Jane Avril Looking at a Proof
Framed: 31 3/8 x 24 x 3 5/8 inches (79.69 x 60.96 x 9.21 cm)
The Tenth
Annual Exhibition of Water Colors and Pastels, Cleveland
Museum of Art, January 10-February 12,
1933, no cat., as Jane Avril.
One Hundred
Years of French Painting, 1820-1920, The William Rockhill Nelson Gallery of
Art and The Mary Atkins Museum of Fine Arts, Kansas City, MO, March 31-April
28, 1935, no. 60, as Jane Avril.
Exhibition of
French and British Contemporary Art, National Art
Gallery of South Australia, Adelaide, August 21-September 17, 1939; Lower Town
Hall, Melbourne, Australia, October
16-November 1, 1939; David Jones’ Gallery, Sydney, November 20-December 16,
1939; National Gallery of Victoria, Melbourne, August 1942; National Art Gallery of New South
Wales, Sydney, November-December 1943 and October 5-31, 1944, no. 117, as Portrait de Jane Avril.
A Loan Exhibition of Toulouse-Lautrec, For
the Benefit of the Goddard Neighborhood Center, Wildenstein, New York, October 23-November 23,
1946, no. 19, as Jane Avril, “La
Melinite” [sic].
A Loan
Exhibition of Six Masters of Post-Impressionism: Benefit of Girl Scout Council
of Greater New York, Wildenstein, New York, April 8-May 8, 1948, no. 28,
as Jane Avril, “La Melinite” [sic].
Toulouse-Lautrec,
exhibition organized in collaboration with the Albi Museum, Philadelphia Museum of Art, October 29-December 11, 1955; Art Institute
of Chicago, January 2-February 15, 1956, no. 42, as Jane Avril: “La Mélinite”.
Toulouse-Lautrec:
paintings, drawings, posters and lithographs, Museum of Modern Art, New York, March 20-May 6, 1956, no. 21, as Jane Avril: “La Mélinite”.
Loan
Exhibition: Toulouse-Lautrec,
Wildenstein, New York, February 7-March 14, 1964, no. 30, as Jane Avril: “La Mélinite”.
Faces from the World of Impressionism
and Post-Impressionism: A Loan Exhibition for the Benefit of the New York
Chapter of The Arthritis Foundation, Wildenstein, New York, November
2-December 9, 1972, no. 65, as Jane Avril.
The Bloch
Collection, The Nelson-Atkins Museum of Art, Kansas City, MO,
June-August 1982, no cat.
Toulouse-Lautrec
Prints and Drawings, The Nelson-Atkins Museum of Art, Kansas City, MO,
October 27-December 9, 1984, no. 22a, no cat., as Jane Avril Examining a Proof, study for cover of “L’Estampe Originale”.
Henri de
Toulouse-Lautrec: Images of the 1890s, Museum of
Modern Art, New York, November 7, 1985-January 26, 1986, no. 13, as Jane Avril Looking at a Proof (Jane Avril regardant une épreuve).
Manet to Matisse: Impressionist Masters
from the Marion and Henry Bloch Collection, The Nelson-Atkins Museum of Art,
Kansas City, MO, June 9-September 9, 2007, no. 26, as Jane Avril Looking at a Proof (Jane
Avril regardant une épreuve).
Painters and Paper:
Bloch Works on Paper,
The Nelson-Atkins Museum of Art, Kansas City, MO, February 20, 2017-March 11,
2018, no cat.
Noted for his portrayal of the world of women on the fringes of Parisian society, Henri de Toulouse-Lautrec depicted dancers and cabaret performers in numerous paintings, drawings, and lithographic prints. He celebrated the various inhabitants of the capital’s glittering underbelly, many of whom were his friends.
Here, he captured the singer and dancer Jane Avril, a star of the Moulin Rouge, admiring a proof in the workshop of the master printer Le Père Cotelle. This sketch is probably a study for a lithograph the artist made of Avril.
