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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> </p><p> </p> + + +<p class="center"><span class="giant">WAR POSTERS</span></p> +<p> </p><p> </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—8 in colour and 24 in sepia—from +drawings completed on the spot. Square demy 8vo., cloth.</p> +<p class="right">Price 7s. 6d. net.</p> +<p> </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. “Cornwallis.”</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> </p><p> </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">“<span class="smcap">Frauen und Mädchen! Sammelt Frauenhaar!</span>”</p> +<p class="center">(Women and girls! collect women’s hair!)</p> +<p class="center">Poster appealing for gifts of women’s hair, issued from the<br />office of the Collecting Committee, Berlin.</p> + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p class="center"><span class="huge">WAR POSTERS</span></p> +<p> </p> +<p class="center"><span class="big">ISSUED BY BELLIGERENT AND<br />NEUTRAL NATIONS 1914-1919</span></p> +<p> </p> +<p class="center">SELECTED & EDITED BY<br />MARTIN HARDIE AND<br />ARTHUR K. SABIN</p> +<p> </p> +<div class="figcenter"><img src="images/printer.jpg" alt="" /></div> +<p> </p> +<p class="center">A. & C. BLACK, LTD.<br />SOHO SQUARE, LONDON, W.<br />1920</p> + + +<p> </p><p> </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> </p><p> </p> +<hr style="width: 50%;" /> +<h2>CONTENTS</h2> + +<table border="0" cellpadding="0" cellspacing="5" summary="table"> +<tr><td> </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—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> </p><p> </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’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 “Flag Day” 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’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’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 Armées. (Army Orphanage).</span> (“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.</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">“<span class="smcap">Mine Be a Cot Beside the Hill.</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, 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 “Flag Day,” 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’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’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’il vous plaît.</span> (So that papa +may come home on leave, if you please.) Poster issued by the Comité +Central d’Organisation de la Journée du Poilu—French “Flag Days” in Paris, Christmas-time, 1915.</p> + +<p><a href="#poster21">21.</a> *AUGUSTE ROLL.</p> +<p class="blockquot"><span class="smcap">Pour les Blessés 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 protège 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 Journée Serbe, 25 Juin, 1916.</span> Poster of a French “Flag Day” 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 Française 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’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> THÉOPHILE ALEXANDRE STEINLEN.</p> +<p class="blockquot"><span class="smcap">Journée du Poilu, 1915.</span> Poster of the French “Flag Days,” December 25 +and 26, 1915. Organised by Parliament.</p> + +<p><a href="#poster29">29.</a> MAURICE NEUMON.</p> +<p class="blockquot"><span class="smcap">Journée du Poilu, 1915.</span> Poster of the French “Flag Days,” 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’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...! Journée du Poilu.</span> (By ourselves at last!) Poster of +the French “Flag Days,” 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">Für 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’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 5½% dritte Kriegsanleihe.</span> (Subscribe to the 5½% 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,—<br /> +Someone guilty there must be—<br /> +England, the Arch-enemy!<br /> +Stand then united, steadfastly!<br /> +For Germany’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—und Goldankaufswoche.</span> +(Advertising the “Pomeranian Sale Week for Gold and Jewels.”) Issued in Berlin.</p> + +<p><a href="#poster41">41.</a> A. S.</p> +<p class="blockquot"><span class="smcap">Zeichnet fünfte österreichische 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">Segìtsetek a diadalmas békéhez.</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 Schläge, 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 für Kriegsbeschädigte.</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 österreichische Kriegsanleihe.</span> (Subscribe to the +Fourth Austrian War Loan.)</p> + +<p class="hang"><a href="#poster49">49.</a> <span class="smcap">Österr-Ungar. Kriegsgräber Ausstellung.</span> (Austro-Hungarian War Graves’ +Exhibition.) Poster of an Exhibition in Berlin.</p> + +<p><a href="#poster50">50.</a> DANKÓ.</p> +<p class="blockquot"><span class="smcap">Be a vörös 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 Säendarum.</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’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 für Heer und Flotte.</span> (Kaiser and people’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’ 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> BIRÓ.</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> KÜRTHY.</p> +<p class="blockquot">War Loan Poster. Issued in Budapest, 1917.</p> + +<p><a href="#poster60">60.</a> FARAGÓGÉZ.</p> +<p class="blockquot">War Loan Poster. Issued in Budapest.</p> + +<p><a href="#poster61">61.</a> BIRÓ.</p> +<p class="blockquot">War Loan Poster. Issued in Budapest, 1917.</p> + +<p><a href="#poster62">62.</a> KÜRTHY.</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 “in Camp and Over There</span>.” 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—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!