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+The Project Gutenberg EBook of War Posters Issued by Belligerent and
+Neutral Nations 1914-1919, by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: War Posters Issued by Belligerent and Neutral Nations 1914-1919
+
+Author: Various
+
+Editor: Martin Hardie
+        Arthur K. Sabin
+
+Release Date: April 2, 2011 [EBook #35753]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK WAR POSTERS ISSUED BY ***
+
+
+
+
+Produced by Bryan Ness and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive.)
+
+
+
+
+
+
+
+
+
+WAR POSTERS
+
+
+
+
+BRITISH WAR FRONTS
+
+VOLUMES ILLUSTRATED BY MARTIN HARDIE, A.R.E.
+
+OUR ITALIAN FRONT
+
+     Described by H. WARNER ALLEN. With 50 full-page illustrations in
+     colour, and a sketch map. Square demy 8vo., cloth.
+
+     Price 25s. net.
+
+BOULOGNE: A WAR BASE IN FRANCE
+
+     Containing 32 reproductions--8 in colour and 24 in sepia--from
+     drawings completed on the spot. Square demy 8vo., cloth.
+
+     Price 7s. 6d. net.
+
+
+OTHER VOLUMES
+
+THE SALONIKA FRONT
+
+     Painted by WILLIAM T. WOOD, R.W.S. Described by CAPTAIN A. J. MANN,
+     R.A.F. With 32 full-page illustrations in colour, and 8 in black and
+     white; also a sketch map. Square demy 8vo., cloth.
+
+     Price 25s. net.
+
+THE NAVAL FRONT
+
+A Book dealing with the world-wide front held by the British Navy
+throughout the war.
+
+     By LIEUT. GORDON S. MAXWELL, R.N.V.R. Illustrated in colour by LIEUT.
+     DONALD MAXWELL, R.N.V.R. Containing 32 full-page illustrations, 16 of
+     them in colour, Square demy 8vo., cloth.
+
+     _In Preparation._
+
+THE IMMORTAL GAMBLE
+
+And the part played in it by H.M.S. "Cornwallis."
+
+     By A. T. STEWART, Acting-Commander, R.N., and the REV. C. J. E.
+     PESHALL, Chaplain, R.N. With 32 illustrations and a map.
+
+     Price 6s. net; now offered at 3s. 6d. net.
+
+MERCHANT ADVENTURERS, 1914-1918
+
+     By F. A. HOOK. With a Foreword by the Rt. Hon. LORD INCHCAPE OF
+     STRATHNAFER, G.C.M.C., G.C.S.I., etc. Containing 32 full-page
+     illustrations from photographs, and appendixes. Large crown 8vo.,
+     cloth.
+
+     _In the Press._
+
+PUBLISHED BY
+
+A. AND C. BLACK, LTD., 4, 5 AND 6 SOHO SQUARE LONDON, W. 1.
+
+
+
+
+[Illustration: 1]
+
+
+A. WOHLFELD.
+
+"FRAUEN UND MAeDCHEN! SAMMELT FRAUENHAAR!"
+
+(Women and girls! collect women's hair!)
+
+Poster appealing for gifts of women's hair, issued from the office of the
+Collecting Committee, Berlin.
+
+
+
+
+  WAR POSTERS
+  ISSUED BY BELLIGERENT AND
+  NEUTRAL NATIONS 1914-1919
+
+
+  SELECTED & EDITED BY
+  MARTIN HARDIE AND
+  ARTHUR K. SABIN
+
+
+  A. & C. BLACK, LTD.
+  SOHO SQUARE, LONDON, W.
+  1920
+
+
+
+
+  TO FRANK PICK, ESQ.
+
+  OF THE UNDERGROUND ELECTRIC RAILWAYS COMPANY,
+  IN HONOUR OF HIS BRAVE AND SUCCESSFUL EFFORT
+  TO LINK ART WITH COMMERCE
+
+
+
+
+CONTENTS
+
+
+                               PAGES
+
+  CHAPTER I.
+    POSTERS AND THE WAR            1
+
+  CHAPTER II.
+    GREAT BRITAIN                  7
+
+  CHAPTER III.
+    FRANCE                        15
+
+  CHAPTER IV.
+    GERMANY--AUSTRIA-HUNGARY      21
+
+  CHAPTER V.
+    UNITED STATES OF AMERICA      28
+
+  CHAPTER VI.
+    OTHER COUNTRIES               36
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+ARRANGED UNDER THE NAMES OF ARTISTS AND GROUPED UNDER THE COUNTRIES OF
+ISSUE
+
+_Illustrations marked with an asterisk (*) are in colour._
+
+
+_GERMANY_
+
+1. *A. WOHLFELD.
+
+     FRAUEN UND MADCHEN! SAMMELT FRAUENHAAR! (Women and girls! Collect
+     your hair!) A poster appealing for gifts of women's hair, issued from
+     the office of the collecting Committee, Berlin.
+
+
+_GREAT BRITAIN_
+
+2. *BERNARD PARTRIDGE.
+
+     TAKE UP THE SWORD OF JUSTICE. Issued by the Parliamentary Recruiting
+     Committee. No. 106 of their posters. Also issued as a poster stamp
+     and as a "Flag Day" souvenir.
+
+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 in France and other places abroad,
+     Christmas, 1916.
+
+4. *T. GREGORY BROWN.
+
+     THEIR HOME, BELGIUM. War Loan Poster, published in 1918.
+
+5. FRANK BRANGWYN, R.A.
+
+     BRITAIN'S CALL TO ARMS. Recruiting poster published by the
+     Underground Electric Railways Company of London, 1914.
+
+6. J. WALTER WEST.
+
+     HARVEST-TIME, 1916: WOMEN'S WORK ON THE LAND. Issued by the
+     Underground Electric Railways Company of London, Ltd.
+
+7. FRANK BRANGWYN, R.A.
+
+     ORPHELINAT DES ARMEES. (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.") Poster for a French "Flag Day." Issued in London.
+
+8. GERALD SPENCER PRYSE.
+
+     THE ONLY ROAD FOR AN ENGLISHMAN. THROUGH DARKNESS TO LIGHT; THROUGH
+     FIGHTING TO TRIUMPH. The first war poster by Spencer Pryse. Published
+     by the Underground Electric Railways Company of London, 1914.
+
+9. GERALD SPENCER PRYSE.
+
+     BELGIAN REFUGEES IN ENGLAND. Issued by 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.
+
+     KOSSOVO DAY IS THE SERBIAN NATIONAL DAY. Poster of a British "Flag
+     Day," June 25, 1916.
+
+13. JOHN HASSALL.
+
+     BELGIAN CANAL BOAT FUND. For relief of the civil population behind
+     the firing lines.
+
+14. JOHN HASSALL.
+
+     MUSIC IN WAR-TIME: GRAND PATRIOTIC CONCERT, ALBERT HALL. Poster of
+     the Professional Classes War Relief Council.
+
+15. BERNARD PARTRIDGE.
+
+     HAVEN. STAR AND GARTER HOME. Poster of the British Women's Hospital
+     Fund, appealing for subscriptions toward the expense of converting
+     the Star and Garter Hotel, Richmond, into a home for men incurably
+     disabled in the War.
+
+16. PAUL NASH.
