Chapter II: Part 2

In this, indeed, were the very elements needed to call out the utmost ability of the national artists. The United States--we say it with all respect--has a keener eye for advertisement than any other nation. Let the American loose on a "whirlwind campaign"--whether in aid of church funds, an enormous commercial enterprise, or a world war--and he is in his element. All the possibilities of sign-boards, hoardings, flashlights, and every novelty and contrivance for catching the public eye, have been carried to their farthest limit, either of invention or of human endurance, on the other side of the Atlantic; and behind all this is the driving power of an intense, restless energy. It is not our place to speak here of the battlefields of Europe, and of how that energy and activity were thrown into the scale to weigh down the balance which had been trembling for so long. But in the United States, as elsewhere, it was inevitable that posters should be among the first munitions of war, and it was to be anticipated that, learning their lesson from the experiences of countries engaged in the struggle whilst their own yet remained in the position of a spectator, the State departments would improve upon the machinery which Europe had produced in this particular cause. To some extent this was done. As regards the magnitude of output, never was there such facility in the production of posters. Immediately on the outbreak of war, the Army, the Navy, and the Treasury Departments plunged into an orgy of advertisement, and employed not only their national artists, but men among the Allies and neutrals who had done distinguished work in the cause of universal freedom. That these artists were not slow to avail themselves of this new field for their restless energies is witnessed by the work done by Brangwyn and Raemaekers, who, like knights-errant, plunged with enthusiasm into this new campaign. Jonas, too, the French lithographer, was among the artists of other nations employed by the United States, and one of his posters--"Four Years in the Fight"--aiming to provide houses of cheer for the women of France, is reproduced in illustration No. 68.

We cannot, however, too often reiterate the fact that it is not enough to have a pronounced conviction and a definite purpose in doing things of this kind to do them well. The best poster artists--and here again we may instance Steinlen, Brangwyn and Pryse--are generally craftsmen of the highest order, having a very true sense of the historical development, and a perfect acquaintance with the mechanism and technique, of their art. This knowledge counts enormously, and is visible in the whole structure of the work produced. The bureaucrat who sits in his office conducting a hurried campaign on the telephone, and patronising art when at length it proves necessary to the community, fails on account of his ignorance of the real roots of the matter. The nation needed posters, so the American bureaucrat, like his brother in Whitehall, issued orders for posters to be designed--in much the same way as the British Food Controller ordered bacon to be provided, without a staff of provision experts to see that it was first properly cured.

It is, perhaps, a pity that Mr. Joseph Pennell's book on his own Liberty Loan poster[3] was not written as a textbook for the use of Government Departments earlier in the day. The writing of an elaborate treatise on a single war poster may seem at first sight to be giving altogether disproportionate importance even to an admirable example of this type of art, and it is in danger of placing the exponent under the accusation of appreciating his own labours at an excessively high value. But when all things like this have been said, the fact remains that the volume is a serious and dignified exposition of a fine poster by a craftsman who considers that due weight should be given to all that pertains to its actual production, from the original conception of the design to the satisfactory register and inking of the final stone. It should act as a wholesome corrective of the usual slipshod treatment accorded to the artist. Mr. Pennell is at least an enthusiastic lithographer. He knows the business right through; and his little series of essays should leave his reader convinced that a poster grows in power and influence upon the spectator just in accordance with the genuine craftsmanship displayed in it.

The total effect of a poster is cumulative: we feel its design; but we feel its design more strongly for its fitting colour scheme; and still more strongly when the designer knows and works upon all the subtle qualities and texture of the stone he uses. For its maximum influence the poster must be designed by a skilled lithographic artist (if lithography should be the medium chosen), executed upon stone by him, and printed either by him or under his direct supervision. It is the failure to appreciate this which has marred so many of the United States posters, and made them of little importance. Anyone who could draw has been considered suitable for the task of designing; anyone who could print has been considered equal to printing their posters. And so we have a great mass of work, some lithographed, some photo-lithographed, some produced from photo-process blocks in colour on varieties of glazed, unsuitable papers; but very few which leave one with the cool, satisfied feeling that here is good work well done. The influence of a work of art is an elusive thing, easily lost; and to a full understanding of it years of special training are necessary. The passer in the street may be unaware of the causes of his admiration or sympathy, but the effects upon him have been proved times without number.