Jean-André Marty (1857-1928), Paris, by March 1893;
Purchased from Jean-André Marty by Scossa [1];
Louis Bernard, Paris [2];
Dr. George Viau (1855-1939), Paris [3];
With [Hugh] Willoughby, London, and André Schoeller, Paris, by September 25, 1921;
Purchased from [Hugh] Willoughby and André Schoeller by Galerie Wildenstein, Paris, September 25, 1921-1931 [4];
Transferred from Galerie Wildenstein, Paris, stock no. 1189d, to Wildenstein, New York, by 1931 [5];
Transferred from Wildenstein, New York, to Galerie Wildenstein, Paris, by August 1939 [6];
Transferred from Galerie Wildenstein, Paris to Wildenstein, New York, by October 23, 1946-August 1956 [7];
Purchased from Wildenstein and Co., New York, by David (1898-1982) and Anne (1903-1972) Rosenthal, Scarsdale, NY, New York City, and West Palm Beach, FL, August 1956-at least November 1972;
With John and Paul Herring and Company, New York, by October 6, 1977;
Purchased from John and Paul Herring and Company by Marion (née Helzberg, 1931-2013) and Henry (1922-2019) Bloch, Shawnee Mission, KS, 1977-June 15, 2015;
Given by Henry and Marion Bloch to The Nelson-Atkins Museum of Art, Kansas City, MO, 2015.
NOTES:
[1] See label on the verso, encapsulated, brown paper, eight-sided with blue borders, in faded brown MS ink at top left corner of red paper dust seal: “Jane Avril / couverture de l’Estampe / originale / Edition Marty / Vendu par lui a / la collection / Scossa / puis Collection Louis Bernard”.
[2] Louis Bernard collected extensively around 1900-1914. He owned Toulouse-Lautrec’s paintings Monsieur Émile Davoust (1889, Kunsthaus Zurich), Woman Seated in a Garden (1891, National Gallery, London), and Alfred La Guigne (1894, Chester Dale Collection, National Gallery of Art, Washington, D.C.). A separately listed Bernard (no first name given) also owned an oil on cardboard work titled Jane Avril Dancing (private collection). See M.G. Dortu, Toulouse-Lautrec et son œuvre, vol. 2 (New York: Collectors Editions, 1971).
[3] See label on verso (on the upper right side of red paper dust seal), which reads in part, in gray printing ink: “Collection George Viau” and “No.” and in brown and black manuscript ink, handwritten above the printed name: “exchange [sic] contre une etude [sic] par Manet”. The earliest mention for this work being in the Viau collection is: Waldemar George, “La Collection Viau,” L’Amour de l’Art 5, no. 1 (January 1925): 365-66, (repro.), as Portrait de Jeanne Avril. Given the Wildenstein ownership dates of the picture, it is unlikely that Viau owned it in 1925. Phone call from Joseph Baillio, Wildenstein and Co., New York, with Glynnis Stevenson, NAMA, July 24, 2019; see notes in NAMA curatorial files.
[4] Phone call from Joseph Baillio, Wildenstein and Co., New York, with Glynnis Stevenson, NAMA, July 24, 2019; see notes in NAMA curatorial files. Baillio confirmed that Willoughby and Schoeller were working in their capacities as dealers when they sold the drawing to Wildenstein.
[5] Phone call from Joseph Baillio, Wildenstein and Co., New York, with Glynnis Stevenson, NAMA, July 24, 2019, see notes in NAMA curatorial files. Wildenstein, New York, lent the picture to exhibitions in Cleveland in 1933 and Kansas City in 1935.
[6] By August 23, 1939, Galerie Wildenstein, Paris, had sent the drawing to Adelaide, Australia for the Exhibition of French and British Contemporary Art. Due to the upheaval of World War II, the drawing would not return from Australia until 1945-46. See email from Kylie Best, State Library of Victoria, Melbourne, to Glynnis Stevenson, NAMA, July 3, 2019, NAMA curatorial files. In several sources from the 1940s, this work is listed as being in the collection of Georges Wildenstein (1892-1963). All concrete evidence points to the drawing belonging to Wildenstein’s New York and Paris branches rather than to Mr. Wildenstein personally and being transferred between the two gallery locations. The works of art physically located at the Wildenstein Paris gallery were confiscated by the German National Socialist (Nazi) regime in 1940. Since NAMA’s drawing remained in Australia at the time, it did not suffer this fate.
