Concert Tunisien
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| Nickname | Concert tunisiens Concerts tunisiens |
|---|---|
| Founded | c. 1860's |
| Location |
|
Members | La Belle Fatma |
| Affiliations | Concert Cosmopolite 1867 Paris Exposition 1878 Paris Exposition 1889 Paris Exposition 1900 Paris Exposition |
The Concert Tunisien, also known as Concert tunisiens and Concerts tunisiens was a form of popular entertainment in France in the late 19th and early 20th centuries, typically presented as a travelling fairground attraction or entertainment establishment featuring music, dance and other performances associated with exoticised representations of North African and Middle Eastern entertainment, popularized in France by the Paris Exposition Universelle. The term Concert Tunisien refers both to the type of attraction and to individual establishments or troupes operating under the name.
History
1867 Paris Exposition
The term concerts tunisiens was already in use in connection with the 1867 Paris Exposition. Music critic Oscar Comettant described the musical entertainment at the 1867 Paris Exposition in his book "La Musique et les musiciens à l'Exposition internationale".[1] He listed the concerts tunisiens among the exhibition's various musical attractions, alongside Chinese music concerts and performances by Gypsy and Hungarian orchestras. He described the concert tunisiens as "si agaçants, si pittoresques et si étourdissants" ("so irritating, picturesque and dazzling"). Comettant grouped them among the exhibition's numerous "manifestations musicales", reflecting the broad range of popular and international musical entertainment presented at the event.[2]
1878 Paris Exposition
At the 1878 Paris Exposition, there was only one small concert Tunisien present, near the Pont d'Iéna. A later account recalled that, unlike the 1889 exposition, the 1878 exhibition had not given as much space to the "élément exotique et pittoresque". It performed with a small orchestra and the principal musician was an Algerian man known as "Géant de Souze". His little daughter Rachel Eny (later known as La Belle Fatma) performed as well and her dance became a great succes.[3]
1879-1888
An April 1884 report on the Easter fair in Reims lists "deux concerts tunisiens" among the fair's popular attractions, alongside femmes torpilles, a femme oiseau, dioramas, and tirs.[4]
From 1885 to 1886, the travelling booth ("la baraque ambulante") known as the Concerts tunisiens by propietor Justine Valck is covered several times in the newspapers.[5][6] Multiple accounts describe Valcks Concert tunisiens being known throughout all the fairgrounds of southern France.[7][8][9]
In February 1886, a report on the New Year's fair at Épernay listed "2 concerts Tunisiens" among the fair's establishments, alongside other fairground attractions.[10]
In December 1886 concerts tunisiens took place at the Eden Theatre in Paris featuring La Belle Fatma.[11]
In August 1887, a report on the annual August fair described the concerts tunisiens alongside other popular attractions such as the femmes torpilles. The writer lamented that the concerts tunisiens were in the doldrums, indicating that the attraction was experiencing poor fortunes at the fair.[12]
1889 Paris Exposition
At the 1889 Paris Exposition at the Rue du Caire, concert Tunisien took place.[13] It further associated concerts tunisiens with the expositions's broader presentation of an exoticized "Orient." A contemporary press account described the concerts tunisiens ou arabes as part of the spectacle of the Champ de Mars, alongside the Rue du Caire, the Tunisian and Algerian pavilions, and various colonial displays. The performances were presented as producing an "aigre et monotone mélopée" ("shrill and monotonous melody"), while a female performers was described as "a beloved woman with coal-black eyes, in a satin jacket, covered with jewellery".[14] At the exposition, two concerts tunisiens and one concert algérian were established; one in the corner great bazaar surrounding the Grand Théâtre by La Belle Fatma, one at the Tunisian Souk and for the concert algérian the Rue de Caire had to be left.[3]
In several newspapers readers were made aware that for some shows at the 1889 Paris Exposition, an extra fee was required. The concerts Tunisiens et Algériens were listed among the paid "spectacles et plaisirs divers". They were not included with the ordinary admission ticket, and prices varied according to the seats occupied.[15][16][17]
