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+The Project Gutenberg EBook of Picture Posters, by Charles Hiatt
+
+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: Picture Posters
+       A Short History of the Illustrated Placard with Many
+       Reproductions of the Most Artistic Examples in all Countries
+
+Author: Charles Hiatt
+
+Illustrator: Various
+
+Release Date: May 1, 2014 [EBook #45555]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PICTURE POSTERS ***
+
+
+
+
+Produced by David Widger from page images generously
+provided by the Internet Archive
+
+
+
+
+
+
+
+
+
+PICTURE POSTERS
+
+A Short History Of The Illustrated Placard With Many Reproductions Of
+The Most Artistic Examples In All Countries
+
+By Charles Hiatt
+
+London: George Bell And Sons New York
+
+MDCCCXCVI
+
+Second Edition
+
+
+
+
+PREFACE.
+
+In the present volume an attempt has been made briefly to trace (the
+history of the picture poster from the earliest times!) and to comment
+upon and reproduce some of the most noteworthy examples in various
+countries. The English and American placards have received special
+attention, while the best examples of the French school have not
+been overlooked. With very few exceptions, only posters signed, or
+acknowledged, by the artists producing them, are included among the
+illustrations. The whole subject is treated from the point of view
+rather of art than of commerce. While it is believed that this book is
+the first which deals in English with the Pictorial Poster, the author
+desires to recognize his indebtedness to M. Maindron's work, and to
+the catalogues of M. Sagot and Mr. Bella. The last-named has rendered
+material aid by lending, for the purpose of reproduction, not a few
+examples contained in his collection.
+
+To name the artists and owners of valuable copyrights who have laid
+the author under obligations would, however carefully compiled, almost
+certainly contain serious omissions. It is hoped, therefore, that those
+whose names would figure in such a list will acquit him of intentional
+discourtesy or ingratitude. Special thanks are due to Mr. Gleeson White
+for his editorial work in connexion with this volume; indeed, whatever
+merits it may possess are due, in no small degree, to his care and
+assiduity. Although personally unknown to the writer, Mr. Spiel-mann has
+been so good as to assist materially in the matter of illustration. To
+the kindness of M. Henri de Toulouse-Lautrec is owing the frontispiece
+in the shape of a hitherto unpublished study for a poster; while the
+reproduction of a sketch for the "Phit-Eesi" placard was courteously
+consented to by Mr. Dudley Hardy, and Messrs. Vaterlow who printed
+the poster itself. The cover has been specially drawn by Mr. Charles
+Ffoulkes, to whom the writer desires to express his sincere thanks. The
+Artistic Supply Company (Limited) have been so good as to consent to
+the reproduction of unpublished copyright designs by Messrs. Bernard
+Partridge, Max Cowper, the Brothers Beggarstaff, Sydney Adamscm, Kerr
+Lawson, A. R. Wilson, and Lewis Baumer. A design, representing Sir Henry
+Irving as "Don Quixote" is illustrated here owing to the kindness of
+Miss Ellen Terry, who owns the original.
+
+Charles Hiatt
+
+October, 1895.
+
+PICTURE POSTERS.
+
+
+
+
+CHAPTER I. THE STORY OF THE PICTORIAL POSTER
+
+It would be merely foolish to pretend that the pictorial poster,
+looked at from the point of view of art, is of the same importance as
+a portrait by Velasquez or an etching by Rembrandt. Its aesthetic
+qualities have of necessity to be subordinated to its commercial
+qualities; the artist is the servant of the tradesman. His first
+business is not to achieve a decoration, but to call the attention of
+the man in the street to the merits of an article. He may be fantastic
+only in so far as his fantasy assists the advertisement; he must ever
+keep before his eyes the narrow object of his effort. The closest limits
+are set to his invention; it is not for him to do what he will, but
+rather to do what he must. Under such circumstances, it is, at the first
+blush, somewhat surprising that artists have condescended to the poster
+at all. The bounds of freedom in the cases of painting and of sculpture
+are, comparatively speaking, so wide that one is not unnaturally
+amazed that the artist of talent is willing to work within the strict
+limitations imposed on him in the production of a pictorial poster. And
+yet, after all, to the ingenious designer there is a certain fascination
+in the very strictness of these limits; the complexity of the problem
+allures him, and gives him the appetite for experiment. Moreover, if he
+believe that art is something more than a vague grace, a non-essential
+luxury, he is ever anxious to extend her domain, to make her empire
+universal. He believes it to be his mission to touch some ugly
+necessity, to inform it with art, and, in doing so, to adorn it. He
+is restless for new worlds to conquer, for fresh fields to occupy. His
+ideal is art everywhere, art in all. He would fain give style and grace
+even to the paraphernalia of commerce: the necessities of trade shall
+not be hideous if he can make them otherwise. And so it happens that
+he is willing, nay eager, to turn his attention to the poster, with
+the result that the hoarding becomes an interesting, even a charming,
+gallery of designs. What was one of the most hideous of human inventions
+is transformed into a delight to the eyes. Colour and interest are added
+to the street; the gay and joyous take the place of the dull and ugly.
+
+It follows, supposing that I have stated the case fairly, that it is
+not derogatory to the dignity, even of a very great artist, to apply his
+talent to the poster.
+
+It is clear that the poster is one of the oldest and most obvious forms
+of advertisement. It is almost impossible to conceive a time in the
+history of man, once he had learned to express his thoughts in design or
+in writing, when the idea of the thing did not exist. It must have been
+an incident of the most crude and ancient of civilizations; even the
+cave-dweller in the dim and distant past must surely have possessed the
+essential idea of it. From the cave-dweller to the comparatively complex
+civilization of the ancient and greater Egypt is a far cry. That the
+mural inscription, which is obviously the germ of the poster, flourished
+exceedingly in the Land of the Pharaohs is matter of history. A papyrus
+is comprised in the collections of the Louvre, which may fairly be
+described as a poster. It is dated so early as 146 b.c., and deals
+at length with the escape of two slaves from the city of Alexandria,
+offering a reward to anybody who should discover their place of retreat.
+Still more interesting, though less ancient, is an inscription in Greek,
+discovered in the Temple at Jerusalem, in 1872, by M. Clermont-Gannerau.
+It was issued during the reign of Herod the Great, and forbids the
+entry, by foreigners, to certain parts of the Temple on pain of death.
+
+Of the poster in Greece we know very little. Legal inscriptions were
+undoubtedly written on whitened walls, or on axones, the latter being
+wooden tablets painted white, and made to revolve slowly on an upright
+axis. In passing from Greece to Rome, we pass from somewhat fragmentary
+to comparatively exact: information. The Roman notice-board was called
+an _album_, and it is a matter of dispute whether it was white with
+black letters, or of a dark colour with the text in white. Anybody who
+took away, destroyed, or mutilated an album was liable to an _actio
+albi corrupti_, and to heavy damages besides. It appears to have been
+invented in the first place, in order to give publicity to the annual
+edict of the Prætor; subsequently, however, the word album was used to
+signify any tablet on which a public announcement was inscribed.
+The ruins of Pompeii have furnished us with at least one interesting
+fragment of an album, on which are written notices of the most diverse
+kinds. Amongst them are the following:
+
+FAMILIA. GLADIATORIA VENATIO. ET. VELA.
+
+and:
+
+A. SVETTII. CERII.
+
+AEDILIS. FAMILIA. GLADIATORIA. PUGNAVIT. POMPEIS. PR. K. IVNIAS.
+VENATIO. ET. VELA. ERUNT.
+
+and again:
+
+DEDICATIONS THERMARUM. MUNERIS.
+
+ENAI. ALLEI. NIGIDII.
+
+MAII. VENALIO. ATHELA.
+
+SPARSIONES. VELA.
+
+ERUNT. MAIO. PRINCIPI.
+
+COLON IÆ. FELICITER.
+
+As for the Roman bookseller, he was in the habit of placarding his shop
+with the titles of books just published, or about to be published. Take,
+for instance, the shop described by Martial in the lines:
+
+                   " Contra Caesaris est forum taberna,
+
+                   Scriptis postibus hinc et inde totis,
+
+                   Omnes ut cito perlegas poetas.
+
+                   Illinc me pete.
+
+The actor has never been inclined to hide his light under a bushel.
+Advertisement has always been dear to him, and it is not surprising
+to find that the Roman actor made the most of the opportunity of the
+publicity offered to him by the _album._ Not content with having
+his name inscribed in gigantic letters, he went a step further, and
+anticipated the illustrated _affiche_. Just as Sarah Bernhardt employs
+the decorative skill of Grasset to depict her as Joan of Arc, so did the
+old Roman actor employ Callades, an artist mentioned very favourably
+by Pliny, to portray him in his favourite parts. Callades would seem to
+have been the Chéret of his age: he was the great artistic advertiser of
+ancient Rome, just as Chéret is the great artistic advertiser of modern
+Paris.
+
+It is obvious, then, that the idea of the illustrated poster existed
+among the Romans: the difference between Callades and Chéret is one of
+method rather than of vital principle. And even the difference in method
+is slight.
+
+Of the poster in the time which immediately succeeded the fall of the
+Roman Empire we have very little trustworthy information. It is possible
+that the Romans introduced the album into Gaul and into Britain, and
+that the sight of it became as familiar to the inhabitants of Eboracum
+and Uriconium as it was to the natives of Rome and Pompeii. A French
+historian of distinction has stated that the _affiche_ was employed by
+the earliest of the kings of France, but this statement can hardly
+be said to be borne out by facts. It is at least certain that the
+signboard, which is a variation of the pictorial poster, was employed in
+the early part of the Middle Ages. The poster, unless illustrated, would
+have been useless in a community in which the art of writing was held
+effeminate, in which the most illustrious knight openly boasted of his
+inability to sign his name. The principal means of advertisement at that
+time was the public crier. As early as the twelfth century the criers of
+France formed an organized body, "for," as Mr. Sampson tells us in his
+_History of Advertising_, "by a charter of Louis VII. granted in the
+year 1141 to the inhabitants of the province of Berry, the old custom
+of the country was confirmed, according to which there were to be only
+twelve criers, five of whom should go about the taverns crying with
+their usual cry, and carrying with them samples of the wine they cried
+in order that people might taste. For the first time they blew the
+horn they were entitled to a penny, and the same for every time after,
+according to custom.... These wine-criers are mentioned by John de
+Garlando, a Norman writer, who was probably contemporary with William
+the Conqueror." The wine-crier is frequently mentioned in early French
+street-ballads. To instance one of them:
+
+                   "Si crie l'on en plusors leurs
+
+                   Si bon vui fort a trente deux
+
+                   A seize, a douze, a six, a huiet."
+
+In England also the crier was an early institution, for we find one
+Edmund le Criour mentioned in a document dated 1299. Even when the crier
+was the pre-eminent advertiser, the poster, or at least the handbill,
+had its place. At first the bills were written, but almost as soon
+as Caxton introduced the newly-discovered art of printing they were
+produced by that method. Perhaps the earliest English poster is that
+by which Caxton, about the year 1480, announced the "Pyes of Salisbury
+Use," at the Red Pole in the Almonry at Westminster. The size of this
+broadside is five inches by seven, and the text runs as follows:
+
+"If it please any man spirituel or temporel to bye our pyes of two or
+thre comemo-racio's of Salisburi use, emprunted after the form of
+this prese't lettre, which ben wel and truly correct, late hym come to
+West-monster, into the almonestrye at the reed pole ane he shall have
+them good and chepe.
