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Artist: Jules Cheret French (1836-1932)

Plate: Eldorado

Title: Eldorado

Description: Condition A+ Mint
Original colour stone lithograph
Printed by Imprimerie Chaix, Paris. 1894
This is the rare smaller format of the poster, slightly larger than the Courrier Français edition. Backed on linen.

Reference: Broido 216, Maindron 189, DFP-II 244, Meisterplakate 280 (var), Chéret 275. 

Certificate of Authenticity.
See our Terms of Sale

Poster Size: 15 1/2 in x 23 1/2 in
  39.3 cm x 57.1 cm

Price: $1950.00 USD Mint Condition
August Sale price -20% = $1560


"The dancer is boundless joy personified, and the red spotlight on her adds to the impact of this exhilarating work for the Eldorado Music Hall... One of the most famous music halls in Paris, the Eldorado hosted some of the greatest performers of the day. Here, Chéret does not advertise a specific act, but rather the venue in general, claiming that every night is a wild, not-to-be-missed event at the Eldorado. This is the rare smaller format version of the poster." (Rennert)


Eldorado Music Hall, Paris

"L'Eldorado, located on the Boulevard de Strasbourg, was the king of Parisian music halls. It was a huge, brilliantly decorated room where only the biggest stars were invited to perform (at the beginning of her career Mistinguett was deemed too vulgar to appear there). It is no wonder that such a mecca of performing arts, society and theater would inspire Chéret to create this brilliant allegory of dance and music. It is a classic Chéret image from his most ebullient period."  (Swann)


Jules Cheret

"Cheret's earliest known poster, dated 1858, is for the theatre, and from there he went on to prepare some 500 posters for various theatres, cabarets, music-halls, individual performers and shows of every description. The Folies-Bergere was one of his frequent clients for three decades (60 posters) and so were the Alcazar, the Ambassadeurs, the Moulin Rouge, the Hippodrome and the Musee Grevin. Some of his happiest and most popular designs are in this category. He could exercise his uncanny ability to capture the dynamics of the stage in the movement of dancers, mimes and acrobats" (Rennert, PAI-VII)


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