126 files changed, 9566 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/35753-8.txt b/35753-8.txt
new file mode 100644
index 0000000..e62394d
--- /dev/null
+++ b/35753-8.txt
@@ -0,0 +1,3208 @@
+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: ISO-8859-1
+
+*** 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 M�DCHEN! 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 ARM�ES. (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 PLA�T. (So that papa
+     may come home on leave, if you please.) Poster issued by the Comit�
+     Central d'Organisation de la Journ�e du Poilu--French "Flag Days" in
+     Paris, Christmas-time, 1915.
+
+21. *AUGUSTE ROLL.
+
+     POUR LES BLESS�S 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 PROT�GE 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 JOURN�E 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 FRAN�AISE 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. TH�OPHILE ALEXANDRE STEINLEN.
+
+     JOURN�E DU POILU, 1915. Poster of the French "Flag Days," December 25
+     and 26, 1915. Organised by Parliament.
+
+29. MAURICE NEUMON.
+
+     JOURN�E 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...! JOURN�E 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.
+
+     F�R 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 F�NFTE �STERREICHISCHE KRIEGSANLEIHE. (Subscribe to the
+     Fifth Austrian War Loan.) Poster issued in Vienna.
+
+42. SEG�TSETEK A DIADALMAS B�K�HEZ. (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 SCHL�GE, 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 F�R KRIEGSBESCH�DIGTE. (Ludendorff Fund for the
+     Disabled.) Issued in Munich, 1918.
+
+47. ESPOSIZIONE DI GUERRA, TRIESTE, 1917. (War Exhibition, Trieste, 1917.)
+
+48. ZIECHNET VIERTE �STERREICHISCHE KRIEGSANLEIHE. (Subscribe to the
+Fourth Austrian War Loan.)
+
+49. �STERR-UNGAR. KRIEGSGR�BER AUSSTELLUNG. (Austro-Hungarian War Graves'
+Exhibition.) Poster of an Exhibition in Berlin.
+
+50. DANK�.
+
+     BE A V�R�S HADSEREGBE! (For the conquering army!) Hungarian War Loan
+     Poster.
+
+51. FRANKE.
+
+     WILLST DU DEN FRIEDEN ERNTEN, MUSST DU S�ENDARUM. (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 F�R 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. BIR�.
+
+     Poster depicting the Russian Invasion.
+
+58. A. K. ARPELLUS.
+
+     ZEICHNET 7. KRIEGSANLEIHE. (Subscribe to the Seventh War Loan.)
+
+59. K�RTHY.
+
+     War Loan Poster. Issued in Budapest, 1917.
+
+60. FARAG�G�Z.
+
+     War Loan Poster. Issued in Budapest.
+
+61. BIR�.
+
+     War Loan Poster. Issued in Budapest, 1917.
+
+62. K�RTHY.
+
+     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 Dep�t!)
+
+
+_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'�tat, 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--Ch�ret, 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 Ch�ret 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 _Journ�e 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 _Journ�e 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
+_Journ�e du Poilu_--"Pour que papa vienne en permission, s'il vous pla�t."
+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.
+Th�ophile 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
+Schr�der, 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 D�rer 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 Bir�, No. 57,
+and the little group by Bir� 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
+Ch�ret, 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
+
+  Bir�, --, 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=
+
+  Ch�ret, Jules, 15, 16, 28
+
+  Christy, H. C., 34
+
+  Clausen, George, 11, =10=
+
+  Codognato, Plinio, 37
+
+  Crane, Walter, 15
+
+
+  Dank�, --, =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=
+
+  Farag�g�z, --, =60=
+
+  Fouqueray, D. Charles, 19, =22=, =25=
+
+  Franke, --, =51=
+
+
+  Galantara, Gabriele, 37
+
+  Gipkins, --, =78=
+
+  Gould, J. J., 29
+
+  Grasset, Eug�ne, 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=
+
+  K�rthy, --, 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, Th�ophile 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 BLESS�S 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 MERCI�R PROT�GE 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 JOURN�E 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 FRAN�AISE 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.
+
+TH�OPHILE 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.
+
+"F�R 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 F�NFTE �STERREICHISCHE KRIEGSANLEIHE."
+
+(Subscribe to the fifth Austrian War Loan.)
+
+Poster issued in Vienna.
+
+[Illustration: 41]
+
+
+42.
+
+"SEGITESTEK A DIADALMAS B�K�TEZ."
+
+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 SCHL�GE,
+  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 �STERREICHISCHE KRIEGSANLEIHE."
+
+(Subscribe to the fourth Austrian War Loan.)
+
+
+49.
+
+"�STERR-UNGAR. KRIEGSGR�BER AUSSTELLUNG."
+
+(Austrian-Hungarian War Graves Exhibition.)
+
+Poster of an Exhibition in Berlin.
+
+
+50.
+
+DANK�.
+
+"BE A V�R�S 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 S�EN--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: SCH�LER-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 F�R 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.
+
+BIR�.
+
+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.
+
+K�RTHY.
+
+Hungarian War Loan poster.
+
+Issued in Budapest, 1917.
+
+
+60.
+
+FARAG�G�Z.
+
+Hungarian War Loan poster.
+
+Issued in Budapest.
+
+
+61.
+
+BIR�.
+
+Hungarian War Loan poster.
+
+Issued in Budapest, 1917.
+
+
+62.
+
+K�RTHY.
+
+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 dep�t!)
+
+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 35753-8.txt or 35753-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/5/7/5/35753/
+
+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.)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+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
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/35753-8.zip b/35753-8.zip
new file mode 100644
index 0000000..ec3b21c
--- /dev/null
+++ b/35753-8.zip
diff --git a/35753-h.zip b/35753-h.zip
new file mode 100644
index 0000000..1e384dc
--- /dev/null
+++ b/35753-h.zip
diff --git a/35753-h/35753-h.htm b/35753-h/35753-h.htm
new file mode 100644
index 0000000..1bf4668
--- /dev/null
+++ b/35753-h/35753-h.htm
@@ -0,0 +1,3134 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of War Posters Issued by Belligerent and Neutral Nations 1914-1919, by Martin Hardie and Arthur K. Sabin.
+    </title>
+
+    <style type="text/css">
+
+    p {margin-top: .75em; text-align: justify; margin-bottom: .75em;}
+
+    body {margin-left: 12%; margin-right: 12%;}
+
+    .pagenum {position: absolute; left: 92%; font-size: smaller; text-align: right; font-style: normal;}
+
+    h1,h2,h3,h4,h5,h6 {text-align: center; clear: both;}
+
+    hr {width: 33%; margin-top: 2em; margin-bottom: 2em; margin-left: auto; margin-right: auto; clear: both;}
+
+    table {margin-left: auto; margin-right: auto;}
+
+    .giant {font-size: 200%}
+    .huge {font-size: 150%}
+    .big {font-size: 125%}
+
+    .blockquot {margin-left: 5%; margin-right: 10%;}
+    .poem {margin-left:15%;}
+    .note {margin-left: 20%; margin-right: 20%;}
+    .index {margin-left: 20%;}
+
+    .right {text-align: right;}
+    .center {text-align: center;}
+
+    .smcap {font-variant: small-caps;}
+
+    .figcenter {margin: auto; text-align: center;}
+
+    p.dropcap:first-letter{float: left; padding-right: 3px; font-size: 250%; line-height: 83%; width:auto;}
+    .caps {text-transform:uppercase;}
+
+    a:link {color:#0000ff; text-decoration:none}
+    a:visited {color:#6633cc; text-decoration:none}
+
+    .verts {margin-left: 20%; margin-right: 20%;}
+    .vertsbox {border: solid 2px; padding-left: 1em; padding-right: 1em;}
+
+    .hang {margin-left: 2em; text-indent: -2em;}
+
+    </style>
+  </head>
+<body>
+
+
+<pre>
+
+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: ISO-8859-1
+
+*** 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.)
+
+
+
+
+
+
+</pre>
+
+
+
+<div class="figcenter"><img src="images/cover.jpg" alt="" /></div>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+
+<p class="center"><span class="giant">WAR POSTERS</span></p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<div class="verts">
+<p class="center"><span class="huge">BRITISH WAR FRONTS</span></p>
+
+<div class="vertsbox">
+<p class="center"><strong>VOLUMES ILLUSTRATED BY MARTIN HARDIE, A.R.E.</strong></p>
+
+<p><strong>OUR ITALIAN FRONT</strong></p>
+<p class="blockquot">Described by <span class="smcap">H. Warner Allen.</span> With 50 full-page illustrations in
+colour, and a sketch map. Square demy 8vo., cloth.</p>
+<p class="right">Price 25s. net.</p>
+
+<p><br /><strong>BOULOGNE: A WAR BASE IN FRANCE</strong></p>
+<p class="blockquot">Containing 32 reproductions&mdash;8 in colour and 24 in sepia&mdash;from
+drawings completed on the spot. Square demy 8vo., cloth.</p>
+<p class="right">Price 7s. 6d. net.</p>
+<p>&nbsp;</p>
+<p class="center"><strong>OTHER VOLUMES</strong></p>
+
+<p><strong>THE SALONIKA FRONT</strong></p>
+<p class="blockquot">Painted by <span class="smcap">William T. Wood, R.W.S.</span> Described by <span class="smcap">Captain A. J. Mann,
+R.A.F.</span> With 32 full-page illustrations in colour, and 8 in black and
+white; also a sketch map. Square demy 8vo., cloth.</p>
+<p class="right">Price 25s. net.</p>
+
+<p><br /><strong>THE NAVAL FRONT</strong></p>
+<p>A Book dealing with the world-wide front held by the British Navy throughout the war.</p>
+<p class="blockquot">By <span class="smcap">Lieut. Gordon S. Maxwell, R.N.V.R.</span> Illustrated in colour by <span class="smcap">Lieut.
+Donald Maxwell, R.N.V.R.</span> Containing 32 full-page illustrations, 16 of
+them in colour, Square demy 8vo., cloth.</p>
+<p class="right"><i>In Preparation.</i></p>
+
+<p><br /><strong>THE IMMORTAL GAMBLE</strong></p>
+<p>And the part played in it by H.M.S. &#8220;Cornwallis.&#8221;</p>
+<p class="blockquot">By <span class="smcap">A. T. Stewart</span>, Acting-Commander, R.N., and the REV. <span class="smcap">C. J. E.
+Peshall</span>, Chaplain, R.N. With 32 illustrations and a map.</p>
+<p class="right">Price 6s. net; now offered at 3s. 6d. net.</p>
+
+<p><br /><strong>MERCHANT ADVENTURERS, 1914-1918</strong></p>
+<p class="blockquot">By <span class="smcap">F. A. Hook</span>. With a Foreword by the Rt. Hon. <span class="smcap">Lord Inchcape of
+Strathnafer</span>, G.C.M.C., G.C.S.I., etc. Containing 32 full-page illustrations from photographs, and appendixes. Large crown 8vo., cloth.</p>
+<p class="right"><i>In the Press.</i></p>
+</div>
+<p class="center">PUBLISHED BY<br />
+<strong>A. AND C. BLACK, LTD., 4, 5 AND 6 SOHO SQUARE LONDON, W. 1.</strong></p></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><a name="poster1" id="poster1"></a></p>
+<p class="center">1</p>
+<div class="figcenter"><img src="images/poster1tmb.jpg" alt="" /><br />
+<a href="images/poster1.jpg"><small>Larger Image</small></a></div>
+<p class="center">A. WOHLFELD.</p>
+<p class="center">&#8220;<span class="smcap">Frauen und M&auml;dchen! Sammelt Frauenhaar!</span>&#8221;</p>
+<p class="center">(Women and girls! collect women&#8217;s hair!)</p>
+<p class="center">Poster appealing for gifts of women&#8217;s hair, issued from the<br />office of the Collecting Committee, Berlin.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p class="center"><span class="huge">WAR POSTERS</span></p>
+<p>&nbsp;</p>
+<p class="center"><span class="big">ISSUED BY BELLIGERENT AND<br />NEUTRAL NATIONS 1914-1919</span></p>
+<p>&nbsp;</p>
+<p class="center">SELECTED &amp; EDITED BY<br />MARTIN HARDIE AND<br />ARTHUR K. SABIN</p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/printer.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<p class="center">A. &amp; C. BLACK, LTD.<br />SOHO SQUARE, LONDON, W.<br />1920</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">TO<br />
+FRANK PICK, <span class="smcap">Esq.</span><br /><br />
+<small>OF THE UNDERGROUND ELECTRIC RAILWAYS COMPANY,<br />
+IN HONOUR OF HIS BRAVE AND SUCCESSFUL EFFORT<br />
+TO LINK ART WITH COMMERCE</small></p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<h2>CONTENTS</h2>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&nbsp;</td><td align="right"><small>PAGES</small></td></tr>
+<tr><td align="center"><a href="#I_POSTERS_AND_THE_WAR">CHAPTER I.</a></td></tr>
+<tr><td><span class="smcap">Posters and the War</span></td><td align="right"><a href="#Page_1">1</a></td></tr>
+<tr><td align="center"><a href="#II_GREAT_BRITAIN">CHAPTER II.</a></td></tr>
+<tr><td><span class="smcap">Great Britain</span></td><td align="right"><a href="#Page_7">7</a></td></tr>
+<tr><td align="center"><a href="#III_FRANCE">CHAPTER III.</a></td></tr>
+<tr><td><span class="smcap">France</span></td><td align="right"><a href="#Page_15">15</a></td></tr>
+<tr><td align="center"><a href="#IV_GERMANY_AUSTRO-HUNGARY">CHAPTER IV.</a></td></tr>
+<tr><td><span class="smcap">Germany&mdash;Austria-Hungary</span></td><td align="right"><a href="#Page_21">21</a></td></tr>
+<tr><td align="center"><a href="#V_UNITED_STATES_OF_AMERICA">CHAPTER V.</a></td></tr>
+<tr><td><span class="smcap">United States of America</span></td><td align="right"><a href="#Page_28">28</a></td></tr>
+<tr><td align="center"><a href="#VI_OTHER_COUNTRIES">CHAPTER VI.</a></td></tr>
