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Topic
Gender diversity
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Date
1760 to 1779
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Search Results
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Chevalier D-E-n returned, or, the Stock-Brokers outwitted
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d'Eon in his study
Collection: Art Works Institution: Yale University Libraries Creator: Le Roy, Jacques Date: 1775? Topics: Crossdressing, Engraving, Etching, Gender diversity, Letter writing Subject: Chevalier D'Eon, Eon de Beaumont, Charles Geneviève Louis Auguste André Timothée, Restif de La Bretonne Description: Depicts a possibly female figure wearing male attire writing a letter at a table before a window in a study or library. Books fill shelves in the rear while two others lie open on the table, one ti... -
II Femminiello
Collection: Art Works Institution: Digital Transgender Archive Creator: Bonito, Giuseppe Date: 1740 to 1760 Topics: Arts, Canvas, Crossdressers, Crossdressing, Gender diversity, Gender minorities, Painting, Painting, Italian, Portrait painting, Italian, Third gender, Transvestites Description: "This recently-discovered painting from eighteenth-century Naples is a testament to the city's exceptional social acceptance of local transvestites known as femminielli. The term, which might be tr... -
Mademoiselle de Beaumont, or, the Chevalier d'Eon: Female Minister Plenipo. Capt of Dragoons
Collection: Art Works Institution: Yale University Libraries Creator: Date: Sep. 1777 Topics: Clothing, Engraving, Etching, Gender bending, Gender diversity, Military, Portrait prints, British Subject: Chevalier D'Eon, Eon de Beaumont, Charles Geneviève Louis Auguste André Timothée Description: Full length portrait of D'Eon dressed half as a man and half as a woman. The left side of the figure wears a full and elegantly styled dress, with hair piled high in the pyramidal fashion of the ti... -
The Wife Turned Good-Man
Collection: Art Works Institution: Yale University Libraries Creator: Date: 1770? Topics: Ballads, Farmers, Gender diversity, Gender role, LGBTQ+ poetry, LGBTQ+ relationships, Marriage, Wood-engraving Description: In four columns with the title and two woodcuts above the first two; there are dividing ornamental rules between the first and second as well as between the third and fourth columns.