The Siege and Conquest of Wismar by the Danish Army in 1675, Romain de Hooge, 1675.

Romeyn de Hooghe(September 10, 1645 — June 15, 1708, Netherlands) "Complaint about the calamities in the Republic from 1672 to 1675" (1675).Romeyn de Hooghe was a Dutch painter, sculptor, caricaturist, and graphic artist of the mid-17th to early 18th century. He was also...Here's the translated text: "the jeweler, lawyer, writer, and inventor. As a cartoonist, De Hoog gained fame for his numerous anti-French propaganda cartoons and erotic drawings, for which he was condemned for blasphemy and obscenity. He also founded the first Dutch satirical weekly, Esopus in Europa (1701–1702). His political cartoons are now considered an important contribution to the history of comics, as they feature illustrated story sequences told within panels with text beneath the images. Along with the pictures of Frans Hogenberg about the "Spanish Fury" (1576) and "The Murder of Henry III" (1589), "The Legend of Saint Lawrence" by Antonio Tempesta (1599) and "Batavorum and the Roman War" (1612), "Batavian Rebellion" by Otto van Veen (1600-1613), "The Great Misery" by Jacques Callot ("The Miseries of War," 1633), "The Terrible Papist Conspiracy" by Francis Barlow (1682), and William Hogarth created sequential paintings and engravings from the 1720s to the 1750s. They are among the earliest sequential illustrated narratives with captions. Together with Hieronymus Bosch, Pieter Bruegel the Elder, Frans Hogenberg, Otto van Veen, and Johannes van den Aveele, he can be considered one of the first Dutch comic artists. Early Life Romein de Hoog was born..."He was born in 1645 in Amsterdam to a family of Flemish descent. His father was a knot maker from Ghent, and his mother was the daughter of a carpenter. De Hooghe studied classical languages, but he did not have enough money to continue his education. Therefore, in 1675, he established his own art workshop on Reguliersgracht, which later moved to Kalverstraat, and from 1674 onwards was located at De Dam in the building of De Wakkere Hond. About 36 assistants helped him create posters, portraits, brochures, greeting cards, and playing cards. He worked on various orders for book illustrations from well-known contemporaries, such as Constantijn Huygens and Hugo de Groot. He brought to life the pages of "The Guide to Wrestling" by Nicolas Petter from 1674, the travel diary of Conrad van Klenck from 1677 about a trip to Moscow, and made several engravings depicting buildings in Amsterdam. **The Career of a Cartoonist** In 1667, De Hooghe became a political cartoonist. Together with his assistants, he produced intricate illustrations of news events. Typically, there was one large image in the center, surrounded by various miniature illustrations. Sometimes, the miniature illustrations were simply large images...Here is the translation of the provided text into English: "…or different angles of a specific place. However, in many other cases, De Hoog depicted the entire event as a series of chronological drawings. Under each image, we see a written description. Today, they can be considered prototypes of comics. However, at that time, these caricatures were the modern equivalent of photo journalism in a newspaper. People studied each drawing closely to see the details of the event they had heard about but could only guess at. De Hoog's caricatures were very popular and widely circulated throughout the country. However, they were not neutral. De Hoog was a staunch royalist and supported the Dutch Prince William III of Orange. Thus, all of his caricatures celebrate the Dutch nation and demonize the English and French troops with whom the Netherlands was at war at that time. Similar artists creating topical engravings included the Germans Hans Burgkmair the Elder, Lucas Cranach the Elder, Jeremias Gath, Hans Holbein the Elder, Hans Holbein the Younger, Bartholomaeus Käppeler, Caspar Krebs, Georg Kress, Hans Rogel the Elder, Hans Rogel the Younger, Erhard Schön, and Johann Schubert…"Johann Schubert, Hans Schultes the Elder, Lukas Schultes, and Elias Welhofer. In the Netherlands, Johannes van den Aveele is another example. The earliest prototype of a comic created by De Hogue was "Het Verdrag van Breda" ("The Treaty of Breda," 1667), which tells the story of the Treaty of Breda that ended the Second Anglo-Dutch War (1665–1667). However, the peace did not last long. In 1672, the Third Anglo-Dutch War (1672–1674) began, and many of the early battles ended with the Dutch's defeat. The English marines were supported by France and the German principalities of Münster and Bavaria. Their combined forces made it difficult for the Dutch marines to resist, especially considering that they had barely recovered from the previous war. In the Netherlands, the mood was so downcast that people blamed their great...Here's the