Vanity Collection (page 7)

The Fool Who Thinks Himself Clever Alone, 1660-86 (brush and Indian ink on paper)
7308345 The Fool Who Thinks Himself Clever Alone, 1660-86 (brush and Indian ink on paper) by Stettler, Wilhelm (1643-1708); 11.5x10.5 cm; Ashmolean Museum, University of Oxford

A scrolled shield with the image of a nude woman standing in a landscape, with a banderole above
7308177 A scrolled shield with the image of a nude woman standing in a landscape, with a banderole above, perhaps an allegory of Pride

L: Laureat, 1890 (illustration)
7309326 L: Laureat, 1890 (illustration) by French School, (19th century); 20 x 14 cm; Private Collection; (add.info.: in "Fun alphabet for little girls)

The Fashion Fool, 1660-86 (brush and Indian ink on paper)
7308337 The Fashion Fool, 1660-86 (brush and Indian ink on paper) by Stettler, Wilhelm (1643-1708); 11.5x10.5 cm; Ashmolean Museum, University of Oxford

The Proud Fool, 1660-86 (brush and Indian ink on paper)
7308346 The Proud Fool, 1660-86 (brush and Indian ink on paper) by Stettler, Wilhelm (1643-1708); 11.5x10.5 cm; Ashmolean Museum, University of Oxford

Sight (Visus), from the Fiver Senses, . n. d. Creator: After Maerten de Vos
Sight (Visus), from the Fiver Senses, .n.d

Allegory of Pride, 1590-1630. Creators: Lambert Cornelisz, Jacob Leendertsz
Allegory of Pride, 1590-1630

Design for a Cartouche and Representation of Sight, Plate 2 from Neu Inv... Printed ca. 1750-56
Design for a Cartouche and Representation of Sight, Plate 2 from Neu Inventierte auf die artigste Facon Sehr nutzliche Schild. Printed ca. 1750-56

They have become foolhardy and have given themselves over to vanity (Ephesians 4: 19... ca. 1570-72. Creator: Anon)
They have become foolhardy and have given themselves over to vanity (Ephesians 4:19), ca. 1570-72

The awakening, woman with a mirror (colour litho)
7150431 The awakening, woman with a mirror (colour litho) by Carrier-Belleuse, Pierre (1851-1933); Private Collection; (add.info.: The awakening, woman with a mirror)

Old Woman Tearing at her Hair - Massys, Quentin (1466-1530) (Quinten ou Kwinten Metsys ou Matsijs)
FIA5398029 Old Woman Tearing at her Hair - Massys, Quentin (1466-1530) (Quinten ou Kwinten Metsys ou Matsijs) 1525-1530 - Oil on wood - 55x40 - Museo del Prado, Madrid by Massys or Matsys

Vanitas (oil on canvas)
IND106378 Vanitas (oil on canvas) by Vinne, Vincent Laurensz van der (1629-1702); Frans Hals Museum, Haarlem, The Netherlands; Index Fototeca

193-0082141 Neither more nor less, plate 41 of Los caprichos, 1799 (etching)
IND81660 193-0082141 Neither more nor less, plate 41 of Los caprichos, 1799 (etching) by Goya y Lucientes, Francisco Jose de (1746-1828); 20x15.2 cm; Private Collection; Index Fototeca

193-0082176 Is this your excellency? well, as I say eh! Look out! Otherwise plate 76 of Los caprichos, 1799 (etching)
IND81695 193-0082176 Is this your excellency?.. well, as I say.. eh! Look out! Otherwise.. plate 76 of Los caprichos, 1799 (etching) by Goya y Lucientes

Corpse, skeletons (wood & bronze) (b / w photo)
XIR346090 Corpse, skeletons (wood & bronze) (b/w photo) by French School, (16th century); Musee des Arts Decoratifs, Paris, France; (add.info.: corpse, skeletons; skeleton; )

An elegant lady at her dressing table, printed by F. Sala & Co, Berlin, c. 1850 (colour litho)
DHC379908 An elegant lady at her dressing table, printed by F. Sala & Co, Berlin, c.1850 (colour litho) by German School, (19th century); Private Collection; Sammlung Hecht

The Three Graces (pen, ink and w / c on paper)
CH139962 The Three Graces (pen, ink and w/c on paper) by Barbier, Georges (1882-1932); 31.5x26.2 cm; Private Collection; Photo © Christies Images

