{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O765694"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O765694/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2016JE9907/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2016JE9907/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2016JE9907","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O765694/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O765694","accessionNumber":"E.1862-1924","objectType":"Print","titles":[{"title":"The Tightrope Dancer","type":"assigned by artist"}],"summaryDescription":"","physicalDescription":"Colour woodcut of a figure walking on a tightrope in a circus tent with a sparse audience shown in the background. A woman with an ornate fan is depicted in the foreground. Signed in pencil M.A. Royds.","artistMakerPerson":[{"name":{"text":"Royds, Mabel","id":"AUTH334698"},"association":{"text":"artist","id":"AAT25103"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"printing ink","id":"AAT187371"}],"techniques":[{"text":"woodcut","id":"AAT53296"}],"materialsAndTechniques":"Colour woodcut print on paper","categories":[{"text":"Prints","id":"THES48903"},{"text":"Woodcuts","id":"THES267451"},{"text":"Woman Artist","id":"THES387590"},{"text":"Circus","id":"THES261738"}],"styles":[],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2016JE9907"],"imageResolution":"high","galleryLocations":[{"current":{"text":"LVLC (VA)","id":"THES49171"},"free":"","case":"MB2A","shelf":"DR108","box":""}],"partTypes":[[{"text":"print","id":""}]],"contentWarnings":[{"apprise":"No","note":""}],"placesOfOrigin":[{"place":{"text":"Britain","id":"x32019"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"c.1913","earliest":"1908-01-01","latest":"1917-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[],"creditLine":"","dimensions":[{"dimension":"Height","value":"289","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"image","note":""},{"dimension":"Width","value":"266","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"image","note":""},{"dimension":"Height","value":"323","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"sheet","note":""},{"dimension":"Width","value":"289","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"sheet","note":""}],"dimensionsNote":"","marksAndInscriptions":[],"objectHistory":"","historicalContext":"","briefDescription":"Colour woodcut print by Mabel Royds, 'The Tightrope Dancer'. Britain, c.1913","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"<u>Victoria and Albert Museum, Department of Engraving, Illustration and Design & Department of Paintings, Accessions 1924</u>, published under the Authority of the Board of Education, London, 1926."},{"reference":{"text":"","id":""},"details":"","free":"The following excerpt about Royd's practice is © Dr Hilary Taylor, 2012 from a longer essay published online by Howgill Tattershall Fine Art:\r\n\r\n'She showed at many different venues, being a regular contributor to the Society of Scottish Artists, the Society of Artist Printers, the Graver Printers in Colour and the Royal Scottish Academy, where she had no fewer than 45 works on display during her lifetime...\n\r\nOne anecdote, regularly trotted-out, is that, for her woodcuts, Royds used 'sixpenny bread boards (bought from Woolworth's) for the sake of economy', rather than the pear or cherry wood, which had traditionally been employed, in Europe and Japan (it must be said that it is hard to believe that a working woman in her 40s, whose husband also brought in an income and who embarked on several extensive periods of travel, would have found pear wood too expensive). That Royds might have used cheap bread boards for her prints has tended to highlight her work as the creation of a domestic and economical woman. It can be argued that this, in turn, has supported an analysis of Royds' work as slight, decorative and cheap - in other words, the artist was a model of sensible womanhood. But this quarrels with everything else we know about this artist. What the 'bread board' story is more likely to reveal is that Royds rejected the fine line and detail obtained by producing a woodcut with durable fruit wood. Instead, she searched for a material that gave her a softer, broader line, which thus created a greater variety and individuality as each layer was printed'."}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["E.1862-1924"],"accessionNumberNum":"1862","accessionNumberPrefix":"E","accessionYear":1924,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2026-03-04","recordCreationDate":"2009-06-30","availableToBook":false}}