Jane Avril (1893 Poster)
1893
National Gallery of Art, WashingtonOriginal work, 1892
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Henri de Toulouse-Lautrec — A Corner of the Moulin de la Galette Print
Toulouse-Lautrec’s 1892 painting observes a corner of the Moulin de la Galette, bringing its figures and interior into a compact scene.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
£19.50
From museum archives. No recolouring, retouching or AI enhancement.
UK delivery. Unframed £4.99, free from £50. Wood-frame delivery included.
Paper, size & framing
Fine-art print on 200 gsm enhanced matte paper. Measurements are the paper dimensions, including the white border. Framing adds to the overall dimensions. The artwork keeps its approved composition within those margins. White, natural and dark wood frames are ready to hang with plexiglass.
Our print guideAbout the artwork
Toulouse-Lautrec’s 1892 painting observes a corner of the Moulin de la Galette, bringing its figures and interior into a compact scene.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
- Artist
- Henri de Toulouse-Lautrec
- Artwork
- Henri de Toulouse-Lautrec — A Corner of the Moulin de la Galette Print
- Date of work
- 1892
- Museum collection
- National Gallery of Art, Washington
About Henri de Toulouse-Lautrec
French · 1864–1901
Henri de Toulouse-Lautrec was born in Albi in 1864 and moved to Paris in 1882. He studied with Léon Bonnat and Fernand Cormon, entering a city in which independent painting and new forms of entertainment were changing public life. Drawing had interested him from childhood, and it remained central to the character of his mature work.
The dance halls and café-concerts of Montmartre became important subjects. Toulouse-Lautrec painted performers and the people around them, while his advertising lithographs brought stars such as Yvette Guilbert before a wider public. Painting and commercial printmaking belonged to the same curiosity: both could describe the distinctive gestures, clothes and personalities of contemporary Paris with unusual immediacy.
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