+<tr><td><span class="smcap">Other Countries</span></td><td align="right"><a href="#Page_36">36</a></td></tr></table>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></p>
+<h2>LIST OF ILLUSTRATIONS</h2>
+
+<p class="center">ARRANGED UNDER THE NAMES OF ARTISTS AND GROUPED UNDER THE COUNTRIES OF ISSUE</p>
+
+<p class="center"><i>Illustrations marked with an asterisk (*) are in colour.</i></p>
+
+
+<p class="center"><br /><i>GERMANY</i></p>
+
+<p><a href="#poster1">1.</a> *A. WOHLFELD.</p>
+<p class="blockquot"><span class="smcap">Frauen und Madchen! Sammelt Frauenhaar</span>! (Women and girls! Collect
+your hair!) A poster appealing for gifts of women&#8217;s hair, issued from the office of the collecting Committee, Berlin.</p>
+
+<p class="center"><br /><i>GREAT BRITAIN</i></p>
+
+<p><a href="#poster2">2.</a> *BERNARD PARTRIDGE.</p>
+<p class="blockquot"><span class="smcap">Take up the Sword of Justice.</span> Issued by the Parliamentary Recruiting
+Committee. No. 106 of their posters. Also issued as a poster stamp and as a &#8220;Flag Day&#8221; souvenir.</p>
+
+<p><a href="#poster3">3.</a> *F. ERNEST JACKSON.</p>
+<p class="blockquot"><span class="smcap">Song to the Evening Star.</span> 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.</p>
+
+<p><a href="#poster4">4.</a> *T. GREGORY BROWN.</p>
+<p class="blockquot"><span class="smcap">Their Home, Belgium.</span> War Loan Poster, published in 1918.</p>
+
+<p><a href="#poster5">5.</a> FRANK BRANGWYN, R.A.</p>
+<p class="blockquot"><span class="smcap">Britain&#8217;s Call to Arms.</span> Recruiting poster published by the
+Underground Electric Railways Company of London, 1914.</p>
+
+<p><a href="#poster6">6.</a> J. WALTER WEST.</p>
+<p class="blockquot"><span class="smcap">Harvest-time, 1916: Women&#8217;s Work on the Land.</span> Issued by the
+Underground Electric Railways Company of London, Ltd.</p>
+
+<p><a href="#poster7">7.</a> FRANK BRANGWYN, R.A.</p>
+<p class="blockquot"><span class="smcap">Orphelinat des Arm&eacute;es. (Army Orphanage).</span> (&#8220;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.&#8221;) Poster for a French &#8220;Flag Day.&#8221; Issued in London.</p>
+
+<p><span class="pagenum"><a name="Page_x" id="Page_x">[Pg x]</a></span><a href="#poster8">8.</a> GERALD SPENCER PRYSE.</p>
+<p class="blockquot"><span class="smcap">The Only Road for an Englishman. Through Darkness to Light; Through
+Fighting to Triumph.</span> The first war poster by Spencer Pryse. Published by the Underground Electric Railways Company of London, 1914.</p>
+
+<p><a href="#poster9">9.</a> GERALD SPENCER PRYSE.</p>
+<p class="blockquot"><span class="smcap">Belgian Refugees in England.</span> Issued by the Belgian Red Cross Fund in London, 1915.</p>
+
+<p><a href="#poster10">10.</a> GEORGE CLAUSEN, R.A.</p>
+<p class="blockquot">&#8220;<span class="smcap">Mine Be a Cot Beside the Hill.</span>&#8221; 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.</p>
+
+<p><a href="#poster11">11.</a> L. RAVEN-HILL.</p>
+<p class="blockquot"><span class="smcap">The Watchers of the Seas.</span> Recruiting poster for the British Navy, 1915.</p>
+
+<p><a href="#poster12">12.</a> BERNARD PARTRIDGE.</p>
+<p class="blockquot"><span class="smcap">Kossovo Day is the Serbian National Day.</span> Poster of a British &#8220;Flag Day,&#8221; June 25, 1916.</p>
+
+<p><a href="#poster13">13.</a> JOHN HASSALL.</p>
+<p class="blockquot"><span class="smcap">Belgian Canal Boat Fund.</span> For relief of the civil population behind the firing lines.</p>
+
+<p><a href="#poster14">14.</a> JOHN HASSALL.</p>
+<p class="blockquot"><span class="smcap">Music in War-time: Grand Patriotic Concert, Albert Hall.</span> Poster of the Professional Classes War Relief Council.</p>
+
+<p><a href="#poster15">15.</a> BERNARD PARTRIDGE.</p>
+<p class="blockquot"><span class="smcap">Haven. Star and Garter Home.</span> Poster of the British Women&#8217;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.</p>
+
+<p><a href="#poster16">16.</a> PAUL NASH.</p>
+<p class="blockquot">Poster of an Exhibition of War Paintings and Drawings at the Leicester Galleries, London, May, 1918.</p>
+
+<p><a href="#poster17">17.</a> SIR WILLIAM ORPEN, R.A.</p>
+<p class="blockquot">Poster of an Exhibition of War Paintings and Drawings, executed on
+the Western Front by Major William Orpen. At Agnew&#8217;s Galleries, London, 1919.</p>
+
+<p><a href="#poster18">18.</a> NORMAN WILKINSON.</p>
+<p class="blockquot"><span class="smcap">The Dardanelles. War Sketches in Gallipoli.</span> Poster of an Exhibition at the Fine Art Society, London, 1915.</p>
+
+<p><span class="pagenum"><a name="Page_xi" id="Page_xi">[Pg xi]</a></span><a href="#poster19">19.</a> FRANK BRANGWYN, R.A.</p>
+<p class="blockquot"><span class="smcap">At Neuve Chapelle. Your Friends Need You: Be a Man.</span> British Recruiting Poster.</p>
+
+<p class="center"><br /><i>FRANCE</i></p>
+
+<p><a href="#poster20">20.</a> *POULBOT.</p>
+<p class="blockquot"><span class="smcap">Pour que Papa vienne en Permission, s&#8217;il vous pla&icirc;t.</span> (So that papa
+may come home on leave, if you please.) Poster issued by the Comit&eacute;
+Central d&#8217;Organisation de la Journ&eacute;e du Poilu&mdash;French &#8220;Flag Days&#8221; in Paris, Christmas-time, 1915.</p>
+
+<p><a href="#poster21">21.</a> *AUGUSTE ROLL.</p>
+<p class="blockquot"><span class="smcap">Pour les Bless&eacute;s de la Tuberculose.</span> (For those wounded by
+tuberculosis.) Poster of the National Day for the Benefit of ex-Soldiers suffering from Tuberculosis.</p>
+
+<p><a href="#poster22">22.</a> *D. CHARLES FOUQUERAY.</p>
+<p class="blockquot"><span class="smcap">Le Cardinal Mercier prot&egrave;ge la Belgique.</span> (Cardinal Mercier protects Belgium.) Published in Paris, 1916.</p>
+
+<p><a href="#poster23">23.</a> JULES ABEL FAIVRE.</p>
+<p class="blockquot"><span class="smcap">On les aura!</span> (We shall get them!) Poster of the Second War Loan, 1916.</p>
+
+<p><a href="#poster24">24.</a> JULES ABEL FAIVRE.</p>
+<p class="blockquot"><span class="smcap">Sauvons-les.</span> (Let us save them.) Poster of the National Day for the
+Benefit of ex-Soldiers suffering from Tuberculosis. Issued in Paris, 1916.</p>
+
+<p><a href="#poster25">25.</a> D. CHARLES FOUQUERAY.</p>
+<p class="blockquot"><span class="smcap">La Journ&eacute;e Serbe, 25 Juin, 1916.</span> Poster of a French &#8220;Flag Day&#8221; for
+the Serbian Relief Fund, on the anniversary of the Battle of Kossovo, 1389. Issued in Paris.</p>
+
+<p><a href="#poster26">26.</a> G. CAPON.</p>
+<p class="blockquot"><span class="smcap">La Femme Fran&ccedil;aise pendant la Guerre.</span> (French women during the war.)
+Poster of the Kinematograph Section of the French Army. Issued in Paris.</p>
+
+<p><a href="#poster27">27.</a> SEM.</p>
+<p class="blockquot"><span class="smcap">Pour le dernier Quart d&#8217;Heure ... aidez-moi!</span> (For the last
+quarter-of-an-hour ... help me!) French War Loan Poster, 1918. Issued in Paris.</p>
+
+<p><a href="#poster28">28.</a> TH&Eacute;OPHILE ALEXANDRE STEINLEN.</p>
+<p class="blockquot"><span class="smcap">Journ&eacute;e du Poilu, 1915.</span> Poster of the French &#8220;Flag Days,&#8221; December 25
+and 26, 1915. Organised by Parliament.</p>
+
+<p><a href="#poster29">29.</a> MAURICE NEUMON.</p>
+<p class="blockquot"><span class="smcap">Journ&eacute;e du Poilu, 1915.</span> Poster of the French &#8220;Flag Days,&#8221; December 25
+and 26, 1915. Organised by Parliament.</p>
+
+<p><span class="pagenum"><a name="Page_xii" id="Page_xii">[Pg xii]</a></span><a href="#poster30">30.</a> JULES ABEL FAIVRE.</p>
+<p class="blockquot"><span class="smcap">Pour la France versez votre Or. L&#8217;Or combat pour la Victoire.</span> (Pour
+out your gold for France. Gold fights for victory.) Poster of the French War Loan, 1915.</p>
+
+<p><a href="#poster31">31.</a> ADOLPHE WILLETTE.</p>
+<p class="blockquot"><span class="smcap">Enfin seuls...! Journ&eacute;e du Poilu.</span> (By ourselves at last!) Poster of
+the French &#8220;Flag Days,&#8221; December 25 and 26, 1915. Organised by Parliament.</p>
+
+<p><a href="#poster32">32.</a> JULES ADLER.</p>
+<p class="blockquot"><span class="smcap">Eux aussi! font leur Devoir.</span> (They, too, are doing their duty.) Poster of the French War Loan, 1915.</p>
+
+<p><a href="#poster33">33.</a> AUGUSTE LEROUX.</p>
+<p class="blockquot"><span class="smcap">Souscrivez pour la France qui combat! Pour celle que chaque jour
+grandit.</span> (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.</p>
+
+
+<p class="center"><br /><i>GERMANY AND AUSTRIA-HUNGARY</i></p>
+
+<p><a href="#poster34">34.</a> *PLONTKE.</p>
+<p class="blockquot"><span class="smcap">F&uuml;r die Kriegsanleihe!</span> (For the War Loan.) German War Loan Poster, issued in Berlin.</p>
+
+<p><a href="#poster35">35.</a> *OTTO LEHMANN.</p>
+<p class="blockquot"><span class="smcap">Stutzt unsre Feldgrauen. Zereisst Englands Macht. Zeichnet
+Kriegsanleihe.</span> (Support our Field Greys. Rend England&#8217;s Might. Subscribe to the War Loan.) Issued in Cologne.</p>
+
+<p><a href="#poster36">36.</a> *ERWIN PUCHINGER.</p>
+<p class="blockquot"><span class="smcap">Zeichnet 5&#189;% dritte Kriegsanleihe.</span> (Subscribe to the 5&#189;% third War Loan.) Issued in Vienna.</p>
+
+<p><a href="#poster37">37.</a> ERLER.</p>
+<p class="blockquot"><span class="smcap">Der 9<sup>te</sup> Pfeil. Zeichnet Kriegsanleihe.</span> (The ninth arrow. Subscribe to the War Loan.) German War Loan Poster.</p>
+
+<p><a href="#poster38">38.</a> LEONARD.</p>
+<div class="blockquot"><p><span class="smcap">Der Hauptfeind ist England!</span> (The arch-enemy is England!) German Propaganda Poster.</p>
+
+<p class="poem">(When still compelled to fight and bleed,<br />
+When, suffering deprivation everywhere,<br />
+You go without the coal and warmth you need,<br />
+With ration-cards and darkness for your share<br />
+With peace-time work no longer to be done,&mdash;<br />
+Someone guilty there must be&mdash;<br />
+England, the Arch-enemy!<br />
+Stand then united, steadfastly!<br />
+For Germany&#8217;s sure cause will thus be won.)</p></div>
+
+<p><span class="pagenum"><a name="Page_xiii" id="Page_xiii">[Pg xiii]</a></span><a href="#poster39">39.</a> H. R. ERDT.</p>
+<p class="blockquot"><span class="smcap">Soll und Haben des Kriegs-Jahres</span>, 1917. (Losses and gains of the War Year, 1917.) German Propaganda Poster.</p>
+
+<p><a href="#poster40">40.</a> OSWARD POLTE.</p>
+<p class="blockquot"><span class="smcap">Dem Vaterlande! Pommersche Juwelen&mdash;und Goldankaufswoche.</span>
+(Advertising the &#8220;Pomeranian Sale Week for Gold and Jewels.&#8221;) Issued in Berlin.</p>
+
+<p><a href="#poster41">41.</a> A. S.</p>
+<p class="blockquot"><span class="smcap">Zeichnet f&uuml;nfte &ouml;sterreichische Kriegsanleihe.</span> (Subscribe to the
+Fifth Austrian War Loan.) Poster issued in Vienna.</p>
+
+<p class="hang"><a href="#poster42">42.</a> <span class="smcap">Seg&igrave;tsetek a diadalmas b&eacute;k&eacute;hez.</span> (Help the victorious peace.) War
+Loan Poster. Published in Budapest, 1917.</p>
+
+<p><a href="#poster43">43.</a> F. K. ENGELHARD.</p>
+<p class="blockquot"><span class="smcap">Nein! Niemals!</span> (No! Never!)</p>
+
+<p><a href="#poster44">44.</a> GERD PAUL.</p>
+<p class="blockquot"><span class="smcap">Es gilt die letzen Schl&auml;ge, den Sieg zu vollenden! Zeichnet
+Kriegsanleihe!</span> (It takes the last blow to make Victory complete! Subscribe to the War Loan!)</p>
+
+<p><a href="#poster45">45.</a> M. LENZ.</p>
+<p class="blockquot"><span class="smcap">Zeichnet achte Kriegsanleihe.</span> (Subscribe to the Eighth War Loan.) Issued in Vienna.</p>
+
+<p><a href="#poster46">46.</a> OLAF GULBRANNSON.</p>
+<p class="blockquot"><span class="smcap">Ludendorff-Spende f&uuml;r Kriegsbesch&auml;digte.</span> (Ludendorff Fund for the
+Disabled.) Issued in Munich, 1918.</p>
+
+<p class="hang"><a href="#poster47">47.</a> <span class="smcap">Esposizione di Guerra, Trieste</span>, 1917. (War Exhibition, Trieste, 1917.)</p>
+
+<p class="hang"><a href="#poster48">48.</a> <span class="smcap">Ziechnet vierte &ouml;sterreichische Kriegsanleihe.</span> (Subscribe to the
+Fourth Austrian War Loan.)</p>
+
+<p class="hang"><a href="#poster49">49.</a> <span class="smcap">&Ouml;sterr-Ungar. Kriegsgr&auml;ber Ausstellung.</span> (Austro-Hungarian War Graves&#8217;
+Exhibition.) Poster of an Exhibition in Berlin.</p>
+
+<p><a href="#poster50">50.</a> DANK&Oacute;.</p>
+<p class="blockquot"><span class="smcap">Be a v&ouml;r&ouml;s hadseregbe!</span> (For the conquering army!) Hungarian War Loan Poster.</p>
+
+<p><a href="#poster51">51.</a> FRANKE.</p>
+<p class="blockquot"><span class="smcap">Willst Du den Frieden ernten, Musst Du S&auml;endarum.</span> (If you would reap
+peace, You must sow to that end.) Poster of the Eighth Austrian War Loan.</p>
+
+<p><a href="#poster52">52.</a> P. PLONTKE.</p>
+<p class="blockquot"><span class="smcap">Annahmestelle und Sammelbeutelausgabe.</span> (Collection among girls in the
+schools at Mainz.) Poster of the German Women&#8217;s Hair Collection Committee for Magdeburg.</p>
+
+<p><span class="pagenum"><a name="Page_xiv" id="Page_xiv">[Pg xiv]</a></span></p>
+
+<p class="hang"><a href="#poster53">53.</a> <span class="smcap">Kaiser- und Volksdank f&uuml;r Heer und Flotte.</span> (Kaiser and people&#8217;s
+thank-offering for Army and Navy.) Poster for the Frankfort Christmas Offering, 1917.</p>
+
+<p class="hang"><a href="#poster54">54.</a> <span class="smcap">Helft! den braven Soldaten</span>.... (Help! for the brave Soldiers....)