+
+     Poster of an Exhibition of War Paintings and Drawings at the
+     Leicester Galleries, London, May, 1918.
+
+17. SIR WILLIAM ORPEN, R.A.
+
+     Poster of an Exhibition of War Paintings and Drawings, executed on
+     the Western Front by Major William Orpen. At Agnew's Galleries,
+     London, 1919.
+
+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.
+
+
+_FRANCE_
+
+20. *POULBOT.
+
+     POUR QUE PAPA VIENNE EN PERMISSION, S'IL VOUS PLAIT. (So that papa
+     may come home on leave, if you please.) Poster issued by the Comite
+     Central d'Organisation de la Journee du Poilu--French "Flag Days" in
+     Paris, Christmas-time, 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.
+
+22. *D. CHARLES FOUQUERAY.
+
+     LE CARDINAL MERCIER PROTEGE LA BELGIQUE. (Cardinal Mercier protects
+     Belgium.) Published in Paris, 1916.
+
+23. JULES ABEL FAIVRE.
+
+     ON LES AURA! (We shall get them!) Poster of the Second War Loan,
+     1916.
+
+24. JULES ABEL FAIVRE.
+
+     SAUVONS-LES. (Let us save them.) Poster of the National Day for the
+     Benefit of ex-Soldiers suffering from Tuberculosis. Issued in Paris,
+     1916.
+
+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,
+     1389. Issued in Paris.
+
+26. G. CAPON.
+
+     LA FEMME FRANCAISE PENDANT LA GUERRE. (French women during the war.)
+     Poster of the Kinematograph Section of the French Army. Issued in
+     Paris.
+
+27. SEM.
+
+     POUR LE DERNIER QUART D'HEURE ... AIDEZ-MOI! (For the last
+     quarter-of-an-hour ... help me!) French War Loan Poster, 1918. Issued
+     in Paris.
+
+28. THEOPHILE ALEXANDRE STEINLEN.
+
+     JOURNEE DU POILU, 1915. Poster of the French "Flag Days," December 25
+     and 26, 1915. Organised by Parliament.
+
+29. MAURICE NEUMON.
+
+     JOURNEE DU POILU, 1915. Poster of the French "Flag Days," December 25
+     and 26, 1915. Organised by Parliament.
+
+30. JULES ABEL FAIVRE.
+
+     POUR LA FRANCE VERSEZ VOTRE OR. L'OR COMBAT POUR LA VICTOIRE. (Pour
+     out your gold for France. Gold fights for victory.) Poster of the
+     French War Loan, 1915.
+
+31. ADOLPHE WILLETTE.
+
+     ENFIN SEULS...! JOURNEE DU POILU. (By ourselves at last!) Poster of
+     the French "Flag Days," December 25 and 26, 1915. Organised by
+     Parliament.
+
+32. JULES ADLER.
+
+     EUX AUSSI! FONT LEUR DEVOIR. (They, too, are doing their duty.)
+     Poster of the French War Loan, 1915.
+
+33. AUGUSTE LEROUX.
+
+     SOUSCRIVEZ POUR LA FRANCE QUI COMBAT! POUR CELLE QUE CHAQUE JOUR
+     GRANDIT. (Subscribe for the sake of France who is fighting, and for
+     that little one who grows bigger every day.) Poster of the Third
+     French War Loan.
+
+
+_GERMANY AND AUSTRIA-HUNGARY_
+
+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 9{TE} PFEIL. ZEICHNET KRIEGSANLEIHE. (The ninth arrow. Subscribe
+     to the War Loan.) German War Loan Poster.
+
+38. LEONARD.
+
+     DER HAUPTFEIND IST ENGLAND! (The arch-enemy is England!) German
+     Propaganda Poster.
+
+        (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. OSWARD POLTE.
+
+     DEM VATERLANDE! POMMERSCHE JUWELEN--UND GOLDANKAUFSWOCHE.
+     (Advertising the "Pomeranian Sale Week for Gold and Jewels.") Issued
+     in Berlin.
+
+41. A. S.
+
+     ZEICHNET FUeNFTE OeSTERREICHISCHE KRIEGSANLEIHE. (Subscribe to the
+     Fifth Austrian War Loan.) Poster issued in Vienna.
+
+42. SEGITSETEK A DIADALMAS BEKEHEZ. (Help the victorious peace.) War Loan
+Poster. Published in Budapest, 1917.
+
+43. F. K. ENGELHARD.
+
+     NEIN! NIEMALS! (No! Never!)
+
+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.)
+     Issued in Vienna.
+
+46. OLAF GULBRANNSON.
+
+     LUDENDORFF-SPENDE FUeR KRIEGSBESCHAeDIGTE. (Ludendorff Fund for the
+     Disabled.) Issued in Munich, 1918.
+
+47. ESPOSIZIONE DI GUERRA, TRIESTE, 1917. (War Exhibition, Trieste, 1917.)
+
+48. ZIECHNET VIERTE OeSTERREICHISCHE KRIEGSANLEIHE. (Subscribe to the
+Fourth Austrian War Loan.)
+
+49. OeSTERR-UNGAR. KRIEGSGRAeBER AUSSTELLUNG. (Austro-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 SAeENDARUM. (If you would reap
+     peace, You must sow to that end.) Poster of the Eighth Austrian War
+     Loan.
+
+52. P. PLONTKE.
+
+     ANNAHMESTELLE UND SAMMELBEUTELAUSGABE. (Collection among girls in the
+     schools at Mainz.) Poster of the German Women's Hair Collection
+     Committee for Magdeburg.
+
+53. KAISER- UND VOLKSDANK FUeR HEER UND FLOTTE. (Kaiser and people's
+thank-offering 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.
+
+56. F. K. ENGELHARD.
+
+     ELEND UND UNTERGANG FOLGEN DER ANARCHIE. (Misery and Destruction
+     follow Anarchy.) Poster of the German Revolution, 1918.
+
+57. BIRO.
+
+     Poster depicting the Russian Invasion.
+
+58. A. K. ARPELLUS.
+
+     ZEICHNET 7. KRIEGSANLEIHE. (Subscribe to the Seventh War Loan.)
+
+59. KUeRTHY.
+
+     War Loan Poster. Issued in Budapest, 1917.
+
+60. FARAGOGEZ.
+
+     War Loan Poster. Issued in Budapest.
+
+61. BIRO.
+
+     War Loan Poster. Issued in Budapest, 1917.
+
+62. KUeRTHY.
+
+     War Loan Poster. Issued in Budapest, 1917.
+
+
+_AMERICAN_
+
+63. *RALEIGH.
+
+     MUST CHILDREN DIE AND MOTHERS PLEAD IN VAIN? BUY MORE LIBERTY BONDS.
+
+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. Poster of the American Fourth Liberty
+     Loan, 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. Poster of the United War Work Campaign, American Y.W.C.A.,
+     1918.
+
+69. AMERICA CALLS. ENLIST IN THE NAVY. Recruiting poster for the U.S.
+NAVY, 1917.
+
+70. MORGAN.
+
+     FEED A FIGHTER. EAT ONLY WHAT YOU NEED. American Food Economy Poster.
+
+71. LOUIS RAEMAEKERS.
