{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O143593"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O143593/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2018KV5336/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2018KV5336/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2018KV5336","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017KL0610","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O143593/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O143593","accessionNumber":"CIRC.556-1962","objectType":"Poster","titles":[{"title":"Reine de Joie","type":"assigned by artist"}],"summaryDescription":"This poster advertises the publication of Victor Joze's novel, <i>Reine de Joie: Moeurs du demi-monde</i>, an eroticised account of the improprieties of a section of Parisian society. The protagonist, Alice Lamy, is depicted embracing her elderly patron. The artfully styled lock of hair, the beauty spot and her revealing red dress all point to Alice's louche behaviour and the submissiveness in her patron's gesture suggests she has ensnared him completely. The title, Reine de Joie, is a thinly veiled reference to a French term for a prostitute: une fille de joie. The critic, Thadée Natanson, described Toulouse-Lautrec's poster thus,\r\n\r\n'It is the latest [poster], above all, that has thrilled us: the delicious <i>Reine de Joie</i>, light, pretty and exquisitely perverse.'.","physicalDescription":"Colour lithograph poster depicting two men and a woman seated at a dining table on which are laid cutlery, a plate, wine, water glasses and a ewer. The woman, dressed in a red dress and black choker, embraces the portly, elderly man to her right while the other, a red-headed man with a moustache, glances off in the opposite direction. Signed, lettered with titles and printer's name.","artistMakerPerson":[{"name":{"text":"Henri de Toulouse-Lautrec","id":"A6626"},"association":{"text":"artist","id":"AAT25103"},"note":""}],"artistMakerOrganisations":[{"name":{"text":"Imprimerie Ancourt","id":"A7612"},"association":{"text":"printers","id":"AAT25732"},"note":""}],"artistMakerPeople":[],"materials":[{"text":"Paper","id":"x30308"},{"text":"Lithographic ink","id":"AAT187750"}],"techniques":[{"text":"Colour lithograph","id":"x35545"},{"text":"Planographic printing","id":"AAT53255"}],"materialsAndTechniques":"Colour lithograph poster with brush and spatter techniques","categories":[{"text":"Prints","id":"THES48903"},{"text":"Posters","id":"THES252963"}],"styles":[{"text":"Post-impressionist","id":"AAT21508"}],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2018KV5336","2017KL0610"],"imageResolution":"high","galleryLocations":[{"current":{"text":"514","id":"THES49549"},"free":"","case":"PR","shelf":"11","box":"R"}],"partTypes":[[{"text":"poster","id":""}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"Paris","id":"x29068"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"1892","earliest":"1892-01-01","latest":"1892-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[{"object":{"text":"E.225-1921","id":"O136797"},"association":"Duplicate"},{"object":{"text":"E.325-1921","id":"O155960"},"association":"Duplicate"}],"creditLine":"","dimensions":[{"dimension":"Height","value":"151","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Width","value":"100","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":"Wittrock catalogue raisonne"}],"dimensionsNote":"","marksAndInscriptions":[{"content":"H. T. Lautrec","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"","method":"","position":"","script":"","translation":"","transliteration":"","type":"","note":"Signed centre left"},{"content":"Reine de Joie par Victor Joze\r\n\r\nchez tous les libraires (sic)","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"","method":"","position":"","script":"","translation":"Queen of Joy by Victor Joze\r\n\r\nIn all bookshops.","transliteration":"","type":"","note":""}],"objectHistory":"","historicalContext":"","briefDescription":"Colour lithograph poster by Henri de Toulouse-Lautrec, 'Reine de Joie'. France, 1892.","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"Taken from Departmental Circulation Register 1962"},{"reference":{"text":"","id":""},"details":"pp. 36-7","free":"Hannah Brocklehurst and Frances Fowle. <i>Pin-ups : Toulouse-Lautrec and the art of celebrity</i>. Edinburgh : National Galleries of Scotland, 2018. 120 pages : illustrations (some color) ; 30 x 17 cm. ISBN: 9781911054214 "},{"reference":{"text":"","id":""},"details":"","free":"There are various sources which claim the female character shown is called Hélène Roland and others identify her as Alice Lamy. It is not clear where this confusion began but the character shown is definitely Alice Lamy.  \r\nJoze's novel is antisemitic in its portrayal of the banker, the Baron de Rozenfeld, also known as Olizac. 'Reine de Joie' was published two years before the Dreyfus affair which thrust antisemitism in French society into the spotlight. This is reflected by various critics in their response to the book and Toulouse-Lautrec's advertisement, for example in a key poster book of 1896 'Les Affiches illustrées (1886-1895) by Ernest Maindron, the Baron de Rozenfeld character is described as 'au type abject, repoussant, véreux...ce vil personnage' (a repellent abject type, crooked, a vile personage) etc.  \r\nProfessor Ruth E. Iskin in the essay '<i>Identity and Interpretation: Receptions of Toulouse-Lautrec's Reine de joie Poster in the 1890s</i>' notes:\r\n\r\n'According to [Hannah] Arendt, \"Jewish origin, without religious and political connotation, became everywhere a psychological quality, was changed into 'Jewishness,' and from then on could be considered only in the categories of virtue and vice.\" (Hannah Arendt, p.87, <i>Antisemitism, Part One of the Origins of Totalitarianism</i> (New York: Harcourt, Brace & World, 1968). The representation of the Jewish banker in Lautrec's avant-garde poster could be seen as a manifestation of this change, namely representing him as \"vice.\" The superior position from which critics discussed his representation ensured a hierarchy of the viewer vs. the \"vice\" viewed.'"},{"reference":{"text":"Toulouse","id":"AUTH411694"},"details":"","free":""}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[{"text":"chair","id":"AAT37772"},{"text":"dinner plate","id":"AAT42999"},{"text":"ewer","id":"AAT45666"},{"text":"cutlery","id":"AAT199794"}],"contentConcepts":[{"text":"Prostitution","id":"x33906"}],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["CIRC.556-1962"],"accessionNumberNum":"556","accessionNumberPrefix":"CIRC","accessionYear":1962,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2026-06-09","recordCreationDate":"2008-01-16","availableToBook":false}}