+
+                        "Supplico stet cedula."
+
+The "pyes" in question, it may be noted, were a series of diocesan
+rules.
+
+It is in the sixteenth century that we meet with the poster properly so
+called. For example, we have a royal proclamation of François I relating
+to the police of the city of Paris, which runs: "Nous voulons que ces
+présentes ordonnances soient publiées tous les moys de l'an, par tous
+les quarrefours de cette ville de Paris et faux bourgs d'icelle, à son
+de trompe et cry public. Et néantmoins quelles soient attachées a un
+tableau, escriptes en parche-main et en grosse lettre, en tous les seize
+quartiers de ladite ville de Paris es esdiétz faux bourgs, et lieux
+les plus éminents et apparens d'iceulx, afin qu'elles soient cognues
+et entendues parfun chacun. Et qu'il ne soit loysible oster les dictz
+tableaux, sur peine de punition corporelle, dont les dictz commissaires
+auront la charge chacun en son quartier."
+
+The words "attachées a un tableau, escriptes en parchemain et en grosse
+lettre" leave no doubt that the poster as we now know it was a usual
+method of advertisement in the reign of François Ier. The _affiche_
+soon after received the attention of the French legislature, for the
+production and exhibition of posters of certain kinds in France,
+was expressly forbidden by "un arrêt du Parlement" dated the 7th of
+February, 1652. To publishers and booksellers, however, the privilege of
+posting the titles of their new books was specially reserved.
+
+As printing became less expensive and methods for the mechanical
+reproduction of pictures and designs were discovered, it needed no
+great ingenuity to add emphasis to the poster by means of pictorial
+illustration. Acrobats, the stall-keepers at fairs on the ice, and the
+like, were speedily induced to adorn their advertisements with rude
+drawings, while Royal proclamations were usually decorated heraldically.
+Early in the eighteenth century, the bills announcing the departure and
+arrival of coaches were headed by pictures, as for example the one which
+related to the Birmingham coach in 1731.
+
+Even earlier in date, there are illustrated advertisements relating to
+the Roman Catholic church. One of these, produced in France, dated 1602,
+is very curious and elaborate in design. While, however, many posters
+such as this are profoundly interesting to the archaeologist, they can
+hardly be considered works of art. It is not until the middle of the
+present century is reached that we find important examples of pictorial
+poster deliberately planned by an artist. The modern artistic poster
+movement, as we shall see in the next chapter, had its origin in Paris
+some fifty years ago.
+
+
+
+
+CHAPTER II.--IN FRANCE DURING THE PRESENT CENTURY
+
+|As we have seen, the idea of the poster, and even of the pictorial
+poster, is an extremely ancient one, but it is only at the commencement
+of the present century that distinguished designers deliberately
+attempted to make the pictorial poster a work of art. The few posters,
+at once pictorial and artistic, which are of earlier date than the
+time in question, are artistic by accident rather than by deliberate
+intention. So early, however, as the year 1836, we find a really
+distinguished French artist, Lalance, producing a poster. Lalance was,
+perhaps, the pioneer of pioneers, and his advertisement for the book,
+"Comment Meurent Les Femmes," if not of great artistic interest, cannot
+be overlooked in any book dealing with the history of art as applied
+to the poster. Only a fewr copies exist. Immediately succeeding him,
+we have Célestin Nanteuil engaged in producing an advertisement for an
+edition of "Robert Macaire," dated 1837. The year following, Rafifet
+brought out his "Napoléon de Norvins." This work is signed as well as
+dated. Raffet, in addition to the "Napoléon de Norvins," designed two
+more posters dealing with the career of the great emperor as well as the
+history of Algeria. Very soon after comes an important _affiche_, "Le
+Prado," by Eugène Gauché, and from that time the artistic poster became
+an established institution.
+
+It may be fairly stated that the direct cause of the artistic poster in
+France was the illustrated book. The illustrated book, issued in weekly
+or monthly numbers, has always appealed keenly to the French, and it is
+usual to give the first number for nothing to all who care to ask for
+it. The illustrators of these books were very frequently induced by the
+publishers of them to do a poster advertising the edition of the works
+they had illustrated. Sometimes one of the illustrations in the book was
+merely enlarged and lithographed, but more generally the artist made a
+special design. Perhaps, at the time, the most widely known among French
+producers of the _affiche illustré_ was Gavarni. The vogue for the works
+of this eminent illustrator and satirist is perhaps not so great as
+it was twenty years ago. At all events, the value of his works is not
+nearly so great as it was then, and it has become usual to talk of him
+in a manner which is patronizing rather than genuinely appreciative. It
+may be that his
+
+[Illustration: 0034]
+
+savage and grotesque point of view discounts his merits as an artist.
+His power and originality, however, few will deny.
+
+Among the posters which he designed, one of the most characteristic is
+the "Oeuvres Choisis." The original is extremely rare,
+
+[Illustration: 0035]
+
+but a copy exists in a folio volume in the British Museum, in which
+one or two other posters by Gavarni will be found. For the "Almanach
+Imperial, 1846," by
+
+[Illustration: 0036]
+
+E. Marco de S. Hilaire, illustrated by Bertrand, a poster (which was,
+perhaps, an enlargement of the cover) exists. It is a very
+
+[Illustration: 0037]
+
+OUVRAGE COMPLET, a jingo affair, representing the French emperor
+standing on the globe with the imperial eagle of France at his feet.
+Of a little later date are several interesting posters by Grandville.
+Amongst them are "Les Metamorphoses du Jour" (of which a number
+
+[Illustration: 0038]
+
+of pigs in different costumes is the main feature), "Des Animaux," "Ma
+Tante," "Petit Misère," and "St. Helène." Of the two latter I need say
+nothing, since they are reproduced here, save that they are included
+in the collection of the British Museum. An illustrated poster very
+characteristic of
+
+[Illustration: 0039]
+
+its period, insomuch as it is intensely grotesque, is the "Voyage ou
+il vous plaira," by Tony Johannot. Its central figures are a
+monstrous dwarf holding a lantern, a crouching dragon, and an immense
+notice-board. An _affiche_ which is, perhaps, of
+
+[Illustration: 0040]
+
+even more general interest, is one done for an illustrated edition of
+"Don Quichotte," in which the very perfect, gentle knight is represented
+with a grotesqueness which would certainly have astonished Cervantes
+himself. Of a similar kind is the "Nains Célèbres," by E. de Beaumont.
+An illustrated poster of a kind utterly different to the one last
+discussed is by T. H. Frère. It was designed for the advertisement of a
+work entitled "La Touraine," by Stanislas Bellanger de Tours. Under no
+circumstances should one overlook an _affiche_ of about the same
+period on account of the great personality of its designer. It is very
+generally admitted that the name of Edouard Manet is one of the greatest
+in the history of modern painting. It would indeed be difficult to
+over-estimate the extent of his influence on the pictorial art of the
+day. The poster reproduced in these pages is not unworthy his great
+talent. It is curious to notice that Manet and Fred. Walker, an English
+artist of about the same time, as to whose genius all are agreed, should
+have been at one in their endeavour to make the illustrated poster
+artistic as well as merely pictorial.
+
+I have not attempted to deal with any save the most prominent of the
+great number of French designers who took part in the poster movement
+during the fifties. Their names and the titles of some of their works
+will be found in the first catalogue of M. Ed. Sagot, and valuable
+criticism is contained in the pages of M. Maindron.
+
+[Illustration: 0042]
+
+
+
+
+CHAPTER III.--IN FRANCE. THE WORK OF CHÉRET, GRASSET, AND TOULOUSE-LAUTREC
+
+|So many contemporary French artists are designing posters, that a
+single chapter dealing with them all would be of an alarming length. I
+have therefore, in the first place, separated from their fellows three
+who seem to me curiously individual and worthy of careful consideration.
+Of the men whose names head this chapter, pre-eminence is due, for
+various reasons, to Jules Chéret, whose position, in the matter of
+poster-designing, is quite without parallel.
+
+It may be that men of rarer, of more fascinating, talent have now and
+again devoted themselves to the _affiche_; but none of them can compare
+with Chéret in the magnitude and curiosity of his achievement. Many
+have produced charming wall pictures: nobody, save Chéret, has made an
+emphatic mark on the aspect of a metropolis. Paris, without its Chérets,
+would be Paris without one of its most pronounced characteristics;
+Paris, moreover, with its gaiety of aspect materially diminished. The
+great masses of variegated colour formed by Chéret's posters greet one
+joyously as one passes every hoarding, smile at one from the walls of
+every café, arrest one before the windows of every kiosque. The merits
+of the Saxoléine lamp, the gaieties of the Moulin Rouge, the charms
+of Loie Fuller, the value of a particular brand of cough-lozenges, are
+insisted upon with a good-humoured vehemence of which Jules Chéret alone
+appears to know the secret. Others, in isolated cases, have possibly
+achieved more compelling decorations, but none can pretend to a success
+so uniform and so unequivocal. Few men as richly endowed with the gift
+of decoration would! have been content to produce work which, were
+it not for the portfolio of the collector, would be of an entirely
+ephemeral character. It must be irritating to the artist to watch the
+gradual destruction of his chefs-d'oeuvre, condemned as they are to
+be torn by every wind, soaked by every shower, blistered by the sun,
+blurred by the fog. It is natural that he should turn his eyes longingly
+to the comparative permanence of canvas, marble, or bronze; and it
+says much for Chéret's confidence in his artistic mission for his nice
+realization of his possibilities and limitations that he has remained
+faithful to the _affiche_ for over twenty years. Now and
+
+[Illustration: 0046]
+
+[Illustration: 0048]
+
+again, it is true, he has turned aside to do work of more universally
+recognized and more pretentious a character, and the very fact that he
+has touched scarcely anything which he has not adorned, emphasises his
+fidelity to a branch of art until quite recently despised and held of
+little moment. It is, indeed, mainly owing to this devotion, to this
+lavish expense of talent, that the poster is not even now considered
+beneath the dignity of the collector. The judicious, as soon as their
+eyes fell upon Chéret's vast lithographs, decided that he was no
+mere colour-printer's hack, but an artist whose work would have to be
+reckoned with. There was something positively alluring in the spectacle
+of a man who calmly placed his gift at the disposal of the tradesman,
+who accepted without murmur the limitations which the tradesman imposed
+upon him. It is possible that, had it not been for the circumstances of
+his life, the streets of Paris would have remained undecorated, so far
+as Chéret was concerned, to this day. Commencing as the humblest of
+lithographers, Chéret did not take up art of set intention, but passed
+irresistibly, though it may be unconsciously, into it. After long years
+of patient and tedious work as an ordinary lithographer, at the dawn
+of the year 1866, he commenced what was destined to be the most notable
+series of pictorial posters in existence, a series containing over a
+thousand items, and one which happily has yet to close. It is doubtless
+the conditions of his early life, the lessons learned while under the
+yoke of trade, that have enabled Chéret to appreciate to the full
+that the first business of an advertisement is to advertise. Avoiding,
+therefore, all subtle harmonies, he goes in for contrasts of colour,
+violent, it is true, but victorious in their very violence. Blazing
+reds, hard blues, glowing yellows, uncompromising greens, are flung
+together, apparently haphazard, but in reality after the nicest
+calculation, with the result that the great pictures, when on the
+hoardings, insist positively on recognition. One might as well attempt
+to ignore a fall of golden rain, as to avoid stopping to look at them;
+they are so many riots of colour, triumphant in their certainty of
+fascinating and bewildering the passerby.