Necessarily, however, there are many exceptions to this general failure in craftsmanship, cases in which artists triumphed over all mechanical obstacles, and instances of great lithographic firms, with contracts from the Government, who were skilled in poster production and able to act in genuine consonance with the designers. If we set up a well-defined standard, and place in the front rank men like Raleigh, Treidler, Pennell, and Young, who are very able lithographic artists, producing posters of a high order, there still remains a large group of designers whose work may be characterised as possessing, in a pronounced degree, what has been described as the "poster sense." They may not have the craftsmanship to make the poster all that--viewed as a complete artistic production--it should be; but there is "punch" in their sure and speedy way of conveying a message, in the pithiness and wit of their legends. Above all, they possess a great humanity--that sense of human suffering to be relieved, human wrongs to be righted, which kept the United States a beneficent neutral so long, and at length called her into the War. This is exemplified in their very best work. Raleigh's "Must Children Die, and Mothers Plead in Vain?" reproduced in No. 63, nobly illustrates it. Several other fine posters by this artist, in a style perhaps reminiscent of Brangwyn, yet full of original energy and stirred by genuine passion, deal with the same or similar sentiments. A large number of posters of varying merit follow this lead: "America the Home of All who Suffer, the Dread of All who Wrong," runs the legend on a poster by Paus; "Remember Belgium--Buy Bonds," says another; and it is a general strain.

The recruiting posters in particular have a freedom of design, a vigour and grip, which really tell. For when America came into the War, she started to hustle with all the feverish pent-up energy characteristic of the race. Posters like Christy's pretty girl in naval uniform exclaiming, "Gee! I wish I were a Man. I'd join the Navy"; Bancroft's ringing "To Arms!" and Whitehead's "Come on!" show a vigour and freshness which our official British recruiting posters never possessed. There was an air of glad youth in them which came like a Spring wind over our war-weary spirits.

In America, as elsewhere, all forms of activity were announced by posters--Recruiting, Food Economy, Red Cross Work, Homes for Women in France, War Loans, the organising of Polish and Czecho-Slovak citizens,[4] all kinds of propaganda, were advertised by this means.

It is unnecessary to draw further attention to Mr. Pennell's poster, "That Liberty shall not Perish from the Earth." He states his own intention in designing it: "My idea was New York City bombed, shot down, burning, blown up by an enemy, and this idea I have tried to carry out." He conveys, in an effective colour scheme, the impression of a purely imaginary air-raid--a raid that never was on sea or land--with results highly picturesque and impossible. It is to be reckoned, however, as one of the successful posters of the War.

Adolph Treidler in several designs has justified the expectations founded on his pre-war work, as will be seen from one of his posters here reproduced (illustration No. 66). The work of Young and Morgan is worthy of the highest commendation; and for Raleigh's steady craftsmanship and noble designs there can be nothing but praise.

VI.--OTHER COUNTRIES

To make a comprehensive survey of posters related to the War in all countries where they were issued would be a formidable task, not so much on account of the quantity of work of outstanding artistic merit, but because the range and variety of mediocre posters, which probably answered their purpose with tolerable efficiency at the moment, is so very extensive. All the nations engaged in the combat had something to proclaim in this manner, often a message of life or death, and others had much to display in propaganda posters all over the world.

Of the chief belligerents not yet mentioned, it is notable that Italy, the native home of the arts, produced few posters of the ordinary type that possessed either originality or definite individual character. The journalistic cartoon, always a powerful means of propaganda in Italy, had a great vogue in the earliest months of the war; and the most popular and able artists of the country fought for the Allied cause with an abandon and self-denial that one remembers with the warmest gratitude. In June and July, 1916, an exhibition of drawings was held at the Leicester Galleries, entitled "Italian Artists and the War." There were several actual poster designs, but by far the larger proportion of the drawings exhibited consisted of war cartoons and caricatures akin to those of Raemaekers and Dyson, though prints from them were extensively displayed upon newspaper bills and walls in Rome and other Italian cities. Serving a double purpose, they were to this extent small posters, and cannot be dismissed without some word of the high praise due to them. Such an incessant and effective war was waged upon Germany and German ideals by these cartoons that, before Italy threw in her lot with the Allies, the Embassies of the Central Powers sought to stay their issue, and to that end prosecuted the most prolific and merciless of the cartoonists, Gabriele Galantara. Cynicism, scorn, contempt, and an utter abhorrence of Germany and all her acts are expressed in these impulsive sketches; and it is no wonder that they acted as a powerful spur upon the Italian people, showing which way led towards freedom and humanity. It would seem, however, that this great campaign, begun so early by the Italian artists before their nation was ready to participate in the struggle, and continued with a violent energy during the earliest months of Italian fighting, exhausted their resources to a considerable extent. Moreover, many of the most eminent among them--Sachetti, Oppo, Ventura, Codognato, and others--at once joined the Italian forces, mostly as combatants, and a few older men, like Pogliaghi, accompanied the armies to illustrate, in thrilling terms, the formidable achievements of their country amid the mighty fastnesses of the Tyrol. When the time arrived for the Italian Government to issue War Loan and other posters, the most capable of her designers were no longer accessible.

