Perhaps best known now by its iconic Théophile-Alexandre Steinlen poster art, in its heyday it was a bustling nightclub — part artist salon, part rowdy music hall. The cabaret published its own journal Le Chat Noir. It began as a small, two room affair, but within three and a half years its popularity forced it to move into larger accommodations a few doors down. Salis most often played, with exaggerated, ironic politeness, the role of conférencier (post-performance lecturer, or Emcee). It was here that the Salon des Arts Incohérents (Salon of Incoherent Arts), the "shadow plays" and the comic monologues got their start.
According to Salis: "The Chat Noir is the most extraordinary cabaret in the world. You rub shoulders with the most famous men of Paris, meeting there with foreigners from every corner of the world."