—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’ 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 “Anglia.”) +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 Depôt!)</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—the Service for Fighting Men.</span> Recruiting Poster for the U.S. Navy.</p> + + + +<p> </p><p> </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.—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 “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.</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 +“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.</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’ 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—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.</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> </p><p> </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.—GREAT BRITAIN</h2> + +<p class="dropcap"><span class="caps">Shortly</span> 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.</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 “point a +moral and adorn a tale.” 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’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.</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’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’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<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—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’état, 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.”</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: “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.</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 “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 <span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span>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<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 “Gentle Art of Making Enemies.”</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 “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.</p> + +<p>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.<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’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 <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> </p><p> </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.—FRANCE</h2> + +<p class="dropcap"><span class="caps">Before</span> 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—Chéret, 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,<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’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 Chéret 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 +“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<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’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’s poster for the <i>Journée 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—“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.</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>Journée 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, +“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<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 +“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 +<i>Journée du Poilu</i>—“Pour que papa vienne en permission, s’il vous plaît.” +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. <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. +Théophile 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.</p> + +<p>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.</p> + + +<p> </p><p> </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.—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 +Schröder, dated at Bruges, July 27, 1916, and printed in German, Flemish, +and French, in parallel sections, reads:</p> + +<p class="blockquot">“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.”</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 Dürer 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—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.”</p> + +<p>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<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 +“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<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—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.</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’s<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> “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. <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. “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. <a href="#poster35">35</a>, 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. <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’ terms said:</p> + +<p class="blockquot">“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.”</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 Biró, No. <a href="#poster57">57</a>, +and the little group by Biró and Kurthy, Nos. <a href="#poster59">59</a>, <a href="#poster61">61</a>, and <a href="#poster62">62</a>.</p> + + +<p> </p><p> </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.—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 +Chéret, 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’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.</p> + +<p>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<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 “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<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—“Four Years in the Fight”—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—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.