The experience of other nations shows that really noble posters have been produced through artists being inspired by the cause rather than as a result of their employment by the State. Italy proved no exception to this. Such of her best designers as were left still devoted their energies to the production of cartoons; and in due time others returned to their previous work, wounded, like Oppo, cartoonist of the _Idea Nationale_, who, when the 130th Infantry Regiment was annihilated in July, 1915, was one of the five survivors, and came back to his paper with a useless arm, to wage war as of old for land and liberty. The cartoon being thus the most natural means of propaganda in Italy, such posters of the ordinary type as were produced were, in consequence, of an extremely secondary order; so much so that, in making a selection to exhibit at the Grafton Galleries in June, 1919, the Imperial War Museum chose only eight to represent Italy, and of the eight three were posters advertising Raemaekers' cartoons. One of these, "Neutral America and the Hun," is reproduced in illustration 75. Among the actual Italian examples, Barchi's "Sotto-scrivete" and Mauzan's "Fate tutti il vostro dovere" alone were notable.

Greece, on the contrary, showed a considerable facility in the production of war posters. But anxious as one is to consider in a favourable light whatever artistic creation emanates from the land which inspired and nourished Western art in its infancy, it is impossible to regard their war posters with anything more than an indulgent eye. Mr. Pennell, in his little book to which we have already referred, has claimed all notable productions in decorative art through the ages as posters, and would bid us look on the frieze of the Parthenon as an excellent piece of Greek poster art. It is a wild application, not to be taken too seriously. Modern art is not necessarily a development from the art of other ages; and even where the form is comparable, the purpose is widely divergent. For a vital modern art is for ever the expression of a new spirit, the revelation of a fresh aspect of life, another facet of a many-sided jewel; and it is this unexpected quality, the surprise of this revelation, which is so valuable to the world. Nothing new, nothing fresh, appeared in the Greek posters: tame and poor in line, meagre in their quality as reproductions, we must regard them as a brave attempt rather than applaud their achievement.

Japanese posters issued during the War attracted some attention, and favourable comment has been made from time to time upon their merits; but it seems probable that the quaint English inscriptions many of them bore, rather than their intrinsic qualities as posters, beguiled the critics into taking a genial and generous view of their worth. Such sentences as "The severe battle at the Kuragaw--German troops are extremely defeated," "Our troops attack on Tsingau Retreat German Army and Affrighted," and a very happy mis-spelling, "The Gritish _Sydney_ forced the German _Emden_ to fight and the sharp action that ensued," are naturally attractive and amusing. The Japanese, in their colour-printing from wood blocks, invented the most perfect poster technique in the world for use on a small scale. The theatrical posters they produced in the eighteenth and early nineteenth centuries could not be surpassed. They contain in miniature all the qualities we most value in this branch of art, and are at the present day as fresh and enthralling as if they referred to matters of contemporary interest. The Japanese have proved themselves a wonderfully adaptable race: they have utilised our modern engines of war with an amazing application, and avoided errors, not always obvious, into which other nations have fallen. But while this has its admirable side in the mechanical things of life, imitation in the processes of art proves altogether a failure. The old Japanese spirit has departed. One is tempted to think that the Japanese understanding of their native art is on the wane. For their posters very little can be said. The curse of European influence is apparent in the modern cheap lithographs, crude in colour and design, which they have produced. We have not been fortunate in finding one that would worthily serve the purpose of an illustration.

Of the British Colonies, Australia, Canada, and South Africa produced posters of quite a high standard. The eminence attained by the artists of the _Sydney Bulletin_ led one to expect some notable examples from New South Wales; but that province, noble as its achievements were through the fighting qualities of its sons, contributed little to poster art. The Canadian poster reproduced in illustration 74, simple in idea and design, with its fitting legend, shows what promise there is, and indeed attainment, among the Western children of our race. A poster from India (illustration No. 72) is interesting, since it makes an appeal to the Marathas in their own tongue, and in what we are given to understand is tolerably good native verse. The designer, however, is an Englishman resident in India.

