In this poster, strictly contemporary of the previous two, Grün clearly shows his hand — it is a Grün “silhouette poster”, a genre that he categorically claims as his own. The principle dates from XVIIIth century when Etienne de Silhouette, in an effort at self-amusement, dreamed up a way to cover the walls of his château of Bry sur Marne with the shadow profiles of his visitors.
The shadow graph theater having revived this genre, one comprehends the approach of young Grün, who not only asserts his stroke but also practices his command of the possible effects of using just black and white. As far as Strack is concerned, he left no trace apart from this spell at the Divan Japonais where Yvette Guilbert had her first triumphant success in 1891 (with a poster designed by Lautrec). Jehan Sarrazin, its bankrupt owner, a shopkeeper-poet who offered olives to his customers, had just handed the establishment over to Edmond Fournier who featured quality shows for the next two years.