In January 1889, concert tunisiens was also present at a regional fairground in Bourges. A report on the New Year festivities at the foires du Palais listed concerts tunisiens alongside other fairground attractions, noting that the events drew large crowds.[18]
1890-1899
At a fair in March 1891 the "concert des Howas" took place. The performers were described as having been selected after the 1889 Paris Exposition from among the best artists of the concert Tunisien on the Rue du Caire.[19]
By May 1891, concerts tunisiens were also advertised as attractions within the fairground entertainment associated with international exhibitions. An account of the planned Exposition toulousaine internationale in Toulouse described a "kermesse permanente" (permanent fairground) and listed concerts tunisiens alongside carousels, shooting galleries and other amusements. The organizers stated that they had already received numerous requests for such attractions, suggesting that concerts tunisiens was by then a recognizable form of commercial entertainment.[20]
In October 1891, two Concerts Tunisiens were presented at a fair in Rouen, one opposite the Rue Sainte-Marie and the other near the roller coasters. They were also mentioned as "concerts arabes". Both attractions featured belly dancers (danseuses du ventre), whose performances were described as a major reason for the crowds they attracted.[21]
In December 1891, a Bordeaux newspaper reported that la troupe du Concert-Tunisien performed during the intervals at the Folies-Bordelaises. The programme featured Fatma Eny.[22]
In April 1892, a report on the Foire au pain d'épice in Paris listed concerts tunisiens et algériens among the attractions drawing visitors: "des concerts tunisiens et algériens, une résurrection du harem de Sélika, attirent les badauds" ("Tunisian and Algerian concerts, a resurrection of Sélika's harem, attract onlookers").[23] Another newsreport from April 1892 also listed concerts tunisiens among the attractions at the foire au pain d'épices around the Place de la Nation and Cours de Vincennes in Paris.[24]
By February 1896, concerts tunisiens had become an established form of popular entertainment in Tunis itself. A contemporary account noted that there were three such establishments in the city, specifically recommending them to "lovers of the belly dance" (amateurs de la danse du ventre).[25]
In May 1896, Léon Bessas, director of the Concert Cosmopolite was directing another touring attraction, called "la baraque (les concerts Tunisiens)".[26]
In January 1898, a newspaper announced the "couple Oriol" as "the hilarious performers of the concerts tunisiens" at the local Eden-Concert.[27]
The perceived success of the concerts tunisiens influenced preparations for the Exposition universelle de 1900. In September 1898, during discussions about the Tahitian section, L. Brault argued for bringing Tahitian himene singers to Paris, noting that "all Paris had seen the concerts tunisiens" and that such spectacles had "certainly contributed to the success" of the 1889 Exhibition.[28]
1900 Paris Exposition
A contemporary account of the 1900 Paris Exposition described the strong Parisian interest in foreign spectacles, exotic costumes and representations of distant countries, and referred specifically to the concerts tunisiens et algériens du Trocadéro. In the same context, the author described an Ottoman café-concert featuring Turkish dancers, musicians, swordplay and gymnastics.[29] During an official visit to the Algerian Exhibition at the Trocadéro in April 1900, officials toured the "bazar de la rue de la Kasbah", the "concerts tunisiens", and other installations.[30]
1901-1910
In June 1906, concerts tunisiens were mentioned alongside "les tentes marocaines" among the attractions at the fair. The report noted that the "danse du ventre" was a success, and said that the promotional patter presented the dancers as stars of the Casino, Olympia, Folies-Bergère, etc. The dancers were also described as having exotic names, suggestive of Spain and Algeria. The report said that spectators flocked to see them and returned bewildered by their abdominal and callipygian contortions. The same report described a "danse de l'arc-en-ciel" ("rainbow dance"), advertised as being highly regarded in Dahomey. The writer entered the attraction and noted that it had a drum for an orchestra.[31]
Establishments
Le concert tunisien de la belle Fatma
A contemporary account traced the career of Rachel Bent-Eny, later known as "La Belle Fatma", to a small concert Tunisien near the Pont d'Iéna at the 1878 Paris Exposition. As a child of seven or eight, she was encouraged by her father, an Algerian musician known as the "Géant de Souze", to perform a dance inspired by the belly dance she had seen in Algiers. The performance became a popular attraction, and would help Fatma becoming an established performer.[3]