A few Russian posters made their appearance previous to the Revolution in that unhappy country. Others have occasionally been issued since, though we have seen none of any outstanding merit. We reproduce, in illustration No. 77, a poster which, when exhibited, was described as a "Bolshevist cartoon"; but there seems more reason to regard it as an example of German propaganda in Russia, of the period following the so-called Peace of Brest-Litovsk. Europe, a sad and worn woman, stands with a youth before an idol which bears the name "Anglia"; below is the inscription, in Russian characters: "How much longer shall we sacrifice our sons to this accursed idol?" It is at best a poor thing, and, if German, most carefully designed to bear the impress of a Russian product.

A series of six eminently successful posters was issued as an appeal to the Czecho-Slovak people in the United States. For consistent merit, alike in design, colour, and general conception, they take a high place among the posters of the War. The artist, V. Preissig, is a Bohemian living in America, who did the work for the sake of recruiting his fellow-countrymen there. Perhaps the best of them is that shown in our coloured illustration, No. 76, "Czecho-Slovaks! Join our free colours!" with its flags of the four Bohemian States as its main feature, carried by marching men whose heads come in dark silhouette along the bottom of the design. The poster is admirably planned, and the lettering on this and the whole series is simple and distinguished.

Many of us in England recall with amusement the various spy stories which went the rounds among otherwise perfectly reliable people in the early days of the War. We all seemed for a time to have an intimate friend or relation whose nursery governess, butler, or confidential clerk had been discovered in a wanton act of espionage. It was on the most unimpeachable authority. Happily it was left for Brazil to embody its attack of this spy-fever in the form of a poster. "Keep your eyes open and your mouth shut," runs its legend. The poster shows representations of the different disguises under which spies are probably concealing themselves--as nursemaids, schoolboys, tramps, and so on--and warns the public to avoid them. Life in Brazil would doubtless be exciting for an innocent stranger whilst the mania lasted.

Holland, living in dangerous proximity to our principal enemy, sought generally to avoid material of an inflammatory nature in her posters. Very few of them are notable. We illustrate in colour, on Plate 73, the poster of an exhibition at Tilburg of the "Fraternelle Belge," one of the most satisfactory examples of this class produced in the country. Such institutions as this and the Dutch Anti-War Society are typical sources of inspiration for their posters during the War. But a word must be said of the one exception, the Dutch artist whose force of character and definiteness of aim made him, though a neutral, a protagonist in the cause for which our country's blood was being shed. Louis Raemaekers, cartoonist of the Amsterdam _Telegraaf_, fearless knight-errant for the sake of humanity, who toiled with a pencil of flame against the outragers and oppressors of prostrate Belgium, was worth an invincible battalion to the Allies. His posters were few, and not usually issued in Holland. It is by his cartoons that he will be remembered, a great universal figure, with an irresistible passion for freedom which found full expression in his numberless masterly drawings.

INDEX TO ARTISTS' NAMES

NOTE.--_The heavy black numerals indicate pictures in the book; the_ number of the picture _is given in this case._