</p> + +<p>It is, perhaps, a pity that Mr. Joseph Pennell’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 “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. <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: “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.</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’s pretty girl in naval uniform exclaiming, +“Gee! I wish I<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> 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.</p> + +<p>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,<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’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.</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’s steady craftsmanship and +noble designs there can be nothing but praise.</p> + + +<p> </p><p> </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.—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 “Italian Artists and<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span> 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<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’ cartoons. One of these, “Neutral America and the Hun,” is +reproduced in illustration <a href="#poster75">75</a>. Among the actual Italian examples, Barchi’s +“Sotto-scrivete” and Mauzan’s “Fate tutti il vostro dovere” 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 +“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 <i>Sydney</i> forced the German <i>Emden</i> +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.</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 “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.</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>, “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.</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. “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<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 “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 <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> </p><p> </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’ NAMES</h2> + +<p class="note"><span class="smcap">Note.</span>—<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, —, <a href="#poster80"><strong>80</strong></a><br /> +<br /> +Bancroft, —, <a href="#Page_35">35</a><br /> +<br /> +Barchi, —, <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 /> +“Beggarstaff Brothers,” <a href="#Page_15">15</a><br /> +<br /> +Biró, —, <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, —, <a href="#Page_11">11</a><br /> +<br /> +Capon, G., <a href="#poster26"><strong>26</strong></a><br /> +<br /> +Chéret, 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 /> +Dankó, —, <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, —, <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 /> +Faragógéz, —, <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, —, <a href="#poster51"><strong>51</strong></a><br /> +<br /> +<br /> +Galantara, Gabriele, <a href="#Page_37">37</a><br /> +<br /> +Gipkins, —, <a href="#poster78"><strong>78</strong></a><br /> +<br /> +Gould, J. J., <a href="#Page_29">29</a><br /> +<br /> +Grasset, Eugène, <a href="#Page_16">16</a><br /> +<br /> +Guillaume, —, <a href="#Page_16">16</a><br /> +<br /> +Gulbransson, Olaf, <a href="#poster46"><strong>46</strong></a><br /> +<br /> +<br /> +Hansi, —, <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 /> +Kürthy, —, <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, —, <a href="#Page_28">28</a><br /> +<br /> +Morgan, —, <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, —, <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, —, <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, —, <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, —, <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, —, <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, —, <a href="#poster27"><strong>27</strong></a><br /> +<br /> +Sims, Charles, <a href="#Page_11">11</a><br /> +<br /> +Steinlen, Théophile 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, —, <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, —, <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> </p> +<p class="center">PRINTED IN GREAT BRITAIN BY BILLING AND SONS, LTD., GUILDFORD</p> + + +<p> </p><p> </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> </p><p> </p> +<p><a name="poster2" id="poster2"></a></p> +<p class="center">2.</p> +<p class="center">BERNARD PARTRIDGE.</p> +<p class="center">“<span class="smcap">Take Up the Sword of Justice.</span>”</p> +<p class="center">Issued by the Parliamentary Recruiting Committee:<br />No. 106 of their posters.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster2tmb.jpg" alt="" /><br /> +<a href="images/poster2.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster3" id="poster3"></a></p> +<p class="center">3.</p> +<p class="center">F. ERNEST JACKSON.</p> +<p class="center">“<span class="smcap">Song to the Evening Star.</span>”</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> </p> +<div class="figcenter"><img src="images/poster3tmb.jpg" alt="" /><br /> +<a href="images/poster3.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster4" id="poster4"></a></p> +<p class="center">4.</p> +<p class="center">T. GREGORY BROWN.</p> +<p class="center">“<span class="smcap">Their Home, Belgium, 1918.</span>”</p> +<p class="center">British War Loan poster.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster4tmb.jpg" alt="" /><br /> +<a href="images/poster4.jpg"><small>Larger Image</small></a></div> + +<p> </p><p> </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">“<span class="smcap">Britain’s Call to Arms.</span>”</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—the first great poster of the War—was subsequently presented +to the Victoria and Albert Museum.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster5tmb.jpg" alt="" /><br /> +<a href="images/poster5.jpg"><small>Larger Image</small></a></div> + +<p> </p><p> </p> +<p><a name="poster6" id="poster6"></a></p> +<p class="center">6.