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Reouverture du Cabaret du Chat Noir

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Reouverture du Cabaret du Chat Noir, poster by Theophile Alexandre Steinlen (1859-1923). Ink on paper. France, 1896. Le Chat Noir was a Parisian cabaret in the arrondissement of Montmartre owned by Rodolphe Salis. The Black Cat was a fitting name for such a locale, conjuring up images of black magic and witches. It was probably influenced by Edgar Allan Poe's short story of the same name, published in 1847. The poster was advertising the re-opening of the Cabaret du Chat Noir on 3 October 1896 and the Théâtre du Chat Noir three days later
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We use fine art paper sourced from UK paper mills for our prints. The paper type has been chosen to best suit the original artwork.


Acid free, extra thick smooth white mount board with a white core.


Please note that a copyright line is included under the image.


Clear acrylic. We use clear acrylic glazing for safety and longevity.


Finished and framed by hand in Sussex by skilled craftsmen using responsibly sourced solid wood mouldings. The finished product has a taped back and is supplied ready to hang.


Each print is made-to-order and carefully packaged to ensure safe transportation.

Prints and frames handmade in England

V&A Custom Prints are high quality art prints of images from across the V&A collections. From Japanese woodblock prints to book illustration, textile designs and photography this collection of prints offers a glimpse into the rich and diverse nature of the V&A.

The process is simple: select an image, choose your preferred size and frame and then place your order.

Each artwork is giclée printed using archival quality inks. Made in England on the Sussex coast, our prints are hand finished and framed by skilled craftsmen using responsibly sourced solid wood mouldings and carefully packaged and delivered directly to your door.

About the artist

Theophile Steinlen

Theophile Alexandre Steinlen was born in Lausanne in 1859 and, after arriving in Paris in 1881, soon became a member of the artistic community in Montmartre of which Henri de Toulouse-Lautrec and Adolphe Willette were also members. Steinlen and Toulouse-Lautrec depicted several of the same subjects in their work but it was the Swiss artist who enjoyed greater fame during the artists' lifetimes, no doubt due to his ability to undertake more commercial work, such as this poster for Vingeanne milk, which reached a greater audience than Toulouse-Lautrec's controversial graphic work.