translation of the text into English: --- The pensionary of Holland, Johan de Witt, and his brother Cornelis were dragged from their homes and lynched on the spot. As a result of these events, the year 1672 entered history as the "Rampjaar" ("Year of Disasters"). De Hoog created a special engraving titled "Witten Wonder Spiegel" ("The Wonderful Mirror of the Witts," 1672), which was dedicated to the De Witt brothers. They are depicted in the center of the engraving, while the illustrated narrative with explanations at the bottom tells of their lives and achievements up until their brutal deaths. In 1672, French troops were approaching Amsterdam. They managed to be held back by flooding vast areas around the city. Nevertheless, the population believed that the city council had done little to protect the city from the French threat. Several city printing houses spread pamphlets and petitions, fueling conspiracy theories and civil unrest. One notable pamphlet was "Advis Fidelle Aux Véritables Hollandais" ("Faithful Advice to True Hollanders," 1673) by Amsterdam diplomat Abraham de Victors, in which he warned the Dutch about the atrocities of the French army. For this publication, Romeyn de Hoog provided ten large engravings depicting the alleged crimes committed by the French in Utrecht, as well as the plundering of the villages of Zwammerdam and Bodegraven. As the main propagandist of the "Year of Disasters," De Hoog depicted the French playing football with human heads and children being burned alive. In 1674, a local bookseller and printer, Jan Claes ten Horn, released a cheaper Dutch edition titled "De Nieuwe Spiegel der Jeugd, of Franse Tyranny" ("The New Mirror of Youth, or French Tyranny," 1674) with simple reproductions of De Hoog's engravings. Ten Horn's pamphlet was reprinted numerous times; the 52nd and last known edition was published in 1780. --- If you have any further requests or need more help, let me know!"Tirannien Tegen De Gereformeerden in Vrankrijk" ("Tyranny Against the Reformers in France," 1685). The word "Frankrijk" (France) is intentionally capitalized with a "V" to play on the word "vrank," which means "independent," "free," and "bold." Thanks to Admiral Michiel de Ruyter, the Dutch navy achieved several significant victories. Prince William III of Orange made a deal with Spain for additional support, while France ultimately backed out of its agreement with England. The Westminster Treaty was signed in 1674, bringing an end to the war. Nevertheless, de Hooghe was not optimistic about peace. The English conquered New Netherlands in America, after which this former Dutch colony became British, and New Amsterdam was renamed New York. From 1674 to 1675, the Netherlands suffered again from a series of severe storms and floods. This prompted him to create a dramatic illustrated narrative: "A Complaint about the Disasters in the Republic between 1672 and 1675" (1675). Eight small images on separate panels surround one large illustration in the center. The miniature panels depict and describe all the individual disasters that struck the Netherlands over the past five years, while in the central image a woman prays to God for help, "because we are going under," as the caption beneath the image states. When the Franco-Spanish War broke out...The war (1683–1684), De Hooghe naturally protested against the military policy of Louis XIV. In the caricature "Tirannien Tegen De Gereformeerden in Vrankrijk" ("Tyranny Against the Reformers in France," 1685), there are 13 panels, of which 12 smaller ones surround a central panel. The work depicts various examples of "cruel deeds committed against the reformers in France." There is no real narrative, although alphabetical letters on each image indicate the direction of reading. All scenes show Protestants being mistreated, tortured, and executed by Catholics in France. A few years later, events in the Netherlands changed for the better. In 1688, the Glorious Revolution took place in England. King James II was overthrown and fled to France. De Hooghe celebrated this event with a triumphant caricature titled "The Restoration of True Religion and the Constitution in Great Britain" (1688). Ten miniature panels, each with explanations under the illustrations, show step by step how the monarch gradually lost the people's favor. In the central image, he arrives in Saint-Germain in France, where he is greeted by Louis XIV. In this propagandistic work, De Hooghe...claims that this entire event helped to "restore the true religion and constitution in Great Britain." Indeed, James II was the last Catholic monarch in Great Britain. Since his daughter Mary was married to Prince William III of Orange, ironically, William became the next king of England! The new monarch crossed the English Channel to soon be crowned in London. De Hoooge was one of the honored guests who