In December 1886, concerts tunisiens was the advertised title of an attraction at the Eden Theatre in Paris featuring Fatma. The theatre's operating company had installed an "immense baraque" in the public foyer for the exhibition of the "belle Fatma", accompanied by her regular musicians.[11]
At the 1889 Paris Exposition, Fatma appeared successively at the Grand Théâtre, at one of the Moroccan tents on the Rue du Caire, and finally at a small establishment called the Concert Tunisien. The account described the venue as a tapestry-decorated room accommodating about fifty spectators, with Fatma seated on a raised, throne-like platform accompanied by her father the "colosse de Souze", several percussionists, three dancers and a piano player. Its programme consisted of an "danse algérienne", a "danse circassienne" and a "danse tunisienne", the latter performed by la belle Fatma.[3]
Concerts tunisiens
Several newspapers in 1885 and 1886 report that Alexandre Scaptz (alternatively Scraps, Scalp), a fairground strongman and Justine Valck (alternatively Valeck, Walck and Walk), met in Lyon in a booth where she performed as a femme-torpille. Scaptz took her with him and saved 2000 francs to purchase a travelling booth, which he gifted to Valck.[5][7][8][6][32][33]
With this booth, the Concerts tunisiens was founded by Justine Valck. Several contemporary newspapers described Valck as a "danseuse orientale" working with itinerant troupes, owner of the travelling booth ("la baraque ambulante") known as the Concerts tunisiens. It also reported that Valck subsequently gave performances at Arles with the wrestler Mohammed Ben-Saïd (alternatively Ben-Mohammed and Ben-Mahommed). He is mentioned as the troupe's leading performer and described as "bel Arabe". [34][5][6][35]
The establishment became the subject of extensive newspaper coverage following a sensational crime involving its owner. Scaptz, aged 41, from Metz, and Valck, aged 27, from Marseille, were in a relationship when he purchased the travelling booth for her. Their relationship later ended after Valck became involved with the wrestler Mohammed Ben-Saïd. In November 1885, Scaptz confronted her at the Esplanade du Marché Neuf in Arles where she was performing and fired four revolver shots at her as she left the Concerts Tunisiens. Valck survived after two months in hospital, while Scaptz was sentenced to four years in prison.[36][33] An 1886 newspaper published a large part of Scaptz testimony in court.[37]
le concert tunisien du Souk
A concert tunisien was also installed in the Tunisian Souk at the 1889 Paris Exposition. A contemporary reviewer considered it comparatively unremarkable. Its principal point of distinction, in his view, was the musical accompaniment: the "danses d'almées" were performed with a European piano, which he believed stripped the Arabic melodies of their distinctive character.
The pianist was identified as Bennini-Semmama, described by the reviewer as an Arab Jew. According to the account, his stay in Paris proved fatal: he fell ill and died in the final days of August 1889. The reviewer did not know who succeeded him.
The same source later described the fate of the establishment's furnishings after the Exposition. In December, the furniture of the Tunisian Souk concert was offered for sale at the Hôtel des Ventes on the rue Drouot. The material—described as including twelve mirrors, thirty-two lanterns, six divans, Turkish tables, hangings, flags, carpets, 100 stools and fifty guéridons—was sold for only 1,320 francs in total. The writer presented this dispersal as an ironic reversal of the concert's exhibition success, remarking that its furnishings produced a "singulier et misérable effet" when piled together in the auction yard.[38]
Concert des Howas
At a fair in March 1891 the "concert des Howas" took place. The performers were described as having been selected after the 1889 Paris Exposition from among the best artists of the concert Tunisien on the Rue du Caire. Its programme contained Sidi-Mustapha performing the Danse de Pipwopilou, Sidi-Beb-Cader the Danse du Maroc, Mlle Jaura, described as a 12-year-old Tunisian girl the Danse Kabyle, and Mlle Aïchat, described as a young Moorish woman the Danse du Ventre. The entire troupe performed the Grande Fantasia Arabe, while the programme also included the Prière à Mahomet as performed in Arab mosques.[19] Its programme contained several acts and performers later associated with the Concert Cosmopolite.