[7] Latest possible date of transfer is the start date (October 23, 1946) of the exhibition A Loan Exhibition of Toulouse-Lautrec, For the Benefit of the Goddard Neighborhood Center, Wildenstein, New York.
Maurice Joyant, Henri de Toulouse-Lautrec, 1864-1901, vol. 2, dessins, estampes, affiches (Paris: Henri Floury, 1927), 202, as Jane Avril regardant une épreuve.
H. S. F., “The Tenth Annual Exhibition of Water Colors and Pastels,” Bulletin of the Cleveland Museum of Art 20, no. 1 (January 1933): 6, as Jane Avril.
One Hundred Years French Painting, 1820-1920, exh. cat. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1935), unpaginated, (repro.), as Jane Avril.
M[inna] K. P[owell], “2,000 See Loan Display: Many Masterly Works Are Shown at the Gallery; Exhibition Is the First of Its Kind Here for Which an Illustrated Catalogue Has Been Provided,” Kansas City Times 98, no. 78 (April 1, 1935): 8, as Jane Avril.
Basil Burdett, Exhibition of French and British Contemporary Art: Paintings and Sculpture obtained on loan from public and private collections and brought to Melbourne by “The Herald”, exh. cat. (Melbourne, Australia: Herald, 1939), unpaginated, as Portrait de Jane Avril.
“Famous Paintings in S.A. Show: World-Wide Collection,” Herald (Adelaide), no. 19,424 (August 19, 1939): 7.
Palette, “Modern British and French Collection Is Fine Feast of Art,” News (Adelaide) 33, no. 5,015 (August 21, 1939): 6.
John Goodchild, “‘The Advertiser’ Art Exhibition: Lunch Hour Lecture Arranged,” Advertiser (Adelaide) 82, no. 25,235 (August 23, 1939): 22, (repro.), as De Jane Avril.
The Sun News-Pictorial (Melbourne) (October 11, 1939): unpaginated, (repro.), as Portrait of Jane Avril.
“Modern artists 7. Toulouse-Lautrec: dwarf aristocrat…haunted Montmartre,” The Herald (Melbourne), no. 19,475 (October 16, 1939): 6.
Clive Turnbull, “Visitors Enthusiastic Over Art Show: Influence on Public Appreciation,” The Herald (Melbourne), no. 19,478 (October 19, 1939): 10.
W.S., “Australia’s Most Important Exhibition,” Art in Australia, no. 77 (November 15, 1939): 25.
Jacques Lassaigne, Toulouse Lautrec, trans. Mary Chamot, ed. André Gloeckner (1939; London: Hyperion Press, 1946), 19, 166, (repro.), as Jane Avril. “La Mélinite”.
A Loan Exhibition of Toulouse-Lautrec, For the Benefit of the Goddard Neighborhood Center, exh. cat. (New York: Wildenstein, 1946), 33, (repro.), as Jane Avril, “La Melinite” [sic].
A Loan Exhibition of Six Masters of Post-Impressionism: Benefit of Girl Scout Council of Greater New York, exh. cat. (New York: Wildenstein, 1948), 37, 45, (repro.), as Jane Avril, “La Melinite” [sic].
Henri Dumont, Masters in Art: Lautrec (New York: Hyperion, 194[8]), 35, (repro.), as Jane Avril, “La Melinite” [sic].
Jean Vallery-Radot, Œuvre graphique de Toulouse-Lautrec, exh. cat. (Paris: Bibliothèque nationale, 1951), unpaginated.
M.G. Dortu, Toulouse-Lautrec (Paris: Éditions du Chêne, 1952), 7, (repro.), as Jane Avril regardant une épreuve.
Sam Hunter, Henri de Toulouse-Lautrec: (1864-1901) (New York: Harry N. Abrams, 1953), unpaginated, (repro.), as Jane Avril: “La Melinite” [sic].
