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From 1891 his lithographs for the Moulin Rouge, Aristide Bruant, Jane Avril and the Divan Japonais turned Montmartre's performers into silhouettes and flat planes of colour learned from Japanese prints, and they were pasted across Paris by the thousand. He drew the cabarets, circuses and brothels of the city with unsentimental affection. His prints are held by the Musée Toulouse-Lautrec in Albi, the Bibliothèque nationale de France and the Museum of Modern Art.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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The King Baudouin Foundation's Heritage Fund bought it at Sotheby's in Paris and entrusted it to the Museum of Fine Arts Ghent.\u003c\/p\u003e\u003cp\u003eLéon Spilliaert (1881–1946) was a Belgian Symbolist painter, largely self-taught after leaving the Bruges Academy of Art in 1900. Working from his native Ostend, where chronic insomnia kept him working through the night, he produced watercolours and drawings of empty promenades, dark interiors and solitary figures in strong tonal contrast. From 1902 he worked in Brussels for the publisher Edmond Deman, illustrating Symbolist writers, and in Paris from 1904 he was befriended by the poet Émile Verhaeren. His work is held by the Musée d'Orsay, Paris, and the Museum voor Schone Kunsten, Ostend.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. 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