+Poster of the Soldiers&#8217; Aid Committee, Berlin.</p>
+
+<p><a href="#poster55">55.</a> ROLAND KRAFTER.</p>
+<p class="blockquot">The Troops Home-Coming for Christmas.</p>
+
+<p><a href="#poster56">56.</a> F. K. ENGELHARD.</p>
+<p class="blockquot"><span class="smcap">Elend und Untergang folgen der Anarchie.</span> (Misery and Destruction
+follow Anarchy.) Poster of the German Revolution, 1918.</p>
+
+<p><a href="#poster57">57.</a> BIR&Oacute;.</p>
+<p class="blockquot">Poster depicting the Russian Invasion.</p>
+
+<p><a href="#poster58">58.</a> A. K. ARPELLUS.</p>
+<p class="blockquot"><span class="smcap">Zeichnet 7. Kriegsanleihe.</span> (Subscribe to the Seventh War Loan.)</p>
+
+<p><a href="#poster59">59.</a> K&Uuml;RTHY.</p>
+<p class="blockquot">War Loan Poster. Issued in Budapest, 1917.</p>
+
+<p><a href="#poster60">60.</a> FARAG&Oacute;G&Eacute;Z.</p>
+<p class="blockquot">War Loan Poster. Issued in Budapest.</p>
+
+<p><a href="#poster61">61.</a> BIR&Oacute;.</p>
+<p class="blockquot">War Loan Poster. Issued in Budapest, 1917.</p>
+
+<p><a href="#poster62">62.</a> K&Uuml;RTHY.</p>
+<p class="blockquot">War Loan Poster. Issued in Budapest, 1917.</p>
+
+<p class="center"><br /><i>AMERICAN</i></p>
+
+<p><a href="#poster63">63.</a> *RALEIGH.</p>
+<p class="blockquot"><span class="smcap">Must Children Die and Mothers Plead in Vain? Buy More Liberty Bonds.</span></p>
+
+<p class="hang"><a href="#poster64">64.</a> *<span class="smcap">Books Wanted for our Men &#8220;in Camp and Over There</span>.&#8221; Poster of the
+American Association of Libraries for supplying books to the troops on service.</p>
+
+<p><a href="#poster65">65.</a> *ELLSWORTH YOUNG.</p>
+<p class="blockquot"><span class="smcap">Remember Belgium. Buy Bonds.</span> Poster of the American Fourth Liberty Loan, 1918.</p>
+
+<p><a href="#poster66">66.</a> ADOLPH TREIDLER.</p>
+<p class="blockquot"><span class="smcap">For Every Fighter a Woman Worker. Care for her through the Y.W.C.A.</span>
+Poster of the United War Work Campaign, American Y.W.C.A.</p>
+
+<p><span class="pagenum"><a name="Page_xv" id="Page_xv">[Pg xv]</a></span><a href="#poster67">67.</a> JOSEPH PENNELL.</p>
+<p class="blockquot"><span class="smcap">That Liberty shall not Perish from the Earth.</span> Poster of the Fourth American War Loan, 1918.</p>
+
+<p><a href="#poster68">68.</a> L. JONAS.</p>
+<p class="blockquot"><span class="smcap">Four Years in the Fight&mdash;The Women of France: We owe them Houses of
+Cheer.</span> Poster of the United War Work Campaign, American Y.W.C.A., 1918.</p>
+
+<p class="hang"><a href="#poster69">69.</a> <span class="smcap">America Calls. Enlist in the Navy.</span> Recruiting poster for the U.S.
+<span class="smcap">Navy</span>, 1917.</p>
+
+<p><a href="#poster70">70.</a> MORGAN.</p>
+<p class="blockquot"><span class="smcap">Feed a Fighter. Eat only what you Need.</span> American Food Economy Poster.</p>
+
+<p><a href="#poster71">71.</a> LOUIS RAEMAEKERS.</p>
+<p class="blockquot"><span class="smcap">Enlist in the Navy. Americans! Stand by Uncle Sam for Liberty against
+Tyranny!&mdash;Theodore Roosevelt.</span> Recruiting Poster for the U.S. Navy.</p>
+
+<p class="center"><br /><i>ANGLO-INDIAN</i></p>
+
+<p><a href="#poster72">72.</a> CECIL L. BURNS.</p>
+<div class="blockquot">
+<p><span class="smcap">Victory to the Marathas.</span></p>
+
+<p class="poem">Unite, ye men,<br />
+And from his strongholds drive the foe!<br />
+Nothing but deeds like these can win<br />
+A fame that shall endure.</p>
+
+<p>Recruiting Poster, issued in Bombay, 1915.</p></div>
+
+<p class="center"><br />OTHER COUNTRIES</p>
+
+<p class="center"><br /><i>DUTCH</i></p>
+
+<p><a href="#poster73">73.</a> *A. O.</p>
+<p class="blockquot"><span class="smcap">In Belgie by De Zorg.</span> (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.</p>
+
+<p class="center"><br /><i>CANADIAN</i></p>
+
+<p class="hang"><a href="#poster74">74.</a> *<span class="smcap">Keep all Canadians Busy. Buy 1918 Victory Bonds.</span></p>
+
+<p class="center"><br /><i>ITALIAN</i></p>
+
+<p><a href="#poster75">75.</a> *LOUIS RAEMAEKERS.</p>
+<p class="blockquot"><span class="smcap">Neutral America and the Hun.</span> Poster of an Exhibition of Raemaekers&#8217; Cartoons in Milan.</p>
+
+<p><span class="pagenum"><a name="Page_xvi" id="Page_xvi">[Pg xvi]</a></span></p>
+
+<p class="center"><br /><i>CZECHO-SLOVAK</i></p>
+
+<p><a href="#poster76">76.</a> *V. PREISSIG.</p>
+<p class="blockquot"><span class="smcap">Czecho-slovaks! Join our Free Colours.</span> 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.</p>
+
+<p class="center"><br /><i>RUSSIAN</i></p>
+
+<p class="hang"><a href="#poster77">77.</a> <span class="smcap">Europe and the Idol. How much longer shall we Sacrifice our Sons to
+this Accursed Idol?</span> (The inscription on the idol is &#8220;Anglia.&#8221;)
+Revolutionary Poster. ? German propaganda.</p>
+
+<p class="center"><br /><i>GERMAN</i></p>
+
+<p><a href="#poster78">78.</a> GIPKINS.</p>
+<p class="blockquot"><span class="smcap">Bringt euren Goldschmuck den Goldankaufsstellen.</span> (Bring your gold
+ornaments to the Gold-purchasing Dep&ocirc;t!)</p>
+
+<p class="center"><br /><i>AUSTRIAN</i></p>
+
+<p><a href="#poster79">79.</a> ALFRED OFFNER.</p>
+<p class="blockquot"><span class="smcap">Zeichet 7. Kriegsanlenihe.</span> (Subscribe to the Seventh War Loan.)</p>
+
+<p class="center"><br /><i>AMERICAN</i></p>
+
+<p><a href="#poster80">80.</a> BABCOCK.</p>
+<p class="blockquot"><span class="smcap">Join the Navy&mdash;the Service for Fighting Men.</span> Recruiting Poster for the U.S. Navy.</p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+<h2><a name="I_POSTERS_AND_THE_WAR" id="I_POSTERS_AND_THE_WAR"></a>I.&mdash;POSTERS AND THE WAR</h2>
+
+<p class="dropcap"><span class="caps">Never</span> 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.</p>
+
+<p>Activity in poster production was not confined to Great Britain. France,
+as in all matters where<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span> 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 &#8220;mailed fist,&#8221; 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.</p>
+
+<p>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.<small><a name="f1.1" id="f1.1" href="#f1">[1]</a></small> 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<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span> by staggering blows at our very life as a
+nation. Then, and not till then, a Government which was always halting to
+&#8220;wait and see,&#8221; 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.</p>
+
+<p>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,<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span> 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.</p>
+
+<p>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.</p>
+
+<p>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&#8217; events. In its brief existence the poster<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span> 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.</p>
+
+<p>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&mdash;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&#8217;s work of many kinds; prisoners&#8217;
+aid&mdash;and hundreds of problems and activities in connection with the
+country&#8217;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.</p>
+
+<p>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<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> 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.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span></p>
+<h2><a name="II_GREAT_BRITAIN" id="II_GREAT_BRITAIN"></a>II.&mdash;GREAT BRITAIN</h2>
+
+<p class="dropcap"><span class="caps">Shortly</span> after the War began, an &#8220;Exhibition of German and Austrian
+Articles typifying Design&#8221; was arranged at the Goldsmiths&#8217; 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.</p>
+
+<p>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 &#8220;point a
+moral and adorn a tale.&#8221; They seldom realise that poster<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span> 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&#8217;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 &#8220;master likes so much&#8221;&mdash;all in posters produced
+at great expense with an enormous range of colour. The German, on the
+other hand&mdash;there was an example at the Goldsmiths&#8217; Hall&mdash;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 &#8220;beer&#8221; at the passer-by. It would make even Mr.
+Pussyfoot thirsty to glance at it.</p>
+
+<p>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&#8217;s portfolio, but ineffective when valued in relation to<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span>
+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.</p>
+
+<p>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&#8217;s &#8220;Kitchener.&#8221; But if one compares
+Leete&#8217;s head of Kitchener, &#8220;Your Country Needs You,&#8221; with Louis
+Oppenheim&#8217;s &#8220;Hindenburg,&#8221; the latter, with its rugged force and reserve of
+colour, stands as an example of the<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span> direction in which Germany tends to
+beat us in poster art.</p>
+
+<p>While these early official posters perhaps served their purpose&mdash;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&mdash;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 &#8220;L&#8217;&eacute;tat, c&#8217;est moi&#8221;), 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&#8217;s &#8220;Britain&#8217;s Call to
+Arms,&#8221; and Spencer Pryse&#8217;s &#8220;Only Road for an Englishman.&#8221;</p>
+
+<p>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.<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span> Each was headed with the words: &#8220;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.&#8221; The drawings were the free gifts of the
+artists who designed them&mdash;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.</p>
+
+<p>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 &#8220;official artist&#8221; might be deemed worthy of a subaltern&#8217;s rank,
+rations, and emoluments. Among good posters for which the Government was
+at this time responsible may be mentioned Bernard Partridge&#8217;s &#8220;Take up the
+Sword of Justice,&#8221; Guy Lipscombe&#8217;s &#8220;Our Flag,&#8221; Doris Hatt&#8217;s &#8220;St. George,&#8221;
+Caffyn&#8217;s &#8220;Come along, Boys,&#8221; and Ravenhill&#8217;s &#8220;The Watchers of the Seas.&#8221;
+In this connection it is amusing to recall a wireless message circulated
+from Berlin on October 2, 1915, in which appeared the <span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span>statement: &#8220;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.&#8221; 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
+&#8220;several million of forceful and often fine&#8221; posters, and that &#8220;the
+hoardings of England have never borne a better message conveyed in a
+better manner.&#8221; 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&#8217;s famous masterpiece&mdash;his &#8220;Portrait of the Artist&#8217;s Mother,&#8221; now
+in the Louvre. Nothing could have been better: but then they got someone
+to write across the beautiful background, in paltry lettering, &#8220;Old age
+must come.&#8221; There could be no better example of our British idea of
+enforcing a moral. It was an act of vandalism&mdash;impossible in
+France&mdash;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<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span>
+wished that he could have returned to earth to produce a new edition of
+his &#8220;Gentle Art of Making Enemies.&#8221;</p>
+
+<p>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 &#8220;The Autumn Campaign,
+1914,&#8221; which were published early in 1915. His poster &#8220;The Only Road for
+an Englishman&#8221; 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.</p>
+
+<p>The outstanding figure among poster artists, both in quantity and for
+technical accomplishment, was Mr. Frank Brangwyn, R.A. His &#8220;Britain&#8217;s Call
+to Arms&#8221; was produced in 1914 by the Underground Railways Company, and
+circulated in large numbers.<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span> 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&#8217;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&#8217; Aid
+League, the National Institute for the Blind, and the <i>Daily Mail</i> 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.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p>
+<h2><a name="III_FRANCE" id="III_FRANCE"></a>III.&mdash;FRANCE</h2>
+
+<p class="dropcap"><span class="caps">Before</span> the Beggarstaff Brothers initiated the reform movement in British
+poster art&mdash;the early phase of which, despite the effective colour sense
+of Walter Crane, passed away all too soon with the death of Aubrey
+Beardsley&mdash;Ch&eacute;ret, 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&mdash;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&#8217;
+pills; or a pleasant landscape executed with a kaleidoscopic richness of
+colour to persuade one to buy Fishville Sauce. There were, of course,<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span>
+many striking exceptions to this; but it was generally true enough to
+justify the American observer&#8217;s criticism that British posters mostly
+depicted things to eat, or soap.</p>
+
+<p>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 Ch&eacute;ret 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.</p>
+
+<p>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
+&#8220;finished&#8221;: 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&mdash;and he obviously has the public as his supporter,
+or his vogue would cease&mdash;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 &#8220;mere sketch.&#8221; If the French artist can convey
+his suggestion, his idea, in a few hasty<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> lines or brilliant touches of
+colour, he knows that his work is done, and is well content.</p>
+
+<p>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 <i>conte</i> are there, with every line inducing to intensity of
+expression. In the figures there is nothing of English photographic
+precision, nothing of Germany&#8217;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 <i>poilu</i>, in the trenches or <i>en permission</i>, the <i>gamin</i> 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.</p>
+
+<p>The whole difference between the British and the French outlook is summed
+up in Jules Abel Faivre&#8217;s poster for the <i>Journ&eacute;e Nationale des
+Tuberculeux</i>, with the poignant appeal of the figure in its<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> 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&mdash;&#8220;Sauvons-les&#8221; (Let us
+save them)&mdash;is not necessary to make the meaning clear, but rather it
+delivers an additional message&mdash;a note of resolution and purpose&mdash;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.</p>
+
+<p>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 <i>Journ&eacute;e du Poilu</i>
+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,
+&#8220;Flag-day&#8221; 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<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> 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.</p>
+
+<p>Among those who have done the most distinguished work the artists named
+above have contributed a large proportion. Jules Abel Faivre, whose
+&#8220;Sauvons-les&#8221; 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&mdash;the &#8220;Sauvons-les&#8221; and &#8220;On les aura!&#8221; both of which are illustrated in
+this book&mdash;can be said confidently to attain it. In its way nothing could
+be better also than Poulbot&#8217;s sketch of children collecting for the
+<i>Journ&eacute;e du Poilu</i>&mdash;&#8220;Pour que papa vienne en permission, s&#8217;il vous pla&icirc;t.&#8221;
+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 &#8220;Enfin seuls...!&#8221;, reproduced here
+as illustration No. <a href="#poster31">31</a>, 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.</p>
+
+<p>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<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> figure stands out before the rest, both by his power as a
+craftsman and the weight and strength of his individual characteristics.