</p> +<p class="center">J. WALTER WEST.</p> +<p class="center">“<span class="smcap">Harvest-Time, 1916: Women’s Work on the Land.</span>”</p> +<p class="center">Issued by the Underground Electric Railways Company of London.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster6tmb.jpg" alt="" /><br /> +<a href="images/poster6.jpg"><small>Larger Image</small></a></div> + +<p> </p><p> </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">“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.”</p> + +<p> </p> +<div class="figcenter"><img src="images/poster7tmb.jpg" alt="" /><br /> +<a href="images/poster7.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster8" id="poster8"></a></p> +<p class="center">8.</p> +<p class="center">GERALD SPENCER PRYSE.</p> +<p class="center">“<span class="smcap">The Only Road for an Englishman. +<br />Through Darkness to Light; Through Fighting to Triumph.</span>”</p> +<p class="center">Published by the Underground Railways Company of London, Ltd., 1914.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster8tmb.jpg" alt="" /><br /> +<a href="images/poster8.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster9" id="poster9"></a></p> +<p class="center">9.</p> +<p class="center">GERALD SPENCER PRYSE.</p> +<p class="center">“<span class="smcap">Belgium Refugees in England.</span>”</p> +<p class="center">Poster of the Belgian Red Cross Fund in London, 1915.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster9.jpg" alt="" /></div> + + +<p> </p><p> </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">“<span class="smcap">Mine Be a Cot Beside the Hill.</span>”</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> </p> +<div class="figcenter"><img src="images/poster10tmb.jpg" alt="" /><br /> +<a href="images/poster10.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster11" id="poster11"></a></p> +<p class="center">11.</p> +<p class="center">L. RAVEN-HILL.</p> +<p class="center">“<span class="smcap">The Watchers of the Seas.</span>”</p> +<p class="center">Recruiting poster for the British Navy, 1915.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster11.jpg" alt="" /></div> + + +<p> </p><p> </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">“<span class="smcap">Kossovo Day Is the Serbian National Day.</span>”</p> +<p class="center">Poster of a British “Flag Day.” 25th June, 1916.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster12tmb.jpg" alt="" /><br /> +<a href="images/poster12.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </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> </p> +<div class="figcenter"><img src="images/poster13.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster14" id="poster14"></a></p> +<p class="center">14.</p> +<p class="center">JOHN HASSALL.</p> +<p class="center">“<span class="smcap">Music in War-time.</span>”</p> +<p class="center">Grand Patriotic Concert, Albert Hall.</p> +<p class="center">Poster of the Professional Classes War Relief Council.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster14.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster15" id="poster15"></a></p> +<p class="center">15.</p> +<p class="center">BERNARD PARTRIDGE.</p> +<p class="center">“<span class="smcap">Haven.</span>”</p> + +<p class="note">Poster of the British Women’s Hospital Fund, appealing for subscriptions +toward the “Star and Garter” home for men disabled by the War.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster15tmb.jpg" alt="" /><br /> +<a href="images/poster15.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </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> </p> +<div class="figcenter"><img src="images/poster16.jpg" alt="" /></div> + + +<p> </p><p> </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’s Galleries, London, 1918.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster17.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster18" id="poster18"></a></p> +<p class="center">18.</p> +<p class="center">NORMAN WILKINSON.</p> +<p class="center">“<span class="smcap">The Dardanelles.</span>”</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> </p> +<div class="figcenter"><img src="images/poster18.jpg" alt="" /></div> + + +<p> </p><p> </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">“<span class="smcap">At Neuve Chapelle.</span>”</p> +<p class="center">“<span class="smcap">Your Friends Need You. Be a Man.</span>”</p> +<p class="center">British Recruiting Poster.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster19.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster20" id="poster20"></a></p> +<p class="center">20.</p> +<p class="center">POULBOT.</p> +<p class="center">“<span class="smcap">Pour que papa vienne en permission, s’il vous plait.</span>”</p> +<p class="center">(So that papa may come on leave, if you please.)</p> +<p class="center">Poster of the French “Flag Days” in Paris,<br />25th and 26th December, 1915.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster20tmb.jpg" alt="" /><br /> +<a href="images/poster20.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster21" id="poster21"></a></p> +<p class="center">21.</p> +<p class="center">AUGUSTE ROLL.</p> +<p class="center">“<span class="smcap">Pour les Blessés de la Tuberculose.</span>”</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> </p> +<div class="figcenter"><img src="images/poster21tmb.jpg" alt="" /><br /> +<a href="images/poster21.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster22" id="poster22"></a></p> +<p class="center">22.</p> +<p class="center">D. CHARLES FOUQUERAY.</p> +<p class="center">“<span class="smcap">Le Cardinal Merciér protége la Belgique.</span>”</p> +<p class="center">(Cardinal Mercier protects Belgium.)</p> +<p class="center">Poster published in Paris, 1916.