A peacock chosen king of the farm birds. 1811 (etching)
7235828 A peacock chosen king of the farm birds. 1811 (etching) by Howitt, Samuel (1756-1822); (add.info.: A peacock displays his tail feathers in front of a barnyard of birds)

A frog inflates itself to become a big as a cow. 1811 (etching)
7235840 A frog inflates itself to become a big as a cow. 1811 (etching) by Howitt, Samuel (1756-1822); (add.info.: A frog near a pond inflates itself to become a big as a cow, but explodes)

Le triomphe de la coquetterie, 18th century. 18th century. Creator: Anon
Le triomphe de la coquetterie, 18th century

Laceing [sic] a Dandy, January 26, 1819. January 26, 1819. Creator: Anon
Laceing [sic] a Dandy, January 26, 1819

Miss Prattle Consulting Doctor Double Fee about her Pantheon Head Dress, 1772. 1772. Creator: Anon
Miss Prattle Consulting Doctor Double Fee about her Pantheon Head Dress, 1772

Top and Tail, 1777. 1777. Creator: Anon
Top and Tail, 1777

The Coquette, 1656 / 58. Creator: Jeremias Falck
The Coquette, 1656/58

The Actors Tamazawa Saijiro I as Oiso no Tora and Ichimura Uzaemon VIII as Soga no Juro in... 1743
The Actors Tamazawa Saijiro I as Oiso no Tora and Ichimura Uzaemon VIII as Soga no Juro in the play " Haru wa Akebono Kuruwa Soga, " performed at the Ichimura Theater in the first month

A CHECK TO CORSICAN ASSURANCE, 1805 (engraving)
7262207 A CHECK TO CORSICAN ASSURANCE, 1805 (engraving) by Williams, C. (19th century); Bromley Museum, Orpington, UK; (add.info.: A CHECK TO CORSICAN ASSURANCE)

Lady at the Mirror, c. 1520 (oil on canvas)
XAM66734 Lady at the Mirror, c.1520 (oil on canvas) by Romano, Giulio (1492-1546); 111x92 cm; Pushkin Museum, Moscow, Russia

Female Nude (woman with her mirror) (oil on canvas)
XIR164921 Female Nude (woman with her mirror) (oil on canvas) by Renoux, Jules Ernest (1863-1932); Private Collection; (add.info.: by Jules Ernest Renoux (1863-1932))

Woman at Mirror (oil on plywood)
3708541 Woman at Mirror (oil on plywood) by Jodi, Casimiro (1886-1948); 47.5x59.5 cm; Assicoop-Unipol Collection, Modena, Emilia Romagna

Woman at Mirror (oil on plywood)
3708542 Woman at Mirror (oil on plywood) by Jodi, Casimiro (1886-1948); 47.5x59.5 cm; Assicoop-Unipol Collection, Modena, Emilia Romagna

Useful Ursula, Vain Victor (colour litho)
7157006 Useful Ursula, Vain Victor (colour litho) by Hassall, John (1868-1948) (after); Private Collection; (add.info.: Useful Ursula, Vain Victor)

Dress, 1920 (woodcut)
397433 Dress, 1920 (woodcut) by Gill, Eric (1882-1940); Private Collection; English, out of copyright

Vanity (engraving)
7201595 Vanity (engraving) by Gheyn, Jacob II de (1565-1625) (after); Private Collection; (add.info.: Vanity. Illustration from Illustrierte Sittengeschichte von Mittelalter bis zur Gegenwart)

Preparing for the Ball, 1875 (oil on panel)
823549 Preparing for the Ball, 1875 (oil on panel) by Ducros, Antoine (19th Century); 50.8x39.5 cm; Private Collection; (add.info.: Preparing for the Ball. Antoine Ducros (19th Century)

Nijinsky in Narcisse, 1911 (ink and gouache on paper)
1195906 Nijinsky in Narcisse, 1911 (ink and gouache on paper) by Barbier, Georges (1882-1932); 25x15.3 cm; Private Collection; Photo © Christies Images

Le Grand Decolletage, engraving by H. Reidel, 1921 (pochoir print)
1123815 Le Grand Decolletage, engraving by H. Reidel, 1921 (pochoir print) by Barbier, Georges (1882-1932); Private Collection; The Stapleton Collection

