Artist: Jules Cheret French (1836-1932)
Title: Folies Bergere / Fleur de Lotus
Original lithograph from "Les Affiches Illustrees" series,
limited printing of 1025.
Printed by Imprimere Chaix, Paris, 1896.
Reference: Chéret, 143; Broido, 126; Maindron, 114; Reims, 366; Dance Posters, 27; Wine Spectator, 7.
Presented in 16 x 20 in. acid free, archival museum mat, with framing labels. Ready to frame. Shipped boxed flat via Fedex.
Certificate of Authenticity.
Sheet Size: 8 3/4 in x 12 1/4 in / 22 cm x 31 cm
Price: Temporarily out of stockI can usually source this poster. If you are interested please contact me. Greg
"The Folies-Bergère commissioned over 60 posters from Chéret during his prolific career. Here, six diaphanously-clad ballerinas leap across the page, promoting Armand Silvestre’s ballet-pantomime, “Fleur de Lotus.” Reviews from the premier claim that it is a Loïe Fuller-like performance populated with clowns and delicate dancers. There is also mention of a "wondrous machine" which rains diamonds down upon the audience "like tears" from electric lamps (L’Ermitage 1893)." (Rennert)
"The Folies-Bergere at the edge of Montmarte has existed for about 100 years. About 1900, after a modest start, it became one of the leading revue theatres. It was and still is famous for its splendid decorations and costumes. The program consisted mainly of ballet, pantomime and tableaux vivants. The Folies quickly acquired a legendary reputation particularly among visitors from the puritan, Anglo-Saxon world." (Paris 1900 p.86)
"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)