Original colour stone lithograph
by Imprimerie Chaix, Paris, 1889.
Backed on linen.
This is the smaller format version of the poster.
Reference: Maindron 253, Broido 310, DFP II, 181, Wine Spectator, p. 6, Maitres, pl. 53, Weill, p. 27.
Certificate of Authenticity.
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Greg's Comment: “This is the most iconic of all Cheret's 1000 posters. The Moulin Rouge! The infamous music hall, a temple of glamour, joyous song and dance, that Cheret brilliantly captures in this design. A must have for the serious collector of the Belle Époque (the Beautiful Era). This is the very best example of this remarkable poster I have ever seen. I am thrilled to offer it."
The Moulin Rouge ca. 1900
"The Moulin Rouge virtually single-handedly created the cancan craze, opening its doors on October 6, 1889. Three years later, the public's appetite for the cancan hadn't abated and their taste for this Cheret poster hadn't lessened either, seeing as it's the same design as was used the inaugural occasion. The donkeys aren't a product of Cheret's imagination-the two shrewd creator-promoters, Joseph Oller and Charles Zidler, actually had girls riding donkeys outside to attract attention to the place. That soon became superfluous, as all Paris came to gawk at the display of frilly female underthings by high-kickers like La Goulue, La Torpille, Miss Rigolette, Hirondelle and others, ushering in the Naughty Nineties in a swirl of petticoats." (Rennert)
Dancers at the Moulin Rouge
"In 1889, with this poster for the opening of the Moulin Rouge, Cheret (at the age of 53) reached his stylistic maturity. With thirty years of experience in the field he had resolved and refined all color and composition issues and emerged as a truly outstanding talent who created masterpiece upon masterpiece. For the next decade he produced some of the most vivid and colorful posters ever seen, and was an inspiration to a whole generation of artists, advertisers and consumers.
Toulouse-Lautrec and the Moulin-Rouge
manager admire Cheret's poster
This poster contains all of the life and spirit that were a hallmark of his work. In the forefront a Cherette is sitting on a donkey. Behind her, the landmark red windmill, after which the concert hall was named (Red Mill), as are charming girls in gray and black, also on donkeys, arrayed throughout the image as if whirling in the windmill's blades. The typography mimics this spiral composition. Cheret uses crayon and crachis to help shade this elaborate poster." (Swann).