la troupe du Concert-Tunisien
In December 1891, a Bordeaux newspaper reported that la troupe du Concert-Tunisien performed during the intervals at the Folies-Bordelaises. The programme featured Fatma Eny in the "danse du Sérail de Tunis", followed by the "Danse algérienne" performed by Baya Adge-Kelil, the "Danse égyptienne" by Zora Kadour, the "Danse circassienne" by Aïcha Kedaouedje, and the "Danse du Soudan" by Sidi Yousef Rahman. The newspaper noted that the troupe would remain in Bordeaux only temporarily.[22]
la baraque (les concerts Tunisiens)
By May 1896, Léon Bessas, director of the Concert Cosmopolite was directing another touring attraction, called "la baraque (les concerts Tunisiens)". A newspaper reports he was arrested for violating child-labour legislation after a 13-year-old girl named Brissand was exhibited at the establishment and performed the "danse du ventre". The girl was taken into police custody.[26]
Performers
Contemporary advertisements and newspaper reports describe the following notable performers in concerts tunisiens.
| Performer | Stagename | Repertoire | Years | Source(s) |
|---|---|---|---|---|
| Baya Adge-Kelil | - | Danse algérienne | 1891 | [22] |
| Aïchat | - | Danse du Ventre | 1891 | [39] |
| Sidi-Beb-Cader | - | Danse du Maroc | 1891 | [39] |
| Mohammed Ben-Saïd
Ben-Mohammed |
l'Endymion africain | lutteur
premier sujet de la troupe |
1885 1886 | [34][7][36] |
| Brissand | - | danse du ventre | 1896 | [26] |
| Couple Oriol | - | désopilants artistes | 1898 | [27] |
| Eny | le Géant de Souze
colosse de Souze |
- | 1878 1889 | [3] |
| Fatma Eny
Rachel Eny |
la belle Fatma | danse du Sérail de Tunis
danse du ventre danse tunisienne |
1878 1886 1889 1891 | [11][22][3] |
| Jaura | - | Danse Kabyle | 1891 | [39] |
| Zora Kadour | - | Danse égyptienne | 1891 | [22] |
| Aïcha Kedaouedje | - | Danse circassienne | 1891 | [22] |
| Sidi-Mustapha | - | Danse de Pipwopilou | 1891 | [39] |
| Bennini-Semmama | - | piano le concert tunisien du Souk | 1889 | [38] |
| Spydo | - | comique des Concerts Tunisiens | 1933 | [40] |
| Justine Valck (Valeck, Walck, Walk) | propriétaire
danseuse orientale |
1885 1886 | [34][5][7][8][6][32][35][36] | |
| Sidi Yousef Rahman | - | Danse du Soudan | 1891 | [22] |
Cultural reception
1890s
In 1890 Jean Lorrain gives a detailed account of the fête de Neuilly, framed by a broader cynical nostalgia for older fairground traditions and a sharp critique of contemporary spectacle and its manufactured exoticism. He writes about the concerts tunisiens as a standardized fairground attraction, claiming that they offered numerous smiling "Fatmas or Mimas" and repeatedly stresses their uniformity. The female performers appeared under recurring names such as Fatma, Mima, Zulma and Féridgé. Their appearance was described as consisting of ink-blue hair, braided with imitation sequins and orange blossoms, an Algerian Jewish costume, a small Turkish velvet cap, voluminous gauze trousers and Oriental silks. Their performance included "le pas du shall", accompanied by the "derbourka", described as "monotonous and shrill". The description also included a male attendant in a fez, playing a waltz on a Pleyel piano. On the stage was the recurring figure whom the writer mockingly calls "le même père Fatma", a male proprietor figure. The account therefore portrays the concert tunisiens as a recognizable format.[41]
A 1892 reminiscence from Rouen places Concerts Tunisiens among popular fairground attractions like tirs, femmes-colosses and femmes-torpilles. The author recalls "des Fathma plus ou moins authentiques," who introduced audiences to the attractions of the danse du ventre. The passage suggests that Fathma had become a recognizable stage type associated with the genre.[42]
A 1892 theatrical review, discussing the use of the tambourine in Massenet's Hérodiade, remarked that the instrument had been "popularized by the concerts tunisiens". The writer associated its rhythm with the movement of a camel in the desert. The reference suggests that the concerts tunisiens had become sufficiently familiar to contemporary French audiences.[43]
1900s