traveled with him. He provided an eyewitness account titled "The Departure of His Royal Highness to England on November 11, 1688," which depicts his impressions of the voyage by ship. In the horizontal depiction at the top of the page, the royal navy is leaving the harbor, with a crowd waving goodbye. The panel at the bottom of the page shows the same fleet arriving in Brixham. In the center of the page, we see a portrait of the king. The text on the left provides a written explanation in Dutch, while the same text is written in French on the right. Naturally, such a comic about the day of the coronation could not go unnoticed. "His Majesty. William III and Mary, crowned as king and queen of England" (1688) is a painting depicting all aspects of the ceremony, described in the panels with captions beneath them.Sure! Here’s the translation of the text into English: --- **"His Majesty Willem III and Maria crowned as King and Queen of England" (1688).** **Contradictions** Besides being a political caricaturist, De Hoog also gained fame for his pornographic drawings, including "De Dwalende Hoer" ("The Wandering Whore"), which depicted various sexual poses, and illustrated versions of classical novels by Boccaccio. These "dirty books" sold well but also earned him a reputation as a pervert. In 1681, a book titled "Het Wonderlijk Leeven van 't Boulonnois Hondtje" ("The Amazing Life of the Boulogne Dog") was published, claiming that De Hoog had once stolen a watch, sold fake paintings, and had incest with his daughter. Soon, other stories began to circulate accusing him of forcing his wife into prostitution and mocking the Bible and religious rituals. By 1690, moral guardians and religious fanatics labeled him as a blasphemer and a pervert, although the authorities also had reasons to punish him. Anti-French caricatures by De Hoog directly contradicted the policies of the mayors of Amsterdam—Johannes Hudde, Nicolaas Witsen, Johan Heijdecker, and Jacob Boreel—who advocated for trade with France. This was certainly not helped by the fact that, as a member of the Reformed Church, De Hoog was a libertarian thinker who admired philosophers like Baruch Spinoza and Balthasar Bekker. **Later Years** Eventually, De Hoog moved to Haarlem, where he stayed for the rest of his days. He inherited a substantial amount of money from his uncle and enjoyed greater support from political allies there. In his new hometown, the artist established his own art school and became a regent of a religious institution. He continued to create... --- Let me know if you need anything else!Here is the English translation of the provided text: "to produce erotic illustrations and political propaganda for William III. Together with Ericus Walten and Goverts Bidloo, he published anonymous illustrated brochures, some of which were directed against the same Amsterdam officials who had expelled him from the city. All of this led to yet another legal dispute. Initially, de Hoog managed to expose several unreliable witnesses to his so-called 'crimes', but in the end, even his friends in the city council grew tired of him. Then de Hoog blamed everything on Walten, who was imprisoned and later committed suicide in a prison in The Hague. In 1692, de Hoog became a secret agent and uncovered the plans of two Italians who intended to destroy the dikes in Rotterdam and Amsterdam. Esopus in Europe In the last years of his life, De Hooge created the first Dutch satirical weekly and one of the first in the world. "Esopus in Europe" (1701–1702) was a six-page weekly brochure consisting of drawings and text—often dialogue—with commentaries on the news of the day. As in his previous works, De Hooge expressed support for William III, Prince of Orange, and the Stadtholder of Amsterdam, and he resolutely opposed the French King Louis XIV. The title was named after the Greek fabulist Aesop, and in his illustrations, he also used animals in the role of humans. When William III died in 1702, Esopus came to an end. The final episode was titled "Afscheid van Esopus in Europa" ("Farewell, Esopus in Europe"), and it included a list of all 40 previous issues. Death Romein de Hooge died in 1708. After his death, his widow burned many of his erotic drawings, fearing legal prosecution. For those interested in the life and work of de Hooge, Henk van Nierop wrote a book titled "The Life of Romein de Hooge 1645–1708." "Engravings, Pamphlets, and Politics in the Dutch Golden Age" (published by Amsterdam University Press, 20..."Here is the translation of the text into English: "19) — a book that is mandatory to read. Romeyn de Hooghe, Jacob Huysmans, after a drawing by Hendrick van den Bosch. Romeyn de Hooghe in 'Memories of the Netherlands' (Delpher) Romeyn de Hooghe at Museum Boijmans van Beuningen Romeyn de Hooghe in the State Museum Romeyn de Hooghe (September 10, 1645 - June 15, 