+Th&eacute;ophile 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&mdash;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.</p>
+
+<p>Mention must also be made of the posters by the distinguished Alsatian
+artist Hansi&mdash;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&mdash;a
+patriot whose work was full of courage and hope for an oppressed people.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span></p>
+<h2><a name="IV_GERMANY_AUSTRO-HUNGARY" id="IV_GERMANY_AUSTRO-HUNGARY"></a>IV.&mdash;GERMANY: AUSTRO-HUNGARY.</h2>
+
+<p class="dropcap"><span class="caps">Though</span> 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.</p>
+
+<p>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<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> Fryatt had also been shot before the publication of the
+proclamation relative to him. This document, signed by Admiral von
+Schr&ouml;der, dated at Bruges, July 27, 1916, and printed in German, Flemish,
+and French, in parallel sections, reads:</p>
+
+<p class="blockquot">&#8220;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.&#8221;</p>
+
+<p>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.</p>
+
+<p>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<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span> continue to
+distinguish between them) disclose the varying national temperament and
+idiosyncrasy.</p>
+
+<p>Since the days of D&uuml;rer 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.<small><a name="f2.1" id="f2.1" href="#f2">[2]</a></small> On the one
+hand&mdash;in the years before the war&mdash;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&mdash;the open assertion of
+Germany&#8217;s idea that &#8220;force is beauty.&#8221;</p>
+
+<p>The war posters of Germany act as a mirror to German mentality. They dwell
+chiefly on one thing&mdash;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<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span>
+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.</p>
+
+<p>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
+&#8220;Post-Impressionism,&#8221; we are only suggesting that the poster should
+accomplish what the stained-glass window at its best&mdash;with a religious
+instead of propagandist or commercial purpose&mdash;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<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span> 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.</p>
+
+<p>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&mdash;a sentence much quoted during the Victorian era, but in these
+latter days perhaps little regarded&mdash;may be applied to the poster equally
+as to more durable and delightful works: &#8220;The excellence of every art must
+consist in the complete accomplishment of its purpose.&#8221; If the poster
+which accomplishes its purpose is indeed the most &#8220;artistic,&#8221; 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.</p>
+
+<p>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&#8217;s<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> &#8220;Hindenburg.&#8221; 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 &#8220;Nein! Niemals!&#8221; (illustration No. <a href="#poster43">43</a>) 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. &#8220;Elend und Untergang folgen der Anarchie&#8221; (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. <a href="#poster35">35</a>, used also as a design for the
+back of the cover) by Otto Leonard, &#8220;Zereisst Englands Macht&#8221; (Rend
+England&#8217;s Might). Wohlfeld&#8217;s poster appealing for women&#8217;s hair, which is
+reproduced as a frontispiece, and the poster of the Ludendorff Fund for
+those disabled by the War (illustration No. <a href="#poster46">46</a>), show other phases of
+strength and reserve equally good in their way.</p>
+
+<p><span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span>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&#8217; terms said:</p>
+
+<p class="blockquot">&#8220;Ladies and Gentlemen,&mdash;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&#8217;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.&#8221;</p>
+
+<p>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. <a href="#poster41">41</a>, that by Bir&oacute;, No. <a href="#poster57">57</a>,
+and the little group by Bir&oacute; and Kurthy, Nos. <a href="#poster59">59</a>, <a href="#poster61">61</a>, and <a href="#poster62">62</a>.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span></p>
+<h2><a name="V_UNITED_STATES_OF_AMERICA" id="V_UNITED_STATES_OF_AMERICA"></a>V.&mdash;UNITED STATES OF AMERICA</h2>
+
+<p class="dropcap"><span class="caps">It</span> 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
+Ch&eacute;ret, 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<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> 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&#8217;s spirit, yet with such artistic ability and undoubted
+personality that it could be placed beside the great French master&#8217;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&mdash;to mention only three of the most eminent
+of their designers of the days immediately before the War&mdash;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.</p>
+
+<p>In this, indeed, were the very elements needed to call out the utmost
+ability of the national artists. The United States&mdash;we say it with all
+respect&mdash;has a<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> keener eye for advertisement than any other nation. Let
+the American loose on a &#8220;whirlwind campaign&#8221;&mdash;whether in aid of church
+funds, an enormous commercial enterprise, or a world war&mdash;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<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span>
+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&mdash;&#8220;Four Years in the Fight&#8221;&mdash;aiming
+to provide houses of cheer for the women of France, is reproduced in
+illustration No. <a href="#poster68">68</a>.</p>
+
+<p>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&mdash;and here again we may
+instance Steinlen, Brangwyn and Pryse&mdash;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&mdash;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.</p>
+
+<p>It is, perhaps, a pity that Mr. Joseph Pennell&#8217;s<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> book on his own Liberty
+Loan poster<small><a name="f3.1" id="f3.1" href="#f3">[3]</a></small> 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.</p>
+
+<p>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.<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span> 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.</p>
+
+<p>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<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> 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 &#8220;poster sense.&#8221; They may not have the craftsmanship to
+make the poster all that&mdash;viewed as a complete artistic production&mdash;it
+should be; but there is &#8220;punch&#8221; 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&mdash;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&#8217;s &#8220;Must Children Die, and
+Mothers Plead in Vain?&#8221; reproduced in No. <a href="#poster63">63</a>, 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: &#8220;America the Home of All who Suffer, the
+Dread of All who Wrong,&#8221; runs the legend on a poster by Paus; &#8220;Remember
+Belgium&mdash;Buy Bonds,&#8221; says another; and it is a general strain.</p>
+
+<p>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&#8217;s pretty girl in naval uniform exclaiming,
+&#8220;Gee! I wish I<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> were a Man.
+I&#8217;d join the Navy&#8221;; Bancroft&#8217;s ringing &#8220;To
+Arms!&#8221; and Whitehead&#8217;s &#8220;Come on!&#8221; 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.</p>
+
+<p>In America, as elsewhere, all forms of activity were announced by
+posters&mdash;Recruiting, Food Economy, Red Cross Work, Homes for Women in
+France, War Loans, the organising of Polish and Czecho-Slovak citizens,<small><a name="f4.1" id="f4.1" href="#f4">[4]</a></small>
+all kinds of propaganda, were advertised by this means.</p>
+
+<p>It is unnecessary to draw further attention to Mr. Pennell&#8217;s poster, &#8220;That
+Liberty shall not Perish from the Earth.&#8221; He states his own intention in
+designing it: &#8220;My idea was New York City bombed, shot down, burning, blown
+up by an enemy, and this idea I have tried to carry out.&#8221; He conveys, in
+an effective colour scheme, the impression of a purely imaginary
+air-raid&mdash;a raid that never was on sea or land&mdash;with results highly
+picturesque and impossible. It is to be reckoned, however, as one of the
+successful posters of the War.</p>
+
+<p>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. <a href="#poster66">66</a>). The work of Young and Morgan is worthy
+of the highest commendation; and for Raleigh&#8217;s steady craftsmanship and
+noble designs there can be nothing but praise.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span></p>
+<h2><a name="VI_OTHER_COUNTRIES" id="VI_OTHER_COUNTRIES"></a>VI.&mdash;OTHER COUNTRIES</h2>
+
+<p class="dropcap"><span class="caps">To</span> 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.</p>
+
+<p>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 &#8220;Italian Artists and<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span> the War.&#8221; 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&mdash;Sachetti, Oppo, Ventura, Codognato, and others&mdash;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<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span>
+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.</p>
+
+<p>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 <i>Idea Nationale</i>,
+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&#8217; cartoons. One of these, &#8220;Neutral America and the Hun,&#8221; is
+reproduced in illustration <a href="#poster75">75</a>. Among the actual Italian examples, Barchi&#8217;s
+&#8220;Sotto-scrivete&#8221; and Mauzan&#8217;s &#8220;Fate tutti il vostro dovere&#8221; alone were
+notable.</p>
+
+<p>Greece, on the contrary, showed a considerable<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> 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.</p>
+
+<p>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<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> sentences as
+&#8220;The severe battle at the Kuragaw&mdash;German troops are extremely defeated,&#8221;
+&#8220;Our troops attack on Tsingau Retreat German Army and Affrighted,&#8221; and a
+very happy mis-spelling, &#8220;The Gritish <i>Sydney</i> forced the German <i>Emden</i>
+to fight and the sharp action that ensued,&#8221; 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.</p>
+
+<p>Of the British Colonies, Australia, Canada, and<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span> South Africa produced
+posters of quite a high standard. The eminence attained by the artists of
+the <i>Sydney Bulletin</i> 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 <a href="#poster74">74</a>, 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. <a href="#poster72">72</a>) 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.</p>
+
+<p>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. <a href="#poster77">77</a>, a poster which, when exhibited, was described as a &#8220;Bolshevist
+cartoon&#8221;; 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 &#8220;Anglia&#8221;; below is the inscription, in Russian
+characters: &#8220;How much longer shall we sacrifice our sons to this accursed
+idol?&#8221; It is at best a poor thing, and, if German, most carefully designed
+to bear the impress of a Russian product.</p>
+
+<p><span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span>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. <a href="#poster76">76</a>, &#8220;Czecho-Slovaks! Join our free colours!&#8221; 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.</p>
+
+<p>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. &#8220;Keep your eyes open and your mouth
+shut,&#8221; runs its legend. The poster shows representations of the different
+disguises under which spies are probably concealing themselves&mdash;as
+nursemaids, schoolboys, tramps, and so on&mdash;and warns the public to avoid
+them. Life in Brazil would doubtless<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span> be exciting for an innocent stranger
+whilst the mania lasted.</p>
+
+<p>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 &#8220;Fraternelle Belge,&#8221; 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&#8217;s blood was being shed. Louis Raemaekers, cartoonist
+of the Amsterdam <i>Telegraaf</i>, 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.</p>
+
+<p><span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span></p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span></p>
+<h2>INDEX TO ARTISTS&#8217; NAMES</h2>
+
+<p class="note"><span class="smcap">Note.</span>&mdash;<i>The heavy black numerals indicate pictures in the book; the</i>
+number of the picture <i>is given in this case.</i></p>
+
+<p class="index">
+Adler, Jules, <a href="#poster32"><strong>32</strong></a><br />
+<br />
+Arpellus, A. K., <a href="#Page_27">27</a>, <a href="#poster58"><strong>58</strong></a><br />
+<br />
+<br />
+Babcock, &mdash;, <a href="#poster80"><strong>80</strong></a><br />
+<br />
+Bancroft, &mdash;, <a href="#Page_35">35</a><br />
+<br />
+Barchi, &mdash;, <a href="#Page_38">38</a><br />
+<br />
+Beardsley, Aubrey, <a href="#Page_7">7</a>, <a href="#Page_15">15</a>, <a href="#Page_28">28</a><br />
+<br />
+&#8220;Beggarstaff Brothers,&#8221; <a href="#Page_15">15</a><br />
+<br />
+Bir&oacute;, &mdash;, <a href="#Page_27">27</a>, <a href="#poster57"><strong>57</strong></a>, <a href="#poster61"><strong>61</strong></a><br />
+<br />
+Bonnard, Pierre, <a href="#Page_16">16</a><br />
+<br />
+Bradley, Will H., <a href="#Page_28">28</a>, <a href="#Page_29">29</a><br />
+<br />
+Brangwyn, Frank, <a href="#Page_3">3</a>, <a href="#Page_9">9</a>, <a href="#Page_10">10</a>, <a href="#Page_13">13</a>, <a href="#Page_14">14</a>, <a href="#Page_19">19</a>, <a href="#Page_20">20</a>, <a href="#Page_31">31</a>, <a href="#Page_34">34</a>, <a href="#poster5"><strong>5</strong></a>, <a href="#poster7"><strong>7</strong></a>, <a href="#poster19"><strong>19</strong></a><br />
+<br />
+Brown, T. G., <a href="#poster4"><strong>4</strong></a><br />
+<br />
+Burns, Cecil L., <a href="#poster72"><strong>72</strong></a><br />
+<br />
+<br />
+Caffyn, &mdash;, <a href="#Page_11">11</a><br />
+<br />
+Capon, G., <a href="#poster26"><strong>26</strong></a><br />
+<br />
+Ch&eacute;ret, Jules, <a href="#Page_15">15</a>, <a href="#Page_16">16</a>, <a href="#Page_28">28</a><br />
+<br />
+Christy, H. C., <a href="#Page_34">34</a><br />
+<br />
+Clausen, George, <a href="#Page_11">11</a>, <a href="#poster10"><strong>10</strong></a><br />
+<br />
+Codognato, Plinio, <a href="#Page_37">37</a><br />
+<br />
+Crane, Walter, <a href="#Page_15">15</a><br />
+<br />
+<br />
+Dank&oacute;, &mdash;, <a href="#poster50"><strong>50</strong></a><br />
+<br />
+Dyson, Will, <a href="#Page_37">37</a><br />
+<br />
+<br />
+Engelhard, F. K., <a href="#Page_23">23</a>, <a href="#Page_26">26</a>, <a href="#poster43"><strong>43</strong></a>, <a href="#poster56"><strong>56</strong></a><br />
+<br />
+Erdt, H. R., <a href="#poster39"><strong>39</strong></a><br />
+<br />
+Erler, &mdash;, <a href="#Page_23">23</a>, <a href="#poster37"><strong>37</strong></a><br />
+<br />
+<br />