+
+As may be imagined, Chéret's skill has fullest scope when dealing with
+the lightest and gayest subjects: a _cascade de clowns_--to borrow
+a phrase of Huysman--an entrance of ballet girls; a joyous troupe of
+children, contented because toy-laden; these, and the like, are subjects
+most congenial to him. His style is essentially the outcome of the day.
+It possesses no decorative forerunners; it is not a thing derived; its
+parents are the gaieties of modern Paris. It is intensely actual, and in
+its actuality lies, it
+
+[Illustration: 0052]
+
+seems to me, its greatest claim to consideration. It is infused with a
+somewhat hectic gaiety which holds a not unimportant place in the lives
+of us suffering from this "sick disease of modern life." Of the sick
+disease itself, Chéret gives no hint. He is unflagging in his vivacity,
+unswerving in his insistence on the _joie de vivre_; instead of
+pondering over the inevitable sorrow of life, he busies himself
+depicting the naïve grace of the child, the elegance of the mondaine.
+His gifts lead him inevitably to such subjects. His merit as a
+draughtsman lies, in part, in vivacious rather than correct line:
+gaiety, as we have seen, is the chief quality of his colour: his
+composition is remarkable on account of the piquancy and appropriateness
+of its detail. He chooses with unerring fidelity the subjects suited
+to his temperament and his gifts. These subjects are not of infinite
+variety, and it follows that if one sees a great quantity of Chéret's
+work together, one becomes aware of a certain feeling of monotony. One
+can be satiated even of Chéret's gaiety and joyousness.
+
+To attempt any account of Chéret's thousand and more posters, is
+obviously impossible in any but an elaborate monograph devoted
+exclusively to him. I can do no more here than comment on a few of the
+most striking. It may be stated generally, that while the earlier ones
+are rarest because most difficult to procure, the more recent designs
+show the artist at his best. A mastery of chromo-lithography such
+as his, cannot be obtained without many essays, some of which are
+foredoomed to failure. In addition, Chéret has gradually improved alike
+in the splendour of his colour, and the disposal of his pattern. Perhaps
+he has never been happier in his treatment of children than in one or
+two of the "Buttes-Chaumont" series. The joy of the little ones in the
+possession of their new playthings is contagious. Utterly different in
+kind, though not less conspicuously successful, is "Les Coulisses de
+l'Opéra au Musée Grevin," a delightfully piquant representation of a
+group of premières danseuses in the traditional costume. As a specimen
+of amazingly effective and strangely beautiful colour, it would be
+difficult to exceed the "Loie Fuller" series; while, in the matter of
+pert gracefulness, Chéret has done nothing more delicious than the chic
+little lady in the yellow dress who smiles at you in the "Pantomimes
+Lumineuses." Anybody who could resist her fascinations would be a rival
+to St. Anthony. No collector of course, will overlook the great series
+of _affiches_ which Chéret has contrived for the Folies Bergère, the
+Moulin Rouge, the Alcazar d'Eté, and similar places of amusement In
+order to sum up his talent as a designer of posters, Chéret has produced
+four decorative panels, which, although without lettering,
+
+[Illustration: 0056]
+
+[Illustration: 0058]
+
+[Illustration: 0060]
+
+[Illustration: 0062]
+
+[Illustration: 0064]
+
+[Illustration: 0066]
+
+are posters to all intents and purposes, and would take their places on
+a hoarding quite admirably. The subjects are most happily chosen; who,
+better than Chéret, could symbolize, in manner light and fantastic,
+music, comedy, pantomime, and dancing? The designs gain immensely,
+insomuch as they are not disfigured with a legend, for, in spite of
+the fact that the disposal of the lettering is of the very essence of
+a poster, Chéret, for some reason known only to himself, leaves that
+detail of his work to another designer, with results by no means
+uniformly fortunate. Before leaving Chéret, it is only just to him to
+point out that his work loses more than that of almost any other artist,
+in the process of reproduction in black and white. It is impossible to
+convey any idea of his amazing colour by means of a halftone block,
+and therefore, fewer reproductions of his designs are included in these
+pages than might be expected. Needless to say, he suffers greatly from
+more or less unskilful imitators. For this reason, combined with the
+fact that he is engaged on a series of decorations for the Paris Hôtel
+de Ville, his excursions into the art of the hoarding will be less
+frequent than has been the case hitherto.
+
+To turn from Chéret to Eugène Grasset, is to turn to an artist in whose
+art career the poster is merely an incident. Grasset is a paragon of
+versatility; there are literally no bounds to his comprehensiveness.
+Besides being a painter of distinction, he has designed everything, from
+stained glass to book-covers, from piano-cases to menus. Unlike
+Chéret, he has been profoundly impressed by the work of old decorative
+designers; he has certainly not disdained to borrow; his borrowings,
+however, have been at once legitimate and intelligent. The Japanese, the
+old Italians, and in a less degree, the ancient Greeks, have been laid
+under contribution, with results which, if not amazingly original,
+are at least delightful. It would be idle to pretend that, from the
+standpoint of the advertiser, Grasset is the equal of Chéret. His sense
+of beauty, his passion for decoration, make it impossible for him to
+achieve the daring and victorious colour which is so effective in the
+work of Chéret. A panel of his posters, side by side with a panel of
+those of Chéret, is as a beautiful and somewhat quiet-hued wall-paper to
+a cascade of flowers of every conceivable colour. While, however, this
+is an important matter from the advertiser's point of view, it is of
+little moment to the collector, whose primary object is to fill his
+portfolios with things of beauty. At times, indeed, Grasset does achieve
+irresistible advertisement; nobody, for instance, could overlook the
+superb representation of Sarah Bernharct as "Jeanne d'Arc," standing
+with splendid disdain amidst a forest of spears
+
+[Illustration: 0070]
+
+[Illustration: 0072]
+
+and a shower of arrows, and waving above her head a great silken banner
+embroidered with the _fleur-de-lis_. Again, one lingers before the
+"Fêtes de Paris," attracted by its
+
+[Illustration: 0074]
+
+fine decorative qualities. Of an entirely different kind is the
+delicious little poster which the artist did for an exhibition of his
+own work at the Salon des Cent in 1894; in the naïve simplicity of the
+thing, combined with its fine decorative quality, there is a hint of
+Botticelli and the old Italians. The contrast between this poster,
+slightly archaic as it is, and the realistic "Odéon Théâtre" is
+complete. The latter represents a charmingly graceful girl, in a
+delicious modern gown, watching a play. She is accompanied by a
+highly-proper looking matron, whose self-importance is enhanced by the
+possession of a handsome dress and a wealth of jewels. Very pretty,
+again, is the "Librairie Romantique," with the façade of Nôtre Dame in
+the background. Less worthy of Grasset is the "A la Place Clichy," which,
+in spite of the majestic old oriental who descants on the merits of an
+elaborate carpet to a critical European, is somewhat commonplace. Among
+the other productions of this artist, some of them excellent, but
+not calling for special description, are the "Histoire de France,"
+"Napoléon," "Chocolat Mexicain," and "L'Encre Marquet," as well as those
+done to advertise a work on the capital cities of the world, and the
+exhibition of the productions of French decorative artists held in 1893
+at the Grafton Gallery. A bill designed for the South of France Railway
+Company is curious, insomuch as it is unlike the other productions of
+its designer. It consists of a series of pleasant little landscapes
+wreathed in the characteristic fruits and flowers of the Riviera. The
+colour is striking and the
+
+[Illustration: 0076]
+
+[Illustration: 0078]
+
+poster full of sunshine. It is one of the merits of Grasset that he is
+not, even in what is to him so small a matter as poster-designing, the
+slave of a single style,
+
+[Illustration: 0080]
+
+although all his works are obviously from the same hand. Before leaving
+him, it should in fairness be stated that the lettering of his bills is
+ever appropriate and decorative. True artist that he is, he neglects no
+detail whatsoever; in the smallest thing
+
+[Illustration: 0081]
+
+as in the greatest, he is not merely scrupulous, but even fastidious.
+
+It is no dispraise of Chéret and Grasset to say that the work of Henri
+de Toulouse-Lautrec is more fascinating than theirs. The designs of the
+former two are alike in
+
+[Illustration: 0082]
+
+that they are charming, though charming in manner entirely different;
+Lautrec's productions, alluring and powerful as they are, can by no
+stretch of the word be so described. He does not seek to attract you
+by joyousness of colour or grace of pattern, but rather to compel
+your attention by the force of his realism or the curiosity of his
+grotesqueness. For his posters are at once realistic and grotesque; they
+are delineations of life as seen by a man who, possessing the most acute
+powers of observation, is poignantly impressed by the incongruities
+of modern life, the physical peculiarities of modern men. He has some
+points of similarity with Hogarth, with Rowlandson; and the like, but
+his art is quite non-moral; he has no mission to depict vice as either
+hideous or ridiculous. His extraordinary "Reine de Joie," perhaps the
+most powerful, and certainly the least agreeable, of his posters, is a
+statement of fact rather than a criticism. This great bill, owing to
+the vehemence of the expression on the faces of the three people it
+represents, to the wonderful vigour of its line, to its extraordinarily
+effective, though simple, colour, is one of the most powerful designs of
+the kind ever accomplished. It may be doubted whether any book has been
+advertised in so unforgettable a manner as _La Reine de Joie_.
+
+For the Paris _café chantant_ artiste who possesses the charming name
+of Jane Avril, this designer has devised a grotesque decoration, which
+could not fail imperiously to call attention to her talents as a dancer.
+Inspired it may be by her name, it may be
+
+[Illustration: 0084]
+
+by a happy accident, Lautrec has employed a scheme of colour in which
+are found the pale
+
+[Illustration: 0086]
+
+tulip. Once having seen this work, the name, and indeed something of
+the personality, of Jane Avril is impressed on one's mind. Moreover,
+one easily recalls this unassuming poster vividly, when works of art,
+consecrated by the admiration of generations of critics, are quite
+forgotten, or only faintly remembered. No man of more passionate and
+curious talent than Aristide Bruant has ever devoted himself to the
+business of light amusement, and it was no doubt quite congenial to
+Lautrec to advertise the performances which he gives in his cabaret.