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster22tmb.jpg" alt="" /><br /> +<a href="images/poster22.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster23" id="poster23"></a></p> +<p class="center">23.</p> +<p class="center">JULES ABLE FAIVRE.</p> +<p class="center">“<span class="smcap">On les aura</span>!” (We shall get them!)<br />Subscribe.</p> +<p class="center">Poster of the Second National Defence Loan.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster23.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster24" id="poster24"></a></p> +<p class="center">24.</p> +<p class="center">JULES ABEL FAIVRE.</p> +<p class="center">“<span class="smcap">Sauvons-les</span>!” (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> </p> +<div class="figcenter"><img src="images/poster24.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster25" id="poster25"></a></p> +<p class="center">25.</p> +<p class="center">D. CHARLES FOUQUERAY.</p> +<p class="center">“<span class="smcap">La Journée Serbe, 25 Juin, 1916.</span>”</p> +<p class="center">Poster of a French “Flag Day” for the Serbian Relief Fund,<br />on the Anniversary of the Battle of Kossovo.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster25.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster26" id="poster26"></a></p> +<p class="center">26.</p> +<p class="center">G. CAPON.</p> +<p class="center">“<span class="smcap">La Femme Française pendant la Guerre.</span>”</p> +<p class="center">(French Women during the War.)</p> +<p class="center">Poster of the Kinematograph Section of the French Army.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster26.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster27" id="poster27"></a></p> +<p class="center">27.</p> +<p class="center">SEM.</p> +<p class="center">“<span class="smcap">Pour le dernier quart d’heure ... aidez-moi!</span>”</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> </p> +<div class="figcenter"><img src="images/poster27.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster28" id="poster28"></a></p> +<p class="center">28.</p> +<p class="center">THÉOPHILE ALEXANDRE STEINLEN.</p> +<p class="center">Poster of the French “Flag Days,” 25th and 26th December, 1915.<br />Organized by Parliament.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster28.jpg" alt="" /></div> + + +<p> </p><p> </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 “Flag Days,” 25th and 26th December, 1915.<br />Organized by Parliament.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster29.jpg" alt="" /></div> + + + +<p> </p><p> </p> +<p><a name="poster30" id="poster30"></a></p> +<p class="center">30.</p> +<p class="center">JULES ABEL FAIVRE.</p> +<p class="center">“<span class="smcap">Pour out your Gold for France.<br />Gold fights for Victory.</span>”</p> +<p class="center">Poster of the French War Loan, 1915.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster30.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster31" id="poster31"></a></p> +<p class="center">31.</p> +<p class="center">ADOLPHE WILLETTE.</p> +<p class="center">“<span class="smcap">By Ourselves at last!</span>”</p> +<p class="center">Poster of the French “Flag Days,” 25th and 26th December, 1916.<br />Organized by Parliament.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster31.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster32" id="poster32"></a></p> +<p class="center">32.</p> +<p class="center">JULES ADLER.</p> +<p class="center">“<span class="smcap">They, too, are doing their Duty.</span>”</p> +<p class="center">Poster of the French War Loan, 1915.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster32.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster33" id="poster33"></a></p> +<p class="center">33.</p> +<p class="center">AUGUSTE LEROUX.</p> +<p class="center">“<span class="smcap">Subscribe for France who is Fighting! and for<br />that Little One who grows bigger every Day.</span>”</p> +<p class="center">Poster of the third French War Loan.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster33.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster34" id="poster34"></a></p> +<p class="center">34.</p> +<p class="center">PLONTKE.</p> +<p class="center">“<span class="smcap">Für die Kriegsanleihe!</span>”</p> +<p class="center">(For the War Loan.)</p> +<p class="center">German War Loan poster issued in Berlin.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster34tmb.jpg" alt="" /><br /> +<a href="images/poster34.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster35" id="poster35"></a></p> +<p class="center">35.</p> +<p class="center">OTTO LEHMANN.</p> +<p class="center">“<span class="smcap">Stutzt unsre Feldgrauen. Zereisst Englands Macht.<br />Zeichnet Kriegsanleihe.</span>”</p> +<p class="center">(Support our Field Greys. Rend England’s might.<br />Subscribe to the War Loan.)</p> +<p class="center">Issued in Cologne.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster35tmb.jpg" alt="" /><br /> +<a href="images/poster35.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster36" id="poster36"></a></p> +<p class="center">36.</p> +<p class="center">ERWIN PUCHINGER.</p> +<p class="center">“<span class="smcap">Zeichnet 5½% dritte Kriegsanleihe.</span>”</p> +<p class="center">(Subscribe to the 5½% Third War Loan.)</p> +<p class="center">Issued in Vienna.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster36tmb.jpg" alt="" /><br /> +<a href="images/poster36.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster37" id="poster37"></a></p> +<p class="center">37.</p> +<p class="center">ERLER.</p> +<p class="center">“<span class="smcap">Der 9te Pfeil. Zeichnet Kriegsanleihe.</span>”</p> +<p class="center">(The ninth arrow. Subscribe to the War Loan.)</p> +<p class="center">German War Loan poster.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster37.