+
+     ENLIST IN THE NAVY. AMERICANS! STAND BY UNCLE SAM FOR LIBERTY AGAINST
+     TYRANNY!--THEODORE ROOSEVELT. Recruiting Poster for the U.S. Navy.
+
+
+_ANGLO-INDIAN_
+
+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.
+
+     Recruiting Poster, issued in Bombay, 1915.
+
+
+OTHER COUNTRIES
+
+
+_DUTCH_
+
+73. *A. O.
+
+     IN BELGIE BY DE ZORG. (The Home of Distress in Belgium.) Belgian art
+     for Belgian distress. La Fraternelle Belge. Poster of an Exhibition
+     at Tilburg, 1917. Published in Amsterdam, 1917.
+
+
+_CANADIAN_
+
+74. *KEEP ALL CANADIANS BUSY. BUY 1918 VICTORY BONDS.
+
+
+_ITALIAN_
+
+75. *LOUIS RAEMAEKERS.
+
+     NEUTRAL AMERICA AND THE HUN. Poster of an Exhibition of Raemaekers'
+     Cartoons in Milan.
+
+
+_CZECHO-SLOVAK_
+
+76. *V. PREISSIG.
+
+     CZECHO-SLOVAKS! JOIN OUR FREE COLOURS. One Of Six posters issued by
+     the Czecho-slovak Recruiting Office, New York, U.S.A. Printed at the
+     Wentworth Institute, Boston, U.S.A.
+
+
+_RUSSIAN_
+
+77. EUROPE AND THE IDOL. HOW MUCH LONGER SHALL WE SACRIFICE OUR SONS TO
+THIS ACCURSED IDOL? (The inscription on the idol is "Anglia.")
+Revolutionary Poster. ? German propaganda.
+
+
+_GERMAN_
+
+78. GIPKINS.
+
+     BRINGT EUREN GOLDSCHMUCK DEN GOLDANKAUFSSTELLEN. (Bring your gold
+     ornaments to the Gold-purchasing Depot!)
+
+
+_AUSTRIAN_
+
+79. ALFRED OFFNER.
+
+     ZEICHET 7. KRIEGSANLENIHE. (Subscribe to the Seventh War Loan.)
+
+
+_AMERICAN_
+
+80. BABCOCK.
+
+     JOIN THE NAVY--THE SERVICE FOR FIGHTING MEN. Recruiting Poster for
+     the U.S. Navy.
+
+
+
+
+I.--POSTERS AND THE WAR
+
+
+Never in the history of the world have the accessories of ordinary
+civilised life met with so searching a test of their essential quality as
+during the War. All national effort throughout the belligerent countries
+was organised and directed to serve a single purpose of supreme
+importance. This purpose in its turn served as a touchstone to sort out
+whatever was useful and valuable in everyday things, and shaped the
+selected elements into weapons of immense power. The poster, hitherto the
+successful handmaid of commerce, was immediately recognised as a means of
+national propaganda with unlimited possibilities. Its value as an
+educative or stimulative influence was more and more appreciated. In the
+stress of war its function of impressing an idea quickly, vividly, and
+lastingly, together with the widest publicity, was soon recognised. While
+humble citizens were still trying to evade a stern age-limit by a jaunty
+air and juvenile appearance, the poster was mobilised and doing its bit.
+
+Activity in poster production was not confined to Great Britain. France,
+as in all matters where Art is concerned, triumphantly took the field,
+and soon had hoardings covered with posters, many of which will take a
+lasting place in the history of Art. Germany and Austria, from the very
+outset of the War, seized upon the poster as the most powerful and speedy
+method of swaying popular opinion. Even before the War, we had much to
+learn from the concentrated power, the force of design, the economy of
+means, which made German posters sing out from a wall like a defiant blare
+of trumpets. Their posters issued during the War are even more aggressive;
+but it is the function of a poster to act as a "mailed fist," and our
+illustrations will show that, whatever else may be their faults, the
+posters of Germany have a force and character that make most of our own
+seem insipid and tame.
+
+Here in Great Britain the earliest days of the War saw available spaces
+everywhere covered with posters cheap in sentiment, and conveying childish
+and vulgar appeals to a patriotism already stirred far beyond the
+conception of the artists who designed them or the authorities responsible
+for their distribution.[1] This, perhaps, was inevitable in a country such
+as ours. The grimness of the world-struggle was not realised in its
+intensity until driven home by staggering blows at our very life as a
+nation. Then, and not till then, a Government which was always halting to
+"wait and see," or moving slowly behind the nation, at last got into its
+stride. Artists understood the call and responded. The poster, inspired by
+an enthusiasm unknown before, became the one form of Art answering to the
+needs of the moment, an instrument driving home into every mind its
+emphatic moral and definite message. It is characteristic that the first
+truly impassioned posters we saw in England were in aid of Belgian
+refugees or the Belgian Red Cross. They dealt with the violation of
+Belgium; and the stirring appeal of the work done by G. Spencer Pryse and
+Frank Brangwyn, R.A., in those early days will always linger in the
+memory.
+
+So numerous were the posters issued in every country, both by the
+Governments concerned and the various committees dealing with relief work
+and other aspects of the War, that the international collection acquired
+by the Imperial War Museum exceeds twenty thousand. Large numbers of
+these, many of them consisting of letterpress only, are outside the scope
+of the present volume, which is intended to make accessible to the public
+in a convenient form reproductions of a small selection distinguished for
+their artistic merit. The collection of original War posters acquired by
+the Victoria and Albert Museum has provided most of the illustrations. It
+comprises several hundred posters from Germany, Austria, Hungary, and
+other countries, in addition to those issued by Great Britain and her
+Allies; and it illustrates, in a compact form, the finest artistic uses to
+which colour-lithography was put as a weapon in the World War.
+
+The small collection made for this volume is necessarily arbitrary. Our
+illustrations are often about one-twelfth the size of the originals, and
+the limit in size may perhaps be considered to detract from the value of
+the reproductions. This, however, has been considered, as far as possible,
+in selecting the examples chosen. A strong, impulsive design does not
+depend entirely upon size for the force of its appeal, nor does it change
+in character from being reduced; but a poster badly designed, though
+passable on a large scale, may be an unintelligible jumble in a small
+illustration. In many cases a design is knit together by its reduction,
+and so viewed as a whole more compactly. Its publication in book form
+gives it also a permanence and ultimately a wider audience than the
+original can hope to gain.
+
+This thought of the ephemeral character of the poster as such has, in the
+first instance, prompted the publication of this volume. A poster serving
+the purposes of a war, even of such a world cataclysm as that during which
+we have passed during the last five years, is by its nature a creation of
+the moment, its business being to seize an opportunity as it passes, to
+force a sentiment into a great passion, to answer an immediate need, or to
+illuminate an episode which may be forgotten in the tremendous sequence of
+a few days' events. In its brief existence the poster is battered by the
+rain or faded by the sun, then pasted over with another message more
+urgent still. Save for the very limited number of copies that wise
+collectors have preserved, the actual posters of the Great War will be
+lost and forgotten in fifty years.