+Again, the artist's picture of another entertainer, Caudieux,
+represented in the act of quitting the stage, is masterly for its
+indication of movement and its powerful characterization. Bad from
+the advertiser's point of view, but most interesting from that of the
+collector, is the extremely rare "Le Pendu," a production which for
+weird and intense tragedy compares to advantage with any of the artist's
+posters. Scarcely less rare, though by no means so important, is the
+_affiche_ done to advertise the performances of La Goulue at the Moulin
+Rouge. A far more agreeable design is the "Divan Japonais," in which a
+fearful and wonderful girl, accompanied by a man as fashionable as he
+seems to be imbecile, is represented under the spell of Yvette Guilbert,
+whose tall, thin figure is seen across the orchestra, her arms, in the
+famous black gloves, being
+
+[Illustration: 0088]
+
+[Illustration: 0090]
+
+[Illustration: 0092]
+
+[Illustration: 0094]
+
+crossed in front of her with characteristic nonchalance.
+
+It is in no way astonishing that Mile. Guilbert has strongly attracted
+Lautrec, and that he has frequently made her the subject of his work.
+No music-hall performer has, so far, approached this brilliant woman in
+ability or in artistic prestige. Like Patti and Sarah Bernhardt, she is
+implored to testify to the merits of every brand of soap or every new
+perfume; like them her reputation extends beyond the bounds of her
+native place, and she is the admired of several foreign capitals. If
+the flower of French art and literature assemble to honour Zola, the
+proceedings are incomplete without a song from her; if the fastidious
+De Goncourt is presented with the rosette of the Legion of Honour, what
+more fitting than that she should deliver a recitation? In some degree
+she sees the life of modern Paris in the same light as Lautrec; her
+wonderful delineations are realistic as are his, though their realism is
+touched with a suspicion of the grotesque. Amongst other things, she
+has inspired Lautrec to a series of illustrations remarkable alike in
+drawing and colour; and he has not disdained to design lithographs to
+adorn the covers of different items of her _répertoire_. Owing to his
+kindness, I am enabled to reproduce, as the frontispiece to this
+volume, a sketch for a poster which he designed for her, but which,
+unfortunately, has never got beyond the experimental stage. It seems to
+me a specially interesting example of a remarkable talent applied to a
+very congenial subject. The posters of Lautrec are something more than
+works of art; they are human documents strangely eloquent of their
+moment. For this reason, their value may be more permanent than that of
+the productions either of Chéret or Grasset, delightfully fantastic as
+are the former, charmingly decorative as are the latter.
+
+
+
+
+CHAPTER IV.--IN FRANCE: THE WORK OF WILLETTE, FORAIN, STEINLEN
+
+ANQUETIN, BONNARD, IBELS, VALLOTON, DE FEURE, AND McTIVET
+
+|It is not for a moment to be pretended that the artists with whom this
+chapter deals are in any sense members of a single school: they have,
+indeed, many more points of difference than of similarity. I deal with
+them together, because, speaking roughly, their designs are saturated
+with the spirit of the day: their decorations are realistic, rather than
+fantastic or picturesque. They lean towards Lautrec, rather than towards
+Chéret or Grasset, but they are in no sense his imitators; some of them,
+indeed, are actually his predecessors.
+
+Willette is an artist of such astonishing facility and variety, that he
+has, comparatively speaking, devoted little time to the _affiche_,
+and save in one or two conspicuous instances, he has failed to achieve
+compelling advertisements. And yet his artistic personality is so
+curious and so powerful that his posters are nearly all interesting to
+the collector,-more interesting to the collector, it may well be, than
+satisfactory to the advertiser. Willette is master of several manners.
+He can be realistic to the point of brutality, symbolical, graceful;
+while now and then he is almost austerely classical. There are, happily,
+few posters so impregnated with race hatred as the anti-Semitic
+bill intended to forward the artist's candidature at the _Elections
+législatives_ of the 22nd of September, 1889. The design is ugly in the
+last degree, but it is, nevertheless, strangely powerful. Very different
+and very much more pleasing is the lithograph in black-admirably
+composed and executed--which advertised the successful pantomime,
+entitled L'Enfant Prodigue. The design is at once graceful and dramatic,
+and it is not surprising that a proof before letters is one of the gems
+of a collection of the posters of Willette. No more interesting
+souvenir of an experiment which fascinated both Paris and London can be
+conceived. Again, the bill advertising the International Exhibition
+of Commerce and Industry, held some time ago at the Champs de Mars (an
+unlettered proof of which commands no less than two pounds), is very
+desirable. The little bill in colours bearing the legend,
+
+               "Ainsi qu'un papillon volage,
+
+               A qui passe aujourd'hui, demain sera passé.
+
+               Laisse-toi cuellir au passage
+
+                   Papillon d'Actualité,"
+
+[Illustration: 0100]
+
+[Illustration: 0102]
+
+[Illustration: 0104]
+
+[Illustration: 0106]
+
+[Illustration: 0108]
+
+is pretty, alike in colour and pattern, and has already become rare.
+
+Entirely appropriate to its purpose is the "Nouveau Cirque"
+advertisement, in which clowns, bare-back riders, and performing animals
+of all kinds-from a frog to an elephant-disport themselves with the
+utmost _abandon_. From this to the "Cacao Van Houten," is a far cry.
+From the point of view of the advertiser, Willette has done nothing
+better than his life-size study of a Dutch waitress in national costume.
+The thing is very decorative, and succeeds admirably in attracting
+attention: another and more complicated design for the same firm is only
+a shade less successful. This is entitled "La loi défendent le cacao
+contre le chocolat." The other posters of this artist include the rare
+"Petite National," the "Evénement Parisien" (which was, I believe,
+suppressed), the "Courrier Française," the "Exposition Charlet," and the
+"Elysée Montmartre." The posters of Willette are marked by variety and
+ingenuity of invention, and there is little doubt that they will be
+of permanent value as revelations of a talent as individual as it is
+powerful.
+
+If the artistic poster is an unimportant incident in the career of
+Willette, it is still more so in that of Forain, whose essays in this
+direction have been few and far between. Forain is known to nearly every
+artist in Europe as a great master of black and white.
+
+Few, if any, can approach him in technical dexterity, few can express
+so much in so few lines. Moreover, to his technical mastery is added a
+searching power of criticism which gives to his work a further, and a
+most important, interest. In his desire to depict the truth, the whole
+truth, and nothing but the truth, he (no doubt unconsciously) becomes a
+moralist. He depicts life from no sentimental point of view; he can be
+realistic without seeming to appreciate the tragedy which is of the very
+essence of realism, so that on seeing one of his illustrations of modern
+life, one receives, apart from technical delight, a distinctly literary
+impression. Of his posters, perhaps the earliest is one unsigned and
+without lettering, representing an illuminated garden, in which a woman
+is depicted in the midst of an explosion of fireworks. Subsequent to
+this comes a bill to advertise one of the novels of Dubut de Laforest,
+which bears the artist's signature. The design which announces Forain's
+political drawings for the "Figaro" is of slight importance, as it was
+not originally intended for a poster. In spite of this it is by no means
+easy to meet with. Of greater interest is the "Exposition des Arts de
+la Femme." It was, however, only when Forain received a commission to
+produce an illustrated advertisement for a cycle show that he achieved a
+really memorable poster, a poster of real charm and rare
+
+[Illustration: 0112]
+
+[Illustration: 0114]
+
+originality. The sport of bicycling seems to have fascinated the
+_Parisienne_ completely, and Forain has made a charming design, in which
+she is depicted in complete enjoyment of the fashionable pastime. The
+colour scheme is restrained and delicate, and the production, which
+exists in two sizes, should certainly be found amongst the treasures of
+every amateur of the _affiche_.
+
+The somewhat risky pages of the _Gil Bias Illustré_ have for a
+considerable time been noticeable to artists, chiefly on account of a
+series of coloured illustrations by Steinlen. His relentless veracity in
+depicting the life of the lower classes of the Paris of to-day is almost
+without rival. No detail of squalor seems to escape him; without a tinge
+of remorse he proceeds to inform us of the meanest incidents in the
+tragedy of the poor or vicious quarters of the great city. By reason of
+a certain emphasis of colour and crudeness of design the art of Steinlen
+is admirably adapted to the production of such human documents. But
+it cannot be maintained that, whatever their technical merits, these
+studies of human misery are other than unpleasant-even painful. It is,
+therefore, altogether agreeable, when one turns to his essays in the
+art of the poster, to find his work graceful rather than tragic, urbane
+rather than mordant. Forsaking his mission of realistic illustration, he
+becomes gay, dainty, and fanciful as the best of his fellows. Even in a
+higher degree than the majority of them, he makes his design appropriate
+to the thing advertised. His decorations are spiced with a certain
+actuality, and, in being so, insist more effectively on the particular
+article the merits of which it is their business to proclaim. No better
+example of this could, I think, be put forward than the "Lait pur de
+la Vingeannestérilisé," a design which, in view of the material to be
+advertised, is conceived in the happiest vein. The pretty little girl
+drinking the milk, so much coveted of the cats which surround her, is
+less interesting than the animals themselves. The draughtsmanship of
+the latter is excellent, while there is a hint of that humanity of
+expression about the creatures which has produced for the work of
+Landseer so immense a popularity. Not less admirable, and of still
+greater interest, is the poster designed to advertise the performances
+of Yvette Guilbert at the Ambassadeurs. Amongst the numerous artists to
+whom the Sarah Bernharct of the music-halls has given commissions none
+has been more successful than Steinlen. The poster represents the singer
+behind the footlights in an attitude pre-eminently characteristic. The
+thing does not amount to a caricature, as does the hitherto unpublished
+delineation of Toulouse-Lautrec, but is merely a slightly exaggerated
+portrait. It is remarkably suggestive of a most alluring and delightful
+
+[Illustration: 0118]
+
+[Illustration: 0120]
+
+personality. As an advertisement, it must be confessed, it is not all
+that could be desired. The colour scheme, while very dainty, is not one
+which insists on its presence on the hoardings, so that the proximity
+of (for example) a Chéret renders it to some extent ineffective. At
+the same time, it is one of the most charming designs of the kind in
+existence, and no collector should fail to possess himself of a copy. It
+exists in three states: proofs before letters pulled in two tints only,
+ordinary proofs before letters, and prints after letters. In the former
+state it is rapidly increasing in value, but, insomuch as the lettering
+is of the essence of the design, the final state is the most desirable
+of all. To advertise an exhibition of his own work, Steinlen produced
+another study of cats, which is almost as agreeable as the "Lait pur."
+It is in two states: proofs before and after letters. The artist's
+design for the watering-place, Vernet-les-Bains, is not very important,
+but his early "Mothu et Doria," in three states, should not be
+overlooked. Earlier in date than any of the designs I have discussed
+is the "Trouville" and "Le Rêve." The latter is a pretty composition
+reproduced in chromotypo-gravure. While the posters of Steinlen are not
+so striking on the hoarding as those of some of his contemporaries, they
+are of the highest artistic interest, and will no doubt take a place
+second to none in the affections of many collectors. It is significant
+that already the rarest of them are by no means easy to procure.
