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Théophile Alexandre Steinlen"Kitten Went in the Night" (A black cat playing with broom and Halloween ghost)1898
1898
$550
£420.79
€481.24
CA$783.15
A$848.25
CHF 449.27
MX$10,262.53
NOK 5,648.01
SEK 5,265.15
DKK 3,594.14
About the Item
"Kitten Went in the Night" (A black cat playing with broom and Halloween ghost) from Le Chat Noir
Gillotage chromotype, 1898
Signed in the image lower right
Cats were a symbol of freedom and bohemia in Montmartre, Paris, where Steinlen lived.
This print is page from the collected album Des Chats. Dessins sans paroles par Steinlen. The sheets were originally published in the journal Le Chat Noir and are reproduced here in gillotage.
Printer Charles Verneau
Gillotage was a 19th-century relief printing technique that converted a lithographic image on a metal plate into a printable relief block. Developed by Firmin Gillot around 1850 and later improved by his son Charles Gillot, the process involved transferring an image to a zinc plate, dusting the drawn parts with an acid-resistant resin, and then using acid to etch away the surrounding metal, creating a raised surface for printing. This method was a cheaper and faster alternative to methods like wood engraving for reproducing illustrations in books and newspapers.
Condition: Excellent
Image size: 14 x 10 inches
Reference: Not in Cruzat
Provenance: Edmund Sagot, Paris (1857-1917)
Maurice Le Garrec, Paris (1881-1937)
Bt descent
Le Chat Noir (French pronunciation: [lə ʃa nwaʁ]; French for "The Black Cat") was a 19th century entertainment establishment in the bohemian Montmartre district of Paris. It was opened on 18 November 1881 at 84 Boulevard de Rochechouart by impresario Rodolphe Salis, and closed in 1897 not long after Salis' death.
Le Chat Noir is thought to be the first modern cabaret: a nightclub where the patrons sat at tables and drank alcoholic beverages while being entertained by a variety show on stage. The acts were introduced by a master of ceremonies who interacted with well-known patrons at the tables. Its imitators have included cabarets from St. Petersburg (Stray Dog Café) to Barcelona (Els Quatre Gats) to London's Cave of the Golden Calf.
In its heyday it was a bustling nightclub that was part artist salon, part rowdy music hall. From 1882 to 1895 the cabaret published a weekly magazine with the same name, featuring literary writings, news from the cabaret and Montmartre, poetry, and political satire. It was the subject of an iconic Théophile Steinlen poster in 1896.
Famous men and women to patronize Le Chat Noir included Jane Avril, Franc-Nohain, Adolphe Willette, Caran d'Ache, André Gill, Émile Cohl, Paul Bilhaud, Sarah England, Amy Levy, Paul Verlaine, Henri Rivière, Claude Debussy, Erik Satie, Charles Cros, Jules Laforgue, Yvette Guilbert, Charles Moréas, Albert Samain, Louis Le Cardonnel, Coquelin Cadet, Emile Goudeau, Alphonse Allais, Maurice Rollinat, Maurice Donnay, Armand Masson, Aristide Bruant, Théodore Botrel, Paul Signac, Porfirio Pires, August Strindberg, George Auriol, Marie Krysinska, and Henri de Toulouse-Lautrec.
This print is page from the collected album Des Chats. Dessins sans paroles par Steinlen. The sheets were originally published in the journal Le Chat Noir and are reproduced here in gillotage.
- Creator:Théophile Alexandre Steinlen (1859 - 1923, French)
- Creation Year:1898
- Dimensions:Height: 14 in (35.56 cm)Width: 10 in (25.4 cm)
- Movement Style:
- Period:
- Condition:
- Gallery Location:Fairlawn, OH
- Reference Number:Seller: FA127381stDibs: LU14017266812
Théophile Alexandre Steinlen
Theophile Alexandre Steinlen was born in Lausanne in 1859. He was naturalized French in 1901. He was a painter, engraver, illustrator, poster artist and sculptor. Before settling in Paris, he made a detour to Mulhouse where one of his uncles placed him in the studio of one of the best lithographers of the time. He settled definitively in Montmartre in 1881. Willette introduced him to his companions of the Cabaret du Chat-Noir animated by Rodolphe Salis. He met Toulouse-Lautrec, Forain, Léandre, Debussy, Eric Satie, Verlaine, Alphonse Allais and Aristide Bruant. He took part in the performances of the famous cabaret's shadow theater with animal stories and, most often, sequences featuring cats, for which he has a particular affection. The felines will appear throughout his activity as "parentheses" in a tormented work. There is, in this torment, the expression of no personal problem but a painful compassion for the lives of the exploited and marginal beings. He painted and drew idylls, balls and bastrings, workers, kids and gosselin, the poor, the little workers, girls and marlous. He sometimes made posters. In the most successful of them (« Le lait pur de la Vingeanne » et le « Fer Bravais ») he imposed, relevant or not, the presence of cats.
In 1901, Steinlen worked for L'Assiette au beurre , the most virulent satirical newspaper ever published and takes readily to target the institutions of the 3rd Republic.
His works are found in numerous Public Collections, such as Petit Palais in Geneva, Hermitage Museum in Saint Petersburg, and the National Gallery of Art in Washington.
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