Jane Avril / Repertoire de Jane Avril
- Jane Avril
- Repertoire de Jane Avril
Song and music sheet: the cover with female dancer in huge broad-brimmed hat and billowing skirt on stage(?), moving to right; with lettering, in another hand, and list of titles; once folded, with the music for title no. 6 'All right! Mazurka' printed on the inside. 1893 Colour brush and spatter lithograph, printed in red-brown ink
- Published in: Paris
- (Europe,France,Ile-de-France (département),Paris)
- Height: 264 millimetres
- Width: 225 millimetres (lithograph)
- Height: 348 millimetres
- Width: 268 millimetres (sheet; folded)
Inscription ContentSigned with monogram and lettered with title, publication detail, list of song titles and copyright information, all on stone. Lettered with publication detail regarding printer on inside, beneath music.
(Text from 'From Manet to Toulouse-Lautrec', BM 1978, cat.93)
This print was re-used for the cover of a sheet of music published by Bosc; written for the piano by Ad. Gauwin the piece is entitled: 'All Right - Polka-Mazurka - Dansée par Jane Avril au Jardin de Paris'. To fit in the lettering the composition had to be extended at the bottom and sides. It was printed in an edition of unknown size. Both Wittrock and Adriani state that these impressions were printed in olive green ink, however this is in a red-brown. The declaration - 'tout exemplaire tiré sans la musique est la propriété de l'auteur' - is a reminder of the commercial considerations that lay behind Lautrec's song-sheets.
French XIXc Mounted Roy
1978 Mar-Oct, BM, From Manet to Toulouse-Lautrec cat. no.93
2010 May-Aug, Liverpool, Walker AG, High Kicks and Low Life
2010 Sep-Nov, Middlesborough Inst Modern Art, High Kicks and Low Life
2011 Jan-April, Bedford, Cecil Higgins AG & Mus, High Kicks and Low Life
2011 April-July, Cardiff, NM Wales, High Kicks and Low Life
27 May 2010
Lift and remove debris, surface clean, wash and/ or repair where necessary Mount / Remount / Top Mount.
Prints are either stuck to solid mount at edges without guards or directly stuck to thick inlay paper with a 5mm overlap which either hasn't been chamfered or only partially chamfered resulting in crease lines along the edges of inlayed prints. Most prints are cockled to a greater or lesser extent from having been restrained in such a way.Edges are dirty (recto and verso), creased, lumpy and/ or damaged (tears and small losses). Edges usually skinned on verso from having been removed from a previous mount. Adhesive residues from previous mounting along edges on verso. Some prints have irregular edges and some of the more prominent areas have been folded over (some of these were folded before or during the printing process and have therefore not been unfolded during conservation).Surface dirt and ingrained dirt on prints. Tears around edges are usually dirty and impossible to clean as adhesive has been spread over the dirt while mounted previously. Some prints have been embossed with a collector's stamp.1922-1230-36 has been folded several times in the past resulting in weak areas and some tears along the creases (it is now lined)1922-1230-36, 1914-0324-5 and 1946-0411-3636 have been lined with thick Japanese paper in the past and after having been removed from the board or thick inlay paper are curling/ rolling up.1949-0411-3609: collector's embossing stamp has cut through the paper.
Dirty areas on recto and verso surface cleaned with grated and/or shaped Staedtler Mars Plastic eraser and cotton wool. Where prints were pasted directly to mount board, the backing was mechanically removed in layers with a scalpel. Inlaid or guarded prints were cut from their mounts with a scalpel. The remaining pieces of guard or inlay paper were reduced mechanically with a scalpel as much as possible, the remaining debris was removed with a poultice of Culminal (nonionic cellulose ether) and any remaining adhesive was further removed by swabbing edges with cotton wool moistened in cold water. Tears were repaired from the verso with Japanese tissue and wheat starch paste, losses were infilled with Japanese paper toned withWinsor and Newton artist's watercolours (organic,inorganic pigments,gum arabic). Some earlier repairs which were left on the objects or where the historic lining was showing through to the recto, were also toned withWinsor and Newton artist's watercolours.Prints were humidified over capillary matting and Gore-Tex in a chamber and pressed between blotters or felts (e.g. where embossing present) as appropriate. Prints which had been lined in the past (1922-1230-36, 1914-0324-5 and 1946-0411-3636) were not humidified before pressing in order to not exacerbate their tendency to curl or roll up.1949-0411-3646: was washed for 2h in cold water (water changed twice) and 30min in lukewarm water (water changed once).1949-0411-3611, 1949-0411-3624, 1924-1010-1 and 1920-0807-1 only had surface cleaning treatment.1922-0708-29 had been pasted to the board by the inlay paper under too much tension and was distorting the mount board. It was removed from its board by cutting the inlay paper. close to the print and was hinged to a new mount at the remaining inlay.Object mounted Royal or Imperial as appropriate, using 3ply Heritage Conservation board and hinged in using Japanese paper adhered with Culminal (non-ionic cellulose ether).
Prints & Drawings
Song and music sheet: the cover with female dancer in huge broad-brimmed hat and billowing skirt on stage(?), moving to r; with lettering, in another hand, and list of titles; once folded, with the music for title no. 6 'All right! Mazurka' printed on the inside. 1893 Colour brush and spatter lithograph, printed in red-brown ink
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Object reference number: PPA52247
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