+
+The art of Ibels is as little comprised in the poster as that of
+Steinlen. It is happily characteristic of young artists of the present
+day, both here and in France, that painting is not the only god of their
+aesthetic adoration:
+
+they experiment in many mediums, and it is really remarkable in how
+great a number of such experiments they succeed. What is generally true,
+is especially so of H. G. Ibels. Like Grasset, he has held an exhibition
+of his pictures at the Salon des Cent; he has made his mark in the
+galleries of the Champs de Mars; he has designed the covers of several
+pieces of music, and of a volume of poems by his brother, entitled
+"Chansons Colorées"; in addition, he is well-known as a book
+illustrator. His point of view is somewhat akin to that of
+Toulouse-Lautrec: he is passionately interested in his own moment, and
+depicts modern life with similar insistence on its ugly and grotesque
+aspects. And yet Ibels rarely fails to be decorative, and his style is
+the outcome of his own artistic personality, rather than the result of
+study of the work of other men. In his posters he has been conspicuously
+successful; so much so, that it is difficult to point to a single
+failure, though, it must be remembered, that as yet his productions have
+not been very numerous. It is possible
+
+[Illustration: 0124]
+
+[Illustration: 0126]
+
+that with some the "Mévisto à l'Horloge" will be deemed his best design,
+but it can in no sense be considered his most original. It represents
+the actor as Pierrot, and is graceful and pleasing rather than
+characteristic; indeed, one would almost think that in designing it the
+artist had been at pains to conceal his personality. Nor is the "Salon
+des Cent"-a charming and delicate little lithograph-in spite of
+the ingenuity and fantasy of its grouping of Pierrot, Harlequin and
+Columbine, the most noteworthy of Ibels' posters. We see him at his
+most original, in an advertisement for the illustrated paper entitled
+"l'Escar-mouche," to which he, together with Lautrec, Vuillard,
+Willette, and Anquetin, contributed drawings. It represents a café of
+the lower class, such as abounds in the workmen's quarter of Paris.
+The enormously fat _patron_ enthroned behind the metal-topped bar, the
+waitress, cloth in hand, clad in her slovenly dress, the _ouvriers_ in
+typical blue blouses, are studies in which accurate portraiture has been
+but slightly sacrificed to grotesqueness. The whole scene is admirably
+conceived, and the colour scheme, though very restrained, is certainly
+telling. Those who can do so should secure a proof before letters of
+this work, for the lettering is, I believe, not by the artist himself,
+and mars the effect of the design, although not in a very marked degree.
+Another interesting bill is that done for Mévisto's performances at the
+Scala music-hall; this is of great size and striking originality. But if
+grotesque force, and the power of reducing scenes of modern lower-class
+life into decoration, are Ibels' most pronounced characteristics, he
+can produce posters of the suavest charm. Amongst all the _affiches_ I
+know, none seems to me more delightful than this artist's "Irène Henry."
+The _café chantant_ singer whom it represents is justly a popular
+favourite with the Parisian public from the fact that she infuses into
+her performances no small amount of personality; moreover, her art is
+marked by grace and finish. Those who would see her as she appears to
+audiences at the Horloge, without going there, have only to look at
+Ibels' poster. With the rarest felicity, he has caught her physical
+individuality. She is represented in the act of singing in the open air
+to a crowd in the _café_, lighted by the familiar circle of white lamps.
+The line of the figure is most expressive: violet is the predominating
+colour. This poster is worthy a place in the French music hall series,
+which includes those designed by Lautrec for Jane Avril, by Steinlen
+for Yvette Guilbert, and by an artist whom I am about to consider,
+Anque-tin, for Marguerite Dufay.
+
+So far as I know, Anquetin has only produced two _affiches_ of
+importance, but each
+
+[Illustration: 0130]
+
+[Illustration: 0132]
+
+of them is worthy of the closest attention. The design for Marguerite
+Dufay is a piece of triumphant vulgarity. The subject is a very simple
+one; it is merely a woman of almost impossible fatness who performs at
+various Parisian music-halls on the trombone. Having stated this, one
+has, however, given no idea of the extraordinary qualities of this bill.
+It is safe to say that, once seen, it will never be forgotten; it should
+have made the fortune of the performer whom it advertises. The mirth
+of the thing is victorious and infectious; one seems almost to hear the
+coarse laugh; the ample body in the green dress seems to move as one
+stares at it. In line, in movement, this poster is, from a certain point
+of view, a veritable masterpiece. An advertisement which is, it seems
+to me, altogether more worthy of Anquetin's great talent is one designed
+for "Le Rire," a recently issued journal. It is an extremely fine
+lithograph in a single printing, and, as at present it can be procured
+for a few shillings, it should be in the possession, not only of those
+who care for posters as such, but also of all who are amateurs of the
+beautiful art of lithography. In the foreground is the figure of a huge
+man in mediaeval costume, which, while touched with the grotesque, is
+splendidly flamboyant At his side he carries a large portfolio, adorned
+with a grinning mask, while his hands, which are admirably drawn, point
+towards a crowd of grinning pigmies beneath him. Every one of the crowd
+is extremely expressive, and the effect of the whole production is
+enhanced by very excellent lettering. It would be difficult to meet
+with two _affiches_ more interesting than the "Marguerite Dufay" and
+"Le Rire," and they place Anquetin amongst the masters of the art of the
+poster.
+
+If Anquetin is an artist of marked originality, so, in a manner totally
+different, is Pierre Bonnard. Save in the small number of his posters,
+he resembles Anquetin in hardly anything; on the other hand, his work
+has points of similarity with the later work of Lautrec. The posters of
+both these artists are decorative in a curious and somewhat similar sort
+of way, decorative in spite of their marked grotesqueness. Between the
+"Confetti" of Lautrec and the "Revue Blanche" of Bonnard there is a
+distinct decorative affinity. As both of them are dated the same year,
+1894, it is needless to suggest that either of these intensely personal
+artists has derived anything from the other; there is, indeed, no
+evidence whatsoever of imitation, or even influence. Of the two
+best-known posters of Bonnard, the "France Champagne" is the earlier
+in point of time, having been published in 1891. It is a lithograph
+in three colours, and represents an extraordinarily fantastic, and
+extremely _décolletée_ girl, who holds in one hand a
+
+[Illustration: 0136]
+
+[Illustration: 0138]
+
+[Illustration: 0140]
+
+[Illustration: 0142]
+
+closed fan, and in the other an overflowing glass of champagne, which
+tumbles about her in a great cascade of foam. The background is yellow
+and the girl's dress red, while the upper part of the design is occupied
+by the arms of Paris and the text in large letters. The draughtsmanship
+is curious and vivacious, and the colouring conspicuously successful.
+This poster is not large, measuring as it does, only thirty-two by
+twenty-nine inches. The "Revue Blanche," though of nearly the same size,
+is much more complicated. In the foreground is a woman in huge hat
+and cape, which partly conceal her face, at whom an extraordinarily
+grotesque street urchin points his finger. The background is composed of
+innumerable advertisements of the _revue_, which a man in a great coat
+and silk hat, with his back to the spectator, is reading attentively.
+All the figures are in a sort of slate colour. The legend is admirably
+introduced into the foreground by means of huge white letters. Owing to
+the curiosity of its decoration, this specimen of Bonnard's work is a
+most desirable possession for the collector.
+
+It has been the good fortune of Valloton to produce at least one poster
+which is excellent from every point of view. Nothing more appropriate to
+the advertisement of a frivolous burlesque than his "Ah! la Pé. la Pé,
+la pépinièré" could well be imagined. It represents a characteristic
+audience at a
+
+[Illustration: 0146]
+
+[Illustration: 0148]
+
+[Illustration: 0150]
+
+[Illustration: 0153]
+
+theatre convulsed with laughter at what is taking place on the stage.
+The variety of expression on the faces of the spectators is infinite,
+and the effect of the whole thing is as mirthful as may be. From the
+advertiser's point of view, I can conceive nothing more completely
+satisfactory. It exists in colours and in black, and the latter is the
+rarer. The same artist's "Carte de Paris" would seem already to have
+become scarce. It is a large lithograph in one colour; an example was
+shown at the Poster Exhibition at the Royal Aquarium. There is also a
+large address card designed by Valloton for M. Sagot. While this is not
+actually a poster it almost amounts to one, and were it to be executed
+on a large scale, it would doubtless be most successful. It is to be
+hoped that Valloton, encouraged by his universally recognized success
+in the art of the poster, will not altogether give up its practice in
+favour of those other branches of art in which he is distinguished.
+
+The style of De Feure, if not so well adapted to poster work as that of
+some of his contemporaries, is nevertheless very interesting. His most
+characteristic effort is, perhaps, the "Salon des Cent, 5e Exposition."
+This design is very modern and very fantastic. It exists in three
+states--proofs before letters on vellum, proofs on Japanese paper, and
+ordinary prints. The proofs before letters command very good prices.
+Amongst the other posters of De Feure is that done for the performance
+of the singer, Edmée Lescaut, at the Casino de Paris; for the newspaper
+"Le Diablotin"; and for the "Paris Almanach." In addition, we must not
+overlook the pleasant little design for the contents bill of a special
+issue of "To-Day."
+
+The posters of Lucien Métivetare of very unequal merit. On the one
+hand the designs done by him for Eugénie Buffet, in her realistic
+_répertoire_ of songs, are extremely distinguished. While, on the other,
+I could point to examples by this artist which are utterly unworthy
+his talent. Amongst Métivet's earlier works are "La Famille, journal
+hebdomadaire illustré," and "L'Hygiène." A more recent bill advertises
+"Les Joyeuses commères de Paris," but Métivet's talent is seen at its
+best in the Eugénie Buffet advertisements, two studies worthy a place
+amongst the best posters which have come from the hands of contemporary
+French artists.
+
+
+
+
+CHAPTER V.--IN FRANCE: THE WORK OF GUILLAUME, PALEOLOGUE, CHOU-BRAC
+
+BOUTET DE MONVEL, AMAN-JEAN, SCHWÆBE, SINET, JOSSOT, MAYET, AND OTHERS
+
+
+|Prominent among the French designers of posters with whom I have not
+previously dealt is Guillaume, an artist widely known in England by
+reason of the admirable illustrations which, from time to time, appear
+in our periodicals. Save Chéret and Choubrac, few artists have done so
+much poster work as Guillaume, and not many have maintained so high a
+level of accomplishment. Vigour, vivacity, and high spirits, rather than
+beautiful design and fine colour, are the characteristic qualities of
+posters by Guillaume. He is, it seems to me, seen at his best in the
+admirable "Extrait de Viande Armour," which is reproduced here. In its
+way, and looking to the thing to be advertised, nothing better has been
+done. The gigantic "strong man," with his huge torso, colossal arms
+and legs, holding a tiny teacup in his immense hands, is not easily
+forgotten. The expression on the man's face is inimitable, and the
+accessories, such as cannons and dumbbells, are most appropriately
+chosen. The "Chapeaux l'elion" is a more complicated design,
+representing a crowd of men wearing hats of every conceivable shape.
+The colour of this design is very good, but its chief merit lies in the
+facial expression of the different members of the crowd. It would be
+impossible to conceive any single person in a hat other than the one
+he is wearing. In another excellent poster we are presented with a
+very _fin-de-siècle_ young lady riding astride a stork which bears her
+rapidly through space. It would be hopeless to attempt anything like a
+complete list of Guillaume's posters, but among the most recent are
+the following, all of which deserve the attention of the collector:
+"Dentifrices du Dr. Bonn," "Gigolette," "Old England," "Le Pôle
+Nord," "Cycles Vincent fils," "Le Vin d'Or" (in two sizes, unsigned),
+"Parfumerie Diaphane; le Diaphane Sarah Bernhardt," "L'ouvre de Rabelais
+par J. Gamier," and "Ducreux et Giralduc (Ambassadeurs)".