+
+But we must not forget that in every country concerned the poster played
+its part as an essential munition of war. Look through any collection of
+them, and you will see portrayed, in picture and in legend, which he who
+runs may read, the whole history of the Great War in its political and
+economical aspects. The posters of 1914-1918 illustrate every phase and
+difficulty and movement--recruiting for naval, military, and air forces;
+munition works; war loans; hospitals; Red Cross; Y.M.C.A.; Church Army;
+food economy; land cultivation; women's work of many kinds; prisoners'
+aid--and hundreds of problems and activities in connection with the
+country's needs. The same sequence of needs can be traced in the posters
+of Germany and Austria, where a stress even greater than our own is
+revealed, not merely in the urgent appeals for contributions to war loans,
+but in the sale by German women of their jewels and their hair.
+
+For obvious reasons only a limited number of the posters could be
+reproduced in colour, the main portion of the plates in the book being in
+black and white. But since the primary element counting for success in the
+poster is design, it follows that excellent colouring will not save a
+badly-designed poster from failure, however much it enhances the power of
+one already successful. Indeed, we may go further and claim that
+ineffective or quite bad colouring often fails to mar entirely the success
+of a good design. The examples selected are not heavy losers by being
+reproduced mostly in monotone; for they are essentially posters depending
+on design and not merely pictorial advertisements. Their purpose is innate
+in their structure; they have their story to tell and message to deliver;
+it is their business to waylay and hold the passer-by, and to impose their
+meaning upon him. The best of them have done this brilliantly.
+
+
+
+
+II.--GREAT BRITAIN
+
+
+Shortly after the War began, an "Exhibition of German and Austrian
+Articles typifying Design" was arranged at the Goldsmiths' Hall, to show
+the directions in which we had lessons to learn from German
+trade-competitors as to the combination of Art and economy applied to
+ordinary articles of commerce. The walls were hung with German posters,
+and one felt at once that while our average poster cost perhaps six times
+as much to produce, it was inferior to its German rival in just those
+vital qualities of concentrated design, whether of colour or form, and
+those powers of seizing attention, which are essential to the very nature
+of a poster.
+
+While we have had individual poster artists, such as Nicholson, Pryde, and
+Beardsley, whose work has touched perhaps a higher level than has ever
+been reached on the Continent, our general conception of what is good and
+valuable in a poster has been almost entirely wrong. The advertising agent
+and the business firm rarely get away from the popular idea that a poster
+must be a picture, and that the purpose of every picture is to "point a
+moral and adorn a tale." They seldom realise that poster art and
+pictorial art have essentially different aims. If a British firm wishes to
+advertise beer, it insists on an artist producing a picture of a
+publican's brawny and veined arm holding out a pot of beer during closed
+hours to a policeman; or a Gargantuan bottle towering above the houses and
+dense crowds of a market-place; or a fox-terrier climbing on to a table
+and wondering what it is "master likes so much"--all in posters produced
+at great expense with an enormous range of colour. The German, on the
+other hand--there was an example at the Goldsmiths' Hall--designs a single
+pot of amber, foaming beer, with the name of the firm in one good spot of
+lettering below. It is printed at small cost, in two or three flat
+colours; but it shouts "beer" at the passer-by. It would make even Mr.
+Pussyfoot thirsty to glance at it.
+
+Our British love for a story in a picture has accounted for an immense
+amount of ingenious artistry falling into amorphous ineffectiveness. It is
+the essence of the poster that it should compel attention; grip by an
+instantaneous appeal; hit out, as it were, with a straight left. It must
+convey an idea rather than a story. From its very nature it must be
+simple, not complex, in its methods. If it has something eccentric or
+bizarre about it, so long as it is good in design, that is a good quality
+rather than a fault. Even about the best of our war posters one feels that
+they are too often enlarged drawings, excellent as lithographs to preserve
+in a collector's portfolio, but ineffective when valued in relation to
+the essential services that a poster is required to render. We must
+regretfully admit that when it comes to choosing illustrations for a
+volume such as this on their merits as posters, not as pictures, it is
+difficult not to give a totally disproportionate space to posters made in
+Germany.
+
+Our British war posters are too well known and too recent in our memory to
+require any lengthy introduction or comment. The first official
+recognition of their value to the nation was during the recruiting
+campaign which began towards the close of 1914. The Parliamentary
+Recruiting Committee gave commissions for more than a hundred posters, of
+which two and a half million copies were distributed throughout the
+British Isles. We hope it is not true that, in their wisdom and aloofness,
+they refused the offer of a free gift of a six-sheet poster by Mr. Frank
+Brangwyn, R.A. It is, at any rate, certain that they possessed a poor
+degree of artistic perception, and, added to this, a very low notion of
+the mentality of the British public. Hardly one of the early posters had
+the slightest claim to recognition as a product of fine art; most of them
+were examples of what any art school would teach should be avoided in
+crude design and atrocious lettering. Among the best and most efficient,
+however, may be mentioned Alfred Leete's "Kitchener." But if one compares
+Leete's head of Kitchener, "Your Country Needs You," with Louis
+Oppenheim's "Hindenburg," the latter, with its rugged force and reserve of
+colour, stands as an example of the direction in which Germany tends to
+beat us in poster art.
+
+While these early official posters perhaps served their purpose--and if
+they did, it was thanks to the good spirit of the British public and not
+to the artistic merit of the posters themselves--a series of recruiting
+posters was issued by the London Electric Railways Company. Even before
+the War, this Company, or rather their business manager, Mr. F. Pick (for
+in regard to posters Mr. Pick might well say "L'etat, c'est moi"), was
+setting an example in poster work by securing the services of the best
+artists of the day. Their recruiting posters were a real contribution to
+modern art. They served their purpose, and at the same time were dignified
+in conception, design, and draughtsmanship. Standing high among them in
+nobility of appeal and power of drawing were Brangwyn's "Britain's Call to
+Arms," and Spencer Pryse's "Only Road for an Englishman."
+
+Though they were not issued till 1916, we might mention here the series
+published by the London Electric Railways Company at the time when the
+restrictions regarding paper prevented the general distribution of posters
+at home. It was then that the Company thought of the friendly idea of
+sending to our troops overseas a greeting of the kind so many of them had
+been familiar with in old days in London. Four posters, to awaken thoughts
+of pleasant homely things, were sent out for use in dug-outs and huts in
+France and other places abroad. Each was headed with the words: "The
+Underground Railways of London, knowing how many of their passengers are
+now engaged on important business in France and other parts of the world,
+send out this reminder of home." The drawings were the free gifts of the
+artists who designed them--George Clausen, R.A., Charles Sims, R.A., F.
+Ernest Jackson, and J. Walter West. It was a most admirable idea,
+admirably carried out, and, as were their recruiting posters, a pronounced
+testimony to the patriotic and disinterested attitude of a great business
+institution. Everyone who served abroad knows how much these posters were
+appreciated as a decoration in Army messes, Y.M.C.A. huts, and elsewhere.
+
+To return to the official use of posters, very much better work was
+produced in 1915 by the Parliamentary Recruiting Committee, and also under
+the auspices of the Ministry of Information, the authorities having
+learned at last that, at home, a poster might be a work of art, and that,
+abroad, an "official artist" might be deemed worthy of a subaltern's rank,
+rations, and emoluments. Among good posters for which the Government was
+at this time responsible may be mentioned Bernard Partridge's "Take up the
+Sword of Justice," Guy Lipscombe's "Our Flag," Doris Hatt's "St. George,"
+Caffyn's "Come along, Boys," and Ravenhill's "The Watchers of the Seas."