1708, The Netherlands) 'Complaint About The Calamities in the Republic Between 1672 and 1675' (1675). Romeyn de Hooghe was a Dutch painter, sculptor, caricaturist, and graphic artist from the mid-17th century to the early 18th century. He was also active as a goldsmith, lawyer, writer, and inventor. As a cartoonist, De Hooghe was notorious for his many anti-French works."The propaganda caricatures and erotic drawings led to a conviction for blasphemy and indecency. He also established the first Dutch satirical weekly: Esopus in Europa (1701-1702). His political cartoons are now considered significant contributions to comic history, as they feature illustrated narrative sequences told in panels, with text beneath the images. Alongside Frans Hogenberg's picture stories about 'The Spanish Fury' (1576) and the 'Murder of Henry III' (1589), Antonio Tempesta's 'Life of St. Laurentius' (1599) and 'Batavorum cum Romanis Bellum' (1612), Otto van Veen's 'De Bataafse Opstand' (1600-1613), Jacques Callot's 'Les Grandes Misères de la Guerre' ('Miseries of War', 1633), Francis Barlow's 'The Horrid Hellish Popish Plot' (1682), and William Hogarth's sequential paintings and engravings created between the 1720s and 1750s, they rank among the earliest sequential illustrated narratives with a signature. Together with Hieronymus Bosch, Pieter Bruegel the Elder, Frans Hogenberg, Otto van Veen, and Johannes van den Aveele, he can be regarded as one of the earliest prototypical Dutch comic artists. **Early Life** Romeyn de Hooghe was born in 1645 in Amsterdam to Flemish parents. His father was a knots craftsman from Ghent, married to a carpenter's daughter. De Hooghe studied classical languages, but there wasn't enough money to continue his studies. Therefore, in 1675, he founded his own art studio at the Reguliersgracht, later relocating to Kalverstraat and then to De Dam in the building De Wakkere Hond. About 36 assistants helped him create posters, portraits, pamphlets, greeting cards, and playing cards. He took various commissions to illustrate books by well-known contemporaries such as Constantijn Huygens and Hugo de Groot. He enlivened the pages of Nicolaes Petter's 1674 wrestling guide and Coenraad van Klenck's 1677 travel diary to Moscow.Here is the translated text in English: "Cow and made several engravings of buildings in Amsterdam.'The Treaty of Breda' (1667).'Cartooning' careerIn 1667, De Hooghe became a political cartoonist. Together with his assistants, he created elaborate illustrations of news events. These typically featured one large image in the center, surrounded by various miniature images. Sometimes the miniature images were simply close-ups or different viewpoints of a specific location. However, many times De Hooghe actually visualized the entire event in a series of chronological drawings. Underneath each image, there was a written description. Today, these can be considered prototypical comic strips. However, at the time, these cartoons were the modern-day equivalent of a photo report in a newspaper. People closely examined every drawing to see the details of an event they had heard about but could only imagine. De Hooghe's cartoons were very popular and widely distributed throughout the country. Yet they were not neutral observations. De Hooghe was a staunch royalist who supported Dutch prince Willem III of Orange. As such, all his cartoons glorified the Dutch nation and demonized the English and French troops with whom the Netherlands were at war during that time. Similar artists who created topical engravings included Germans such as Hans Burgkmair the Elder, Lucas Cranach the Elder, Jeremias Gath, Hans Holbein the Elder, Hans Holbein the Younger, Bartholomäus Käppeler, Caspar Krebs, Georg Kress, Hans Rogel the Elder, Hans Rogel the Younger, Erhard Schön, Johann Schubert, Hans Schultes the Elder, Lukas Schultes, and Elias Wellhöfer. In the Netherlands, Johannes van den Aveele is another example.The earliest prototypical comic strip-like cartoon by De Hooghe was 'The Treaty of Breda' (1667), which reflects on the Peace."Here's the translation of the text into English: --- **of Breda, which ended the Second Dutch-English War (1665-1667).** **'Witten Wonder Spiegel' ("The Witts' Wonder Mirror", 1672).