Collections · Toulouse-Lautrec
Toulouse-Lautrec, restored for print
Toulouse-Lautrec died in 1901; his posters and paintings have been free of copyright for well over a century. We restore them from archival scans and sell them as 350+ finished prints in four formats. Twelve, chosen and annotated by the studio, are below.
LumenArtee is our own Etsy storefront — one of the three shops this studio runs. Every sale funds the next restoration.How we restore ·our open ledger
The icons, restored
At the Moulin Rouge, 1892–95
The green-lit face at the right was once cut clean off the canvas — a dealer thought it too strange to sell — and later rejoined. The strangeness is the picture; we kept the gas-glow cold.
Moulin Rouge · four formats
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Moulin Rouge: La Goulue, 1891
His first poster, and overnight it made the name Lautrec as famous as the dance hall. The crowd is one flat black; if it blocks up, Valentin's grey profile in front sinks into it.
Moulin Rouge · four formats
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Ambassadeurs: Aristide Bruant, 1892
The manager of Les Ambassadeurs hated the design; Bruant refused to sing until it went up. The red scarf against that flat blue coat is the whole poster — it has to stay loud.
Café-concert · four formats
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Divan Japonais, 1893
Jane Avril in the audience for once, and on stage Yvette Guilbert cropped off at the neck — Lautrec knew the long black gloves were enough. The olive greys sit close in tone; a tired sheet lets them merge.
Café-concert · four formats
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Jane Avril, 1893
Avril commissioned this one herself, and he framed her kicking leg with the neck of a double bass rising from the pit. Old sheets darken until the pale petticoat sinks into the paper; this one keeps its light.
Jardin de Paris · four formats
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In the Salon at the Rue des Moulins, 1894
He lodged in the house on the Rue des Moulins and painted its salon from the inside, without judgement. The violet shift in the foreground is the fragile note — most copies let it slide toward grey.
Maisons closes · four formats
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Deeper into the catalogue
Six more, in the order he made them — the dance halls to the last posters.
The Laundress, 1886–87
The model is Carmen Gaudin, a working girl he stopped on a Montmartre pavement and hired on the spot for the red hair. The white blouse is really a dozen tinted greys; cheap copies bleach them to one.
Montmartre · four formats
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Ball at the Moulin de la Galette, 1889
Renoir painted this dance hall in sunlight; Lautrec, a dozen years later, gave it gaslight and a wooden rail between the watchers and the floor. The sour greens are deliberate — restoring them means refusing to sweeten them.
Moulin de la Galette · four formats
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Mademoiselle Dihau at the Piano, 1890
Marie Dihau had been painted by Degas twenty years before, and Lautrec used to bring friends to her flat just to see that canvas — this is his answer. The thinned oil keeps the weave of the board, and it holds at print size.
Paris · four formats
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The Englishman at the Moulin Rouge, 1892
The Englishman is William Warrener, a painter friend from Lincoln, gone mauve under the gas as he leans in. Lautrec left the cardboard bare around the figures — that warm tan is the ground itself, not a colour, and it must not print as mud.
Moulin Rouge · four formats
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The Clowness Cha-U-Kao, 1895
Cha-U-Kao — the stage name built from chahut and chaos — caught in her dressing room fastening the yellow ruff. That yellow is nearly the only one in the picture; if it dulls, everything dulls.
Moulin Rouge · four formats
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Marcelle Lender Dancing the Bolero in Chilpéric, 1895–96
He sat through the operetta Chilpéric night after night, by his own admission mostly to watch Lender's back and shoulders. The pink skirt against the stage greens is what those evenings bought; keep both, or the picture loses its heat.
Théâtre · four formats
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The rest of the room
The works above are a taste — the catalogue holds 350+ Toulouse-Lautrec works. Browse it by subject:
Choosing a format
Rolled poster
The cheapest way in — pick it if you already own a frame or want one chosen for the room, not the shipment.
Framed paper
Arrives ready to hang, glass over paper — the classic museum-print look, and the safest default for most rooms.
Stretched canvas
No glass, no glare — texture close to a painting's, and a natural fit for painterly surfaces.
Framed canvas
The canvas texture with a finished edge — the most furniture-like of the four, and the largest sizes live here.
Prices vary by size and format; every listing shows all options in your own currency. Undecided? Ourprint format guidecompares the four honestly.
From the journal
Why is this work free to print in the first place?Toulouse-Lautrec and the public domain — the full guide →