Edouard Julien, Pour connaitre Toulouse-Lautrec (Albi, France: Imprimerie Coopérative du Sud-Ouest, 1953), 25, (repro.), as Jane Avril dite la Mélinite.
Jacques Lassaigne, Lautrec: Biographical and Critical Studies, trans. Stuart Gilbert (Geneva: Skira, 1953), 58.
François Daulte, Le dessin Français de Manet à Cézanne (Lausanne, Switzerland: Editions Spes, 1954), xxiv, 37, 62, (repro.), as Portrait de Jane Avril.
Ugo Nebbia, Gallery of Art Series: Toulouse-Lautrec, trans. Cesare Foligno (Milan: Uffici Press, 1954), 16-17, (repro.), as Jane Avril “La Melinite” [sic].
Toulouse-Lautrec, exhibition organized in collaboration with the Albi Museum, exh. cat. (Philadelphia: Philadelphia Museum of Art, 1956), unpaginated, (repro.), as Jane Avril: “La Mélinite”.
Toulouse-Lautrec: paintings, drawings, posters and lithographs, exh. cat. (New York: Museum of Modern Art, 1956), 12, 45-46, (repro.), as Jane Avril: “La Mélinite”.
Howard Devree, “About Art and Artists: Toulouse-Lautrec Exhibition at Modern Museum Offers Many Facets of Work,” New York Times 105, no. 35,851 (March 21, 1956): 30.
“Medical Centers To Gain at Tour of Homes June 9: Visits to 6 Houses in Westchester to Help Fibrosis Research,” New York Times 108, no. 37,012 (May 26, 1959): 38.
Edouard Julien, Lautrec (New York: Crown, 1959), unpaginated, (repro.), as Jane Avril.
Philippe Huisman and M.G. Dortu, Lautrec by Lautrec, trans. and ed. Corinne Bellow (Secaucus, NJ: Chartwell Books, 1964), 101, 274, (repro.), as Jane Avril.
Loan Exhibition: Toulouse-Lautrec, exh. cat. (New York: Wildenstein, 1964), unpaginated, (repro.), as Jane Avril: “La Mélinite”.
Olga Neigemont, Toulouse-Lautrec (Munich: Südwest Verlag, 1966), 35, (repro.), as Jane Avril. Ausschnitt.
François Daulte, French Watercolors of the 20th Century (New York: Viking, 1968), 4, 36-37, (repro.), as Portrait of Jane Avril.
F[ritz] Novotny, Toulouse-Lautrec, trans. Michael Glenney (New York: Phaidon, 1969), 198.
G[abriele] M[andel] Sugana, The Complete Paintings of Toulouse-Lautrec (New York: Harry N. Abrams, 1969), no. 334, pp. 108, 126, 128, (repro.), as Jane Avril.
G[abriele] M[andel] Sugana and Giorgio Caproni, Klassiker der Kunst: Das Gesamtwerk von
Toulouse-Lautrec (Milan: Rizzoli Editore, 1969), no. 334, pp. 108, 126,
128, (repro.), as Jane Avril betrachtet
einen Stich.
Pierre Paret, Lautrec Women (Lausanne, Switzerland: International Art Book, 1970), 23, (repro.), as Jane Avril Looking at a Print.
M.G. Dortu, Toulouse-Lautrec et son œuvre (New York: Collectors Editions, 1971), no. A.206, pp. 1:117, 157, 161-62, 175; 3: 502-03, (repro.), as Jane Avril regardant une épreuve.
Anne Poulet, Faces from the World of Impressionism and Post-Impressionism: A Loan Exhibition for the benefit of The New York Chapter of The Arthritis Foundation, exh. cat. (New York: Wildenstein, 1972), unpaginated, (repro.), as Jane Avril.
James R. Mellow, “Faces From the Impressionists' World,” New York Times 122, no. 41,923 (November 4, 1972): 29, as Jane Avril.
Possibly Sylvia L. Horwitz, Toulouse-Lautrec: His World (New York: Harper and Row, 1973), 90-91.
G[abriele] M[andel] Sugana, The complete paintings of Toulouse-Lautrec (London: Weidenfeld and Nicolson, 1973), no. 334, pp. 108, 126, (repro.), as Jane Avril.