+Faivre, Jules Abel, <a href="#Page_17">17</a>, <a href="#Page_18">18</a>, <a href="#Page_19">19</a>, <a href="#Page_24">24</a>, <a href="#poster23"><strong>23</strong></a>, <a href="#poster30"><strong>30</strong></a><br />
+<br />
+Farag&oacute;g&eacute;z, &mdash;, <a href="#poster60"><strong>60</strong></a><br />
+<br />
+Fouqueray, D. Charles, <a href="#Page_19">19</a>, <a href="#poster22"><strong>22</strong></a>, <a href="#poster25"><strong>25</strong></a><br />
+<br />
+Franke, &mdash;, <a href="#poster51"><strong>51</strong></a><br />
+<br />
+<br />
+Galantara, Gabriele, <a href="#Page_37">37</a><br />
+<br />
+Gipkins, &mdash;, <a href="#poster78"><strong>78</strong></a><br />
+<br />
+Gould, J. J., <a href="#Page_29">29</a><br />
+<br />
+Grasset, Eug&egrave;ne, <a href="#Page_16">16</a><br />
+<br />
+Guillaume, &mdash;, <a href="#Page_16">16</a><br />
+<br />
+Gulbransson, Olaf, <a href="#poster46"><strong>46</strong></a><br />
+<br />
+<br />
+Hansi, &mdash;, <a href="#Page_20">20</a><br />
+<br />
+Hassall, John, <a href="#poster13"><strong>13</strong></a>, <a href="#poster14"><strong>14</strong></a><br />
+<br />
+Hatt, Doris, <a href="#Page_11">11</a><br />
+<br />
+<br />
+Jackson, F. Ernest, <a href="#Page_11">11</a>, <a href="#poster3"><strong>3</strong></a><br />
+<br />
+Jonas, L., <a href="#Page_31">31</a>, <a href="#poster68"><strong>68</strong></a><br />
+<br />
+<br />
+Krafter, Roland, <a href="#Page_27">27</a>, <a href="#poster55"><strong>55</strong></a><br />
+<br />
+K&uuml;rthy, &mdash;, <a href="#Page_27">27</a>, <a href="#poster59"><strong>59</strong></a>, <a href="#poster62"><strong>62</strong></a><br />
+<br />
+<br />
+Leete, Alfred, <a href="#Page_9">9</a><br />
+<br />
+Lehmann, Otto, <a href="#poster35"><strong>35</strong></a><br />
+<br />
+Lenz, M., <a href="#poster45"><strong>45</strong></a><br />
+<br />
+Leonard, Otto, <a href="#Page_23">23</a>, <a href="#Page_26">26</a>, <a href="#poster38"><strong>38</strong></a><br />
+<br />
+Leroux, Auguste, <a href="#poster33"><strong>33</strong></a><br />
+<br />
+Lipscombe, Guy, <a href="#Page_11">11</a><br />
+<br />
+<br />
+Mauzan, &mdash;, <a href="#Page_28">28</a><br />
+<br />
+Morgan, &mdash;, <a href="#Page_35">35</a>, <a href="#poster70"><strong>70</strong></a><br />
+<br />
+Mucha, Alphonse, <a href="#Page_15">15</a>, <a href="#Page_16">16</a><br />
+<br />
+<br />
+Nash, Paul, <a href="#poster16"><strong>16</strong></a><br />
+<br />
+Neumon, Maurice, <a href="#Page_18">18</a>, <a href="#poster29"><strong>29</strong></a><br />
+<br />
+Nicholson, W., <a href="#Page_7">7</a><br />
+<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span><br />
+<br />
+O. A., <a href="#poster73"><strong>73</strong></a><br />
+<br />
+Offner, Alfred, <a href="#poster79"><strong>79</strong></a><br />
+<br />
+Oppenheim, Louis, <a href="#Page_9">9</a>, <a href="#Page_25">25</a><br />
+<br />
+Oppo, &mdash;, <a href="#Page_37">37</a>, <a href="#Page_38">38</a><br />
+<br />
+Orpen, Sir W., <a href="#poster17"><strong>17</strong></a><br />
+<br />
+<br />
+Parrish, Maxfield, <a href="#Page_29">29</a><br />
+<br />
+Partridge, Bernard, <a href="#Page_11">11</a>, <a href="#poster2"><strong>2</strong></a>, <a href="#poster12"><strong>12</strong></a>, <a href="#poster15"><strong>15</strong></a><br />
+<br />
+Paul, Gerd, <a href="#poster44"><strong>44</strong></a><br />
+<br />
+Paus, &mdash;, <a href="#Page_34">34</a><br />
+<br />
+Penfield, Edward, <a href="#Page_28">28</a>, <a href="#Page_29">29</a><br />
+<br />
+Pennell, Joseph, <a href="#Page_31">31</a>, <a href="#Page_32">32</a>, <a href="#Page_33">33</a>, <a href="#Page_35">35</a>, <a href="#Page_39">39</a>, <a href="#poster67"><strong>67</strong></a><br />
+<br />
+Plontke, P., <a href="#poster34"><strong>34</strong></a>, <a href="#poster52"><strong>52</strong></a><br />
+<br />
+Pogliaghi, Ludovico, <a href="#Page_37">37</a><br />
+<br />
+Polte, Oswald, <a href="#poster40"><strong>40</strong></a><br />
+<br />
+Poulbot, &mdash;, <a href="#Page_17">17</a>, <a href="#Page_18">18</a>, <a href="#Page_19">19</a>, <a href="#Page_24">24</a>, <a href="#poster20"><strong>20</strong></a>, <a href="#poster76"><strong>76</strong></a><br />
+<br />
+Preissig, V., <a href="#Page_26">26</a>, <a href="#Page_42">42</a>, <a href="#poster76"><strong>76</strong></a><br />
+<br />
+Pryde, &mdash;, <a href="#Page_7">7</a><br />
+<br />
+Pryse, G. Spencer, <a href="#Page_3">3</a>, <a href="#Page_10">10</a>, <a href="#Page_13">13</a>, <a href="#Page_31">31</a>, <a href="#poster8"><strong>8</strong></a>, <a href="#poster9"><strong>9</strong></a><br />
+<br />
+Puchinger, Erwin, <a href="#Page_27">27</a>, <a href="#poster36"><strong>36</strong></a><br />
+<br />
+<br />
+Raemaekers, Louis, <a href="#Page_23">23</a>, <a href="#Page_31">31</a>, <a href="#Page_37">37</a>, <a href="#Page_38">38</a>, <a href="#Page_43">43</a>, <a href="#poster71"><strong>71</strong></a>, <a href="#poster75"><strong>75</strong></a><br />
+<br />
+Raleigh, &mdash;, <a href="#Page_33">33</a>, <a href="#Page_34">34</a>, <a href="#Page_35">35</a>, <a href="#poster63"><strong>63</strong></a><br />
+<br />
+Raven-Hill, L., <a href="#poster11"><strong>11</strong></a><br />
+<br />
+Roll, Auguste, <a href="#Page_19">19</a>, <a href="#Page_24">24</a>, <a href="#poster21"><strong>21</strong></a><br />
+<br />
+<br />
+S. A., <a href="#poster41"><strong>41</strong></a><br />
+<br />
+Sachetti, E., <a href="#Page_37">37</a><br />
+<br />
+Sem, &mdash;, <a href="#poster27"><strong>27</strong></a><br />
+<br />
+Sims, Charles, <a href="#Page_11">11</a><br />
+<br />
+Steinlen, Th&eacute;ophile Alexandre, <a href="#Page_15">15</a>, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>, <a href="#Page_18">18</a>, <a href="#Page_20">20</a>, <a href="#Page_24">24</a>, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>, <a href="#Page_31">31</a>, <a href="#poster28"><strong>28</strong></a><br />
+<br />
+<br />
+Toulouse-Lautrec, H. de, <a href="#Page_16">16</a><br />
+<br />
+Treidler, Adolph, <a href="#Page_29">29</a>, <a href="#Page_33">33</a>, <a href="#Page_35">35</a>, <a href="#poster66"><strong>66</strong></a><br />
+<br />
+<br />
+Ventura, &mdash;, <a href="#Page_37">37</a><br />
+<br />
+<br />
+West, J. Walter, <a href="#Page_11">11</a>, <a href="#poster6"><strong>6</strong></a><br />
+<br />
+Whistler, J. A. McNeill, <a href="#Page_12">12</a><br />
+<br />
+Whitehead, Walter, <a href="#Page_33">33</a><br />
+<br />
+Wildhack, Robert J., <a href="#Page_29">29</a><br />
+<br />
+Wilkinson, Norman, <a href="#poster18"><strong>18</strong></a><br />
+<br />
+Willette, Adolphe, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>, <a href="#Page_18">18</a>, <a href="#Page_19">19</a>, <a href="#Page_24">24</a>, <a href="#poster31"><strong>31</strong></a><br />
+<br />
+Wohlfeld, &mdash;, <a href="#Page_26">26</a>, <a href="#poster1"><i>Frontispiece</i></a><br />
+<br />
+<br />
+Young, Ellsworth, <a href="#Page_33">33</a>, <a href="#Page_35">35</a>, <a href="#poster65"><strong>65</strong></a></p>
+
+<p>&nbsp;</p>
+<p class="center">PRINTED IN GREAT BRITAIN BY BILLING AND SONS, LTD., GUILDFORD</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<h2>REPRODUCTIONS OF POSTERS</h2>
+<p class="center"><span class="big">GROUPED UNDER THE COUNTRIES OF ISSUE</span></p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster2" id="poster2"></a></p>
+<p class="center">2.</p>
+<p class="center">BERNARD PARTRIDGE.</p>
+<p class="center">&#8220;<span class="smcap">Take Up the Sword of Justice.</span>&#8221;</p>
+<p class="center">Issued by the Parliamentary Recruiting Committee:<br />No. 106 of their posters.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster2tmb.jpg" alt="" /><br />
+<a href="images/poster2.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster3" id="poster3"></a></p>
+<p class="center">3.</p>
+<p class="center">F. ERNEST JACKSON.</p>
+<p class="center">&#8220;<span class="smcap">Song to the Evening Star.</span>&#8221;</p>
+
+<p class="note">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.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster3tmb.jpg" alt="" /><br />
+<a href="images/poster3.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster4" id="poster4"></a></p>
+<p class="center">4.</p>
+<p class="center">T. GREGORY BROWN.</p>
+<p class="center">&#8220;<span class="smcap">Their Home, Belgium, 1918.</span>&#8221;</p>
+<p class="center">British War Loan poster.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster4tmb.jpg" alt="" /><br />
+<a href="images/poster4.jpg"><small>Larger Image</small></a></div>
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster5" id="poster5"></a></p>
+<p class="center">5.</p>
+<p class="center">FRANK BRANGWYN, R. A.</p>
+<p class="center">&#8220;<span class="smcap">Britain&#8217;s Call to Arms.</span>&#8221;</p>
+
+<p class="note">Recruiting poster, published by the Underground Electric Railways Company
+of London, 1914. The stone upon which Mr. Brangwyn drew this
+lithograph&mdash;the first great poster of the War&mdash;was subsequently presented
+to the Victoria and Albert Museum.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster5tmb.jpg" alt="" /><br />
+<a href="images/poster5.jpg"><small>Larger Image</small></a></div>
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster6" id="poster6"></a></p>
+<p class="center">6.</p>
+<p class="center">J. WALTER WEST.</p>
+<p class="center">&#8220;<span class="smcap">Harvest-Time, 1916: Women&#8217;s Work on the Land.</span>&#8221;</p>
+<p class="center">Issued by the Underground Electric Railways Company of London.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster6tmb.jpg" alt="" /><br />
+<a href="images/poster6.jpg"><small>Larger Image</small></a></div>
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster7" id="poster7"></a></p>
+<p class="center">7.</p>
+<p class="center">FRANK BRANGWYN, R.A.</p>
+<p class="center">Poster for the French Army Orphanage.</p>
+<p class="center">&#8220;To ensure that the little orphans shall have a home and<br />motherly care,
+education in the country, a career suited<br />to each child, and the religion of their fathers.&#8221;</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster7tmb.jpg" alt="" /><br />
+<a href="images/poster7.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster8" id="poster8"></a></p>
+<p class="center">8.</p>
+<p class="center">GERALD SPENCER PRYSE.</p>
+<p class="center">&#8220;<span class="smcap">The Only Road for an Englishman.
+<br />Through Darkness to Light; Through Fighting to Triumph.</span>&#8221;</p>
+<p class="center">Published by the Underground Railways Company of London, Ltd., 1914.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster8tmb.jpg" alt="" /><br />
+<a href="images/poster8.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster9" id="poster9"></a></p>
+<p class="center">9.</p>
+<p class="center">GERALD SPENCER PRYSE.</p>
+<p class="center">&#8220;<span class="smcap">Belgium Refugees in England.</span>&#8221;</p>
+<p class="center">Poster of the Belgian Red Cross Fund in London, 1915.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster9.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster10" id="poster10"></a></p>
+<p class="center">10.</p>
+<p class="center">GEORGE CLAUSEN, R.A.</p>
+<p class="center">&#8220;<span class="smcap">Mine Be a Cot Beside the Hill.</span>&#8221;</p>
+
+<p class="note">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.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster10tmb.jpg" alt="" /><br />
+<a href="images/poster10.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster11" id="poster11"></a></p>
+<p class="center">11.</p>
+<p class="center">L. RAVEN-HILL.</p>
+<p class="center">&#8220;<span class="smcap">The Watchers of the Seas.</span>&#8221;</p>
+<p class="center">Recruiting poster for the British Navy, 1915.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster11.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster12" id="poster12"></a></p>
+<p class="center">12.</p>
+<p class="center">BERNARD PARTRIDGE.</p>
+<p class="center">1389-1916.</p>
+<p class="center">&#8220;<span class="smcap">Kossovo Day Is the Serbian National Day.</span>&#8221;</p>
+<p class="center">Poster of a British &#8220;Flag Day.&#8221; 25th June, 1916.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster12tmb.jpg" alt="" /><br />
+<a href="images/poster12.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster13" id="poster13"></a></p>
+<p class="center">13.</p>
+<p class="center">JOHN HASSALL.</p>
+<p class="center">Poster of the Belgian Canal Boat Fund.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster13.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster14" id="poster14"></a></p>
+<p class="center">14.</p>
+<p class="center">JOHN HASSALL.</p>
+<p class="center">&#8220;<span class="smcap">Music in War-time.</span>&#8221;</p>
+<p class="center">Grand Patriotic Concert, Albert Hall.</p>
+<p class="center">Poster of the Professional Classes War Relief Council.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster14.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster15" id="poster15"></a></p>
+<p class="center">15.</p>
+<p class="center">BERNARD PARTRIDGE.</p>
+<p class="center">&#8220;<span class="smcap">Haven.</span>&#8221;</p>
+
+<p class="note">Poster of the British Women&#8217;s Hospital Fund, appealing for subscriptions
+toward the &#8220;Star and Garter&#8221; home for men disabled by the War.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster15tmb.jpg" alt="" /><br />
+<a href="images/poster15.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster16" id="poster16"></a></p>
+<p class="center">16.</p>
+<p class="center">PAUL NASH.</p>
+
+<p class="note">Poster of an Exhibition of War Paintings and Drawings by Paul Nash at the
+Leicester Galleries, London, May, 1916.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster16.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster17" id="poster17"></a></p>
+<p class="center">17.</p>
+<p class="center">SIR WILLIAM ORPEN, R.A.</p>
+
+<p class="note">Poster of an Exhibition of War Paintings and Drawings executed by Major
+William Orpen on the Western Front, at Agnew&#8217;s Galleries, London, 1918.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster17.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster18" id="poster18"></a></p>
+<p class="center">18.</p>
+<p class="center">NORMAN WILKINSON.</p>
+<p class="center">&#8220;<span class="smcap">The Dardanelles.</span>&#8221;</p>
+<p class="center">War Sketches in Gallipoli.</p>
+<p class="center">Poster of an Exhibition at the Fine Art Society, London, 1915.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster18.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster19" id="poster19"></a></p>
+<p class="center">19.</p>
+<p class="center">FRANK BRANGWYN, R.A.</p>
+<p class="center">&#8220;<span class="smcap">At Neuve Chapelle.</span>&#8221;</p>
+<p class="center">&#8220;<span class="smcap">Your Friends Need You. Be a Man.</span>&#8221;</p>
+<p class="center">British Recruiting Poster.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster19.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster20" id="poster20"></a></p>
+<p class="center">20.</p>
+<p class="center">POULBOT.</p>
+<p class="center">&#8220;<span class="smcap">Pour que papa vienne en permission, s&#8217;il vous plait.</span>&#8221;</p>
+<p class="center">(So that papa may come on leave, if you please.)</p>
+<p class="center">Poster of the French &#8220;Flag Days&#8221; in Paris,<br />25th and 26th December, 1915.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster20tmb.jpg" alt="" /><br />
+<a href="images/poster20.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster21" id="poster21"></a></p>