+In this connection it is amusing to recall a wireless message circulated
+from Berlin on October 2, 1915, in which appeared the statement: "To-day
+the exhibition of all English recruiting posters published up to the
+present was opened for the benefit of the German Aeronautic Fund. The
+exhibition is a great material success, notwithstanding the general
+disappointment at the poor and inartistic designs." It is, of course, an
+essential part of national propaganda to decry the quality of whatever is
+produced by the enemy; but we must admit that in this instance some truth
+was embodied in the judgment of these hostile critics. It came as a
+wholesome counterblast to the probably inspired laudatory articles which a
+little before this date had appeared in our own Press telling us of
+"several million of forceful and often fine" posters, and that "the
+hoardings of England have never borne a better message conveyed in a
+better manner." That many of the posters were comparative failures goes
+without saying: and there was one real blunder. In connection with the War
+Savings Campaign the Ministry had the excellent idea of using as a poster
+Whistler's famous masterpiece--his "Portrait of the Artist's Mother," now
+in the Louvre. Nothing could have been better: but then they got someone
+to write across the beautiful background, in paltry lettering, "Old age
+must come." There could be no better example of our British idea of
+enforcing a moral. It was an act of vandalism--impossible in
+France--almost as cruel as the firing of a shell into Rheims Cathedral.
+And Whistler, who spent hours in considering where he should place his
+dainty little butterfly signature, must have turned in his grave, or
+wished that he could have returned to earth to produce a new edition of
+his "Gentle Art of Making Enemies."
+
+To Mr. G. Spencer Pryse belongs the honour of first realising in actual
+productions the needs of the time. Mr. Pryse was in Antwerp at the
+outbreak of war, and thus was an eye-witness of much of the tragedy which
+overtook Belgium. On the actual scenes of the evacuation were founded his
+pathetic lithograph of the Belgian refugees struggling into steamers to
+escape from the advancing terror. Shortly after, he obtained a commission
+to act as a despatch-rider for the Belgian Government, in which capacity
+he visited all parts of the front line both in Belgium and in France, and
+saw a good deal of desultory fighting. Before he was wounded, he drew
+several of the series of nine lithographs entitled "The Autumn Campaign,
+1914," which were published early in 1915. His poster "The Only Road for
+an Englishman" was of the same period, followed soon afterwards by his
+powerful pictorial appeal on behalf of the Belgian Red Cross Fund. It is
+interesting to know that even under the most difficult conditions, and
+under fire, his drawings were made, not on paper, but on actual
+lithographic stones carried for the purpose in his motor-car.
+
+The outstanding figure among poster artists, both in quantity and for
+technical accomplishment, was Mr. Frank Brangwyn, R.A. His "Britain's Call
+to Arms" was produced in 1914 by the Underground Railways Company, and
+circulated in large numbers. The huge lithographic stone upon which this
+was drawn was subsequently presented, as the joint gift of Sir Charles
+Cheers Wakefield, Lord Mayor of London, and the artist, to the Victoria
+and Albert Museum, where it is preserved and exhibited. His invention and
+activity as a designer of war posters were very considerable. The number
+of poster designs from his hand produced during the War is at least fifty,
+without taking into account such additional work as the propaganda
+lithographs published by the Ministry of Information. Though Mr.
+Brangwyn's first war poster was prepared in conjunction with the
+Underground Railways, he was always willing and eager to make designs for
+any deserving cause, and among the committees he assisted by his vigorous
+work may be named the 1914 War Society, the Belgian and Allies' Aid
+League, the National Institute for the Blind, and the _Daily Mail_ Red
+Cross Fund. Practically all these posters were done as a free gift by the
+artist; and their number and quality stand as a splendid record of
+national service. Heaven preserve Mr. Brangwyn from an O.B.E.! But one
+wonders whether the Government has no suitable reward for one who spared
+no effort and sacrificed himself and his time and talent in a purely
+impersonal desire to serve his country.
+
+
+
+
+III.--FRANCE
+
+
+Before the Beggarstaff Brothers initiated the reform movement in British
+poster art--the early phase of which, despite the effective colour sense
+of Walter Crane, passed away all too soon with the death of Aubrey
+Beardsley--Cheret, Steinlen, and Mucha were already at work in France, the
+first and eldest of these masters being practically the creator of the
+modern poster in its more individual characteristics. A good deal of the
+Victorian heaviness was still with us in the eighteen-nineties: we liked
+good solid meals; our theatres offered us feasts of ponderous
+sentimentality; and so the British merchant and advertising agent,
+employing a poster artist, bade him tell us of the things we liked
+best--sauces, soaps, melodramas, tea, and stout. For still the idea was
+prevalent that the successful advertiser appealed to his public most when
+he told them about something they already knew and liked: a sweet domestic
+scene to linger in the memory after dinner and remind them of Tompkins'
+pills; or a pleasant landscape executed with a kaleidoscopic richness of
+colour to persuade one to buy Fishville Sauce. There were, of course,
+many striking exceptions to this; but it was generally true enough to
+justify the American observer's criticism that British posters mostly
+depicted things to eat, or soap.
+
+But France, being by temperament, by environment, and by tradition a far
+more artistic nation, with a much higher standard of general taste,
+responded more readily to the lighter and more fascinating touch of those
+artists who chose the street and the theatre entrance as their gallery. It
+is more than fifty years since Cheret started on his flamboyant comet-like
+career, setting Paris aflame (so to speak) with joyously wild,
+irresponsible visions of colour and line, delicate and fantastic.
+Steinlen, Mucha, Grasset, Toulouse-Lautrec, Willette, Bonnard, Guillaume,
+and others worked with him in more recent days, and among these are
+artists who have done masterly posters for France during the War.
+
+It is still with the greatest reluctance that a drawing, even when it
+conveys a definite suggestion clearly, is accepted in England unless it is
+"finished": the value of a work of art is reckoned in accordance with the
+amount of patient craftsmanship which it displays. The French poster
+artist, on the contrary--and he obviously has the public as his supporter,
+or his vogue would cease--is often content to throw upon the space at his
+command what, on this side of the Channel, any advertising agent would
+scoff at and reject as a "mere sketch." If the French artist can convey
+his suggestion, his idea, in a few hasty lines or brilliant touches of
+colour, he knows that his work is done, and is well content.
+
+Looking at the French war posters as a whole, one feels that in no other
+country has there been the same poignant appeal, the same presence of a
+deeply-felt emotion. And these have been transferred to the posters with a
+spontaneity, a lightness, and an expressive sufficiency that make the
+French poster stand alone. Take the posters of Steinlen, Faivre, Willette,
+Poulbot, and that versatile master, Roll, whose death occurred while these
+notes were being prepared. They each have the brilliant quality of a
+sketch by a man who is master of his material. They are drawn with the
+fine, free gesture of the born narrator. All the balance and compactness
+of the French _conte_ are there, with every line inducing to intensity of
+expression. In the figures there is nothing of English photographic
+precision, nothing of Germany's force and brutality, but always a note of
+intense sympathy, of something subtly human. Rapid, slight, they may be;
+but there is a greatness and endurance in their design and their appeal.