Giorgio Caproni and G[abriele] M[andel] Sugana, L’opera completa di Toulouse-Lautrec (Milan: Rizzoli, 1977), no. 334, pp. 108, 126, 128, (repro.), as Jane Avril osserva un’incisione.
“The Bloch Collection,” Gallery Events (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) (June-August 1982): unpaginated.
Riva Castleman and Wolfgang Wittrock, eds., Henri de Toulouse-Lautrec: Images of the 1890s, exh. cat. (New York: Museum of Modern Art, 1985), 102-03, (repro.), as Jane Avril Looking at a Proof (Jane Avril regardant une épreuve).
John Russell, “Toulouse-Lautrec At Modern: The Artist As Master Printmaker,” New York Times 135, no. 46,587 (November 8, 1985): C23.
“News of the Print World: People and Places,” Print Collector's Newsletter 16, no. 5 (November-December 1985): 170.
Wolfgang Wittrock, Toulouse-Lautrec: The complete prints, vol. 1, trans. and ed. Catherine E. Kuehn (London: Sotheby’s, 1985), 56.
Götz Adriani, Toulouse-Lautrec: das gesamte graphische Werk: Sammlung Gerstenberg, exh. cat. (Cologne: Dumont, 1986), 32.
Götz Adriani, Toulouse-Lautrec: The Complete Graphic Works, A Catalogue Raisonné, The Gerstenberg Collection (London: Thames and Hudson, 1988), 32.
Götz Adriani, Toulouse-Lautrec, trans. Anne Lemonnier and Élisabeth Kohler (Paris: Flammarion, 1991), 122.
Blandine Bouret, Claude Bouret, and Anne-Marie Sauvage, eds., Toulouse-Lautrec: Prints and Posters from the Bibliothèque Nationale, exh. cat. (Brisbane, Australia: Queensland Art Gallery, 1991), 144.
Claire Frèches-Thory, Anne Roquebart, and Richard Thomson, Toulouse-Lautrec, exh. cat. (London: South Bank Centre, 1991), 386.
Jürgen Döring, Toulouse-Lautrec und die Belle Époque, exh. cat. (Munich: Prestel, 2002), 14, 121, (repro.), as Jane Avril.
Eileen Chanin and Steven Miller, Degenerates and Perverts: The 1939 Herald Exhibition of French and British Contemporary Art (Melbourne, Australia: Melbourne University Press, 2005), 116, 269, 275-76, 279, (repro.), as Portrait de Jane Avril and Jane Avril. ‘La Mélinite’.
Alice Thorson, “George McKenna was a walking database for Nelson-Atkins Museum,” Kansas City Star (October 7, 2007): H6, as Jane Avril.
Richard R. Brettell and Joachim Pissarro, Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 2007), 10-13, 134-37, 161, (repro.), as Jane Avril Looking at a Proof (Jane Avril regardant une épreuve).
Alice Thorson, “First Public Exhibition-Marion and Henry Bloch’s art collection: A tiny Renoir began impressive obsession Bloch collection gets its first public exhibition-After one misstep, Blochs focused, successfully, on French paintings,” Kansas City Star (June 3, 2007): E4, as Jane Avril.
Alice Thorson, “Museum Review-Bloch Building exhibits,” Kansas City Star (June 10, 2007): G1, as Jane Avril.
“Lasting Impressions: A Tribute to Marion and Henry Bloch,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2007): 11.
Steve Paul, “Pretty Pictures: Marion and Henry Bloch’s collection of superb Impressionist masters,” Panache 4, no. 3 (Fall 2007): 20-24.
Carol Vogel, “Inside Art: Kansas City Riches,” New York Times 159, no. 54,942 (February 5, 2010): C26.
Thomas M. Bloch, Many Happy Returns: The Story of Henry Bloch, America’s Tax Man (Hoboken, NJ: John Wiley and Sons, 2011), 174-75.
Nancy Ireson, ed., Toulouse-Lautrec and Jane Avril: Beyond the Moulin Rouge, exh. cat. (London: Courtauld Gallery, 2011), 84, (repro.), as Jane Avril looking at a Proof.