+<p class="center">21.</p>
+<p class="center">AUGUSTE ROLL.</p>
+<p class="center">&#8220;<span class="smcap">Pour les Bless&eacute;s de la Tuberculose.</span>&#8221;</p>
+<p class="center">(For those wounded by tuberculosis.)</p>
+<p class="center">Poster of the National Day for the Benefit of ex-Soldiers<br />suffering from Tuberculosis. Paris, 1916.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster21tmb.jpg" alt="" /><br />
+<a href="images/poster21.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster22" id="poster22"></a></p>
+<p class="center">22.</p>
+<p class="center">D. CHARLES FOUQUERAY.</p>
+<p class="center">&#8220;<span class="smcap">Le Cardinal Merci&eacute;r prot&eacute;ge la Belgique.</span>&#8221;</p>
+<p class="center">(Cardinal Mercier protects Belgium.)</p>
+<p class="center">Poster published in Paris, 1916.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster22tmb.jpg" alt="" /><br />
+<a href="images/poster22.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster23" id="poster23"></a></p>
+<p class="center">23.</p>
+<p class="center">JULES ABLE FAIVRE.</p>
+<p class="center">&#8220;<span class="smcap">On les aura</span>!&#8221; (We shall get them!)<br />Subscribe.</p>
+<p class="center">Poster of the Second National Defence Loan.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster23.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster24" id="poster24"></a></p>
+<p class="center">24.</p>
+<p class="center">JULES ABEL FAIVRE.</p>
+<p class="center">&#8220;<span class="smcap">Sauvons-les</span>!&#8221; (Let us save them!)</p>
+<p class="center">Poster of the National Day for the benefit of ex-Soldiers<br />suffering from tuberculosis.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster24.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster25" id="poster25"></a></p>
+<p class="center">25.</p>
+<p class="center">D. CHARLES FOUQUERAY.</p>
+<p class="center">&#8220;<span class="smcap">La Journ&eacute;e Serbe, 25 Juin, 1916.</span>&#8221;</p>
+<p class="center">Poster of a French &#8220;Flag Day&#8221; for the Serbian Relief Fund,<br />on the Anniversary of the Battle of Kossovo.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster25.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster26" id="poster26"></a></p>
+<p class="center">26.</p>
+<p class="center">G. CAPON.</p>
+<p class="center">&#8220;<span class="smcap">La Femme Fran&ccedil;aise pendant la Guerre.</span>&#8221;</p>
+<p class="center">(French Women during the War.)</p>
+<p class="center">Poster of the Kinematograph Section of the French Army.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster26.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster27" id="poster27"></a></p>
+<p class="center">27.</p>
+<p class="center">SEM.</p>
+<p class="center">&#8220;<span class="smcap">Pour le dernier quart d&#8217;heure ... aidez-moi!</span>&#8221;</p>
+<p class="center">(For the last quarter of the hour ... help me!)</p>
+<p class="center">Poster of the French War Loan, 1918.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster27.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster28" id="poster28"></a></p>
+<p class="center">28.</p>
+<p class="center">TH&Eacute;OPHILE ALEXANDRE STEINLEN.</p>
+<p class="center">Poster of the French &#8220;Flag Days,&#8221; 25th and 26th December, 1915.<br />Organized by Parliament.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster28.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster29" id="poster29"></a></p>
+<p class="center">29.</p>
+<p class="center">MAURICE NEUMON.</p>
+<p class="center">Poster of the French &#8220;Flag Days,&#8221; 25th and 26th December, 1915.<br />Organized by Parliament.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster29.jpg" alt="" /></div>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster30" id="poster30"></a></p>
+<p class="center">30.</p>
+<p class="center">JULES ABEL FAIVRE.</p>
+<p class="center">&#8220;<span class="smcap">Pour out your Gold for France.<br />Gold fights for Victory.</span>&#8221;</p>
+<p class="center">Poster of the French War Loan, 1915.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster30.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster31" id="poster31"></a></p>
+<p class="center">31.</p>
+<p class="center">ADOLPHE WILLETTE.</p>
+<p class="center">&#8220;<span class="smcap">By Ourselves at last!</span>&#8221;</p>
+<p class="center">Poster of the French &#8220;Flag Days,&#8221; 25th and 26th December, 1916.<br />Organized by Parliament.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster31.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster32" id="poster32"></a></p>
+<p class="center">32.</p>
+<p class="center">JULES ADLER.</p>
+<p class="center">&#8220;<span class="smcap">They, too, are doing their Duty.</span>&#8221;</p>
+<p class="center">Poster of the French War Loan, 1915.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster32.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster33" id="poster33"></a></p>
+<p class="center">33.</p>
+<p class="center">AUGUSTE LEROUX.</p>
+<p class="center">&#8220;<span class="smcap">Subscribe for France who is Fighting! and for<br />that Little One who grows bigger every Day.</span>&#8221;</p>
+<p class="center">Poster of the third French War Loan.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster33.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster34" id="poster34"></a></p>
+<p class="center">34.</p>
+<p class="center">PLONTKE.</p>
+<p class="center">&#8220;<span class="smcap">F&uuml;r die Kriegsanleihe!</span>&#8221;</p>
+<p class="center">(For the War Loan.)</p>
+<p class="center">German War Loan poster issued in Berlin.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster34tmb.jpg" alt="" /><br />
+<a href="images/poster34.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster35" id="poster35"></a></p>
+<p class="center">35.</p>
+<p class="center">OTTO LEHMANN.</p>
+<p class="center">&#8220;<span class="smcap">Stutzt unsre Feldgrauen. Zereisst Englands Macht.<br />Zeichnet Kriegsanleihe.</span>&#8221;</p>
+<p class="center">(Support our Field Greys. Rend England&#8217;s might.<br />Subscribe to the War Loan.)</p>
+<p class="center">Issued in Cologne.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster35tmb.jpg" alt="" /><br />
+<a href="images/poster35.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster36" id="poster36"></a></p>
+<p class="center">36.</p>
+<p class="center">ERWIN PUCHINGER.</p>
+<p class="center">&#8220;<span class="smcap">Zeichnet 5&#189;% dritte Kriegsanleihe.</span>&#8221;</p>
+<p class="center">(Subscribe to the 5&#189;% Third War Loan.)</p>
+<p class="center">Issued in Vienna.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster36tmb.jpg" alt="" /><br />
+<a href="images/poster36.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster37" id="poster37"></a></p>
+<p class="center">37.</p>
+<p class="center">ERLER.</p>
+<p class="center">&#8220;<span class="smcap">Der 9te Pfeil. Zeichnet Kriegsanleihe.</span>&#8221;</p>
+<p class="center">(The ninth arrow. Subscribe to the War Loan.)</p>
+<p class="center">German War Loan poster.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster37.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster38" id="poster38"></a></p>
+<p class="center">38.</p>
+<p class="center">LEONARD.</p>
+<p class="center">&#8220;<span class="smcap">Der Hauptfeind is England.</span>&#8221;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;When, still compelled to fight and bleed,<br />
+When, suffering deprivation everywhere,<br />
+You go without the coal and warmth you need,<br />
+With ration-cards and darkness for your share,<br />
+With peace-time work no longer to be done,&mdash;<br />
+Someone guilty there must be&mdash;<br />
+England, the arch-enemy!<br />
+Stand then united, steadfastly!<br />
+For Germany&#8217;s sure cause will thus be won.&#8221;</td></tr></table>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster38.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster39" id="poster39"></a></p>
+<p class="center">39.</p>
+<p class="center">H. R. ERDT.</p>
+<p class="center">&#8220;<span class="smcap">Soll und Haben des Kriegs-Jahres 1917.</span>&#8221;</p>
+<p class="center">(Losses and gains of the War year 1917.)</p>
+<p class="center">German propaganda poster.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster39.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster40" id="poster40"></a></p>
+<p class="center">40.</p>
+<p class="center">OSWALD POLTE.</p>
+<p class="center">&#8220;<span class="smcap">Dem Vaterlande!</span>&#8221;</p>
+<p class="center">&#8220;<span class="smcap">Pommersche Juwelen und Goldankaufswoche</span><br />
+<span class="smcap">30 Juni-6 Juli.</span>&#8221;</p>
+<p class="center">(For the Fatherland.)</p>
+<p class="center">Poster advertising the &#8220;Pommeranian sale week for<br />jewels and gold, 30 June-6th July.&#8221;</p>
+<p class="center">Issued in Berlin.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster40tmb.jpg" alt="" /><br />
+<a href="images/poster40.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster41" id="poster41"></a></p>
+<p class="center">41.</p>
+<p class="center">A. S.</p>
+<p class="center">&#8220;<span class="smcap">Zeichnet f&uuml;nfte &Ouml;sterreichische Kriegsanleihe.</span>&#8221;</p>
+<p class="center">(Subscribe to the fifth Austrian War Loan.)</p>
+<p class="center">Poster issued in Vienna.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster41tmb.jpg" alt="" /><br />
+<a href="images/poster41.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster42" id="poster42"></a></p>
+<p class="center">42.</p>
+<p class="center">&#8220;<span class="smcap">Segitestek a diadalmas b&eacute;k&eacute;tez.</span>&#8221;</p>
+<p class="center">Hungarian War Loan Poster&mdash;&#8220;Help the Victorious Peace.&#8221;</p>
+<p class="center">Issued in Budapest, 1917.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster42tmb.jpg" alt="" /><br />
+<a href="images/poster42.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster43" id="poster43"></a></p>
+<p class="center">43.</p>
+<p class="center">F. K. ENGELHARD.</p>
+<p class="center">&#8220;<span class="smcap">Nein! Niemals!</span>&#8221; (No! Never!)</p>
+<p class="center">German poster.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster43tmb.jpg" alt="" /><br />
+<a href="images/poster43.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster44" id="poster44"></a></p>
+<p class="center">44.</p>
+<p class="center">GERD PAUL.</p>
+<p class="center">&#8220;<span class="smcap">Es gilt die letzen Schl&auml;ge,<br />den Sieg zu vollenden!<br />Zeichnet Kriegsanleihe!</span>&#8221;</p>
+<p class="center">(It takes the last blow to make victory complete.<br />Subscribe to the War Loan!)</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster44tmb.jpg" alt="" /><br />
+<a href="images/poster44.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster45" id="poster45"></a></p>
+<p class="center">45.</p>
+<p class="center">M. LENZ.</p>
+<p class="center">&#8220;<span class="smcap">Zeichnet achte Kriegsanleihe.</span>&#8221;</p>
+<p class="center">(Subscribe to the eighth War Loan.)</p>
+<p class="center">Austrian poster, issued in Vienna.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster45tmb.jpg" alt="" /><br />
+<a href="images/poster45.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster46" id="poster46"></a></p>
+<p class="center">46.</p>
+<p class="center">OLAF GULBRANSSON.</p>
+<p class="center">Poster of the Ludendorff Fund for the Disabled.</p>
+<p class="center">Published 1918.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster46tmb.jpg" alt="" /><br />
+<a href="images/poster46.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster47" id="poster47"></a></p>
+<p class="center">47.</p>
+<p class="center">&#8220;<span class="smcap">Esposizione de Guerra, Trieste, 1917.</span>&#8221;</p>
+<p class="center">(War Exhibition, Trieste, 1917.)</p>
+<p class="center">Austrian poster.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster47.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster48" id="poster48"></a></p>
+<p class="center">48.</p>
+<p class="center">&#8220;<span class="smcap">Zeichnet vierte &Ouml;sterreichische Kriegsanleihe.</span>&#8221;</p>
+<p class="center">(Subscribe to the fourth Austrian War Loan.)</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster48tmb.jpg" alt="" /><br />
+<a href="images/poster48.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster49" id="poster49"></a></p>
+<p class="center">49.</p>
+<p class="center">&#8220;<span class="smcap">&Ouml;sterr-Ungar. Kriegsgr&auml;ber Ausstellung.</span>&#8221;</p>
+<p class="center">(Austrian-Hungarian War Graves Exhibition.)</p>
+<p class="center">Poster of an Exhibition in Berlin.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster49tmb.jpg" alt="" /><br />
+<a href="images/poster49.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster50" id="poster50"></a></p>
+<p class="center">50.</p>
+<p class="center">DANK&Oacute;.</p>
+<p class="center">&#8220;<span class="smcap">Be a v&ouml;r&ouml;s Hadseregbe!</span>&#8221;</p>
+<p class="center">(For the conquering army!)</p>
+<p class="center">Hungarian War Loan poster.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster50.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster51" id="poster51"></a></p>
+<p class="center">51.</p>
+<p class="center">FRANKE.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;<span class="smcap">Willst&nbsp;Du&nbsp;den&nbsp;Frieden&nbsp;ernten<br />
+Musst Du s&auml;en&mdash;darum.</span>&#8221;<br /><br />
+(If you would reap peace,<br />
+You must sow to that end.)</td></tr></table>
+
+<p class="center">Poster of the eighth Austrian War Loan.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster51.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster52" id="poster52"></a></p>
+<p class="center">52.</p>
+<p class="center">P. PLONTKE.</p>
+<p class="center">&#8220;<span class="smcap">Annahmestelle<br />und Sammelbeutelausgabe:<br />Sch&uuml;ler-Sammeldienst der StadtMainz.</span>&#8221;</p>
+<p class="center">(Collection among girls in the schools of Mainz.)</p>
+<p class="center">Poster of the German Women&#8217;s Hair Collection Committee for Magdeburg.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster52.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster53" id="poster53"></a></p>
+<p class="center">53.</p>
+<p class="center">&#8220;<span class="smcap">Kaiser- und Volksdank f&uuml;r Heer und Flotte.</span>&#8221;</p>
+<p class="center">(Kaiser and people&#8217;s thanksoffering for Army and Navy.)</p>
+<p class="center">Poster for the Frankfort Christmas offering, 1917.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster53.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster54" id="poster54"></a></p>
+<p class="center">54.</p>
+<p class="center">&#8220;<span class="smcap">Helft! den braven Soldaten....</span>&#8221;</p>
+<p class="center">(Help! for the brave soldiers....)</p>
+<p class="center">Poster of the Soldiers&#8217; Aid Committee, Berlin.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster54.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster55" id="poster55"></a></p>
+<p class="center">55.</p>
+<p class="center">ROLAND KRAFTER.</p>
+<p class="center">The troops home-coming for Christmas.</p>
+<p class="center">Austrian poster.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster55.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster56" id="poster56"></a></p>
+<p class="center">56.</p>
+<p class="center">F. K. ENGELHARD.</p>
+<p class="center">&#8220;<span class="smcap">Elend und Untergang folgen der Anarchie.</span>&#8221;</p>