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster38" id="poster38"></a></p> +<p class="center">38.</p> +<p class="center">LEONARD.</p> +<p class="center">“<span class="smcap">Der Hauptfeind is England.</span>”</p> + +<table border="0" cellpadding="0" cellspacing="5" summary="table"> +<tr><td>“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,—<br /> +Someone guilty there must be—<br /> +England, the arch-enemy!<br /> +Stand then united, steadfastly!<br /> +For Germany’s sure cause will thus be won.”</td></tr></table> + +<p> </p> +<div class="figcenter"><img src="images/poster38.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster39" id="poster39"></a></p> +<p class="center">39.</p> +<p class="center">H. R. ERDT.</p> +<p class="center">“<span class="smcap">Soll und Haben des Kriegs-Jahres 1917.</span>”</p> +<p class="center">(Losses and gains of the War year 1917.)</p> +<p class="center">German propaganda poster.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster39.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster40" id="poster40"></a></p> +<p class="center">40.</p> +<p class="center">OSWALD POLTE.</p> +<p class="center">“<span class="smcap">Dem Vaterlande!</span>”</p> +<p class="center">“<span class="smcap">Pommersche Juwelen und Goldankaufswoche</span><br /> +<span class="smcap">30 Juni-6 Juli.</span>”</p> +<p class="center">(For the Fatherland.)</p> +<p class="center">Poster advertising the “Pommeranian sale week for<br />jewels and gold, 30 June-6th July.”</p> +<p class="center">Issued in Berlin.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster40tmb.jpg" alt="" /><br /> +<a href="images/poster40.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster41" id="poster41"></a></p> +<p class="center">41.</p> +<p class="center">A. S.</p> +<p class="center">“<span class="smcap">Zeichnet fünfte Österreichische Kriegsanleihe.</span>”</p> +<p class="center">(Subscribe to the fifth Austrian War Loan.)</p> +<p class="center">Poster issued in Vienna.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster41tmb.jpg" alt="" /><br /> +<a href="images/poster41.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster42" id="poster42"></a></p> +<p class="center">42.</p> +<p class="center">“<span class="smcap">Segitestek a diadalmas békétez.</span>”</p> +<p class="center">Hungarian War Loan Poster—“Help the Victorious Peace.”</p> +<p class="center">Issued in Budapest, 1917.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster42tmb.jpg" alt="" /><br /> +<a href="images/poster42.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster43" id="poster43"></a></p> +<p class="center">43.</p> +<p class="center">F. K. ENGELHARD.</p> +<p class="center">“<span class="smcap">Nein! Niemals!</span>” (No! Never!)</p> +<p class="center">German poster.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster43tmb.jpg" alt="" /><br /> +<a href="images/poster43.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster44" id="poster44"></a></p> +<p class="center">44.</p> +<p class="center">GERD PAUL.</p> +<p class="center">“<span class="smcap">Es gilt die letzen Schläge,<br />den Sieg zu vollenden!<br />Zeichnet Kriegsanleihe!</span>”</p> +<p class="center">(It takes the last blow to make victory complete.<br />Subscribe to the War Loan!)</p> + +<p> </p> +<div class="figcenter"><img src="images/poster44tmb.jpg" alt="" /><br /> +<a href="images/poster44.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster45" id="poster45"></a></p> +<p class="center">45.</p> +<p class="center">M. LENZ.</p> +<p class="center">“<span class="smcap">Zeichnet achte Kriegsanleihe.</span>”</p> +<p class="center">(Subscribe to the eighth War Loan.)</p> +<p class="center">Austrian poster, issued in Vienna.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster45tmb.jpg" alt="" /><br /> +<a href="images/poster45.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </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> </p> +<div class="figcenter"><img src="images/poster46tmb.jpg" alt="" /><br /> +<a href="images/poster46.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster47" id="poster47"></a></p> +<p class="center">47.</p> +<p class="center">“<span class="smcap">Esposizione de Guerra, Trieste, 1917.</span>”</p> +<p class="center">(War Exhibition, Trieste, 1917.)</p> +<p class="center">Austrian poster.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster47.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster48" id="poster48"></a></p> +<p class="center">48.</p> +<p class="center">“<span class="smcap">Zeichnet vierte Österreichische Kriegsanleihe.</span>”</p> +<p class="center">(Subscribe to the fourth Austrian War Loan.)</p> + +<p> </p> +<div class="figcenter"><img src="images/poster48tmb.jpg" alt="" /><br /> +<a href="images/poster48.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster49" id="poster49"></a></p> +<p class="center">49.</p> +<p class="center">“<span class="smcap">Österr-Ungar. Kriegsgräber Ausstellung.</span>”</p> +<p class="center">(Austrian-Hungarian War Graves Exhibition.)</p> +<p class="center">Poster of an Exhibition in Berlin.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster49tmb.jpg" alt="" /><br /> +<a href="images/poster49.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster50" id="poster50"></a></p> +<p class="center">50.</p> +<p class="center">DANKÓ.</p> +<p class="center">“<span class="smcap">Be a vörös Hadseregbe!</span>”</p> +<p class="center">(For the conquering army!)</p> +<p class="center">Hungarian War Loan poster.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster50.jpg" alt="" /></div> + + +<p> </p><p> </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>“<span class="smcap">Willst Du den Frieden ernten<br /> +Musst Du säen—darum.</span>”<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> </p> +<div class="figcenter"><img src="images/poster51.