Dress, 1921 (woodcut)
1275147 Dress, 1921 (woodcut) by Gill, Eric (1882-1940); Private Collection; The Stapleton Collection

Two Women in Front of a Mirror, 1943
ZIN71833 Two Women in Front of a Mirror, 1943 by Hirshfield, Morris (1872-1946); 130x151 cm; Peggy Guggenheim Foundation, Venice, Italy; © Heinrich Zinram Photography Archive

The Pale Complexion of True Love and the Red Glow of Scorn and Proud Disdain from As You Like It, 1899 (oil on canvas)
CH402308 The Pale Complexion of True Love and the Red Glow of Scorn and Proud Disdain from As You Like It, 1899 (oil on canvas) by Fortescue-Brickdale

Orgueil. Illustration for Le Pele-Mele, 1901 (colour litho)
3100575 Orgueil. Illustration for Le Pele-Mele, 1901 (colour litho) by Rabier, Benjamin (1869-1939); Private Collection; (add.info.: Orgueil)

Portrait of a gentlewoman, XVIII century (oil)
2654997 Portrait of a gentlewoman, XVIII century (oil) by Italian School, (18th century); Museo Adriano Bernareggi, Bergamo, Italy; (add.info.: Bergamo)

Saint Jerome. Peinture de Jacopo Palma il Giovane le jeune (1544-1628), huile sur toile, 1594
FIA5376100 Saint Jerome. Peinture de Jacopo Palma il Giovane le jeune (1544-1628), huile sur toile, 1594. Art italien, 16e siecle, manierisme. State A. Pushkin Museum of Fine Arts, Moscou

Humility sending away Pride, 1734 (fresco)
5949116 Humility sending away Pride, 1734 (fresco) by Tiepolo, Giovanni Battista (Giambattista) (1696-1770); Villa Loschi Motterle, Vicenza, Veneto

Poster advertising the beauty cream Teras Rosa (colour litho)
CHT163271 Poster advertising the beauty cream Teras Rosa (colour litho) by Hurst, Hal (b.1865); Bibliotheque des Arts Decoratifs, Paris

The Pearl Necklace (w / c on vellum)
FLF176581 The Pearl Necklace (w/c on vellum) by Walker, Marcella M. (fl.1872-1917); 24.8x15.9 cm; Private Collection

A woman dressing in front of a mirror, illustration for Mitsou by Sidonie-Gabrielle Colette (1873-1954)
STC240029 A woman dressing in front of a mirror, illustration for Mitsou by Sidonie-Gabrielle Colette (1873-1954) published 1930 (etching & drypoint) by Chahine

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"Vanity: A Reflection of Timeless Obsession and Artistic Expression" In the realm of Formula One racing, the 1981 Argentinian Grand Prix became a stage for drivers to showcase their vanity, pushing boundaries in pursuit of victory. Just as Lloyd George graced the pages Fair with his charismatic presence, so did the racers on that fateful day. Their ambition and desire for recognition mirrored Vanitas Still Life with a Tulip, Skull and Hour-Glass - an oil painting capturing life's fleeting nature. Politicians like Disraeli found themselves immortalized in Vanity Fair, where wit and satire reigned supreme. W. S. Gilbert too joined this illustrious company, leaving behind legacies that transcended time. The allure extended beyond politics; it seeped into fashion as well. The Blue Dress/Beer collaboration in 1922 epitomized society's obsession with appearances - a testament to how they are shape culture. Even poets like Tennyson fell under its spell when caricatured by Ape in Vanity Fair. His words echoed through generations while reflecting upon mankind's eternal struggle with self-importance. Artists like Bocklin captured this essence masterfully through pieces such as Self-portrait with Death Playing the Fiddle. In this chilling depiction, vanity dances alongside mortality itself - a haunting reminder of our own transience. Not limited to individuals alone, institutions also succumbed to vanity's allure. Thomas Colleton Garth found himself featured in Vanity Fair as Spy exposed societal vanities hidden within esteemed organizations. Musical maestros like Sullivan composed symphonies that resonated deeply within hearts but were not immune from being swept up by society's fascination with personal image showcased by Vanity Fair. William Gillette embodied both fame and infamy through his portrayal of Sherlock Holmes – an iconic character whose popularity was fueled by society’s insatiable appetite for intrigue and vanity.