In December 1900, a review of a Sainte-Cécile concert at the Grand Théâtre associated the rough rhythms of Grieg's Second Norwegian Dance with the concerts tunisiens. The critic attributed the audience's enthusiasm partly to "l'originalité des rythmes rauques qui font involontairement songer aux concerts tunisiens" ("the originality of the rough rhythms which involuntarily bring the concerts tunisiens to mind").[44]
In a May 1902 review of the vaudeville Papa veut un artiste, performed at the Théâtre Cluny, described a scene set in Barbizon in which artists' apprentices sang and performed various dances, including the polka, farandole and danse du ventre, before imitating "the noisy cacophony of the concerts tunisiens." The reference suggests that the concerts tunisiens had become familiar enough to Parisian audiences to serve as a shorthand for a loud, exotic musical spectacle.[45]
In September 1902, a review of Camille Saint-Saëns's Parysatis likewise used concerts tunisiens as a familiar point of reference for musical and choreographic features associated with Tunisia. The reviewer described Saint-Saëns's use of "intervalles augmentés ou diminués" as "souvenirs évidents des concerts tunisiens et de leurs danses du ventre" ("obvious memories of the Tunisian concerts and their belly dances"). The same review referred to a characteristic percussion accompaniment, writing that "au concert tunisien c'est toujours un nègre qui tape comme un sourd sur une sorte de tambour" ("at the Tunisian concert it is always a Black man who beats deafeningly on a kind of drum"). The description provides contemporary evidence of how concerts tunisiens could be understood by French audiences as a recognizable combination of music, percussion and dance.[46]
In 1904, a French commentator grouped the concerts tunisiens explicitly among other fairground attractions: "I understand no more the fairground attractions, little theatrical shows, Tunisian concerts, halls of mirrors, upside-down manor houses, or other phantasmagorias at a celebration of labour." The passage treats concerts tunisiens as part of the sensational entertainment surrounding international exhibitions, rather than as conventional concert performances.[47]
1910s
A 1912 literary account describes Mina, known as "l'Africaine", as a travelling performer who appeared at Concerts tunisiens during the summer fairs (vogues). Mina is said to perform a "danse kabyle" which she had learned in the "caboulots de Marseille". The account also refers disparagingly to Mina's performance as involving "la danse kabyle avec les deux mouchoirs et les sous des vieux", a Kabyle dance performed with two handkerchiefs, for which older spectators gave her money.[48]
By 1913, concerts tunisiens remained recognizable features of the French fairground landscape, grouped with "les baraques de la danse du ventre" and other "attractions exotiques." The spectacle is simultaneously praised as "ingenious," "artistic," and "truly beautiful in places," yet condemned as "lamentable" and ephemeral.[49]
1920s
In September 1922, a reference to the "concerts tunisiens de Bab-Saadoun" appeared in a discussion of Algerian workers in metropolitan France. The phrase placed the concerts tunisiens specifically in the context of Bab Saadoun in Tunis, alongside fondouks, Moorish cafés and other nocturnal North African establishments: "on se croirait dans les fondouks de Tlemcen, dans la kasbah d'Alger, dans le quartier de la rue Bleue de Constantine ou dans les concerts tunisiens de Bab-Saadoun."[50]
Concert Algérien
Often mentioned in the same breath are the concerts algériens.[15][16][17][23]
At the 1889 Paris Exposition, alongside concerts tunisiens and concerts marocains the concerts algériens took place. A contemporary account describes its programme as consisting of "danses mauresques, ouled-naïls, kabyles et nègres, dirigées par trois orchestres." The reviewer was highly critical of the stereotyped presentation of the "danse du ventre", which he regarded as an overused feature of the exhibition's representations of North Africa. He nevertheless singled out several performers and acts for praise.