+
+Although a Frenchman, the work of Jean de Paleologue, or "Pal," as he is
+more frequently called, is perhaps better known to the Londoner than to
+the Parisian. His
+
+[Illustration: 0159]
+
+[Illustration: 0161]
+
+[Illustration: 0163]
+
+[Illustration: 0165]
+
+bright and flippant posters can be seen any day on the London hoardings,
+and I have, therefore, purposely selected for reproduction two examples
+in his less usual manner. The "Lucile Wraim" is of an elegance to which
+Paleologue does not often attain, and would be distinguished in almost
+any collection of posters. "The Euskal Jai Parisien," besides being a
+good advertisement, is curious on account of its subject. Collectors who
+would possess a more typical example of Paleologue's work would be well
+advised to secure one or more of his music-hall series or his "Cabourg,"
+an advertisement for the watering-place of that name. It is a large
+lithograph in five colours, and represents a very charming lady who,
+while bathing, is bent upon displaying her charms to the utmost.
+While Paleologue can in no sense be compared to Chéret in his gift of
+diffusing joyousness and gaiety, his work is undoubtedly "chic," and
+rarely fails in its first business of advertisement. Some of his posters
+have become difficult to procure, notably one designed for a Drury Lane
+pantomime some few years since.
+
+No artist, save Jules Chéret, has been more indefatigable in the making
+of posters than Choubrac. The list given in M. Maindron's book is a
+long one; that given in the catalogues of M. Sagot is still longer. The
+posters of Choubrac do not seem to have received so much attention
+at the hands of collectors as those of some of his better-known
+contemporaries. At the same time, not a few of them are interesting and
+rare. The bill done for the "Fin de Siècle" was suppressed, and, as
+a consequence, is in great demand. It exists in four states, three of
+which, in good condition, command no less than fifty francs. Merely to
+give the names of the music-halls and theatres for which Choubrac has
+worked would take up the better part of a page, while a list of the
+_artistes_ whom he has advertised would be still longer. Amongst the
+most noticeable of his recent bills are the following: "Eldorado.
+Y'a pas d'erreur," "Folies Bergère. Armand Ary," "Folies Bergère.
+Programme," "Folies Dramatiques. Miss Robinson," "Moulin Rouge. Au
+Joyeux," "Neuilly-sur-Seine. Fête des fleurs," and "Gaieté. Rosa et
+Josepha" (in two states).
+
+An artist more unlike Choubrac than Maurice Boutet de Monvel it would
+be assuredly impossible to find, and the fact that these names are in
+juxtaposition must be taken as proof that no systematic arrangement
+has been attempted in this chapter. Boutet de Monvel is a painter of
+European reputation. His fame as an illustrator for, and a delineator
+of, children stands very high. His studies of child-life are unlike those
+of any other artist. They display the keenest observation and, as Mr.
+Pennell has rightly observed, one finds in them not a line without
+
+[Illustration: 0169]
+
+[Illustration: 0171]
+
+meaning. Boutet de Monvel has, I believe, produced only three posters.
+Two of them are among the most charming things seen on the Paris
+hoardings for
+
+[Illustration: 0173]
+
+many a long day. Both of these are comparatively small. That which is
+earlier in date, "Petite Poucette," was originally designed as a cover
+for a piece of music, but, when reproduced on a larger scale, was
+found to be thoroughly effective as a poster. More dainty, if not more
+characteristic of the art of Boutet de Monvel, is the "Pâte Dentifrice
+du Dr. Pierre." In this design, one of the prettiest and most delightful
+little ladies in the whole Monvel gallery of pretty little ladies
+insists on the merit of the tooth-paste which, if it be half as good as
+she is charming, must be excellent indeed. Every artist knows his own
+business best, but one can only hope that, in what leisure he can snatch
+from his work in paint and illustration, Boutet de Monvel will place
+the collector of posters under new obligations to him. His note as a
+decorator of the hoardings is as distinct as it is agreeable.
+
+A very interesting figure in modern design is undoubtedly Carloz
+Schwæbe. One of the leading lights of that curious institution the
+"Salon Rose + Croix," it would indeed be curious if Schwæbe did anything
+commonplace. His posters are as remarkable as those other productions
+with which he has delighted some and puzzled not a few. Mystic, slightly
+archaic, they are the work of a man of poetical temperament who
+has chosen the graphic arts instead of literature as his means of
+expression. The two posters from his hand are very decorative in their
+strange way, and contain passages of great beauty. In the
+
+[Illustration: 0175]
+
+[Illustration: 0177]
+
+kneeling woman is remarkably impressive, while the irises amidst which
+she kneels are beautifully drawn. The lettering of this poster is most
+original, and the designer has evidently taken great pains with it. It
+is a lithograph in two colours, and measures forty-two and a half by
+thirty-one and a half inches. Schwæbe's larger poster, the "Salon Rose +
+Croix," is in one colour only, and is a good example of his work. So
+far this curiously-gifted artist has confined himself to advertising a
+concert and a picture show; it is not to be expected that he will ever
+condescend to soap or extract of beef. Another of the Rose + Croix men,
+Aman-Jean, has done a poster for the Salon which rivals in curiosity the
+productions of Schwæbe himself.
+
+A little advertisement which had, it may well be, some influence on the
+poster movement in England, was that by which André Sinet advertised an
+exhibition of his own works held at the Goupil Gallery in 1893. This
+was an attractive little bit of design of which the colour was very
+agreeable. In addition to it, Sinet has done the inevitable poster for
+Yvette Guilbert. Another painter of talent who has made an advertisement
+for an exhibition of his own work is H. Guérard. It represents a group
+of ravens and is in poker work. It would appear to be rare, as it is
+quoted in none of the catalogues. A copy, exhibited at the Aquarium in
+1894, is in the collection of Mr. Ernest Hart. Still another artist who
+
+[Illustration: 0179]
+
+[Illustration: 0181]
+
+[Illustration: 0183]
+
+[Illustration: 0185]
+
+has, I believe, done only one poster, is Goissaud. His design was to
+advertise the "Société des miniaturistes et enlumineurs de France," and
+is a lithograph in one colour. Among the Salon des Cent series we have,
+besides the admirable posters of Grasset and Ibels already alluded to,
+a very grotesque and effective little design by Jossot. It represents an
+amazing old gentleman of weird aspect, in cocked hat, paying his franc
+for admission to the exhibition. Of its kind it is effective enough.
+Another, by Cazoly, with a curious portrait of Paul Verlaine is
+reproduced here.
+
+It is certainly with no view to hurt the feelings of those artists whose
+names do not head this chapter that they are represented by a mere
+_et cetera_. It must be understood that one of the least polite of
+contractions, in this case, involves no discourtesy whatsoever.
+
+For example, I may instance such able work as Grün's "Le Carillon:
+cabaret artistique." Few posters are more vivid or more actual than
+this. The price of it is a matter of pence, and it should certainly not
+be neglected by those whom it amuses to collect the _affiche illustré_.
+Grün, in addition to "Le Carillon," has produced "Poléon-Revue:
+Décadent's Concert," and in addition a design for an insurance company.
+One of the most charming of the more recent French posters is one by H.
+Gray, dealing with "La Prétentaine," a play produced some time ago at
+the Nouveau Théâtre. In addition he has advertised "La Bonita" at
+the Cirque d'Eté, "Les Mousquetaires," at the same place, "Les
+Saltimbanques" at the Cirque d'Hiver, and the _bal masqué_ at
+the Théâtre de l'Opéra. The last is perhaps the best known of his
+_affiches_. Among others, Bac has done a poster for Yvette Guilbert at
+the Horloge, which is signed and dated 1892. The bicycling craze has
+called into existence a perfect torrent of posters, and Bac, together
+with Gray, Guillaume, Lunel, and Paleologue, have produced posters of
+more or less interest. A gentleman who is sufficiently modest not
+to state his name, did a design which called forth the wrath of the
+authorities. Whereupon an artist called Lepur designed an _affiche_
+bearing the significant legend, of which this is a translation: "Grand
+choice of vine-leaves (fig-leaves) of all sizes for posters, as demanded
+by the virtuous journals, the 'T(emps '), the 'G(aulois '), and the
+'D(ébats ')."
+
+The following is a list, with the names of typical examples of their
+work, of some other French artists of distinction who have designed
+posters: Barbizet ("La branche cassée"), Bouisset (F.) ("Bazar de
+l'Hôtel-de-Ville," "Exposition de jouets," "Chocolat Menier"),
+Desicy (H.) ("Un héritage, roman"), Dutriac ("Ambassadeurs: Danseuses
+Espagnols"), Faria ("Ba-ta-clan: [Illustration: 0189] Paulus"), Dufay
+("Portrait,") ("Les Rey Nol's)," Galice (G.) ("Concert parisien: Esther
+Lekain," "Fête des Fleurs," "Paulan Brébion," "Scala: Jeanne Bloch"),
+Guydo ("Eldorado: Aimée Eymard"), Honer ("Concert parisien: Bonnaire"),
+Hope ("Gaieté: Tour de Nesle"), Huvey ("Gras-side"), Lamy (L.) ("Le
+capitaine Henriot, opéra comique," "Théâtre national lyrique"), Lebégue
+(L.) ("Bals travestes et tableaux vivants"), Lefèvre (L.) ("Cacao
+lacté," "Electricine," "L'hiver à Nice"), Levy (E.) ("Châtelet Michel
+Strogoff," "Cirque d'Hiver: Caravane dans le désert," "Folies Bergère:
+Vue de la salle," "Petit national: Le prince Mouffetard"), Meunier (G.)
+("Papier à cigarettes Job," "Parfumerie Edéa," "Le Sahara à Paris: Champ
+de Mars"), Truchet (A.) ("Cabaret des Quat'z' Arts," "Eldorado: Alice
+Berthier.")
+
+It will have been noticed already how great apart the music-hall and
+the _café chantant_ play in the history of the pictorial poster.
+Yvette Guilbert has been the cause of a baker's dozen of _affiches_;
+Anna Thibaud (that charming singer of the songs of Béranger); Anna Held,
+with her curious manner, and still more curious appearance; Irène Henri,
+of intense personality; Jane Avril, and May Belfort; to say nothing of
+Aristide Bruant, of Caudieux, of Paulus, and the rest of the school who
+have made the music-hall stage of France a matter of no small importance
+
+[Illustration: 0191]
+
+in her social life, have been favourite subjects of the designers
+of posters. It has always been held that the career of an actor, in
+consideration of its evanescence, is not
+
+[Illustration: 0193]
+
+without a certain pathos. It is true that we remember, through the
+gossip of their friends, Garrick and Mrs. Siddons, Talma and Rachel, but
+even these are uncertain phantoms lingering in the haze of memory. Only
+yesterday they were intensely actual, to-day they are not more real than
+Burbage and Betterton. After all, the history of the actor's art is not
+without its immortals. Macaulay's schoolboy could doubtless have related
+the compliment of Dr. Johnson to Mrs. Siddons: the latest escapade of
+the great Sarah is the joy of the paragrapher. The music-hall, however,
+has still no artist in any country (save, perhaps, the unforgettable
+Yvette) who has much chance of permanent remembrance. But when the toil
+and moil of existence is ended, when the singer has sung his last song,
+it may chance that he will be remembered because some collector of such
+unconsidered trifles as picture posters has placed in his portfolio a
+work of Chéret or of Lautrec.