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster52" id="poster52"></a></p> +<p class="center">52.</p> +<p class="center">P. PLONTKE.</p> +<p class="center">“<span class="smcap">Annahmestelle<br />und Sammelbeutelausgabe:<br />Schüler-Sammeldienst der StadtMainz.</span>”</p> +<p class="center">(Collection among girls in the schools of Mainz.)</p> +<p class="center">Poster of the German Women’s Hair Collection Committee for Magdeburg.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster52.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster53" id="poster53"></a></p> +<p class="center">53.</p> +<p class="center">“<span class="smcap">Kaiser- und Volksdank für Heer und Flotte.</span>”</p> +<p class="center">(Kaiser and people’s thanksoffering for Army and Navy.)</p> +<p class="center">Poster for the Frankfort Christmas offering, 1917.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster53.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster54" id="poster54"></a></p> +<p class="center">54.</p> +<p class="center">“<span class="smcap">Helft! den braven Soldaten....</span>”</p> +<p class="center">(Help! for the brave soldiers....)</p> +<p class="center">Poster of the Soldiers’ Aid Committee, Berlin.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster54.jpg" alt="" /></div> + + +<p> </p><p> </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> </p> +<div class="figcenter"><img src="images/poster55.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster56" id="poster56"></a></p> +<p class="center">56.</p> +<p class="center">F. K. ENGELHARD.</p> +<p class="center">“<span class="smcap">Elend und Untergang folgen der Anarchie.</span>”</p> +<p class="center">(Misery and destruction follow anarchy.)</p> +<p class="center">German poster of the Revolution, 1918.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster56.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster57" id="poster57"></a></p> +<p class="center">57.</p> +<p class="center">BIRÓ.</p> +<p class="center">Hungarian poster depicting the Russian invasion.</p> +<p class="center">Issued in Budapest.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster57.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster58" id="poster58"></a></p> +<p class="center">58.</p> +<p class="center">A. K. ARPELLUS.</p> +<p class="center">“<span class="smcap">Zeichnet 7. Kriegsanleihe.</span>”</p> +<p class="center">Subscribe to the seventh War Loan.</p> +<p class="center">Austrian poster, issued in Vienna.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster58.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster59" id="poster59"></a></p> +<p class="center">59.</p> +<p class="center">KÜRTHY.</p> +<p class="center">Hungarian War Loan poster.</p> +<p class="center">Issued in Budapest, 1917.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster59.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster60" id="poster60"></a></p> +<p class="center">60.</p> +<p class="center">FARAGÓGÉZ.</p> +<p class="center">Hungarian War Loan poster.</p> +<p class="center">Issued in Budapest.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster60.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster61" id="poster61"></a></p> +<p class="center">61.</p> +<p class="center">BIRÓ.</p> +<p class="center">Hungarian War Loan poster.</p> +<p class="center">Issued in Budapest, 1917.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster61.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster62" id="poster62"></a></p> +<p class="center">62.</p> +<p class="center">KÜRTHY.</p> +<p class="center">Hungarian War Loan poster.</p> +<p class="center">Issued in Budapest, 1917.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster62.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster63" id="poster63"></a></p> +<p class="center">63.</p> +<p class="center">RALEIGH.</p> +<p class="center">“<span class="smcap">Must Children Die and Mother plead in Vain?<br />Buy more Liberty Bonds.</span>”</p> +<p class="center">American War Loan poster.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster63tmb.jpg" alt="" /><br /> +<a href="images/poster63.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster64" id="poster64"></a></p> +<p class="center">64.</p> +<p class="center">“<span class="smcap">Books wanted for our Men in Camp and ‘Over There.’</span>”</p> +<p class="center">Poster of the American Association of Libraries for<br />supplying books to the troops on service.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster64tmb.jpg" alt="" /><br /> +<a href="images/poster64.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster65" id="poster65"></a></p> +<p class="center">65.</p> +<p class="center">ELLSWORTH YOUNG.</p> +<p class="center">“<span class="smcap">Remember Belgium.</span>”</p> +<p class="center">“<span class="smcap">Buy Bonds: Fourth Liberty Loan.</span>”</p> +<p class="center">American poster, 1918.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster65.jpg" alt="" /></div> + + +<p> </p><p> </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>“<span class="smcap">For every fighter a woman worker,<br /> +Care for her through the Y.W.C.A.</span>”</td></tr></table> + +<p class="center">Poster of the United War Work Campaign, American Y.W.C.A.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster66tmb.jpg" alt="" /><br /> +<a href="images/poster66.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster67" id="poster67"></a></p> +<p class="center">67.</p> +<p class="center">JOSEPH PENNELL.</p> +<p class="center">“<span class="smcap">That Liberty shall not perish from the Earth.</span>”</p> +<p class="center">Poster of the fourth American War Loan, 1918.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster67tmb.jpg" alt="" /><br /> +<a href="images/poster67.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster68" id="poster68"></a></p> +<p class="center">68.</p> +<p class="center">L. JONAS.