** Yet the peace was short-lived. In 1672, the Third Dutch-English War (1672-1674) broke out, and many of the early battles ended in Dutch defeat. The English navy was supported by France and the German principalities of Münster and Bavaria. Their combined forces made it difficult for the Dutch navy to fight back, particularly since they had barely recovered from the previous war. In the Netherlands, public morale was so low that people blamed their Grand Pensionary of Holland, Johan de Witt, and his brother Cornelius. They were dragged out of their homes and lynched on the spot. As a result of these events, 1672 went down in history as the "Rampjaar" ("Disaster Year"). De Hooghe made a special engraving, 'Witten Wonder Spiegel' ("The Witts' Wonder Mirror", 1672), which paid homage to the Brothers De Witt. They are portrayed in the center of the image, while an illustrated narrative with written explanations underneath tells their life story and achievements, right up until their brutal death. In 1672, the French troops were approaching Amsterdam. They were held off by flooding large areas surrounding the city. Still, the population felt the city council did too little to defend the city from the French threat. Several of the city's printers spread pamphlets and petitions to fuel conspiracy theories and civil unrest. One notable booklet was 'Advis Fidelle Aux Véritables Hollandais' ("Loyal Advice to True Dutchmen", 1673) by the Amsterdam diplomat Abraham de Wicquefort, warning the Dutch about the misdeeds of the French army. For this publication, Romeyn De Hooghe provided ten large etchings depicting the alleged crimes committed by the French in Utrecht and the looting of the villages of Zwammerdam.Here's the translated text into English: --- and Bodegraven. As the main propagandist of the Disaster Year, De Hooghe depicted the French playing football with human heads and children being burned alive. In 1674, the local bookseller and printer Jan Claesz ten Hoorn released a cheaper Dutch edition, 'De Nieuwe Spiegel der Jeugd, of Franse Tiranny' ("The New Mirror of Youth, or French Tyranny", 1674), featuring simple reproductions of De Hooghe's etchings. Ten Hoorn's booklet was reprinted many times; the 52nd and last known edition appeared in 1780. 'Tirannien Tegen De Gereformeerden in Vrankrijk' ("Tirannies Against The Reformed in France", 1685). The word "Frankrijk" (France) is deliberately misspelled with a capital "V" to create a pun on the word "vrank," meaning "independent," "free," or "bold." Thanks to Admiral Michiel de Ruyter, the Dutch navy achieved some significant victories. Prince William III of Orange signed a treaty with Spain for additional assistance, while France eventually abandoned its treaty with England. In 1674, the Treaty of Westminster was signed, ending the war. However, De Hooghe was not optimistic about the peace. The English had conquered New Holland in America, turning this former Dutch colony into a British possession, with New Amsterdam renamed New York. From 1674 to 1675, the Netherlands were again struck by a series of serious storms and floods. This motivated him to create a dramatic illustrated narrative: 'Klacht Over De Rampspoed in de Republiek Tussen 1672 en 1675' ("Complaint About The Calamities in the Republic Between 1672 and 1675", 1675). Eight small images in separate panels surround one larger illustration in the center. The miniature panels depict and describe all the individual disasters that had tormented the Netherlands over the past five years, while the central image shows a woman begging God for help, "because we are going down under," as the description underneath the image reads. When the Fr... --- Feel free to provide any further text or let me know if you need additional assistance!The Franco-Spanish War (1683-1684) broke out, and De Hooghe naturally protested against Louis XIV's war policies. The cartoon 'Tirannien Tegen De Gereformeerden in Vrankrijk' ("Tyrannies Against The Reformed in France", 1685) features 13 panels, again with 12 smaller ones surrounding a central one. The work shows various examples of "tyrannical deeds committed against the Reformed in France." There is no real narrative, though alphabetical letters on each image suggest a reading direction. All scenes depict Protestant people being mistreated, tortured, and executed by Catholics in France. 'Herstelling Der Waere Godsdienst en de Grondwetten in G. Brittannien' ("Restoration of the True Religion and Constitution in Great Britain", 1688). A few years later, events changed in the Netherlands' favor. In 1688, the Glorious Revolution took place in England. King James II was deposed and fled to France. De Hooghe celebrated this with the triumphant cartoon 'Herstelling Der Waere Godsdienst en de Grondwetten in G. Brittannien' ("Restoration of the True Religion and Constitution in Great Britain", 1688). Ten miniature panels with written explanations underneath each illustration visualize the monarch's fall from grace step by step. The central image depicts his arrival in St. Germain, France, where he is welcomed by Louis XIV. In this propaganda piece, De Hooghe claims the entire event helped "the real religion and constitution being restored in Great Britain." Indeed, James II was the last Catholic monarch of the U.K. Since his daughter Mary was married to Prince Willem III of Orange, it ironically made Willem the next king of England! The new monarch crossed the Channel soon to be crowned in