+The _poilu_, in the trenches or _en permission_, the _gamin_ of the
+streets, the worker in the field or hospital, the invalid who has been
+smitten by the heavy blows of war, are alive in these swift chalk-drawn
+studies.
+
+The whole difference between the British and the French outlook is summed
+up in Jules Abel Faivre's poster for the _Journee Nationale des
+Tuberculeux_, with the poignant appeal of the figure in its luminous
+envelopment of sea and sky. There is no need for any vandal to write his
+descriptive note across the face of this to drive its message home. The
+sad tale is told at a glance; and its brief legend--"Sauvons-les" (Let us
+save them)--is not necessary to make the meaning clear, but rather it
+delivers an additional message--a note of resolution and purpose--to the
+awakened sympathy when the picture has done its work. Here everything
+necessary is said: not a superfluous touch to mar its purpose, nor a touch
+too little. Yet an English advertiser would never have been content with
+those two comforting hands which pathetically suggest so much. The
+suggestion to him would have been totally inadequate, and he would have
+insisted on a full-length nurse in uniform, or a hospital ward, and
+medicine bottles, and all sorts of needless detail.
+
+In the earliest months of the War France was perhaps too heavily shocked
+by the onslaught, and too busily engaged in material organisation, to give
+much attention to the subject of posters. But for the _Journee du Poilu_
+at Christmas-time, 1915 Steinlen, Faivre, Neumon, Poulbot, and Willette
+contributed designs which immediately set upon French war posters the
+stamp of genuine understanding of the purpose in view and appreciation of
+the material at disposal. So, through a long series of War Loan posters,
+"Flag-day" appeals, and posters relating to every phase of life where
+advertisement could be a valuable thing till the welcome end was reached,
+French artists produced an incomparable variety of brilliant designs, in
+which gaiety, pathos, humour, and tragedy were touched with a
+characteristic lightness of hand, and often touched with true greatness of
+conception.
+
+Among those who have done the most distinguished work the artists named
+above have contributed a large proportion. Jules Abel Faivre, whose
+"Sauvons-les" has already been referred to at length, has perhaps earned
+more individual fame by his designs than any other French poster artist
+during the War. Several of his lithographs approach greatness, and
+two--the "Sauvons-les" and "On les aura!" both of which are illustrated in
+this book--can be said confidently to attain it. In its way nothing could
+be better also than Poulbot's sketch of children collecting for the
+_Journee du Poilu_--"Pour que papa vienne en permission, s'il vous plait."
+This artist has done several other very excellent posters, showing an
+intense understanding and appreciation of child life. The humour of
+Willette, exemplified in the delightful "Enfin seuls...!", reproduced here
+as illustration No. 31, and the dramatic sense of Charles Fouqueray, find
+ample material for expression, and in their hands it is finely used. Roll,
+the more complete artist, versatile and subtle in his work, master of many
+styles, proved that he, too, could design an appealing poster, as the
+fifth plate in this book testifies.
+
+The poster artists of France were not to the same degree overshadowed by
+one great executant as were those of England by Brangwyn. But for all
+that, a figure stands out before the rest, both by his power as a
+craftsman and the weight and strength of his individual characteristics.
+Theophile Alexandre Steinlen was at work upon posters twenty-five years
+ago, and even then he ranked among the first three or four leaders of this
+branch of art. Like Brangwyn in England, he is a master of the medium he
+uses--a great lithographer, whose consummate sense of draughtsmanship and
+design serves him in the expression of noble thought and in portraying the
+emotions of a profound, large-hearted patriot.
+
+Mention must also be made of the posters by the distinguished Alsatian
+artist Hansi--a keen patriot, who was willing to spend himself generously
+in the service of an Alsace longing for freedom from the yoke of Germany.
+The German Government offered a reward for information that should lead to
+his arrest, and issued proclamations to that effect, ostensibly on the
+plea that he had evaded service in their army, but actually because of the
+pen and brush that in his hands were powerful weapons which they could not
+afford to despise. His posters depict the fraternisation of French
+soldiers with the people of Alsace, and one of them the raising of the
+victorious tricolour once more over the Cathedral of Strasbourg. All
+honour to the artist, who, in the face of danger, and a fugitive from
+death, remained the supporter of a cause still far off from victory--a
+patriot whose work was full of courage and hope for an oppressed people.
+
+
+
+
+IV.--GERMANY: AUSTRO-HUNGARY.
+
+
+Though we are dealing in this volume with pictorial posters, it is
+difficult to refrain from mentioning the poster proclamations issued by
+the Germans on their occupation of Belgium. Many of these proclamations,
+of great historical interest, are in the possession of the Imperial War
+Museum. One of the earliest, posted at Hasselt on August 17, 1914,
+immediately after the occupation of the town, threatens to kill a third of
+the male inhabitants should the German troops be fired upon. Another,
+posted in Andenne on August 21, 1914, states that by order of the German
+authorities about three hundred inhabitants had been massacred or burnt
+alive, and that those of the men who were unscathed were taken as hostages
+and the women made to clear away the pools of blood and remove the
+corpses.
+
+The most poignant of these poster proclamations are two in regard to the
+executions of Nurse Cavell and Captain Fryatt. The bill, signed by General
+von Bissing, October 12, 1915, issued at Brussels and printed in French on
+blue paper, announces that Nurse Cavell has been shot, with others.
+Captain Fryatt had also been shot before the publication of the
+proclamation relative to him. This document, signed by Admiral von
+Schroeder, dated at Bruges, July 27, 1916, and printed in German, Flemish,
+and French, in parallel sections, reads:
+
+     "Charles Fryatt, of Southampton, captain in the English Merchant
+     Service, who, although not enrolled in the armed forces of the enemy,
+     attempted on March 28, 1915, to destroy a German submarine by
+     ramming. For this act he was condemned to death by the Naval Council
+     of War and executed. A perverse act thus received its just, if tardy,
+     chastisement."
+
+The only known copy of this poster is in the possession of the French
+Government, as evidence of German iniquity for which reparation must be
+exacted. It is worth noting that all these proclamations are rude
+specimens of typography, a fact indicating the difficulty which the
+Germans had in getting them printed.
+
+When we pass to the pictorial posters of Germany and Austro-Hungary, we
+find that the Central Empires, like ourselves and our Allies, found the
+necessity for a constant stream of posters appealing to their peoples for
+aid in men and money for the prosecution of the War and for stimulating
+love of country as expressed in the resolution and determination to hold
+out to the last. But though the nature of the national appeals are akin,
+the posters of Germany and Austro-Hungary (we need scarcely continue to
+distinguish between them) disclose the varying national temperament and
+idiosyncrasy.
+
+Since the days of Duerer and Holbein, Germany has been barren in pictorial
+art. In all her applied arts, as well as in her graphic arts, she has
+followed a policy of skilful adaptation, borrowing and remoulding on more
+economic lines the best products of other countries.[2] On the one
+hand--in the years before the war--the sanest British methods of
+typography and book production were deliberately imported into Germany; on
+the other hand, the most freakish of cubist and vorticist paintings found
+in Germany their principal buyers. If any note was added to what she
+adapted, it was that of an additional violence--the open assertion of
+Germany's idea that "force is beauty."