+
+To turn from the music-halls to the great railway companies is an
+emphatic transition, and yet the former, no less than the latter have
+done much to encourage the artist to apply his talent to the _affiche_.
+The Great Western Railway Company have illustrated at their stations and
+in their carriages, by means of photography, all that is romantic and
+interesting in the country through which their line runs. And, again,
+the great lines of the United States have brought into vogue vast
+systems of pictorial advertisement. Their opportunity was undoubtedly a
+magnificent one. For subject
+
+[Illustration: 0195]
+
+[Illustration: 0197]
+
+matter they had some of those vast natural developments which appeal to
+mere man as absolutely terrific. The waterfall, splashing itself into
+luminous dust, the immense and silent mountains, the lakes which are
+seas, the vasty canons which occur in different parts of the States,
+inevitably appeal to the imagination. It is therefore not wonderful that
+the great lines of America have preferred literal and exact illustration
+to fantastic delineation. The railways of France, on the other hand,
+have employed to no inconsiderable extent the artist to figure the
+beauties of the places at which they have stations. Amongst the most
+important French designers who have worked at the railway _affiche_
+are:-Fraipont (G.): ("Chemin de fer de l'Etat: Bains de mer de Royan":
+"Royan sur l'Océan," "Chemin de fer d'Orléans: Excursions en Tou-raine":
+"Excursions en Touraine et aux châteaux des bords de la Loire," "Chemin
+de fer de l'Ouest: Argenteuil à Mantes," "Cie de l'Ouest et de Brighton:
+Fleurs, fruits, primeurs à destination de Londres," "Paris à Londres
+(L'Angleterre et l'Ecosse)" "Chemin de fer du Nord: Excursions à la
+mer," "Chemin de fer de l'Est: Royat," "Chemin de fer de l'Ouest:
+Bretagne, Normandie," "Normandie et Bretagne," "Chemin de fer de l'Ouest
+à Brighton: Paris à Londres," "Chemin de fer du Nord: Anvers, Exposition
+universelle.") Ochoa: ("Club Train," "Méditerranée," "Express (Cie Int.
+des wagons-lits)," "Orient-Express," "Peninsular-Express"). Hugo d'Alési
+(_affiches_ simili-aquarelles): "Paris, Lyons, Marseilles, Algérie,"
+"Genève," "L'hiver à Nice," (two subjects), "Lac de Thoune,"
+"Mont Revard," "Le Mont Rose," "Le Puy," "Tunisie," "La Turbie,"
+"Uriage-les-Bains," "Chemin de fer du Midi: Pyrénées," "Chemin de fer
+d'Orléans: Excursions en Auvergne" (1894), "La Creuse et l'Indre,"
+"Chemin de fer de l'Ouest: Dieppe," "L'Auvergne (Orléans)." Lefèvre
+(L.): "Nord. Eté a Cobourg," "Orléans Excursions aux Pyrénées," "Bains
+de mer du Golfe de Gascogne," "Ouest Excursions sur les côtes de
+Normandie, en Bretagne, et à l'île de Jersey." Among other designers for
+French railway companies and watering-places may be named Orazi, whose
+"Trouville" poster is reproduced on p. 181, Balzer, Baylac, Japhet, and
+Ogé.
+
+[Illustration: 0201]
+
+[Illustration: 0203]
+
+
+
+
+CHAPTER VI.--IN ENGLAND: FROM FRED WALKER TO DUDLEY HARDY
+
+|While the pictorial poster undoubtedly existed in England previous to
+the production of Fred Walker's "Woman in White," its artistic qualities
+were conspicuous by their absence. No body of artists who designed
+posters, such as that of which Ga-varni was one in France, is to be met
+with in the history of English art until the present day. While, as Mr.
+Spielmann reminds us in a recent magazine article, Mr. Godfroy Durand
+and Mr. Walter Crane had both attempted the artistic _affiche_ previous
+to Walker, the efforts of neither made a pronounced impression, nor were
+they productive of permanent results. The work of the first of these
+three artists announced the appearance of the then newly-founded
+"Graphic," and that of Mr. Walter Crane proclaimed the merits of a brand
+of lead pencils. It is interesting, as an example of Mr. Crane's immense
+versatility in decorative design, that he should be among the pioneers
+of the poster movement in this country. That his early effort was
+overshadowed by Walker's very imposing work is not a matter of surprise.
+From the first, Walker appears to have been deeply impressed by the
+possibilities of the hoardings as a free art gallery. To use his own
+words, as quoted by Mr. Spielmann: "I am impressed on doing all I
+can with a first attempt at what I consider might develop into a most
+important branch of art." How Walker's view has been realized the mere
+existence of this book is sufficient to prove. This design, which
+was done to advertise Wilkie Collins's novel, "The Woman in White,"
+represents a magnificently-draped female figure stepping through a door
+out into the night. With one hand she opens the door, with the other
+she imposes silence on some person unseen. This was cut on wood by W. H.
+Hooper, who also engraved the small block we are permitted to reproduce
+here from "The Magazine of Art." The design is in black and white, and
+has the limitations from the advertising point of view of black and
+white work; but, apart from this, it is in every way a work which
+could not fail to impress the passer-by. "The Woman in White" is,
+unfortunately, Walker's sole essay in the art of the poster; on the
+other hand, Mr. Walter Crane has produced a series which, we may hope,
+has yet to close. It would seem that over ten years elapsed between his
+first and second attempts in the art of the poster. We meet with him for
+the second time in a design in blue and yellow
+
+[Illustration: 0207]
+
+which advertised the Covent Garden Promenade Concerts given in 1880.
+This has become extremely rare, and the artist himself does not, I
+believe, possess a copy. Following the Covent Garden bill was one
+announcing the performances in London of the Paris Hippodrome Troupe.
+This is merely an enlargement on a vast scale of a classical drawing
+intended to adorn a book describing the show, but it is distinctly
+interesting, more so, it seems to me, than the pretty little coloured
+thing-a window-bill, rather than a poster-which advertises Hau's
+champagnes. Other posters by Mr. Crane deal with an exhibition of
+his own works, with various insurance companies, with the "English
+Illustrated Magazine" (an enlarged version of the cover), and the
+exhibitions of the Arts and Crafts Society. It will be seen that Mr.
+Crane's contribution to the art of the poster is a very substantial one,
+and if his designs do not always fulfil the sweet uses of advertisement,
+they are generally marked by fine taste. It is a matter of common
+knowledge that Professor Herkomer has left hardly any art or craft
+untouched, and it therefore goes without saying that he has left some
+of them unadorned. To succeed as painter, etcher, carver, musician, poet
+and playwright, lecturer, and actor is not given to mere man. Professor
+Herkomer's posters cannot, I think, be considered among his more
+fortunate performances. That done for "The Magazine of Art" does not
+lack a certain feeling for composition: the weird
+
+[Illustration: 0209]
+
+[Illustration: 0211]
+
+[Illustration: 0213]
+
+[Illustration: 0215]
+
+creature who told us that "Black and White" was coming seemed to me
+to lack both dignity and grace, and, moreover, to possess very few
+compensating qualities. Amongst other posters by Professor Herkomer
+is one for his own exhibition, and one for an exhibition of pictures
+recently held at Oxford.
+
+It should be noted that while most of the mural decorations of Mr. Crane
+and Professor Herkomer are, strictly speaking, posters, in that they
+were designed for the hoardings and for the hoardings alone, a great
+many designs and pictures by eminent artists have been reproduced and
+posted contrary to the original intention of their designers. The most
+prominent of these is, of course, Sir John Millais' famous "Bubbles,"
+on the reproduction of which enormous sums have been spent. The thing is
+pretty enough, but cannot compete as an advertisement with a really good
+poster properly so called. Of course the name of Sir John Millais was
+one to conjure with, and the success of the thing has been, doubtless,
+great. But it is not an experiment one cares to see frequently repeated.
+Messrs. Pears were more happily inspired in the commission which they
+gave to Mr. Stacy Marks to produce a _bona fide_ poster. His "Monks
+Shaving," seems to be most excellently conceived, and, indeed, to be the
+most interesting of Messrs. Pears
+
+[Illustration: 0219]
+
+[Illustration: 0221]
+
+gallery of illustrated advertisements. Art has certainly played a very
+prominent part in the battle of the soaps. Mr. G. D. Leslie used his
+gifts to insist on the merits of the Sunlight brand, while Mr. Burton
+Barber pleaded pictorially for the Lifebuoy brand. A curious bit of
+poster-making was the reproduction of a random sketch of a girl sitting
+on a champagne cork, by Mr. Linley Sambourne, which seems to meet us at
+every turning. Again, Mr. Harry Furniss's man who had used Pears'
+soap years back, "and since then had used no other," is an enlarged
+reproduction used for advertising purposes of a drawing in "Punch."
+On the other hand, the "Minerva," which Mr. Poynter designed for the
+Guardian Assurance Company, was actually devised for the purpose of a
+mural advertisement. It cannot be strictly called a poster, insomuch as
+it is never seen in the open air unless glazed. It is a classical
+design in several colours, and is of a very elaborate character. For the
+purpose of exhibition indoors, it is glazed and mounted on linen with
+rollers. Another contemporary English painter who has received very high
+official recognition and has done a poster is Sir James Linton, P.R.I.
+His subject was assuredly an attractive one, "Antony and Cleopatra," but
+it can hardly be maintained that, for an artist of so great repute, he
+has produced an especially memorable design. It is a lithograph in one
+colour, and measures fifty by fifty-two inches. Its date is 1874, so it
+is clear that Sir James Linton is among the little band who tried to do
+something for the pictorial poster in
+
+England when it was held of no account. Mr. Charles Green, a member
+of the institution of which Sir James is president, produced a rather
+ingenious advertisement of an exhibition of works in black and white
+held some time ago in Mosley Street. It
+
+[Illustration: 0223]
+
+[Illustration: 0226]
+
+is not very large, and is a lithograph in one colour.
+
+It will be observed that the artistic poster was in the air in England
+not very long after it began to develop in France. It does not, however,
+seem to have taken so great a hold on English artists or on the English
+public as on the artists and public of France. In England the artistic
+poster appears to have been received coldly or with indifference,
+and doubtless many designers who would have been glad to turn their
+attention to the poster were deterred therefrom by lack of public
+sympathy. But all this has happily been changed, and if the number of
+poster designers is to continue increasing at the present rate, the
+difficulty will be, not to find the artistic advertiser, but to find
+the thing to be advertised. A crowd of clever young men, actuated by the
+success which met the efforts of the designers dealt with in the next
+chapter, have rushed to the poster with results altogether important.