Adler, Jules, =32=

Arpellus, A. K., 27, =58=

Babcock, --, =80=

Bancroft, --, 35

Barchi, --, 38

Beardsley, Aubrey, 7, 15, 28

"Beggarstaff Brothers," 15

Biro, --, 27, =57=, =61=

Bonnard, Pierre, 16

Bradley, Will H., 28, 29

Brangwyn, Frank, 3, 9, 10, 13, 14, 19, 20, 31, 34, =5=, =7=, =19=

Brown, T. G., =4=

Burns, Cecil L., =72=

Caffyn, --, 11

Capon, G., =26=

Cheret, Jules, 15, 16, 28

Christy, H. C., 34

Clausen, George, 11, =10=

Codognato, Plinio, 37

Crane, Walter, 15

Danko, --, =50=

Dyson, Will, 37

Engelhard, F. K., 23, 26, =43=, =56=

Erdt, H. R., =39=

Erler, --, 23, =37=

Faivre, Jules Abel, 17, 18, 19, 24, =23=, =30=

Faragogez, --, =60=

Fouqueray, D. Charles, 19, =22=, =25=

Franke, --, =51=

Galantara, Gabriele, 37

Gipkins, --, =78=

Gould, J. J., 29

Grasset, Eugene, 16

Guillaume, --, 16

Gulbransson, Olaf, =46=

Hansi, --, 20

Hassall, John, =13=, =14=

Hatt, Doris, 11

Jackson, F. Ernest, 11, =3=

Jonas, L., 31, =68=

Krafter, Roland, 27, =55=

Kuerthy, --, 27, =59=, =62=

Leete, Alfred, 9

Lehmann, Otto, =35=

Lenz, M., =45=

Leonard, Otto, 23, 26, =38=

Leroux, Auguste, =33=

Lipscombe, Guy, 11

Mauzan, --, 28

Morgan, --, 35, =70=

Mucha, Alphonse, 15, 16

Nash, Paul, =16=

Neumon, Maurice, 18, =29=

Nicholson, W., 7

O. A., =73=

Offner, Alfred, =79=

Oppenheim, Louis, 9, 25

Oppo, --, 37, 38

Orpen, Sir W., =17=

Parrish, Maxfield, 29

Partridge, Bernard, 11, =2=, =12=, =15=

Paul, Gerd, =44=

Paus, --, 34

Penfield, Edward, 28, 29

Pennell, Joseph, 31, 32, 33, 35, 39, =67=

Plontke, P., =34=, =52=

Pogliaghi, Ludovico, 37

Polte, Oswald, =40=

Poulbot, --, 17, 18, 19, 24, =20=, =76=

Preissig, V., 26, 42, =76=

Pryde, --, 7

Pryse, G. Spencer, 3, 10, 13, 31, =8=, =9=

Puchinger, Erwin, 27, =36=

Raemaekers, Louis, 23, 31, 37, 38, 43, =71=, =75=

Raleigh, --, 33, 34, 35, =63=

Raven-Hill, L., =11=

Roll, Auguste, 19, 24, =21=

S. A., =41=

Sachetti, E., 37

Sem, --, =27=

Sims, Charles, 11

Steinlen, Theophile Alexandre, 15, 16, 17, 18, 20, 24, 28, 29, 31, =28=

Toulouse-Lautrec, H. de, 16

Treidler, Adolph, 29, 33, 35, =66=

Ventura, --, 37

West, J. Walter, 11, =6=

Whistler, J. A. McNeill, 12

Whitehead, Walter, 33

Wildhack, Robert J., 29

Wilkinson, Norman, =18=

Willette, Adolphe, 16, 17, 18, 19, 24, =31=

Wohlfeld, --, 26, _Frontispiece_

Young, Ellsworth, 33, 35, =65=

PRINTED IN GREAT BRITAIN BY BILLING AND SONS, LTD., GUILDFORD

REPRODUCTIONS OF POSTERS

GROUPED UNDER THE COUNTRIES OF ISSUE

2.

BERNARD PARTRIDGE.

"TAKE UP THE SWORD OF JUSTICE."

Issued by the Parliamentary Recruiting Committee: No. 106 of their posters.

3.

F. ERNEST JACKSON.

"SONG TO THE EVENING STAR."

This poster was one of a group of four which were sent out by the Underground Electric Railways Company of London for use in dug-outs, etc., in France and other places abroad, Christmas, 1916. The drawing was the gift of the artist.

4.

T. GREGORY BROWN.

"THEIR HOME, BELGIUM, 1918."

British War Loan poster.

5.

FRANK BRANGWYN, R. A.

"BRITAIN'S CALL TO ARMS."

Recruiting poster, published by the Underground Electric Railways Company of London, 1914. The stone upon which Mr. Brangwyn drew this lithograph--the first great poster of the War--was subsequently presented to the Victoria and Albert Museum.

6.

J. WALTER WEST.

"HARVEST-TIME, 1916: WOMEN'S WORK ON THE LAND."

Issued by the Underground Electric Railways Company of London.

7.

FRANK BRANGWYN, R.A.

Poster for the French Army Orphanage.

"To ensure that the little orphans shall have a home and motherly care, education in the country, a career suited to each child, and the religion of their fathers."

8.

GERALD SPENCER PRYSE.

"THE ONLY ROAD FOR AN ENGLISHMAN. THROUGH DARKNESS TO LIGHT; THROUGH FIGHTING TO TRIUMPH."

Published by the Underground Railways Company of London, Ltd., 1914.

9.

GERALD SPENCER PRYSE.

"BELGIUM REFUGEES IN ENGLAND."

Poster of the Belgian Red Cross Fund in London, 1915.

10.

GEORGE CLAUSEN, R.A.

"MINE BE A COT BESIDE THE HILL."

This poster was one of a group of four which were sent out by the Underground Electric Railways Company of London, for use in dug-outs, huts, etc., in France and other places abroad, Christmas, 1916. The drawing was the gift of the artist.

11.

L. RAVEN-HILL.

"THE WATCHERS OF THE SEAS."

Recruiting poster for the British Navy, 1915.

12.

BERNARD PARTRIDGE.