Gabriel P. Weisberg, “Review: Toulouse-Lautrec and Jane Avril, Beyond the Moulin Rouge, The Courtauld Gallery, London, June 16-September 18, 2011,” Nineteenth-Century Art Worldwide 11, no. 1 (Spring 2012): 136.
Sarah Lees, ed., Nineteenth-Century European Paintings at the
Sterling and Francine Clark Art Institute, vol. 2 (Williamstown: Sterling
and Francine Clark Art Institute, 2012), 796, 797n5.
Diane Stafford, “Bloch gift to go for Nelson upgrade,” Kansas City Star 135, no. 203 (April 8, 2015): A8.
“Nelson-Atkins Museum of Art officially accessions Bloch Impressionist masterpieces,” Artdaily.org (July 25, 2015): http://artdaily.com/news/80246/Nelson-Atkins-Museum-of-Art-officially-accessions-Bloch-Impressionist-masterpieces#.V6oGwlKFO9I.
Julie Paulais, “Le Nelson-Atkins Museum of Art reçoit des tableaux impressionnistes en échange de leurs répliques,” Le Journal des arts (July 30, 2015): http://www.lejournaldesarts.fr/site/archives/docs_article/129801/le-nelson-atkins-museum-of-art-recoit-des-tableaux-impressionnistes-en-echange-de-leurs-repliques.php.
Josh Niland, “The Nelson-Atkins Museum of Art Acquires a Renowned Collection of Impressionist and Postimpressionist Art,” architecturaldigest.com (August 6, 2015): https://www.architecturaldigest.com/story/nelson-atkins-museum-accessions-bloch-art-collection.
Nancy Staab, “Van Gogh is a Go!” 435: Kansas City’s Magazine (September 2015): 76.
Maria Teresa Benedetti, Toulouse-Lautrec: Luci e ombre di Montmartre, exh. cat. (Milan: Skira editore, 2015), 32, 358.
Possibly Sabine Chaouche and Clara Sadoun-Edouard, eds., European Drama and Performance Studies: Consuming Female Performers (1850s-1950s) (Paris: Classiques Garnier, 2015), 295.
“Nelson-Atkins to unveil renovated Bloch Galleries of European Art in winter 2017,” Artdaily.org (July 20, 2016): http://artdaily.com/news/88852/Nelson-Atkins-to-unveil-renovated-Bloch-Galleries-of-European-Art-in-winter-2017-#.W-NDepNKhaQ.
“Nelson-Atkins Museum of Art celebrates generosity of Henry Bloch with new acquisition,” Artdaily.org (October 18, 2016): http://artdaily.com/news/90923/Nelson-Atkins-Museum-of-Art-celebrates-generosity-of-Henry-Bloch-with-new-acquisition#.W-NDv5NKhaQ.
Catherine Futter et al., Bloch Galleries: Highlights from the Collection of the Nelson-Atkins Museum of Art (Kansas City, MO: Nelson-Atkins Museum of Art, 2016), 114, (repro.), as Jane Avril Looking at a Proof.
Albert Hect, “Henry Bloch’s Masterpieces Collection to Go on Display at Nelson-Atkins Museum,” Jewish Business News (February 26, 2017):
http://jewishbusinessnews.com/2017/02/26/henry-bloch-masterpieces-collection/.
David Frese, “Inside the Bloch Galleries: An interactive experience,” Kansas City Star 137, no. 169 (March 5, 2017): 1D, 5D, (repro.), as Jane Avril Looking at a Proof.
“The Nelson-Atkins Museum of Art: Presenting the Bloch Galleries,” New York Times (March 5, 2017).
“Editorial: Thank you, Henry and Marion Bloch”, Kansas City Star (March 7, 2017): http://www.kansascity.com/opinion/editorials/article137040948.html.
Hampton Stevens, “(Not Actually) 12 Things To Do During The Big 12 Tournament,” Flatland: KCPT’s Digital Magazine (March 9, 2017):
http://www.flatlandkc.org/arts-culture/sports/not-actually-12-big-12-tournament/.
