| The Custodians of the Keystone. By Ralph Barton | [Frontispiece] |
| Page | |
| Charlie Chaplin. By E. E. Cummings | [42] |
| Irving Berlin (Photo. Maurice Goldberg) | [74] |
| George Gershwin (Photo. Carl Klein) | [92] |
| The Sun’s Dwelling. By Joseph Urban | [132] |
| (From the Ziegfeld Follies of 1915. Photo. M. N. Lawrence) | |
| George M. Cohan. By Alfred Frueh | [138] |
| (Courtesy of A. and C. Boni) | |
| Willie Collier. By Alfred Frueh | [142] |
| (Courtesy of A. and C. Boni) | |
| Eddie Cantor. By Roland Young | [179] |
| Frank Tinney. By Roland Young | [181] |
| Ed Wynn. By Roland Young | [183] |
| Fanny Brice (Photo. Steichen) | [192] |
| Al Jolson (Photo. Muray) | [198] |
| Leon Errol. By Alfred Frueh | [204] |
| (Courtesy of A. and C. Boni) | |
| Bert Savoy (Photo. Abbe) | [208] |
| Mike and Mike. By T. E. Powers | [218] |
| (Copyright by the Star Company. By permission of the publishers of the New York Journal) | |
| A Cartoon. By R. L. Goldberg | [228] |
| (Courtesy of Life—from the Burlesque Sunday Supplement Number) | |
| Fragment from the Krazy Kat of the Door. By George Herriman | [240] |
| (Copyright by the Star Company) | |
| Krazy Kat. By George Herriman | [244] |
| (Courtesy of the artist and the New York American) | |
| Vaudeville. By Charles Demuth | [254] |
| Joe Cook (Photo. Morton Harvey) | [260] |
| Irene Castle (Photo. Muray) | [268] |
| Cirque Medrano. By Henri Toulouse-Lautrec | [292] |
| (By permission of Paul Rosenberg & Co., Inc.) | |
| National Winter Garden Burlesque. By E. E. Cummings | |
| (Courtesy of The Dial) | [294] |
| Paolo | [298] |
| Francesco | [298] |
| Alberto | [299] |
| The Fratellini. By Fernand Leger | [300] |
| A Painting. By Pablo Picasso | [346] |
| (By permission of Paul Rosenberg & Co., Inc.) |
NOTE
This book was written while on holiday some three thousand miles away from data, documents, and means of verification. It is written from memory and, although I have had time and have tried to check up, I feel sure that the safest thing is to let it go as cautious merchants do when they send out statements—with the caveat: E. and O. E.—errors and omissions excepted. I haven’t tried to write a history of any of the lively arts, nor intended to mention all of those who practice them. I should, however, feel sorry if I have omitted anyone who has given me intense pleasure, even though the omission has not, in any way, the countenance of a slur.
Everything else that properly belongs in a preface has found its way into the two chapters: The Great God Bogus and Before a Picture by Picasso—and the acknowledgments are numerous and serious enough to need a place for themselves in the appendix.
G. S.
Ile St Louis — New York City
March 1923 — February 1924