</p> +<p class="center">“<span class="smcap">Four Years in the Fight—<br /> +The Women of France.<br /> +We Owe Them Houses of Cheer.</span>”</p> +<p class="center">American poster.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster68tmb.jpg" alt="" /><br /> +<a href="images/poster68.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster69" id="poster69"></a></p> +<p class="center">69.</p> +<p class="center">“<span class="smcap">America Calls.<br /> +Enlist in the Navy.</span>”</p> +<p class="center">Recruiting poster for the U.S. Navy, 1917.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster69.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster70" id="poster70"></a></p> +<p class="center">70.</p> +<p class="center">MORGAN.</p> +<p class="center">“<span class="smcap">Feed a Fighter.</span>”</p> +<p class="center">American Food Economy poster.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster70.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster71" id="poster71"></a></p> +<p class="center">71.</p> +<p class="center">LOUIS RAEMAEKERS.</p> +<p class="center">“<span class="smcap">Enlist in the Navy.</span>”</p> +<p class="center">“<span class="smcap">Americans! Stand by Uncle Sam for<br />Liberty against Tyranny.</span>”<br /> +<span style="margin-left: 12em;">—<span class="smcap">Theodore Rooseveld.</span></span></p> +<p class="center">Recruiting poster for the U.S. Navy.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster71.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster72" id="poster72"></a></p> +<p class="center">72.</p> +<p class="center">CECIL L. BURNS.</p> +<p class="center">“<span class="smcap">Victory to the Marathas!</span>”</p> + +<table border="0" cellpadding="0" cellspacing="5" summary="table"> +<tr><td>“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.”</td></tr></table> + +<p class="center">Anglo-Indian recruiting poster. Issued in Bombay, 1915.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster72.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster73" id="poster73"></a></p> +<p class="center">73.</p> +<p class="center">A. O.</p> +<p class="center">“<span class="smcap">In Belgie by De Zorg.</span>”</p> +<p class="center">(The home of distress in Belgium.)</p> +<p class="center">“<span class="smcap">Belgian Art for Belgian Distress.</span>”</p> +<p class="center">Poster of an Exhibition at Tilburg, Holland, 1917.</p> +<p class="center">La Fraternelle Belge.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster73tmb.jpg" alt="" /><br /> +<a href="images/poster73.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster74" id="poster74"></a></p> +<p class="center">74.</p> +<p class="center">“<span class="smcap">Keep all Canadians busy.<br /> +Buy 1918 Victory Bonds.</span>”</p> +<p class="center">Canadian poster.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster74tmb.jpg" alt="" /><br /> +<a href="images/poster74.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster75" id="poster75"></a></p> +<p class="center">75.</p> +<p class="center">LOUIS RAEMAEKERS.</p> +<p class="center">“<span class="smcap">Neutral America and the Hun.</span>”</p> +<p class="center">Poster of an Exhibition of Raemaekers cartoons in Milan.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster75tmb.jpg" alt="" /><br /> +<a href="images/poster75.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster76" id="poster76"></a></p> +<p class="center">76.</p> +<p class="center">V. PREISSIG.</p> +<p class="center">“<span class="smcap">Czechoslovaks! Join our Free Colours.</span>”</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> </p> +<div class="figcenter"><img src="images/poster76tmb.jpg" alt="" /><br /> +<a href="images/poster76.jpg"><small>Larger Image</small></a></div> + + +<p> </p><p> </p> +<p><a name="poster77" id="poster77"></a></p> +<p class="center">77.</p> +<p class="center">“<span class="smcap">Europe and the Idol.</span>”</p> +<p class="center">“<span class="smcap">How much longer shall we sacrifice our Sons<br />to this accursed Idol?</span>”</p> +<p class="center">Revolutionary poster in Russia. ? German propaganda.<br />(The inscription on the idol is “Anglia.”)</p> + +<p> </p> +<div class="figcenter"><img src="images/poster77.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster78" id="poster78"></a></p> +<p class="center">78.</p> +<p class="center">GIPKENS.</p> +<p class="center">“<span class="smcap">Bringt euren Goldschmuck den Goldankaufsstellen!</span>”</p> +<p class="center">(Bring your gold ornaments to the gold-purchase depôt!)</p> +<p class="center">German poster.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster78.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster79" id="poster79"></a></p> +<p class="center">79.</p> +<p class="center">ALFRED OFFNER.</p> +<p class="center">“<span class="smcap">Zeichnet 7. Kriegsanleihe.</span>”</p> +<p class="center">(Subscribe to the seventh War Loan.)</p> +<p class="center">Austrian poster, issued in Vienna.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster79.jpg" alt="" /></div> + + +<p> </p><p> </p> +<p><a name="poster80" id="poster80"></a></p> +<p class="center">80.</p> +<p class="center">BABCOCK.</p> +<p class="center">“<span class="smcap">Join the Navy: The Service for Fighting Men.</span>”</p> +<p class="center">Recruiting poster for the U.S. Navy.</p> + +<p> </p> +<div class="figcenter"><img src="images/poster80.jpg" alt="" /></div> + + + +<p> </p><p> </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 “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!</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’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.”</p> + +<p><a name="f3" id="f3" href="#f3.1">[3]</a> Joseph Pennell’s “Liberty Loan Poster.” 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. 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