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168 Paulus"), Dufay ("Portrait,") ("Les Rey Nol's)," Galice (G.) ("Concert parisien: Esther Lekain," "Fête des Fleurs," "Paulan Brébion," "Scala: Jeanne Bloch"), Guydo ("Eldorado: Aimée Eymard"), Honer ("Concert parisien: Bonnaire"), Hope ("Gaieté: Tour de Nesle"), Huvey ("Grasside"), Lamy (L.) ("Le capitaine Henriot, opéra comique," "Théâtre national lyrique"), Lebégue (L.) ("Bals travestes et tableaux vivants"), Lefèvre (L.) ("Cacao lacté," "Electricine," "L'hiver à Nice"), Levy (E.) ("Châtelet Michel Strogoff," "Cirque d'Hiver: Caravane dans le désert," "Folies Bergère: Vue de la salle," "Petit national: Le prince Mouffetard"), Meunier (G.) ("Papier à cigarettes Job," "Parfumerie Edéa," "Le Sahara à Paris: Champ de Mars"), Truchet (A.) ("Cabaret des Quat'z' Arts," " Eldorado: Alice Berthier.")

It will have been noticed already how great a part the music-hall and the café chantant play in the history of the pictorial poster. Yvette Guilbert has been the cause of a baker's dozen of affiches; Anna Thibaud (that charming singer of the songs of Béranger); Anna Held, with her curious manner, and still more curious appearance; Irène Henri, of intense personality; Jane Avril, and May Belfort; to say nothing of Aristide Bruant, of Caudieux, of Paulus, and the rest of the school who have made the music-hall stage of France a matter of no small importance