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| George Frederic Watts Ariadne on Naxos 1875 oil on canvas Guildhall Art Gallery, London |
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| George Frederic Watts Ariadne on Naxos ca. 1880-85 oil on canvas Walker Art Gallery, Liverpool |
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| Victoria, Queen of the United Kingdom Statue of Ariadne 1866 drawing Royal Collection, Great Britain |
"A pencil drawing with watercolour wash showing a view of a statue of Ariadne. The nude figure is full-length, from behind, standing with her hands behind her back. Loose pencil drawings of trees are shown behind. Inscribed below mounted sheet: Statue of Ariadne, Lower Terrace, Osborne, Aug. 1866."
– curator's notes at the Royal Collection
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| Joseph Mallord William Turner Bacchus and Ariadne 1840 oil on canvas Tate Gallery |
"Ariadne, daughter of Minos, King of Crete, has been abandoned by Theseus. She is found by Bacchus and taken as his bride. Turner's picture is based on Titian's of the same subject, which had entered the National Gallery in 1826 and was praised by Charles Lamb in his essay published in 1833. For the first time, Turner experimented here with a square canvas, and apparently painted in the final glazes when the picture was already in a round frame."
– curator's notes at the Tate Gallery
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| attributed to Thomas Rowlandson after Giovanni Battista Cipriani Ariadne with Cupid on Naxos, approached by Bacchus ca. 1790 etching Metropolitan Museum of Art, New York |
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| Josiah Wedgwood & Sons Bust of Ariadne ca. 1787 jasperware Royal Collection, Great Britain |
"Wedgwood's great technical innovation, the coloured unglazed body known as jasper, enabled him to produce ornamental wares to harmonise with the colour schemes of neo-classical interiors. This rare item was among those described in Wedgwood's 1787 catalogue as, small busts with emblematic terms, and may have been the female bust of biscuit, on china pedestal in Queen Charlotte's posthumous sale (in 1819)."
– adapted from curator's notes at the Royal Collection
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| attributed to Enoch Wood & Sons (Staffordshire) Bacchus and Ariadne ca. 1790-1810 lead-glazed earthenware Fitzwilliam Museum, Cambridge |
"This model was derived from a marble of 81 cm in height [directly below] generally known as Bacchus and Ariadne, but sometimes identified as Priapos and a Maenad. In the late 18th century it was in the Smith Barry Collection at Marbury Hall, Cheshire, and is now in the Museum of Fine Arts, Boston. The marble was copied in bronze by Giuseppe Boschi (active in Rome, ca. 1760-1808). This figure was probably produced from a plaster cast by a London sculptor, such as one advertised by Charles Harris of the Strand, London, in his undated catalogue (ca. 1790). The group was frequently reproduced and sometimes paired with copies of the Capitoline Cupid and Psyche. In this example, Ariadne extends her left hand to hold the base of a lamp (not present)."
– adapted from curator's notes at the Fitzwilliam Museum
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| Bacchus and Ariadne Rome, 1st-2nd century AD heavily restored in the 18th century marble Museum of Fine Arts, Boston |
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| George Romney Emma Hart (later Lady Hamilton) as Ariadne 1785-86 oil on canvas National Maritime Museum, Greenwich |
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| Alexander Runciman Sleeping Ariadne before 1785 etching National Galleries of Scotland |
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| Alexander Runciman Ariadne on the seashore before 1785 drawing National Galleries of Scotland |
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| William Doughty Portrait of Elizabeth Dunning, Lady Ashburton as Ariadne ca. 1775-80 mezzotint National Galleries of Scotland |
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| Joshua Reynolds Ariadne on Naxos, attended by Satyrs and Boy ca. 1752 drawing British Museum |
"The drawing style is similar to many pages in Reynolds' Italian sketchbooks. This study, after an unidentified Italian painting, is drawn on the back of a draft letter in what Binyon believed to be the hand of the painter Nathaniel Hone, but Nathaniel was not in Italy at the time and the letter is likely to be from his brother Samuel. The draft is dated from Florence on 8 January 1752, a time when Reynolds was in Rome and Samuel Hone certainly still in Italy, where he had been for two years. Portrait drawings of Samuel Hone are to be found in one of Reynolds' Italian sketchbooks."
– curator's notes from the British Museum
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| Anonymous British printmaker after Guido Reni Bacchus and Ariadne 1727 etching, engraving Royal Collection, Great Britain |
This is another, later, three-plate print on conjoined sheets after the painting of Bacchus and Ariadne made in 1637-40 for Queen Henrietta Maria by Guido Reni. The original painting was destroyed in 1650 toward the beginning of Cromwell's interval of power. Later copies like this one were of course based on other earlier copies rather than the work itself.
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| John Smith (1652-1743) after Perino del Vaga Bacchus and Ariadne (from series, The Loves of the Gods) 1709 mezzotint Fitzwilliam Museum, Cambridge |