Laura Spencer, “The Nelson-Atkins’ Bloch Galleries feature Old Masterworks and New Technology,” KCUR (March 10, 2017):
Victoria Stapley-Brown, “Nelson-Atkins Museum’s new European art galleries come with a “love story”,” Art Newspaper (March 10, 2017):
Harry Bellet, “Don du ciel pour le Musée Nelson-Atkins,” Le Monde (March 13, 2017): http://www.lemonde.fr/arts/article/2017/03/13/don-du-ciel-pour-le-musee-nelson-atkins_5093543_1655012.html.
Menachem Wecker, “Jewish Philanthropist Establishes Kansas City as Cultural Mecca,” The Forward (March 14, 2017): http://forward.com/culture/365264/jewish-philanthropist-establishes-kansas-city-as-cultural-mecca/ [repr. in Menachem Wecker, “Kansas City Collection Is A Chip Off the Old Bloch,” Forward (March 17, 2017): 20-22].
Juliet Helmke, “The Bloch Collection Takes up Residence in Kansas City’s Nelson Atkins Museum,” BlouinArtInfo International (March 15, 2017):
Erich Hatala Matthes, “Digital replicas are not soulless – they help us engage with art,” Apollo: The International Art Magazine (March 23, 2017):
https://www.apollo-magazine.com/digital-replicas-3d-printing-original-artworks/.
Louise Nicholson, “How Kansas City got its magnificent museum,” Apollo (April 7, 2017): https://www.apollo-magazine.com/how-kansas-city-got-its-magnificent-museum/.
Lilly Wei, “Julián Zugazagoitia: ‘Museums should generate interest and open a door that leads to further learning,’” Studio International (August 21, 2017):
Robert D. Hershey Jr., “Henry Bloch, H&R Block’s cofounder, dies at 96,” Boston Globe (April 23, 2019), https://www3.bostonglobe.com/metro/obituaries/2019/04/23/henry-bloch-block-cofounder/?arc404=true.
Robert D. Hershey Jr., “Henry W. Bloch, Tax-Preparation Pioneer (and Pitchman), Is Dead at 96,” New York Times (April 23, 2019), https://www.nytimes.com/2019/04/23/obituaries/henry-w-bloch-dead.html.
Claire Selvin, “Henry Wollman Bloch, Collector and Prominent Benefactor of Nelson-Atkins Museum of Art, Is Dead at 96,” ArtNews (April 23, 2019): http://www.artnews.com/2019/04/23/henry-bloch-dead-96/.
“Henry Wollman Bloch (1922-2019),” Art Forum (April 24, 2019): https://www.artforum.com/news/henry-wollman-bloch-1922-2019-79547.
Frank Morris, “Henry Bloch, Co-Founder Of H&R Block, Dies At 96,” npr.org (April 24, 2019): https://www.npr.org/2019/04/24/716641448/henry-bloch-co-founder-of-h-r-block-dies-at-96.
Ignacio Villarreal, “Nelson-Atkins mourns loss of Henry Bloch,” Artdaily.org (April 24, 2019): http://artdaily.com/index.asp?int_sec=11&int_new=113035#.XMNtouhKhaQ.
Helen Burnham, Toulouse-Lautrec and the Stars of Paris, exh. cat. (Boston: Museum of Fine Arts, 2019), 40-41, 107, (repro.), as Jane Avril Looking at a Proof.
Toulouse-Lautrec et son œuvre. Supplément (Albi, France: Musée Toulouse-Lautrec, forthcoming).
Brigid M. Boyle, “Henri de Toulouse-Lautrec, Jane Avril Looking at a Proof, 1893,” catalogue entry, and Rachel Freeman, “Henri de Toulouse-Lautrec, Jane Avril Looking at a Proof, 1893,” technical entry in Aimee Marcereau DeGalan, ed., French Paintings, 1600–1945: The Collections of the Nelson-Atkins Museum of Art (Kansas City: The Nelson-Atkins Museum of Art, 2021), https://doi.org/10.37764/78973.5.732.
