Painters such as Edgar Degas and Henri de Toulouse-Lautrec portrayed artists and visitors at the caf'conc and almost every vaudeville and music hall entertainer that mattered in those days performed in Les Ambass' .

[2] In 1772, a small pavilion was added, and Les Ambassadeurs became an elegant meeting place where people could listen to music and drink, due to the improvements of the Champs-Élysées over the years.

[3] In 1840, with the installation of gas lighting on the Champs-Élysées, Les Ambassadeurs became a summer café-concert, whose makeshift stage became a kiosk surrounded by greenery, with tables and chairs set up in front of it.

The kiosk was replaced by a more comfortable pavilion with an outdoor stage designed by Jacques Hittorff shortly before 1843, and in 1848 a roofed bandstand to protect the artists was added.

[8]) The café-concert had its heyday during the Belle Époque in Paris when Les Ambassadeurs became a regular destination of some of the best known figures of art and the demi-monde, and almost every vaudeville and music hall entertainer that mattered in those days performed there, such as Aristide Bruant, Zulma Bouffar, Polaire, Paula Brébion, Paulus, Eugénie Fougère, Anna Judic, Fragson, and last but not least Mistinguett and Yvette Guilbert.

[2][8][9] Painters such as Edgar Degas (who painted the Café-Concert at Les Ambassadeurs and Singer with a Glove here) and Henri de Toulouse-Lautrec portrayed visitors at the venue.

With little talent for show business, he had to call on two 'kings' of the Paris nightlife: Eugène Cornuché (fr), creator of the famous restaurant Maxim's, and Henri Chauveau to manage the place artistically.

[9] Inspiring and following the emerging trend in Paris between 1900 and the First World War, they modeled the existing extravagant revue into the breath-taking, exotic, fast-moving spectacle that was to reach its peak in the années folles in the 1920s, while abandoning the café-concert formula to become a music hall.

The armchairs were replaced by a dance floor around which tables and chairs were set up that could seat 1,000 patrons; behind the boxes, a gallery; on the first floor, a balcony; the whole profusely flowered by heavy beds of roses, wisteria, stylised plants and intoxicatingly fragrant flowers, stretching up to the roof, giving the place the allure of a garden from Arabian Nights, sparkling with luminous fountains.

[16]) Following the success of Josephine Baker in the Revue Nègre in 1925, in May 1926 Les Ambassadeurs imported Lew Leslie's Blackbirds featuring Florence Mills, Edith Wilson, Johnny Hudgins and the Three Eddies with the Plantation Orchestra (led by violinist Ralph "Shrimp" Jones).

[23][24][25] In the long run, however, it proved too expensive to ensure the profitability of the operation, in particular with the steady rise in the French franc to the U.S. dollar from 1927, which made Paris less attractive for American tourists and residents.