+<p class="center">(Misery and destruction follow anarchy.)</p>
+<p class="center">German poster of the Revolution, 1918.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster56.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster57" id="poster57"></a></p>
+<p class="center">57.</p>
+<p class="center">BIR&Oacute;.</p>
+<p class="center">Hungarian poster depicting the Russian invasion.</p>
+<p class="center">Issued in Budapest.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster57.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster58" id="poster58"></a></p>
+<p class="center">58.</p>
+<p class="center">A. K. ARPELLUS.</p>
+<p class="center">&#8220;<span class="smcap">Zeichnet 7. Kriegsanleihe.</span>&#8221;</p>
+<p class="center">Subscribe to the seventh War Loan.</p>
+<p class="center">Austrian poster, issued in Vienna.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster58.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster59" id="poster59"></a></p>
+<p class="center">59.</p>
+<p class="center">K&Uuml;RTHY.</p>
+<p class="center">Hungarian War Loan poster.</p>
+<p class="center">Issued in Budapest, 1917.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster59.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster60" id="poster60"></a></p>
+<p class="center">60.</p>
+<p class="center">FARAG&Oacute;G&Eacute;Z.</p>
+<p class="center">Hungarian War Loan poster.</p>
+<p class="center">Issued in Budapest.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster60.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster61" id="poster61"></a></p>
+<p class="center">61.</p>
+<p class="center">BIR&Oacute;.</p>
+<p class="center">Hungarian War Loan poster.</p>
+<p class="center">Issued in Budapest, 1917.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster61.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster62" id="poster62"></a></p>
+<p class="center">62.</p>
+<p class="center">K&Uuml;RTHY.</p>
+<p class="center">Hungarian War Loan poster.</p>
+<p class="center">Issued in Budapest, 1917.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster62.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster63" id="poster63"></a></p>
+<p class="center">63.</p>
+<p class="center">RALEIGH.</p>
+<p class="center">&#8220;<span class="smcap">Must Children Die and Mother plead in Vain?<br />Buy more Liberty Bonds.</span>&#8221;</p>
+<p class="center">American War Loan poster.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster63tmb.jpg" alt="" /><br />
+<a href="images/poster63.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster64" id="poster64"></a></p>
+<p class="center">64.</p>
+<p class="center">&#8220;<span class="smcap">Books wanted for our Men in Camp and &#8216;Over There.&#8217;</span>&#8221;</p>
+<p class="center">Poster of the American Association of Libraries for<br />supplying books to the troops on service.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster64tmb.jpg" alt="" /><br />
+<a href="images/poster64.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster65" id="poster65"></a></p>
+<p class="center">65.</p>
+<p class="center">ELLSWORTH YOUNG.</p>
+<p class="center">&#8220;<span class="smcap">Remember Belgium.</span>&#8221;</p>
+<p class="center">&#8220;<span class="smcap">Buy Bonds: Fourth Liberty Loan.</span>&#8221;</p>
+<p class="center">American poster, 1918.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster65.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster66" id="poster66"></a></p>
+<p class="center">66.</p>
+<p class="center">ADOLPH TREIDLER.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;<span class="smcap">For&nbsp;every&nbsp;fighter&nbsp;a&nbsp;woman&nbsp;worker,<br />
+Care for her through the Y.W.C.A.</span>&#8221;</td></tr></table>
+
+<p class="center">Poster of the United War Work Campaign, American Y.W.C.A.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster66tmb.jpg" alt="" /><br />
+<a href="images/poster66.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster67" id="poster67"></a></p>
+<p class="center">67.</p>
+<p class="center">JOSEPH PENNELL.</p>
+<p class="center">&#8220;<span class="smcap">That Liberty shall not perish from the Earth.</span>&#8221;</p>
+<p class="center">Poster of the fourth American War Loan, 1918.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster67tmb.jpg" alt="" /><br />
+<a href="images/poster67.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster68" id="poster68"></a></p>
+<p class="center">68.</p>
+<p class="center">L. JONAS.</p>
+<p class="center">&#8220;<span class="smcap">Four Years in the Fight&mdash;<br />
+The Women of France.<br />
+We Owe Them Houses of Cheer.</span>&#8221;</p>
+<p class="center">American poster.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster68tmb.jpg" alt="" /><br />
+<a href="images/poster68.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster69" id="poster69"></a></p>
+<p class="center">69.</p>
+<p class="center">&#8220;<span class="smcap">America Calls.<br />
+Enlist in the Navy.</span>&#8221;</p>
+<p class="center">Recruiting poster for the U.S. Navy, 1917.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster69.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster70" id="poster70"></a></p>
+<p class="center">70.</p>
+<p class="center">MORGAN.</p>
+<p class="center">&#8220;<span class="smcap">Feed a Fighter.</span>&#8221;</p>
+<p class="center">American Food Economy poster.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster70.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster71" id="poster71"></a></p>
+<p class="center">71.</p>
+<p class="center">LOUIS RAEMAEKERS.</p>
+<p class="center">&#8220;<span class="smcap">Enlist in the Navy.</span>&#8221;</p>
+<p class="center">&#8220;<span class="smcap">Americans! Stand by Uncle Sam for<br />Liberty against Tyranny.</span>&#8221;<br />
+<span style="margin-left: 12em;">&mdash;<span class="smcap">Theodore Rooseveld.</span></span></p>
+<p class="center">Recruiting poster for the U.S. Navy.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster71.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster72" id="poster72"></a></p>
+<p class="center">72.</p>
+<p class="center">CECIL L. BURNS.</p>
+<p class="center">&#8220;<span class="smcap">Victory to the Marathas!</span>&#8221;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Unite, ye men,<br />
+And from his strongholds drive the foe.<br />
+Nothing but deeds like these can win<br />
+A fame that shall endure.&#8221;</td></tr></table>
+
+<p class="center">Anglo-Indian recruiting poster. Issued in Bombay, 1915.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster72.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster73" id="poster73"></a></p>
+<p class="center">73.</p>
+<p class="center">A. O.</p>
+<p class="center">&#8220;<span class="smcap">In Belgie by De Zorg.</span>&#8221;</p>
+<p class="center">(The home of distress in Belgium.)</p>
+<p class="center">&#8220;<span class="smcap">Belgian Art for Belgian Distress.</span>&#8221;</p>
+<p class="center">Poster of an Exhibition at Tilburg, Holland, 1917.</p>
+<p class="center">La Fraternelle Belge.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster73tmb.jpg" alt="" /><br />
+<a href="images/poster73.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster74" id="poster74"></a></p>
+<p class="center">74.</p>
+<p class="center">&#8220;<span class="smcap">Keep all Canadians busy.<br />
+Buy 1918 Victory Bonds.</span>&#8221;</p>
+<p class="center">Canadian poster.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster74tmb.jpg" alt="" /><br />
+<a href="images/poster74.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster75" id="poster75"></a></p>
+<p class="center">75.</p>
+<p class="center">LOUIS RAEMAEKERS.</p>
+<p class="center">&#8220;<span class="smcap">Neutral America and the Hun.</span>&#8221;</p>
+<p class="center">Poster of an Exhibition of Raemaekers cartoons in Milan.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster75tmb.jpg" alt="" /><br />
+<a href="images/poster75.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster76" id="poster76"></a></p>
+<p class="center">76.</p>
+<p class="center">V. PREISSIG.</p>
+<p class="center">&#8220;<span class="smcap">Czechoslovaks! Join our Free Colours.</span>&#8221;</p>
+<p class="center">One of six recruiting posters issued by the Czechoslovak<br />Recruiting Office, New York, U.S.A., 1918.</p>
+<p class="center">Printed at the Wentworth Institute, Boston, U.S.A.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster76tmb.jpg" alt="" /><br />
+<a href="images/poster76.jpg"><small>Larger Image</small></a></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster77" id="poster77"></a></p>
+<p class="center">77.</p>
+<p class="center">&#8220;<span class="smcap">Europe and the Idol.</span>&#8221;</p>
+<p class="center">&#8220;<span class="smcap">How much longer shall we sacrifice our Sons<br />to this accursed Idol?</span>&#8221;</p>
+<p class="center">Revolutionary poster in Russia. ? German propaganda.<br />(The inscription on the idol is &#8220;Anglia.&#8221;)</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster77.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster78" id="poster78"></a></p>
+<p class="center">78.</p>
+<p class="center">GIPKENS.</p>
+<p class="center">&#8220;<span class="smcap">Bringt euren Goldschmuck den Goldankaufsstellen!</span>&#8221;</p>
+<p class="center">(Bring your gold ornaments to the gold-purchase dep&ocirc;t!)</p>
+<p class="center">German poster.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster78.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster79" id="poster79"></a></p>
+<p class="center">79.</p>
+<p class="center">ALFRED OFFNER.</p>
+<p class="center">&#8220;<span class="smcap">Zeichnet 7. Kriegsanleihe.</span>&#8221;</p>
+<p class="center">(Subscribe to the seventh War Loan.)</p>
+<p class="center">Austrian poster, issued in Vienna.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster79.jpg" alt="" /></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><a name="poster80" id="poster80"></a></p>
+<p class="center">80.</p>
+<p class="center">BABCOCK.</p>
+<p class="center">&#8220;<span class="smcap">Join the Navy: The Service for Fighting Men.</span>&#8221;</p>
+<p class="center">Recruiting poster for the U.S. Navy.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/poster80.jpg" alt="" /></div>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><strong>Footnotes:</strong></p>
+
+<p><a name="f1" id="f1" href="#f1.1">[1]</a> 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 &#8220;disadvantages&#8221; 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!</p>
+
+<p><a name="f2" id="f2" href="#f2.1">[2]</a> It is worth noting that, after Germany had set a value on Raemaeker&#8217;s
+head, her authorities did not disdain to employ his genius, when it suited
+their purpose, borrowing his famous cartoon &#8220;The Dance of Death&#8221; for
+denunciation of Berlin&#8217;s mad craze for gaiety, with the words &#8220;Sein Tanzer
+ist Tod.&#8221;</p>
+
+<p><a name="f3" id="f3" href="#f3.1">[3]</a> Joseph Pennell&#8217;s &#8220;Liberty Loan Poster.&#8221; A textbook for artists and
+amateurs, Governments and teachers and printers. 1918.</p>
+
+<p><a name="f4" id="f4" href="#f4.1">[4]</a> The Czecho-Slovak posters are referred to in the following chapter.</p>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+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-h.htm or 35753-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/5/7/5/35753/
+
+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.)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+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
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/35753-h/images/cover.jpg b/35753-h/images/cover.jpg
new file mode 100644
index 0000000..757d479
--- /dev/null
+++ b/35753-h/images/cover.jpg
diff --git a/35753-h/images/poster1.jpg b/35753-h/images/poster1.jpg
new file mode 100644
index 0000000..89fe542
--- /dev/null
+++ b/35753-h/images/poster1.jpg
diff --git a/35753-h/images/poster10.jpg b/35753-h/images/poster10.jpg
new file mode 100644
index 0000000..d954706
--- /dev/null
+++ b/35753-h/images/poster10.jpg
diff --git a/35753-h/images/poster10tmb.jpg b/35753-h/images/poster10tmb.jpg
new file mode 100644
index 0000000..4e80493
--- /dev/null
+++ b/35753-h/images/poster10tmb.jpg
diff --git a/35753-h/images/poster11.jpg b/35753-h/images/poster11.jpg
new file mode 100644
index 0000000..cc218ca
--- /dev/null
+++ b/35753-h/images/poster11.jpg
diff --git a/35753-h/images/poster12.jpg b/35753-h/images/poster12.jpg
new file mode 100644
index 0000000..be2a2df
--- /dev/null
+++ b/35753-h/images/poster12.jpg
diff --git a/35753-h/images/poster12tmb.jpg b/35753-h/images/poster12tmb.jpg
new file mode 100644
index 0000000..c9bad6a
--- /dev/null
+++ b/35753-h/images/poster12tmb.jpg
diff --git a/35753-h/images/poster13.jpg b/35753-h/images/poster13.jpg
new file mode 100644
index 0000000..d898d77
--- /dev/null
+++ b/35753-h/images/poster13.jpg
diff --git a/35753-h/images/poster14.jpg b/35753-h/images/poster14.jpg
new file mode 100644
index 0000000..b40c127
--- /dev/null
+++ b/35753-h/images/poster14.jpg
diff --git a/35753-h/images/poster15.jpg b/35753-h/images/poster15.jpg
new file mode 100644
index 0000000..b9292ab
--- /dev/null
+++ b/35753-h/images/poster15.jpg
diff --git a/35753-h/images/poster15tmb.jpg b/35753-h/images/poster15tmb.jpg
new file mode 100644
index 0000000..e2ccf2c
--- /dev/null
+++ b/35753-h/images/poster15tmb.jpg
diff --git a/35753-h/images/poster16.jpg b/35753-h/images/poster16.jpg
new file mode 100644
index 0000000..e782ea3
--- /dev/null
+++ b/35753-h/images/poster16.jpg
diff --git a/35753-h/images/poster17.jpg b/35753-h/images/poster17.jpg
new file mode 100644
index 0000000..1a57965
--- /dev/null
+++ b/35753-h/images/poster17.jpg
diff --git a/35753-h/images/poster18.jpg b/35753-h/images/poster18.jpg
new file mode 100644
index 0000000..9a239ed
--- /dev/null
+++ b/35753-h/images/poster18.jpg
diff --git a/35753-h/images/poster19.jpg b/35753-h/images/poster19.jpg
new file mode 100644
index 0000000..8debb06
--- /dev/null
+++ b/35753-h/images/poster19.jpg
diff --git a/35753-h/images/poster1tmb.jpg b/35753-h/images/poster1tmb.jpg
new file mode 100644
index 0000000..0f618d7
--- /dev/null
+++ b/35753-h/images/poster1tmb.jpg
diff --git a/35753-h/images/poster2.jpg b/35753-h/images/poster2.jpg
new file mode 100644
index 0000000..c6c8880
--- /dev/null
+++ b/35753-h/images/poster2.jpg
diff --git a/35753-h/images/poster20.jpg b/35753-h/images/poster20.jpg
new file mode 100644
index 0000000..664ebea
--- /dev/null
+++ b/35753-h/images/poster20.jpg
diff --git a/35753-h/images/poster20tmb.jpg b/35753-h/images/poster20tmb.jpg
new file mode 100644
index 0000000..10c5aaa
--- /dev/null
+++ b/35753-h/images/poster20tmb.jpg
diff --git a/35753-h/images/poster21.jpg b/35753-h/images/poster21.jpg
new file mode 100644
index 0000000..2827dd9
--- /dev/null
+++ b/35753-h/images/poster21.jpg
diff --git a/35753-h/images/poster21tmb.jpg b/35753-h/images/poster21tmb.jpg
new file mode 100644
index 0000000..938faae
--- /dev/null
+++ b/35753-h/images/poster21tmb.jpg
diff --git a/35753-h/images/poster22.jpg b/35753-h/images/poster22.jpg
new file mode 100644
index 0000000..3eb80be
--- /dev/null
+++ b/35753-h/images/poster22.jpg
diff --git a/35753-h/images/poster22tmb.jpg b/35753-h/images/poster22tmb.jpg
new file mode 100644
index 0000000..f8befb2
--- /dev/null
+++ b/35753-h/images/poster22tmb.jpg
diff --git a/35753-h/images/poster23.jpg b/35753-h/images/poster23.jpg
new file mode 100644
index 0000000..5038410
--- /dev/null
+++ b/35753-h/images/poster23.jpg
diff --git a/35753-h/images/poster24.jpg b/35753-h/images/poster24.jpg
new file mode 100644