1389-1916.

"KOSSOVO DAY IS THE SERBIAN NATIONAL DAY."

Poster of a British "Flag Day." 25th June, 1916.

13.

JOHN HASSALL.

Poster of the Belgian Canal Boat Fund.

14.

JOHN HASSALL.

"MUSIC IN WAR-TIME."

Grand Patriotic Concert, Albert Hall.

Poster of the Professional Classes War Relief Council.

15.

BERNARD PARTRIDGE.

"HAVEN."

Poster of the British Women's Hospital Fund, appealing for subscriptions toward the "Star and Garter" home for men disabled by the War.

16.

PAUL NASH.

Poster of an Exhibition of War Paintings and Drawings by Paul Nash at the Leicester Galleries, London, May, 1916.

17.

SIR WILLIAM ORPEN, R.A.

Poster of an Exhibition of War Paintings and Drawings executed by Major William Orpen on the Western Front, at Agnew's Galleries, London, 1918.

18.

NORMAN WILKINSON.

"THE DARDANELLES."

War Sketches in Gallipoli.

Poster of an Exhibition at the Fine Art Society, London, 1915.

19.

FRANK BRANGWYN, R.A.

"AT NEUVE CHAPELLE."

"YOUR FRIENDS NEED YOU. BE A MAN."

British Recruiting Poster.

20.

POULBOT.

"POUR QUE PAPA VIENNE EN PERMISSION, S'IL VOUS PLAIT."

(So that papa may come on leave, if you please.)

Poster of the French "Flag Days" in Paris, 25th and 26th December, 1915.

21.

AUGUSTE ROLL.

"POUR LES BLESSES DE LA TUBERCULOSE."

(For those wounded by tuberculosis.)

Poster of the National Day for the Benefit of ex-Soldiers suffering from Tuberculosis. Paris, 1916.

22.

D. CHARLES FOUQUERAY.

"LE CARDINAL MERCIER PROTEGE LA BELGIQUE."

(Cardinal Mercier protects Belgium.)

Poster published in Paris, 1916.

23.

JULES ABLE FAIVRE.

"ON LES AURA!" (We shall get them!) Subscribe.

Poster of the Second National Defence Loan.

24.

JULES ABEL FAIVRE.

"SAUVONS-LES!" (Let us save them!)

Poster of the National Day for the benefit of ex-Soldiers suffering from tuberculosis.

25.

D. CHARLES FOUQUERAY.

"LA JOURNEE SERBE, 25 JUIN, 1916."

Poster of a French "Flag Day" for the Serbian Relief Fund, on the Anniversary of the Battle of Kossovo.

26.

G. CAPON.

"LA FEMME FRANCAISE PENDANT LA GUERRE."

(French Women during the War.)

Poster of the Kinematograph Section of the French Army.

27.

SEM.

"POUR LE DERNIER QUART D'HEURE ... AIDEZ-MOI!"

(For the last quarter of the hour ... help me!)

Poster of the French War Loan, 1918.

28.

THEOPHILE ALEXANDRE STEINLEN.

Poster of the French "Flag Days," 25th and 26th December, 1915. Organized by Parliament.

29.

MAURICE NEUMON.

Poster of the French "Flag Days," 25th and 26th December, 1915. Organized by Parliament.

30.

JULES ABEL FAIVRE.

"POUR OUT YOUR GOLD FOR FRANCE. GOLD FIGHTS FOR VICTORY."

Poster of the French War Loan, 1915.

31.

ADOLPHE WILLETTE.

"BY OURSELVES AT LAST!"

Poster of the French "Flag Days," 25th and 26th December, 1916. Organized by Parliament.

32.

JULES ADLER.

"THEY, TOO, ARE DOING THEIR DUTY."

Poster of the French War Loan, 1915.

33.

AUGUSTE LEROUX.

"SUBSCRIBE FOR FRANCE WHO IS FIGHTING! AND FOR THAT LITTLE ONE WHO GROWS BIGGER EVERY DAY."

Poster of the third French War Loan.

34.

PLONTKE.

"FUeR DIE KRIEGSANLEIHE!"

(For the War Loan.)

German War Loan poster issued in Berlin.

35.

OTTO LEHMANN.

"STUTZT UNSRE FELDGRAUEN. ZEREISST ENGLANDS MACHT. ZEICHNET KRIEGSANLEIHE."

(Support our Field Greys. Rend England's might. Subscribe to the War Loan.)

Issued in Cologne.

36.

ERWIN PUCHINGER.

"ZEICHNET 5-1/2% DRITTE KRIEGSANLEIHE."