Among them was Torkia, a fourteen-year-old Kabyle dancer described as "toute mignonne et toute charmante". With bare arms and sequins on her cheeks, she performed a danse des épées with what the reviewer called "une grâce et une crânerie délicieuses". Another woman performed the same type of dance in a markedly different style, rapidly turning while manipulating two curved swords, placing their points successively against her arms, chest, neck and even eyes. The writer described this performance as "vraiment curieux, intéressant et original" and "saisissant".
The programme also included "danses d'almées", accompanied by music and sometimes singing. The reviewer found the dances of Black men and women "grotesques sans le vouloir" and characterized them as an example of "étrangeté vulgaire", while praising the accompanying Arabic songs as "savoureuses et pittoresques". One performer accompanied herself on the kouitra, described as an Oriental lute. Overall, the Concert Algérien was judged to possess genuine interest and originality, although the account reflects the period's exoticizing and racialized language and its tendency to judge performers according to contemporary Parisian expectations of "authenticity".[51]
References
- ↑ Oscar Comettant (1869). "La musique, les musiciens et les instruments de musique chez les différents peuples du monde" (in français). Retrieved 22 August 2026.
- ↑ Oscar Comettant (8 December 1867). "Le Ménestrel : journal de musique" (in français). Retrieved 22 August 2026.
- ↑ 3.0 3.1 3.2 3.3 3.4 3.5 Arthur Pougin (1890). "Le théâtre à l'Exposition universelle de 1889 : notes et descriptions, histoire et souvenirs" (in français). Retrieved 23 August 2026.
- ↑ "L'Indépendant des campagnes" (in français). 15 April 1884. Retrieved 22 August 2026.
- ↑ 5.0 5.1 5.2 5.3 "La Petite presse" (in français). 12 November 1885. Retrieved 21 August 2026.
- ↑ 6.0 6.1 6.2 6.3 "Le Petit Catalan : Journal quotidien" (in français). 20 November 1885. Retrieved 21 August 2026.
- ↑ 7.0 7.1 7.2 7.3 "Le Petit Parisien" (in français). 13 March 1886. Retrieved 21 August 2026.
- ↑ 8.0 8.1 8.2 "Le Radical algérien" (in français). 23 March 1886. Retrieved 21 August 2026.
- ↑ "Le Temps" (in français). 12 March 1886. Retrieved 23 August 2026.
- ↑ "Le Voyageur forain" (in français). 1 February 1886. Retrieved 22 August 2026.
- ↑ 11.0 11.1 11.2 "Journal des débats politiques et littéraires" (in français). 13 December 1886. Retrieved 21 August 2026.
- ↑ "L'Illustration dauphinoise" (in français). 14 August 1887. Retrieved 22 August 2026.
- ↑ "Journal de Sancerre et de son arrondissement" (in français). 14 March 1891. Retrieved 17 August 2026.
- ↑ "Istanboul" (in français). 28 September 1889. Retrieved 22 August 2026.
- ↑ 15.0 15.1 "Paris / fond. Ch. Laurent" (in français). 12 May 1889. Retrieved 22 August 2026.
- ↑ 16.0 16.1 "Le XIXe siècle : journal quotidien politique et littéraire" (in français). 12 May 1889. Retrieved 22 August 2026.
- ↑ 17.0 17.1 "Le Bas-Breton" (in français). 1 June 1889. Retrieved 22 August 2026.
- ↑ "La Démocratie du Cher" (in français). 5 January 1889. Retrieved 23 August 2026.
- ↑ 19.0 19.1 "Journal de Sancerre et de son arrondissement" (in français). 14 March 1891. Retrieved 17 August 2026.
- ↑ "L'Exposition internationale de Pau" (in français). 3 May 1891. Retrieved 22 August 2026.
- ↑ "L'Écho de Rouen illustré" (in français). 31 October 1891. Retrieved 21 August 2026.
- ↑ 22.0 22.1 22.2 22.3 22.4 22.5 22.6 "Le Drapeau radical : journal républicain de combat" (in français). 20 December 1891. Retrieved 21 August 2026.
