; Private Collection; (add.info.: published by Samuel William Fores)

A Fraudulent Baker, 1293 (engraving) (b / w photo)
XJF271077 A Fraudulent Baker, 1293 (engraving) (b/w photo) by English School, (13th century); Private Collection; English, out of copyright

The Quack Doctor, 1857 (w / c on paper)
XCF267409 The Quack Doctor, 1857 (w/c on paper) by Shepherd, Thomas Hosmer (1792-1864); Private Collection; (add.info.: Dr)

Reduced circumstances of Mr. Mantalini, illustration from Nicholas Nickleby
KW259157 Reduced circumstances of Mr. Mantalini, illustration from Nicholas Nickleby by Charles Dickens (1812-70) published 1839 (litho) by Browne

Lindors letter, illustration from The Barber of Seville by Pierre
XIR239540 Lindors letter, illustration from The Barber of Seville by Pierre Augustin Caron de Beaumarchais (1732-99) (litho) (b/w photo) by Lemercier

Rosine, Bartholo, Count Almaviva, illustration from The Barber of Seville
XIR239539 Rosine, Bartholo, Count Almaviva, illustration from The Barber of Seville by Pierre Augustin Caron de Beaumarchais (1732-99) (litho) (b/w photo) by Lemercier

The Death of Sapphira and Ananias, c. 1632 (oil on canvas)
XIR231272 The Death of Sapphira and Ananias, c.1632 (oil on canvas) by Vouet, Aubin (1595-1641); 318x235 cm; Musee des Beaux-Arts, Rouen

Stag Hunt, from Brevis Narratio... engraved by Theodore de Bry (1528-98) 1563
XIR206969 Stag Hunt, from Brevis Narratio... engraved by Theodore de Bry (1528-98) 1563 (coloured engraving) by Le Moyne, Jacques (de Morgues) (1533-88) (after); Service Historique de la Marine

Cordelia Championed by the Earl of Kent, from King Lear by William Shakespeare
XYC182344 Cordelia Championed by the Earl of Kent, from King Lear by William Shakespeare (1564-1616) c.1770-80 (oil on canvas) by English School

Allegory of the Alliances close, 1795, Johannes Huibert Prins, 1795

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"Unveiling Deceit: A Tapestry of Betrayal and Illusion" In a world where deceit lurks in every corner, the lengths we go to protect ourselves are boundless. Just like the woman raising her skirts to scare off the devil, we too must confront our fears head-on. Amidst this chaos, innocence prevails as kittens play on a desk, oblivious to the treachery that surrounds them. Their purity serves as a stark contrast to the dark secrets hidden beneath their paws. As Cymbeline graces the title page, Shakespeare's timeless tale reminds us of the intricate web woven by deception and its consequences. The Hulton Archives capture moments frozen in time—reminders of past betrayals etched into history. The Betrayal of Christ depicted in oil paints reveals how even those closest to us can deceive with devastating effect. Banditti's hand-coloured engraving from 1783 transports us back to an era when outlaws thrived on trickery and cunning. Samson Betrayed portrays vulnerability through brushstrokes; his strength stripped away by deceitful hands painted onto canvas. The Greeks Climb out of the Wooden Horse illustrates how trust misplaced can lead nations astray. Machiavel's enigmatic portrait reminds us that even great minds have contemplated manipulation for personal gain throughout history. "I Mourn because the World is so Untrustworthy" speaks volumes about human nature's inherent flaw—a lamentation echoed across centuries. Carnival fantasy captures a momentary escape from reality but serves as a reminder that illusions often mask deeper deceptions lurking within society’s fabric. And finally, an image emerges—a cuckold deceived by his wife and falconer—an embodiment of betrayal at its most intimate level. In this tapestry woven with threads of deceit, let us not be consumed but rather enlightened by these glimpses into humanity’s darker side.