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Glimpses of Paris 1900-1970

These works exemplify the role of Paris as a center of experimentation in literature and the arts. The artistic community of Montmartre is frequently featured as a setting. The influence of Paris extends beyond literature and visual arts into the domains of dance and cinema.

Les Veillées du Lapin Agile

An anthology, Les Veillées du Lapin Agile, preface by Francis Carco. Édition illustrée, 1919. Le Lapin Agile was a famous cabaret in Montmartre.

La Chanson à Montmartre

La Chanson à Montmartre. Published for L’Écho de Paris, 1900.

Ceux qui font rire, revue de l’humour

A serialized novel by Willy, “Maugis en ménage” in Ceux qui font rire, revue de l’humour, June 15, 1912, no. 1. Willy (Henri Gauthier-Villars) was a journalist and popular novelist who exploited other writers to produce works to his prescription which he then published under his own name. These often had titillating detail. Colette’s Claudine novels were produced under Willy’s direction.

Ulysse à Montmartre. Légende néo-grecque

Ulysse à Montmartre. Légende néo-grecque … by D. Bonnaux, Numa Blès and L. Boyer. Société d’Éditions de « La Lune Rousse, » 1910. A prologue and series of tableaux based on the comic theme that Montmartre was discovered by the Greeks.

Le Dit des jeux du monde

Program for the ballet-pantomine Le Dit des jeux du monde, which created a scandal when it was performed on December 2, 1918, at the Théâtre Musical Moderne du Vieux Colombier. The text was by Paul Méral and the music by Arthur Honegger. Honegger gained a certain amount of celebrity with this early work and became one of “Les Six,” the group of modern composers that also included Durey, Milhaud, Poulenc, Auric, and Tailleferre who reacted against Debussy. Jean Cocteau was often associated with them in collaborative efforts.


Jabiru, 1 (February 1926). This issue contains an article on the cartoon character Felix the Cat who had recently been introduced in Paris.

John La Montagne, « Un Personnage de Cinema: Felix the Cat, » Jabiru, 1 (February 1926), p. 17.

Three frames from the movie are part of the ephemera of the Pascal Pia collection.