- ↑ 23.0 23.1 "La France" (in français). 19 April 1892. Retrieved 22 August 2026.
- ↑ "Le Soleil" (in français). 17 April 1892. Retrieved 22 August 2026.
- ↑ "Le Nouveau journal" (in français). 1 February 1896. Retrieved 21 August 2026.
- ↑ 26.0 26.1 26.2 "Le Télégramme : journal de la démocratie du Midi" (in français). 16 May 1896. Retrieved 17 August 2026.
- ↑ 27.0 27.1 "L'Impartial" (in français). 16 January 1898. Retrieved 23 August 2026.
- ↑ "Journal officiel des établissements français de l'Océanie" (in français). 22 September 1898. Retrieved 23 August 2026.
- ↑ "Le Matin : derniers télégrammes de la nuit" (in français). 28 April 1900. Retrieved 21 August 2026.
- ↑ "Le Radical de l'Allier : journal républicain quotidien" (in français). 21 April 1900. Retrieved 23 August 2026.
- ↑ "Annales africaines : revue hebdomadaire de l'Afrique du Nord" (in français). 2 June 1906. Retrieved 22 August 2026.
- ↑ 32.0 32.1 "La Lanterne : journal politique quotidien" (in français). 17 March 1886. Retrieved 22 August 2026.
- ↑ 33.0 33.1 "Les Nouvelles : journal quotidien de Toulouse et du Sud-Ouest" (in français). 6 November 1885. Retrieved 23 August 2026.
- ↑ 34.0 34.1 34.2 "L'Avenir de la Mayenne" (in français). 18 March 1886. Retrieved 21 August 2026.
- ↑ 35.0 35.1 "Le Progrès de la Côte-d'Or" (in français). 14 March 1886. Retrieved 22 August 2026.
- ↑ 36.0 36.1 36.2 "Le Progrès libéral : journal quotidien" (in français). 9 March 1886. Retrieved 23 August 2026.
- ↑ "Le Guetteur : journal de Saint-Quentin" (in français). 16 March 1886. Retrieved 23 August 2026.
- ↑ 38.0 38.1 Arthur Pougin (1890). "Le théâtre à l'Exposition universelle de 1889 : notes et descriptions, histoire et souvenirs" (in français). Retrieved 23 August 2026.
- ↑ 39.0 39.1 39.2 39.3 "Journal de Sancerre et de son arrondissement" (in français). 14 March 1891. Retrieved 17 August 2026.
- ↑ "Petit matin : quotidien politique d'informations rapides" (in français). 28 April 1933. Retrieved 22 August 2026.
- ↑ "Le Courrier français" (in français). 6 July 1890. Retrieved 22 August 2026.
- ↑ "Le Travailleur normand : organe républicain de la Seine-Inférieure" (in français). 6 November 1892. Retrieved 23 August 2026.
- ↑ "L'Ouest-artiste : gazette artistique de Nantes" (in français). 17 December 1892. Retrieved 17 August 2026.
- ↑ "Le Mondain bordelais et du Sud-Ouest" (in français). 2 December 1900. Retrieved 22 August 2026.
- ↑ "L'Abeille de Fontainebleau" (in français). 2 May 1902. Retrieved 21 August 2026.
- ↑ "L'Art méridional" (in français). 1 September 1902. Retrieved 22 August 2026.
- ↑ "Le Nouvelliste de La Fère, Tergnier, Saint-Gobain, Chauny et de l'Aisne" (in français). 23 October 1904. Retrieved 22 August 2026.
- ↑ "Le Messin : organe des intérêts lorrains]" (in français). 20 August 1912. Retrieved 21 August 2026.
- ↑ "Les Nouvelles : journal quotidien du soir" (in français). 29 December 1913. Retrieved 23 August 2026.
- ↑ "Les Annales coloniales" (in français). 14 September 1922. Retrieved 22 August 2026.
- ↑ Arthur Pougin (1890). "Le théâtre à l'Exposition universelle de 1889 : notes et descriptions, histoire et souvenirs" (in français). Retrieved 23 August 2026.
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