+
+The war posters of Germany act as a mirror to German mentality. They dwell
+chiefly on one thing--force. Subjects and treatment are often crude and
+brutal, marked by a scorn and avoidance of human sympathy. Here and there
+we find a certain sensuous beauty, but, as a rule, they look on life with
+a coldness that is almost cynicism, an impassiveness that is nearer
+cruelty than pity. The remotest student could deduce a clear idea of the
+enormous gulf that lies between the national temperament of Germany and of
+France by a comparison of the posters of Engelhard, Leonard, and Erler
+with those of Steinlen, Faivre, Roll, Poulbot, and Willette.
+
+But when all that is said, one has to admit that the German, above all
+others, does grasp the essential value of the poster as a means to an end.
+He realises that in the best poster there must be something of what was
+aimed at in the Post-Impressionist movement in painting, a desire for
+summarised form, strong and simplified line, and the reduction of tones to
+an arbitrary convention. And though we have used the word
+"Post-Impressionism," we are only suggesting that the poster should
+accomplish what the stained-glass window at its best--with a religious
+instead of propagandist or commercial purpose--accomplished five hundred
+years ago. While the British poster must see everything in the round, must
+try to reproduce all that is intensely obvious in the varied texture and
+material pageantry and inexhaustible colouring of life, Germany is rightly
+content to be deliberately abstract, to seek the common factors from what
+is large and general, and to endeavour to find symbols to express ideas.
+She is not concerned with the pursuit of spiritual or physical beauty, but
+with a striking novelty or decorative composition. The colour schemes of
+the German posters are more curious and insistent than attractive, but
+they do possess that knock-down force which, after all, is the object of a
+poster. Its pictorial quality is a secondary matter; if it is a fine
+piece of wall decoration that one would like to live with, so much the
+better; but its function is to arrest and to make itself remembered.
+Indeed, the poster must be like a beacon set on a hill to which all eyes
+must go, all roads must seem inevitably to lead. The beacon is a flare in
+the night; the poster must act as a flare in the day.
+
+The famous sentence from the Academy discourses of Sir Joshua Reynolds,
+which is inscribed as a motto over the entrance to the Victoria and Albert
+Museum--a sentence much quoted during the Victorian era, but in these
+latter days perhaps little regarded--may be applied to the poster equally
+as to more durable and delightful works: "The excellence of every art must
+consist in the complete accomplishment of its purpose." If the poster
+which accomplishes its purpose is indeed the most "artistic," then Germany
+excels in the artistic poster. It may be brutal, it may be ugly, it may
+even shock and repel; but there is always in the best examples, instinct
+in their very conception, a definite purpose which gains full expression,
+because the artist has been trained to limit himself to what he has to
+say, and to say that with all his might.
+
+The illustrations to this volume include work by several of the German
+poster artists, which, symptomatic of the whole, will serve to illustrate
+the foregoing remarks. Mention has already been made in the section
+dealing with British posters of the strong, rugged simplicity of Louis
+Oppenheim's "Hindenburg." The artist has in this most successfully
+imposed upon the spectator, not the bolstered-up individual of real life,
+but the strong, massive calm we seek for in the ideal leader, the man in
+whom we can place entire confidence. It is thus, in addition to being a
+successful poster, a piece of successful propaganda. But as its strength
+is in its reserve and the quiet it imposes, so in Engelhard you get
+passion released and surging over the onlooker with its flood of hatred.
+His "Nein! Niemals!" (illustration No. 43) is a powerful instance of this.
+It is almost impossible to look at the grasping, claw-like hands and
+ravenous face without a fury of hate, and a realisation of how Germany
+mastered her people. "Elend und Untergang folgen der Anarchie" (Misery and
+Destruction follow Anarchy), a poster of the German Revolution by the same
+artist, is another example of intense force, but this time, for all the
+brutality of the bestial gorilla figure, wonderfully held in reserve and
+simple. Bearing a curious comparison with the Czecho-Slovak posters by
+Preissig, published in New York during the last stages of the War, is the
+German War Loan poster (illustration No. 35, used also as a design for the
+back of the cover) by Otto Leonard, "Zereisst Englands Macht" (Rend
+England's Might). Wohlfeld's poster appealing for women's hair, which is
+reproduced as a frontispiece, and the poster of the Ludendorff Fund for
+those disabled by the War (illustration No. 46), show other phases of
+strength and reserve equally good in their way.
+
+The poster used for the front cover of this book is, apart from its own
+intrinsic merit, a matter of historical interest, insomuch as it served as
+a figure in the notorious speech to the German National Assembly at Berlin
+on May 12, 1919, when the peace terms had been handed to the
+plenipotentiaries at Versailles. Herr Scheidemann in the course of his
+denunciation of the Allies' terms said:
+
+     "Ladies and Gentlemen,--All over Berlin we see posters which are
+     intended to arouse a practical love for our brothers in captivity;
+     sad, hopeless faces behind prison bars. That is the proper
+     frontispiece for the so-called Peace Treaty; that is the true
+     portrait of Germany's future: sixty millions behind barbed wire and
+     prison bars; sixty millions at hard labour, for whom the enemy will
+     make their own land a prison camp."
+
+The Austrian poster artists, Krafter, Arpellus, and Puchinger, did
+important work, examples of which are reproduced in this book; but several
+of the Hungarian artists, in particular, did distinguished posters, as
+will be seen by a reference to illustration No. 41, that by Biro, No. 57,
+and the little group by Biro and Kurthy, Nos. 59, 61, and 62.
+
+
+
+
+V.--UNITED STATES OF AMERICA
+
+
+It is a commonplace to say that America is the true home of the
+advertisement agent; but in considering the history of poster art in the
+United States, one is surprised to find that so small a proportion of work
+done in the past shows any striking originality or real grip. In a country
+whose special capacity has seemed to consist in beating a very large drum
+repeatedly, often without much provocation, it was to be expected that the
+very bones and sinews of a poster should be understood, and that results
+of the highest order should have been obtained. Contrary to this
+expectation, only a small group of artists doing important work can be
+named as illustrating the best ability of the revival which, awaking with
+Cheret, Steinlen, and the others in France, spread to England, and thence
+normally to America. Of this group, the most able and important exponents
+of the art were often frankly derivative in their work. Will H. Bradley
+designed a number of posters which, with those of Penfield, may be said to
+have brought about the birth of poster art in the United States; but his
+most successful designs were openly based on the work of Aubrey Beardsley,
+the originality, charm, and extravagance of whose genius had recently
+taken the whole art world by storm. And Edward Penfield, whose pronounced
+ability seemed largely directed to the assimilation of different styles,
+produced posters excellent in their order, but most of them obvious work
+by a devoted and imaginative disciple of half a dozen schools varying
+during the long process of his development. We find him, for instance,
+producing an admirable American Steinlen in 1897, so clearly and frankly
+in Steinlen's spirit, yet with such artistic ability and undoubted
+personality that it could be placed beside the great French master's work,
+be identified with it, and yet retain its own character. This, while
+excellent in its way, is of course by no means provocative of a real
+national school, but rather serves to cramp the steps of later exponents
+of the art, and render their work lifeless; and one is not surprised to
+find that, after the days of Penfield, Bradley, and Gould, a good many
+years passed without any striking development in poster art in America.