London. De Hooghe was one of the distinguished guests to travel along with him. He provided an eyewitness account with 'Vertrek van S.K.H. naar Engeland, den 11 Nove. 1688' ("Departure of His Royal Majesty to England, on 11 November 1688").Here is the translation of the provided text into English: "November 1688,” which visualized his impressions of the boat trip. The horizontal image at the top of the page depicts the royal war fleet departing from the harbor while a crowd waves goodbye. The panel below the page shows the same fleet arriving in Brixham. In the center of the page, we see a portrait of the king. The text on the left provides a written explanation in Dutch, while on the right side, the same text is written in French. Naturally, a similar comic strip-like drawing about the coronation day couldn't be left behind. 'H. Maj. Willem III en Maria Gekroont Tot Koning en Koningin van Engeland' ("His Majesty Willem III and Maria Crowned as King and Queen of England," 1688) illustrates all aspects of the ceremony in panels with descriptions underneath. Controversy Aside from being a political cartoonist, De Hooghe was also notorious for his pornographic drawings, including 'De Dwalende Hoer' ("The Wandering Whore") - which depicted various sexual positions - and an illustrated version of Boccaccio's classic novels. These "dirty books" sold well but also earned him a depraved reputation. In 1681, a book titled 'Het Wonderlijk Leeven van 't Boulonnois Hondtje' ("The Wondrous Life of the Boulogne Dog") was published, claiming that De Hooghe once stole a watch, sold forged paintings, and committed incest with his daughter. Soon more stories began to circulate, accusing him of forcing his wife into prostitution and ridiculing the Bible and religious ceremonies. By 1690, moral guardians and religious fanatics spoke ill of him as a blasphemer and a pervert, although the authorities also had reasons to punish him harshly. De Hooghe's anti-French cartoons directly opposed the policies of the mayors of Amsterdam, Joh..." (Note: The text you provided was truncated, and so the translation ends similarly.)Anne’s Hudde, Nicolaes Witsen, Johan Huydecoper, and Jacob Boreel were advocates for trade with France. It certainly didn’t help that, even as a member of the Reformed Church, De Hooghe was a libertarian thinker who admired philosophers such as Baruch de Spinoza and Balthasar Becker. **Later years** Eventually, De Hooghe moved to Haarlem, where he would remain for the rest of his life. He had inherited a substantial sum of money from his uncle and enjoyed more protection there from like-minded political friends. In his new home city, the artist established his own art school and became a regent of a religious building. He continued to create erotic illustrations and political propaganda for William III. Together with Ericus Walten and Govert Bidloo, he produced anonymous illustrated pamphlets, several targeting the same Amsterdam officials who had forced him out of the city. This all led to another court case. At first, De Hooghe managed to discredit a few untrustworthy witnesses regarding his so-called "crimes," but in the end, even his friends in the city council were fed up with him. De Hooghe then blamed everything on Walten, who was arrested and later committed suicide in the Haagse Gevangenpoort. In 1692, De Hooghe became a secret agent, uncovering the plans of two Italians who intended to destroy the dikes at Rotterdam and Amsterdam. **Esopus in Europa** In the final years of his life, De Hooghe created the first Dutch satirical weekly and one of the earliest in the world. **Esopus in Europa** (1701-1702) was a six-page weekly pamphlet that featured a drawing and a text—often a dialogue—commenting on the news of the day. Like in his previous work, De Hooghe's commentary was entirely in favor of William III, the Prince of Orange and Stadtholder of Amsterdam, while being firmly against the French King Louis XIV. The title was named after the Greek fabulist Aesop, and in his drawings, he also...Here's the translated text: "Used animals in the roles of humans. When William III died in 1702, Esopus came to an end. The final episode was called 'Afscheid van Esopus in Europa' ("Farewell to Esopus in Europe"), and had a listing of all the previous 40 issues. Death Romeyn De Hooghe passed away in 1708. After his death, his widow burned many of his erotic drawings out of fear of legal prosecution. For those interested in De Hooghe's life and work, Henk van Nierop's 'The Life of Romeyn de Hooghe 1645-1708. Prints, Pamphlets, and Politics in the Dutch Golden Age' (Amsterdam University Press, 2019) is a must-read. Romeyn de Hooghe by Jacobus Houbraken, after Hendrik van den Bos. Romeyn de Hooghe at Het Geheugen van Nederland (Delpher) Romeyn de Hooghe at Museum Boijmans van Beuningen Romeyn de Hooghe at the Rijksmuseum"