(Subscribe to the 5-1/2% Third War Loan.)

Issued in Vienna.

37.

ERLER.

"DER 9TE PFEIL. ZEICHNET KRIEGSANLEIHE."

(The ninth arrow. Subscribe to the War Loan.)

German War Loan poster.

38.

LEONARD.

"DER HAUPTFEIND IS ENGLAND."

"When, still compelled to fight and bleed,
When, suffering deprivation everywhere,
You go without the coal and warmth you need,
With ration-cards and darkness for your share,
With peace-time work no longer to be done,--
Someone guilty there must be--
England, the arch-enemy!
Stand then united, steadfastly!
For Germany's sure cause will thus be won."

39.

H. R. ERDT.

"SOLL UND HABEN DES KRIEGS-JAHRES 1917."

(Losses and gains of the War year 1917.)

German propaganda poster.

40.

OSWALD POLTE.

"DEM VATERLANDE!"

"POMMERSCHE JUWELEN UND GOLDANKAUFSWOCHE
30 JUNI-6 JULI."

(For the Fatherland.)

Poster advertising the "Pommeranian sale week for jewels and gold, 30 June-6th July."

Issued in Berlin.

41.

A. S.

"ZEICHNET FUeNFTE OeSTERREICHISCHE KRIEGSANLEIHE."

(Subscribe to the fifth Austrian War Loan.)

Poster issued in Vienna.

42.

"SEGITESTEK A DIADALMAS BEKETEZ."

Hungarian War Loan Poster--"Help the Victorious Peace."

Issued in Budapest, 1917.

43.

F. K. ENGELHARD.

"NEIN! NIEMALS!" (No! Never!)

German poster.

44.

GERD PAUL.

"ES GILT DIE LETZEN SCHLAeGE,
DEN SIEG ZU VOLLENDEN!
ZEICHNET KRIEGSANLEIHE!"

(It takes the last blow to make victory complete. Subscribe to the War Loan!)

45.

M. LENZ.

"ZEICHNET ACHTE KRIEGSANLEIHE."

(Subscribe to the eighth War Loan.)

Austrian poster, issued in Vienna.

46.

OLAF GULBRANSSON.

Poster of the Ludendorff Fund for the Disabled.

Published 1918.

47.

"ESPOSIZIONE DE GUERRA, TRIESTE, 1917."

(War Exhibition, Trieste, 1917.)

Austrian poster.

48.

"ZEICHNET VIERTE OeSTERREICHISCHE KRIEGSANLEIHE."

(Subscribe to the fourth Austrian War Loan.)

49.

"OeSTERR-UNGAR. KRIEGSGRAeBER AUSSTELLUNG."

(Austrian-Hungarian War Graves Exhibition.)

Poster of an Exhibition in Berlin.

50.

DANKO.

"BE A VOeROeS HADSEREGBE!"

(For the conquering army!)

Hungarian War Loan poster.

51.

FRANKE.

"WILLST DU DEN FRIEDEN ERNTEN
MUSST DU SAeEN--DARUM."

(If you would reap peace,
You must sow to that end.)

Poster of the eighth Austrian War Loan.

52.

P. PLONTKE.

"ANNAHMESTELLE UND SAMMELBEUTELAUSGABE: SCHUeLER-SAMMELDIENST DER STADT MAINZ."

(Collection among girls in the schools of Mainz.)

Poster of the German Women's Hair Collection Committee for Magdeburg.

53.

"KAISER- UND VOLKSDANK FUeR HEER UND FLOTTE."

(Kaiser and people's thanksoffering for Army and Navy.)

Poster for the Frankfort Christmas offering, 1917.

54.

"HELFT! DEN BRAVEN SOLDATEN...."

(Help! for the brave soldiers....)

Poster of the Soldiers' Aid Committee, Berlin.

55.

ROLAND KRAFTER.

The troops home-coming for Christmas.

Austrian poster.

56.

F. K. ENGELHARD.

"ELEND UND UNTERGANG FOLGEN DER ANARCHIE."

(Misery and destruction follow anarchy.)

German poster of the Revolution, 1918.

57.

BIRO.

Hungarian poster depicting the Russian invasion.

Issued in Budapest.

58.

A. K. ARPELLUS.

"ZEICHNET 7. KRIEGSANLEIHE."

Subscribe to the seventh War Loan.

Austrian poster, issued in Vienna.

59.

KUeRTHY.

Hungarian War Loan poster.

Issued in Budapest, 1917.

60.

FARAGOGEZ.