+The last ten years, however, have discovered artists of pronounced
+originality and genius, and the posters of Robert Wildhack, Adolph
+Treidler, and Maxfield Parrish--to mention only three of the most eminent
+of their designers of the days immediately before the War--testified to
+the existence of a genuine national school, and led one to expect vital
+results in the production of posters inspired by the great world upheaval.
+
+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.
+
+[Illustration: 2]
+
+
+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.
+
+[Illustration: 3]
+
+
+4.
+
+T. GREGORY BROWN.
+
+"THEIR HOME, BELGIUM, 1918."
+
+British War Loan poster.
+
+[Illustration: 4]
+
+
+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.
+
+[Illustration: 5]
+
+
+6.
+
+J. WALTER WEST.
+
+"HARVEST-TIME, 1916: WOMEN'S WORK ON THE LAND."
+
+Issued by the Underground Electric Railways Company of London.
+
+[Illustration: 6]
+
+
+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."
+
+[Illustration: 7]
+
+
+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.
+
+[Illustration: 8]
+
+[Illustration: 9]
+
+
+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.
+
+[Illustration: 10]
+
+[Illustration: 11]
+
+
+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.
+
+[Illustration: 12]
+
+[Illustration: 13]
+
+[Illustration: 14]
+
+[Illustration: 15]
+
+
+
+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.
+
+[Illustration: 16]
+
+[Illustration: 17]
+
+[Illustration: 18]
+
+[Illustration: 19]
+
+
+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.
+
+[Illustration: 20]
+
+
+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.
+
+[Illustration: 21]
+
+
+22.
+
+D. CHARLES FOUQUERAY.
+
+"LE CARDINAL MERCIER PROTEGE LA BELGIQUE."
+
+(Cardinal Mercier protects Belgium.)
+
+Poster published in Paris, 1916.
+
+[Illustration: 22]
+
+
+23.
+
+JULES ABLE FAIVRE.
+
+"ON LES AURA!" (We shall get them!) Subscribe.
+
+Poster of the Second National Defence Loan.
+
+[Illustration: 23]
+
+
+24.
+
+JULES ABEL FAIVRE.
+
+"SAUVONS-LES!" (Let us save them!)
+
+Poster of the National Day for the benefit of ex-Soldiers suffering from
+tuberculosis.
+
+[Illustration: 24]
+
+
+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.
+
+[Illustration: 25]
+
+
+26.
+
+G. CAPON.
+
+"LA FEMME FRANCAISE PENDANT LA GUERRE."
+
+(French Women during the War.)
+
+Poster of the Kinematograph Section of the French Army.
+
+[Illustration: 26]
+
+
+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.
+
+[Illustration: 27]
+
+
+
+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.
+
+[Illustration: 28]
+
+[Illustration: 29]
+
+
+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.
+
+[Illustration: 30]
+
+[Illustration: 31]
+
+
+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.
+
+[Illustration: 32]
+
+[Illustration: 33]
+
+
+34.
+
+PLONTKE.
+
+"FUeR DIE KRIEGSANLEIHE!"
+
+(For the War Loan.)
+
+German War Loan poster issued in Berlin.
+
+[Illustration: 34]
+
+
+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.
+
+[Illustration: 35]
+
+
+36.
+
+ERWIN PUCHINGER.
+
+"ZEICHNET 5-1/2% DRITTE KRIEGSANLEIHE."
+
+(Subscribe to the 5-1/2% Third War Loan.)
+
+Issued in Vienna.
+
+[Illustration: 36]
+
+
+37.
+
+ERLER.
+
+"DER 9TE PFEIL. ZEICHNET KRIEGSANLEIHE."
+
+(The ninth arrow. Subscribe to the War Loan.)
+
+German War Loan poster.
+
+[Illustration: 37]
+
+
+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."
+
+[Illustration: 38]
+
+
+39.
+
+H. R. ERDT.
+
+"SOLL UND HABEN DES KRIEGS-JAHRES 1917."
+
+(Losses and gains of the War year 1917.)
+
+German propaganda poster.
+
+[Illustration: 39]
+
+
+
+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.
+
+[Illustration: 40]
+
+
+41.
+
+A. S.
+
+"ZEICHNET FUeNFTE OeSTERREICHISCHE KRIEGSANLEIHE."
+
+(Subscribe to the fifth Austrian War Loan.)
+
+Poster issued in Vienna.
+
+[Illustration: 41]
+
+
+42.
+
+"SEGITESTEK A DIADALMAS BEKETEZ."
+
+Hungarian War Loan Poster--"Help the Victorious Peace."
+
+Issued in Budapest, 1917.
+
+[Illustration: 42]
+
+
+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!)
+
+[Illustration: 43]
+
+[Illustration: 44]
+
+
+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.
+
+[Illustration: 45]
+
+[Illustration: 46]
+
+
+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.
+
+[Illustration: 47]
+
+[Illustration: 48]
+
+[Illustration: 49]
+
+[Illustration: 50]
+
+
+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.
+
+[Illustration: 51]
+
+[Illustration: 52]
+
+[Illustration: 53]
+
+[Illustration: 54]
+
+
+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.
+
+[Illustration: 55]
+
+[Illustration: 56]
+
+[Illustration: 57]
+
+[Illustration: 58]
+
+
+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.
+
+[Illustration: 59]
+
+[Illustration: 60]
+
+[Illustration: 61]
+
+[Illustration: 62]
+
+
+63.
+
+RALEIGH.
+
+"MUST CHILDREN DIE AND MOTHER PLEAD IN VAIN? BUY MORE LIBERTY BONDS."
+
+American War Loan poster.
+
+[Illustration: 63]
+
+
+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.
+
+[Illustration: 64]
+
+
+65.
+
+ELLSWORTH YOUNG.
+
+"REMEMBER BELGIUM."
+
+"BUY BONDS: FOURTH LIBERTY LOAN."
+
+American poster, 1918.
+
+[Illustration: 65]
+
+
+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.
+
+[Illustration: 66]
+
+
+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.
+
+[Illustration: 67]
+
+[Illustration: 68]
+
+
+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.
+
+[Illustration: 69]
+
+[Illustration: 70]
+
+[Illustration: 71]
+
+[Illustration: 72]
+
+
+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.
+
+[Illustration: 73]
+
+
+
+74.
+
+  "KEEP ALL CANADIANS BUSY.
+  BUY 1918 VICTORY BONDS."
+
+Canadian poster.
+
+[Illustration: 74]
+
+
+75.
+
+LOUIS RAEMAEKERS.
+
+"NEUTRAL AMERICA AND THE HUN."
+
+Poster of an Exhibition of Raemaekers cartoons in Milan.
+
+[Illustration: 75]
+
+
+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.
+
+[Illustration: 76]
+
+
+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.
+
+[Illustration: 77]
+
+[Illustration: 78]
+
+[Illustration: 79]
+
+[Illustration: 80]
+
+
+
+
+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.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of War Posters Issued by Belligerent and
+Neutral Nations 1914-1919, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK WAR POSTERS ISSUED BY ***
+
+***** This file should be named 35753.txt or 35753.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/5/7/5/35753/
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