index 0000000..2203d1e
--- /dev/null
+++ b/35753-h/images/poster24.jpg
diff --git a/35753-h/images/poster25.jpg b/35753-h/images/poster25.jpg
new file mode 100644
index 0000000..3033205
--- /dev/null
+++ b/35753-h/images/poster25.jpg
diff --git a/35753-h/images/poster26.jpg b/35753-h/images/poster26.jpg
new file mode 100644
index 0000000..759b31b
--- /dev/null
+++ b/35753-h/images/poster26.jpg
diff --git a/35753-h/images/poster27.jpg b/35753-h/images/poster27.jpg
new file mode 100644
index 0000000..cc64752
--- /dev/null
+++ b/35753-h/images/poster27.jpg
diff --git a/35753-h/images/poster28.jpg b/35753-h/images/poster28.jpg
new file mode 100644
index 0000000..44225d3
--- /dev/null
+++ b/35753-h/images/poster28.jpg
diff --git a/35753-h/images/poster29.jpg b/35753-h/images/poster29.jpg
new file mode 100644
index 0000000..bafb217
--- /dev/null
+++ b/35753-h/images/poster29.jpg
diff --git a/35753-h/images/poster2tmb.jpg b/35753-h/images/poster2tmb.jpg
new file mode 100644
index 0000000..a08b602
--- /dev/null
+++ b/35753-h/images/poster2tmb.jpg
diff --git a/35753-h/images/poster3.jpg b/35753-h/images/poster3.jpg
new file mode 100644
index 0000000..144f1f9
--- /dev/null
+++ b/35753-h/images/poster3.jpg
diff --git a/35753-h/images/poster30.jpg b/35753-h/images/poster30.jpg
new file mode 100644
index 0000000..3eac6be
--- /dev/null
+++ b/35753-h/images/poster30.jpg
diff --git a/35753-h/images/poster31.jpg b/35753-h/images/poster31.jpg
new file mode 100644
index 0000000..cc02d99
--- /dev/null
+++ b/35753-h/images/poster31.jpg
diff --git a/35753-h/images/poster32.jpg b/35753-h/images/poster32.jpg
new file mode 100644
index 0000000..f57847c
--- /dev/null
+++ b/35753-h/images/poster32.jpg
diff --git a/35753-h/images/poster33.jpg b/35753-h/images/poster33.jpg
new file mode 100644
index 0000000..33200f3
--- /dev/null
+++ b/35753-h/images/poster33.jpg
diff --git a/35753-h/images/poster34.jpg b/35753-h/images/poster34.jpg
new file mode 100644
index 0000000..2d3c3d6
--- /dev/null
+++ b/35753-h/images/poster34.jpg
diff --git a/35753-h/images/poster34tmb.jpg b/35753-h/images/poster34tmb.jpg
new file mode 100644
index 0000000..df6f42a
--- /dev/null
+++ b/35753-h/images/poster34tmb.jpg
diff --git a/35753-h/images/poster35.jpg b/35753-h/images/poster35.jpg
new file mode 100644
index 0000000..720d849
--- /dev/null
+++ b/35753-h/images/poster35.jpg
diff --git a/35753-h/images/poster35tmb.jpg b/35753-h/images/poster35tmb.jpg
new file mode 100644
index 0000000..62c881f
--- /dev/null
+++ b/35753-h/images/poster35tmb.jpg
diff --git a/35753-h/images/poster36.jpg b/35753-h/images/poster36.jpg
new file mode 100644
index 0000000..6c11249
--- /dev/null
+++ b/35753-h/images/poster36.jpg
diff --git a/35753-h/images/poster36tmb.jpg b/35753-h/images/poster36tmb.jpg
new file mode 100644
index 0000000..ab5dd0c
--- /dev/null
+++ b/35753-h/images/poster36tmb.jpg
diff --git a/35753-h/images/poster37.jpg b/35753-h/images/poster37.jpg
new file mode 100644
index 0000000..9b12507
--- /dev/null
+++ b/35753-h/images/poster37.jpg
diff --git a/35753-h/images/poster38.jpg b/35753-h/images/poster38.jpg
new file mode 100644
index 0000000..92ff7b3
--- /dev/null
+++ b/35753-h/images/poster38.jpg
diff --git a/35753-h/images/poster39.jpg b/35753-h/images/poster39.jpg
new file mode 100644
index 0000000..b82d21b
--- /dev/null
+++ b/35753-h/images/poster39.jpg
diff --git a/35753-h/images/poster3tmb.jpg b/35753-h/images/poster3tmb.jpg
new file mode 100644
index 0000000..ba5fef3
--- /dev/null
+++ b/35753-h/images/poster3tmb.jpg
diff --git a/35753-h/images/poster4.jpg b/35753-h/images/poster4.jpg
new file mode 100644
index 0000000..869e226
--- /dev/null
+++ b/35753-h/images/poster4.jpg
diff --git a/35753-h/images/poster40.jpg b/35753-h/images/poster40.jpg
new file mode 100644
index 0000000..8c63b0d
--- /dev/null
+++ b/35753-h/images/poster40.jpg
diff --git a/35753-h/images/poster40tmb.jpg b/35753-h/images/poster40tmb.jpg
new file mode 100644
index 0000000..276bc14
--- /dev/null
+++ b/35753-h/images/poster40tmb.jpg
diff --git a/35753-h/images/poster41.jpg b/35753-h/images/poster41.jpg
new file mode 100644
index 0000000..4dd9367
--- /dev/null
+++ b/35753-h/images/poster41.jpg
diff --git a/35753-h/images/poster41tmb.jpg b/35753-h/images/poster41tmb.jpg
new file mode 100644
index 0000000..a811e05
--- /dev/null
+++ b/35753-h/images/poster41tmb.jpg
diff --git a/35753-h/images/poster42.jpg b/35753-h/images/poster42.jpg
new file mode 100644
index 0000000..a328881
--- /dev/null
+++ b/35753-h/images/poster42.jpg
diff --git a/35753-h/images/poster42tmb.jpg b/35753-h/images/poster42tmb.jpg
new file mode 100644
index 0000000..84dfa83
--- /dev/null
+++ b/35753-h/images/poster42tmb.jpg
diff --git a/35753-h/images/poster43.jpg b/35753-h/images/poster43.jpg
new file mode 100644
index 0000000..50aaf30
--- /dev/null
+++ b/35753-h/images/poster43.jpg
diff --git a/35753-h/images/poster43tmb.jpg b/35753-h/images/poster43tmb.jpg
new file mode 100644
index 0000000..233a417
--- /dev/null
+++ b/35753-h/images/poster43tmb.jpg
diff --git a/35753-h/images/poster44.jpg b/35753-h/images/poster44.jpg
new file mode 100644
index 0000000..b7d1fb5
--- /dev/null
+++ b/35753-h/images/poster44.jpg
diff --git a/35753-h/images/poster44tmb.jpg b/35753-h/images/poster44tmb.jpg
new file mode 100644
index 0000000..bfe693c
--- /dev/null
+++ b/35753-h/images/poster44tmb.jpg
diff --git a/35753-h/images/poster45.jpg b/35753-h/images/poster45.jpg
new file mode 100644
index 0000000..cf854d7
--- /dev/null
+++ b/35753-h/images/poster45.jpg
diff --git a/35753-h/images/poster45tmb.jpg b/35753-h/images/poster45tmb.jpg
new file mode 100644
index 0000000..0d17331
--- /dev/null
+++ b/35753-h/images/poster45tmb.jpg
diff --git a/35753-h/images/poster46.jpg b/35753-h/images/poster46.jpg
new file mode 100644
index 0000000..a860a67
--- /dev/null
+++ b/35753-h/images/poster46.jpg
diff --git a/35753-h/images/poster46tmb.jpg b/35753-h/images/poster46tmb.jpg
new file mode 100644
index 0000000..327bb01
--- /dev/null
+++ b/35753-h/images/poster46tmb.jpg
diff --git a/35753-h/images/poster47.jpg b/35753-h/images/poster47.jpg
new file mode 100644
index 0000000..0e9915b
--- /dev/null
+++ b/35753-h/images/poster47.jpg
diff --git a/35753-h/images/poster48.jpg b/35753-h/images/poster48.jpg
new file mode 100644
index 0000000..11c9836
--- /dev/null
+++ b/35753-h/images/poster48.jpg
diff --git a/35753-h/images/poster48tmb.jpg b/35753-h/images/poster48tmb.jpg
new file mode 100644
index 0000000..e0ec578
--- /dev/null
+++ b/35753-h/images/poster48tmb.jpg
diff --git a/35753-h/images/poster49.jpg b/35753-h/images/poster49.jpg
new file mode 100644
index 0000000..43114ec
--- /dev/null
+++ b/35753-h/images/poster49.jpg
diff --git a/35753-h/images/poster49tmb.jpg b/35753-h/images/poster49tmb.jpg
new file mode 100644
index 0000000..ca471b7
--- /dev/null
+++ b/35753-h/images/poster49tmb.jpg
diff --git a/35753-h/images/poster4tmb.jpg b/35753-h/images/poster4tmb.jpg
new file mode 100644
index 0000000..1406603
--- /dev/null
+++ b/35753-h/images/poster4tmb.jpg
diff --git a/35753-h/images/poster5.jpg b/35753-h/images/poster5.jpg
new file mode 100644
index 0000000..146a5e1
--- /dev/null
+++ b/35753-h/images/poster5.jpg
diff --git a/35753-h/images/poster50.jpg b/35753-h/images/poster50.jpg
new file mode 100644
index 0000000..98d4ca6
--- /dev/null
+++ b/35753-h/images/poster50.jpg
diff --git a/35753-h/images/poster51.jpg b/35753-h/images/poster51.jpg
new file mode 100644
index 0000000..d09a2eb
--- /dev/null
+++ b/35753-h/images/poster51.jpg
diff --git a/35753-h/images/poster52.jpg b/35753-h/images/poster52.jpg
new file mode 100644
index 0000000..9785492
--- /dev/null
+++ b/35753-h/images/poster52.jpg
diff --git a/35753-h/images/poster53.jpg b/35753-h/images/poster53.jpg
new file mode 100644
index 0000000..187e9a0
--- /dev/null
+++ b/35753-h/images/poster53.jpg
diff --git a/35753-h/images/poster54.jpg b/35753-h/images/poster54.jpg
new file mode 100644
index 0000000..901df26
--- /dev/null
+++ b/35753-h/images/poster54.jpg
diff --git a/35753-h/images/poster55.jpg b/35753-h/images/poster55.jpg
new file mode 100644
index 0000000..e213f6a
--- /dev/null
+++ b/35753-h/images/poster55.jpg
diff --git a/35753-h/images/poster56.jpg b/35753-h/images/poster56.jpg
new file mode 100644
index 0000000..f38d575
--- /dev/null
+++ b/35753-h/images/poster56.jpg
diff --git a/35753-h/images/poster57.jpg b/35753-h/images/poster57.jpg
new file mode 100644
index 0000000..111499f
--- /dev/null
+++ b/35753-h/images/poster57.jpg
diff --git a/35753-h/images/poster58.jpg b/35753-h/images/poster58.jpg
new file mode 100644
index 0000000..b34c491
--- /dev/null
+++ b/35753-h/images/poster58.jpg
diff --git a/35753-h/images/poster59.jpg b/35753-h/images/poster59.jpg
new file mode 100644
index 0000000..3f2248b
--- /dev/null
+++ b/35753-h/images/poster59.jpg
diff --git a/35753-h/images/poster5tmb.jpg b/35753-h/images/poster5tmb.jpg
new file mode 100644
index 0000000..4f674bc
--- /dev/null
+++ b/35753-h/images/poster5tmb.jpg
diff --git a/35753-h/images/poster6.jpg b/35753-h/images/poster6.jpg
new file mode 100644
index 0000000..930bea5
--- /dev/null
+++ b/35753-h/images/poster6.jpg
diff --git a/35753-h/images/poster60.jpg b/35753-h/images/poster60.jpg
new file mode 100644
index 0000000..ac01e8c
--- /dev/null
+++ b/35753-h/images/poster60.jpg
diff --git a/35753-h/images/poster61.jpg b/35753-h/images/poster61.jpg
new file mode 100644
index 0000000..b14a6b4
--- /dev/null
+++ b/35753-h/images/poster61.jpg
diff --git a/35753-h/images/poster62.jpg b/35753-h/images/poster62.jpg
new file mode 100644
index 0000000..fea889c
--- /dev/null
+++ b/35753-h/images/poster62.jpg
diff --git a/35753-h/images/poster63.jpg b/35753-h/images/poster63.jpg
new file mode 100644
index 0000000..168cd06
--- /dev/null
+++ b/35753-h/images/poster63.jpg
diff --git a/35753-h/images/poster63tmb.jpg b/35753-h/images/poster63tmb.jpg
new file mode 100644
index 0000000..693ed8b
--- /dev/null
+++ b/35753-h/images/poster63tmb.jpg
diff --git a/35753-h/images/poster64.jpg b/35753-h/images/poster64.jpg
new file mode 100644
index 0000000..ef92f67
--- /dev/null
+++ b/35753-h/images/poster64.jpg
diff --git a/35753-h/images/poster64tmb.jpg b/35753-h/images/poster64tmb.jpg
new file mode 100644
index 0000000..c67d7e2
--- /dev/null
+++ b/35753-h/images/poster64tmb.jpg
diff --git a/35753-h/images/poster65.jpg b/35753-h/images/poster65.jpg
new file mode 100644
index 0000000..0f070f7
--- /dev/null
+++ b/35753-h/images/poster65.jpg
diff --git a/35753-h/images/poster66.jpg b/35753-h/images/poster66.jpg
new file mode 100644
index 0000000..8902159
--- /dev/null
+++ b/35753-h/images/poster66.jpg
diff --git a/35753-h/images/poster66tmb.jpg b/35753-h/images/poster66tmb.jpg
new file mode 100644
index 0000000..a9d457f
--- /dev/null
+++ b/35753-h/images/poster66tmb.jpg
diff --git a/35753-h/images/poster67.jpg b/35753-h/images/poster67.jpg
new file mode 100644
index 0000000..b9bf0f7
--- /dev/null
+++ b/35753-h/images/poster67.jpg
diff --git a/35753-h/images/poster67tmb.jpg b/35753-h/images/poster67tmb.jpg
new file mode 100644
index 0000000..2adf1c6
--- /dev/null
+++ b/35753-h/images/poster67tmb.jpg
diff --git a/35753-h/images/poster68.jpg b/35753-h/images/poster68.jpg
new file mode 100644
index 0000000..f304ada
--- /dev/null
+++ b/35753-h/images/poster68.jpg
diff --git a/35753-h/images/poster68tmb.jpg b/35753-h/images/poster68tmb.jpg
new file mode 100644
index 0000000..839eb40
--- /dev/null
+++ b/35753-h/images/poster68tmb.jpg
diff --git a/35753-h/images/poster69.jpg b/35753-h/images/poster69.jpg
new file mode 100644
index 0000000..41af8fa
--- /dev/null
+++ b/35753-h/images/poster69.jpg
diff --git a/35753-h/images/poster6tmb.jpg b/35753-h/images/poster6tmb.jpg
new file mode 100644
index 0000000..db33119
--- /dev/null
+++ b/35753-h/images/poster6tmb.jpg
diff --git a/35753-h/images/poster7.jpg b/35753-h/images/poster7.jpg
new file mode 100644
index 0000000..0fd324f
--- /dev/null
+++ b/35753-h/images/poster7.jpg
diff --git a/35753-h/images/poster70.jpg b/35753-h/images/poster70.jpg
new file mode 100644
index 0000000..726f3b9
--- /dev/null
+++ b/35753-h/images/poster70.jpg
diff --git a/35753-h/images/poster71.jpg b/35753-h/images/poster71.jpg
new file mode 100644
index 0000000..45f8917
--- /dev/null
+++ b/35753-h/images/poster71.jpg
diff --git a/35753-h/images/poster72.jpg b/35753-h/images/poster72.jpg
new file mode 100644
index 0000000..114b60f
--- /dev/null
+++ b/35753-h/images/poster72.jpg
diff --git a/35753-h/images/poster73.jpg b/35753-h/images/poster73.jpg
new file mode 100644
index 0000000..7266837
--- /dev/null
+++ b/35753-h/images/poster73.jpg
diff --git a/35753-h/images/poster73tmb.jpg b/35753-h/images/poster73tmb.jpg
new file mode 100644
index 0000000..53b8560
--- /dev/null
+++ b/35753-h/images/poster73tmb.jpg
diff --git a/35753-h/images/poster74.jpg b/35753-h/images/poster74.jpg
new file mode 100644
index 0000000..c3c5b1a
--- /dev/null
+++ b/35753-h/images/poster74.jpg
diff --git a/35753-h/images/poster74tmb.jpg b/35753-h/images/poster74tmb.jpg
new file mode 100644
index 0000000..8dcfe69
--- /dev/null
+++ b/35753-h/images/poster74tmb.jpg
diff --git a/35753-h/images/poster75.jpg b/35753-h/images/poster75.jpg
new file mode 100644
index 0000000..205b439
--- /dev/null
+++ b/35753-h/images/poster75.jpg
diff --git a/35753-h/images/poster75tmb.jpg b/35753-h/images/poster75tmb.jpg
new file mode 100644
index 0000000..6bfb21e
--- /dev/null
+++ b/35753-h/images/poster75tmb.jpg
diff --git a/35753-h/images/poster76.jpg b/35753-h/images/poster76.jpg
new file mode 100644
index 0000000..562b205
--- /dev/null
+++ b/35753-h/images/poster76.jpg
diff --git a/35753-h/images/poster76tmb.jpg b/35753-h/images/poster76tmb.jpg
new file mode 100644
index 0000000..57e8af1
--- /dev/null
+++ b/35753-h/images/poster76tmb.jpg
diff --git a/35753-h/images/poster77.jpg b/35753-h/images/poster77.jpg
new file mode 100644
index 0000000..c540962
--- /dev/null
+++ b/35753-h/images/poster77.jpg
diff --git a/35753-h/images/poster78.jpg b/35753-h/images/poster78.jpg
new file mode 100644
index 0000000..2d69b6e
--- /dev/null
+++ b/35753-h/images/poster78.jpg
diff --git a/35753-h/images/poster79.jpg b/35753-h/images/poster79.jpg
new file mode 100644
index 0000000..7bec7ec
--- /dev/null
+++ b/35753-h/images/poster79.jpg
diff --git a/35753-h/images/poster7tmb.jpg b/35753-h/images/poster7tmb.jpg
new file mode 100644
index 0000000..2493e4d
--- /dev/null
+++ b/35753-h/images/poster7tmb.jpg
diff --git a/35753-h/images/poster8.jpg b/35753-h/images/poster8.jpg
new file mode 100644
index 0000000..f4ebce1
--- /dev/null
+++ b/35753-h/images/poster8.jpg
diff --git a/35753-h/images/poster80.jpg b/35753-h/images/poster80.jpg
new file mode 100644
index 0000000..3af5353
--- /dev/null
+++ b/35753-h/images/poster80.jpg
diff --git a/35753-h/images/poster8tmb.jpg b/35753-h/images/poster8tmb.jpg
new file mode 100644
index 0000000..b9a99dd
--- /dev/null
+++ b/35753-h/images/poster8tmb.jpg
diff --git a/35753-h/images/poster9.jpg b/35753-h/images/poster9.jpg
new file mode 100644
index 0000000..eec13b8
--- /dev/null
+++ b/35753-h/images/poster9.jpg
diff --git a/35753-h/images/printer.jpg b/35753-h/images/printer.jpg
new file mode 100644
index 0000000..d99dfa1
--- /dev/null
+++ b/35753-h/images/printer.jpg
diff --git a/35753.txt b/35753.txt
new file mode 100644
index 0000000..732647e
--- /dev/null
+++ b/35753.txt
@@ -0,0 +1,3208 @@
+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/
+
+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.)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+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
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/35753.zip b/35753.zip
new file mode 100644
index 0000000..6501a64
--- /dev/null
+++ b/35753.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..28d07b9
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #35753 (https://www.gutenberg.org/ebooks/35753)