Hungarian War Loan poster.

Issued in Budapest.

61.

BIRO.

Hungarian War Loan poster.

Issued in Budapest, 1917.

62.

KUeRTHY.

Hungarian War Loan poster.

Issued in Budapest, 1917.

63.

RALEIGH.

"MUST CHILDREN DIE AND MOTHER PLEAD IN VAIN? BUY MORE LIBERTY BONDS."

American War Loan poster.

64.

"BOOKS WANTED FOR OUR MEN IN CAMP AND 'OVER THERE.'"

Poster of the American Association of Libraries for supplying books to the troops on service.

65.

ELLSWORTH YOUNG.

"REMEMBER BELGIUM."

"BUY BONDS: FOURTH LIBERTY LOAN."

American poster, 1918.

66.

ADOLPH TREIDLER.

"FOR EVERY FIGHTER A WOMAN WORKER,
CARE FOR HER THROUGH THE Y.W.C.A."

Poster of the United War Work Campaign, American Y.W.C.A.

67.

JOSEPH PENNELL.

"THAT LIBERTY SHALL NOT PERISH FROM THE EARTH."

Poster of the fourth American War Loan, 1918.

68.

L. JONAS.

"FOUR YEARS IN THE FIGHT--
THE WOMEN OF FRANCE.
WE OWE THEM HOUSES OF CHEER."

American poster.

69.

"AMERICA CALLS.
ENLIST IN THE NAVY."

Recruiting poster for the U.S. Navy, 1917.

70.

MORGAN.

"FEED A FIGHTER."

American Food Economy poster.

71.

LOUIS RAEMAEKERS.

"ENLIST IN THE NAVY."

"AMERICANS! STAND BY UNCLE SAM FOR LIBERTY AGAINST TYRANNY."

--THEODORE ROOSEVELD.

Recruiting poster for the U.S. Navy.

72.

CECIL L. BURNS.

"VICTORY TO THE MARATHAS!"

"Unite, ye men,
And from his strongholds drive the foe.
Nothing but deeds like these can win
A fame that shall endure."

Anglo-Indian recruiting poster. Issued in Bombay, 1915.

73.

A. O.

"IN BELGIE BY DE ZORG."

(The home of distress in Belgium.)

"BELGIAN ART FOR BELGIAN DISTRESS."

Poster of an Exhibition at Tilburg, Holland, 1917.

La Fraternelle Belge.

74.

"KEEP ALL CANADIANS BUSY.
BUY 1918 VICTORY BONDS."

Canadian poster.

75.

LOUIS RAEMAEKERS.

"NEUTRAL AMERICA AND THE HUN."

Poster of an Exhibition of Raemaekers cartoons in Milan.

76.

V. PREISSIG.

"CZECHOSLOVAKS! JOIN OUR FREE COLOURS."

One of six recruiting posters issued by the Czechoslovak Recruiting Office, New York, U.S.A., 1918.

Printed at the Wentworth Institute, Boston, U.S.A.

77.

"EUROPE AND THE IDOL."

"HOW MUCH LONGER SHALL WE SACRIFICE OUR SONS TO THIS ACCURSED IDOL?"

Revolutionary poster in Russia. ? German propaganda. (The inscription on the idol is "Anglia.")

78.

GIPKENS.

"BRINGT EUREN GOLDSCHMUCK DEN GOLDANKAUFSSTELLEN!"

(Bring your gold ornaments to the gold-purchase depot!)

German poster.

79.

ALFRED OFFNER.

"ZEICHNET 7. KRIEGSANLEIHE."

(Subscribe to the seventh War Loan.)

Austrian poster, issued in Vienna.

80.

BABCOCK.

"JOIN THE NAVY: THE SERVICE FOR FIGHTING MEN."

Recruiting poster for the U.S. Navy.

Footnotes:

[1] While this is being written, our authorities are again placarding our walls with indifferent posters showing the advantages of life in the Army as compared with the "disadvantages" of civil life, and embodying an undignified appeal to Britons to join the Army for the sake of playing cricket and football and seeing the world for nothing!

[2] It is worth noting that, after Germany had set a value on Raemaeker's head, her authorities did not disdain to employ his genius, when it suited their purpose, borrowing his famous cartoon "The Dance of Death" for denunciation of Berlin's mad craze for gaiety, with the words "Sein Tanzer ist Tod."

[3] Joseph Pennell's "Liberty Loan Poster." A textbook for artists and amateurs, Governments and teachers and printers. 1918.

[4] The Czecho-Slovak posters are referred to in the following chapter.

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