1999, Janet Lloyd (translator), Claude Calame, Taylor & Francis (Routledge), The Poetics of Eros in Ancient Greece, [1992, I Greci e l'eros], Princeton University Press, pages 31-32,
A late-fifth-century hydria represents Himeros as a young boy who is present at the judgment of Paris: while Eros concentrates on winning over the young shepherd, Himeros and Pothos flank Aphrodite, indicating that this is the goddess upon whom his choice will fall. And a famous black-figure plaque dating from as early as dating from as early as the mid-sixth century shows Aphrodite holding in her arms two wingless children named, respectively, Himeros and Pothos.
Source: wiktionary
While both love gods Eros and Himeros are regularly associated with Aphrodite, and they often appear together or separately in overtly erotic contexts, it is a bit tricky to differentiate between these two figures with precision.
Source: wiktionary
The Greeks observed that Himeros often mingled with other goddesses, namely the Graces and the Hours and with Persuasion (Peitho) and Eros, all in the company of Aphrodite. How strange it is that in our times, Himeros often is found in the company of boredom, weariness and emptiness, since to experience desire and yearning is regarded as being deprived! Even though fulfillment is yet to come, Himeros is neither bored nor deprived.
Source: wiktionary