Snuffbox with Six Scenes of Putti at Play, Jean Georges (or George), miniatures by Mademoiselle Duplessis, French, 1761-62
From the Met Museum
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seen from Malaysia

seen from United States
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seen from Malaysia
seen from Germany

seen from China

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seen from Malaysia

seen from Malaysia
seen from Türkiye

seen from Kazakhstan
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seen from Austria

seen from Malaysia
seen from Türkiye
Snuffbox with Six Scenes of Putti at Play, Jean Georges (or George), miniatures by Mademoiselle Duplessis, French, 1761-62
From the Met Museum

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Lya de Putti by Truus, Bob & Jan too! Via Flickr: German postcard by Ross Verlag, no. 3020/4, 1928-1929. Photo: Freulich. Lya de Putti (1899-1931) portrayed vamps in German and American silent films. Lya de Putti was the daughter of a Hungarian Baron and Countess. In 1913, she married Zoltán Szepessy and had two daughters with him. In Budapest, she began her stage career on the Vaudeville circuit and made her screen debut with A császár katonái (Béla Balogh, 1918). In 1920, she progressed to perform classical ballet in Berlin. In Germany, De Putti played supporting roles in films by famous directors like F.W. Murnau (Die brennende Acker, 1921 and Phantom, 1922) and Joe May (Das Indische Grabmal, 1921). She starred in five May productions directed by Robert Dinesen. Her biggest hit – especially in the USA – was E. A. Dupont's Varieté (1925). As Bertha-Marie, she seduces and betrays the simple trapeze artist Stephan Huller (Emil Jannings) and drives him to kill his partner. She followed this success with star performances in Manon Lescaut (Artur Robison, 1926) and Junges Blut (Manfred Noa, 1926). Adolph Zukor invited Lya to come to Hollywood. At her arrival in New York in February 1926, she told American reporters that she was twenty-two years old. Her ocean liner's records list her as having been twenty-six. Hollywood generally cast her as a vamp, such as in Sorrows of Satan (D.W. Griffith, 1926), Buck Privates (Melville W. Brown, 1928) and The Scarlet Lady (Alan Crosland, 1928). She often wore her dark hair short in a style similar to that of Louise Brooks. De Putti was rumoured to be engaged to Count Ludwig Salm von Hoogstraten, a former husband of the American oil heiress Millicent Rogers, but she denied the engagement. She failed to make it big in Hollywood and left the screen by 1929 to attempt to restart her career on Broadway. Later, she went to England to make her last movie, The Informer (Artur Robison, 1929) and studied the English language. Soon she returned to America. She was hospitalised to have a chicken bone removed from her throat, and contracted a throat infection, followed by pneumonia in both lungs. She died in 1931 at the age of 32. Her first husband, Zoltán Szepessy, committed suicide shortly after her death. Sources: Wikipedia, Filmportal.de and IMDb. And, please check out our blog European Film Star Postcards.
Turkey, meatballs, and naked toddlers. CHRISTMAS!
Allegory of the Marriage of Henry IV and Marie de Medici
Artist: Ambroise Dubois (French, 1543 - 1614)
Date: ca. 1600
Medium: Oil on canvas
Collection: Château de Fontainebleau, Fontainebleau, France
Allegory of the Regency of Queen Dowager Hedvig Eleonora
Artist: David Klöcker Ehrenstrahl (Swedish, 1628-1698)
Date: ca. 1692
Medium: Oil on canvas
Collection: National Museum, Copenhagen, Denmark
Description
"Allegory of the Regency of the Dowager Queen Hedvig Eleonora" (c. 1692) is a monumental oil painting located in the Audience Chamber at Drottningholm Palace, celebrating the political role of Hedvig Eleonora of Holstein-Gottorp (1636–1715) as queen regent of Sweden

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Council of the Gods
Artist: Cornelis van Poelenburch (Dutch, c. 1594/1595-1667)
Date: ca. 1630
Medium: Oil on copper
Collection: The Mauritshuis, The Hague, Netherlands
Hans Thoma (German, 1839-1924) Putti in the clouds (1907)