+
+
+
+
+CHAPTER VII.--IN ENGLAND: THE WORK OF DUDLEY HARDY, AUBREY BEARDSLEY
+
+AND MAURICE GREIFFENHAGEN
+
+|The English artists of established reputation with whom I dealt in the
+last chapter, were, as we saw, so anxious to inform their posters with
+aesthetic qualities, that for the most part, they overlooked the obvious
+fact that their work was vain unless it really fulfilled its primary
+purpose of advertising. It was left for the three men (all of
+comparatively recent reputation) whose names head this chapter, to give
+the right direction; to insist that not art, but advertisement, was the
+first essential. It is not for an instant to be pretended that their
+achievement equals in importance that of the three designers discussed
+in a corresponding chapter in the section of this book devoted to
+France. Quantity of production, it is true, is a small matter in art;
+and yet, in so far as quantity of production entails experience, one
+is forced to take it into consideration. The success of a man who has
+produced a hundred posters, or more, is scarcely to be expected of
+a designer, however ingenious, who is only making his first attempt.
+Moreover, to an artist accustomed to work on a small scale, it is a
+matter of extreme difficulty to appreciate, and when in the throes of
+production to keep in mind, the essentials of a design intended to
+be seen at a considerable distance, in the open air. He is apt to
+be tempted into pretty detail or subtle and harmonious colour, and
+therefore to forget that he should be simple almost to the point of
+crudeness. Under these circumstances, it is not less remarkable than it
+is encouraging, that Mr. Hardy, Mr. Beardsley, and Mr. Greiffenhagen in
+their earliest essays apprehended the situation at once, and produced
+posters which inevitably caught the eye of the beholder and created an
+impression which remained with him for a considerable time. Differing in
+all else, the first designs of these three artists were alike, in that
+they were admirable advertisements. From every hoarding in London,
+from the walls of every station on the Underground Railway, one was
+vehemently called upon to purchase a new weekly, or a new series of an
+old one, or to visit the Avenue Theatre. If the call was resisted, it
+was assuredly no fault of these artist-advertisers. To suggest that what
+they have done would have been impossible,
+
+[Illustration: 0230]
+
+[Illustration: 0231]
+
+or at least improbable, if France had not paved the way, is scarcely
+to discount their immediate and unequivocal success: even the greatest
+artist is unwise if he does not condescend to make use of the work of
+the past.
+
+It is, I think, Mr. Dudley Hardy who, of the three artists named, owes
+most to France. He has made a variation, a very personal and alluring
+variation, be it said, of a theme essentially Gallic in its unrestrained
+gaiety, its reckless joyousness. There is something of Chéret, and there
+is even more of Jan Van Beers, in the end-of-the-century girl, elegant
+as she is impudent, whom Mr. Hardy depiéts with such amazing verve and
+abandon. She is too light-hearted, too irresponsible, to be a daughter
+of this land of grey and rainy skies; she takes nothing seriously, save
+perchance a detail of her costume. And yet she is stamped with Mr.
+Hardy's personality as thoroughly as are the charming _Parisiennes_ of
+Chéret with the individuality of their inventor. Mr. Hardy began,
+and began wisely, by trusting for his effect to a single bold figure.
+Elaborate composition implies detail, and detail is one of the pitfalls
+of the designer of posters. Take, for example, the vast sheets which
+were employed to advertise one of the spectacles at Olympia. The
+overcrowding of small figures and closely-realized views either produced
+no impression whatsoever on the spectator, or at the most an impression
+due entirely to the immensity of the sheets. Mr. Hardy's series of
+posters commenced most auspiciously with that audacious young lady in
+a yellow dress, saucy hat, and flying black boa, who, not deigning to
+entreat, compelled the passer-by to rush to the nearest bookstall for a
+copy of Mr. Jerome's weekly "To-Day." Later, in similar vein, came
+the dashing girl in red, used by the manager of the Prince of Wales's
+Theatre to insist on the merits of "A Gaiety Girl." It may be doubted
+whether any more effective mural advertisement has ever been seen in
+London than that formed by half-a-dozen copies of this poster, arranged
+in the manner of a frieze in front of the theatre during the run of the
+piece. If the idea was that of the bill-sticker, the man was a genius
+of his kind: I cannot help suspecting, however, that the striking
+arrangement was due to Mr. Hardy himself. Or perhaps it was the happy
+thought of an outsider. In addition to the large "Gaiety Girl" poster,
+the two smaller bills which this artist designed to advertise the same
+play, full as they were of dash and go, must not be overlooked. To the
+collector they have a merit which he will not fail to appreciate. They
+are of manageable size, and this is more than can be said of most of Mr.
+Hardy's productions. It must not be thought, however, that
+
+[Illustration: 0234]
+
+Mr. Hardy can do no more than repeat with slight variety of detail the
+_chic_ girl to whom he first introduced us; already, notwithstanding
+the comparatively small number of his designs, he has shown a very
+commendable versatility. The proprietors of "St. Paul's," in the days
+when that journal regaled its readers on the portraits, not of dancing
+girls, but of right reverend prelates, commissioned Mr. Hardy for a
+large design appropriate to the semi-ecclesiastical character of their
+journal. The choice, in view of the "Yellow Girl," was a somewhat
+curious one; but the experiment justified itself. The artist rose to the
+occasion; on the hoardings of London there appeared a woman of austere,
+even saintly, demeanour, clad in sombre robes, and armed with a spike of
+the Madonna lily. In spite of the low scheme of colour, the design
+was very telling as an advertisement. It has become very rare; indeed,
+notwithstanding the fad; that the dealers quote it at various prices in
+their catalogues, it may be questioned whether it is to be procured at
+all. When the policy of "St. Paul's" was changed--when it stepped down
+from its shrine to join the multitude and be of the world, worldly--the
+art of Mr. Hardy was once more called in to introduce the paper in
+its new guise. For the first time, so far as I know, he attempted
+composition. His idea was a happy one. The poster represented a young
+lady, evidently light-hearted and of unquestionably fantastic costume,
+see-sawing on a quarter of the moon with a gentleman of slight
+intellect, but exceedingly smart clothes. Seen under certain conditions
+the composition is distinctly effective, but from a long distance it
+fails to assert itself as do Mr. Hardy's simpler designs. In his most
+recent effort he has returned to the single figure, and he has done
+nothing more striking than his bill for "The Chieftain," at the Savoy
+Theatre, which represents a man in picturesque costume on a red ground.
+The lettering of nearly all Mr. Hardy's posters is admirable. It is
+invented by the artist himself, and forms an essential part of the
+design. For the rest, it should be remembered that the poster is a mere
+incident in Mr. Hardy's art career. As an illustrator he is with us
+everywhere; as a painter he is held in deserved esteem. It is to be
+hoped, for the sake of the artistic poster in England, that he will
+continue to devote some of his time to a branch of art in which, in
+comparatively a short time, he has so greatly succeeded.
+
+The art of Mr. Aubrey Beardsley has been so enthusiastically received,
+on the one hand, as a new revelation, and so passionately condemned, on
+the other, as the mere glorification of a hideous and putrescent aspect
+of modern life, that it is difficult to consider his work with calmness.
+One thing, however, is certain: an impression
+
+[Illustration: 0238]
+
+[Illustration: 0240]
+
+of some kind, whether agreeable or the reverse, it has undoubtedly left
+upon all who have seen it. It cannot be dismissed by stating that it
+is derivative rather than original; that to a large extent it is the
+outcome of Japan, and in a less degree of the old English school of
+caricaturists. Whether it be good or bad, the extraordinary impression
+it has made cannot be gainsaid. It is probable that the work of no young
+designer of recent times has called forth so much homage of imitation,
+so great an amount of that kind of caricature which is among the
+sincerest forms of flattery. Mr. Beardsley's eccentricities are so
+pronounced, that to parody his work was simply to do the obvious.
+From "Punch," august by reason of its fifty years of tradition, to the
+poorest comic rag produced to catch the errand-boy's spare halfpenny, is
+a far cry; and yet the former, no less than the latter, has treated
+its readers to a series of pictorial Beardsleyisms. It would have been
+wonderful, indeed, if Mr. Beardsley, who is nothing if not modern, had
+not attempted the artistic poster. His opportunity came when the Avenue
+Theatre was taken by an enthusiastic and courageous young actress for
+the production of plays by living English writers, which, whatever
+their fate from the commercial point of view, were at least to possess
+definite merits as pieces of literature. In order to advertise Dr.
+Todhunter's "Comedy of Sighs," and Mr. G. Bernard Shaw's "Arms and the
+Man," Mr. Beardsley excelled himself, and designed perhaps the most
+remarkable poster ever seen, up to that time, in London.
+
+Nothing so compelling, so irresistible, had ever been posted on the
+hoardings of the metropolis before. Some gazed at it with awe, as if
+it were the final achievement of modern art; others jeered at it as
+a palpable piece of buffoonery: everybody, however, from the labourer
+hurrying in the dim light of the morning to his work, to the prosperous
+stockbroker on his way to the "House," was forced to stop and look at
+it. Hence, it fulfilled its primary purpose to admiration; it was a
+most excellent advertisement. The old theatrical poster represented,
+in glaring colours, the hero in a supreme moment of exaltation, or the
+heroine in the depths of despair. Mr. Beardsley did not condescend to
+illustrate, but produced a design, irrelevant and tantalizing to the
+average man, though doubtless full of significance to himself. In many
+respects the Avenue bill must be considered the best poster which so far
+has come from this artist's hands. The very graceful figure on a small
+poster for "The Yellow Book" speaks for itself. It is more vivid,
+more curious, than either of the two done for a London publisher. Most
+collectors, however, will treasure even more highly
+
+[Illustration: 0244]
+
+[Illustration: 0245]
+
+[Illustration: 0246]
+
+the charming design done by Mr. Beardsley to advertise the Pseudonym
+series of short stories. In it we meet with the artist in his less
+mordant mood. The sketch of the old bookshop in the background is quite
+delightful, and the whole design is less grotesque than most of Mr.
+Beardsley's productions. The arrangement in purple and white, which
+he did for the same firm, is a very striking performance in his later
+manner. Its importance as a poster is, however, seriously discounted
+by the fact that the design has nothing whatsoever to do with the text,
+which has been added in a manner almost inconceivably clumsy.
+
+The success of Mr. Beardsley in the production of artistic posters has
+encouraged a host of imitators, so that it is quite within the bounds
+of possibility that he will found something in the nature of a school.
+Already, on the other side of the Atlantic, more than one artist has
+been inspired by him. The posters of Mr. Bradley, for example, with
+which I shall deal later, are unquestionably adaptations, at once
+skilful and intelligent, of Mr. Beardsley's decorative manner. Again, to
+return to England, the pleasant arrangement in red and white, designed
+by Mrs. Dearmer to advertise a recital recently given by her in London,
+proves that she has been affected by the simplicity and directness which
+are so conspicuous among the merits of Mr. Beardsley in his essays in
+the art of the hoarding. Of his many parodists only one, I think, has
+actually attempted the poster. The essay in question was made by Mr.
+J. Hearn, under the signature of "Weirdsly Daubery," and the result
+was very fantastic and amusing. The design was done for some amateur
+theatricals at Oxford, and it was curious to
+
+[Illustration: 0248]
+
+[Illustration: 0250]
+
+meet this atom of the so-called decadence flaunting itself, with strange
+incongruity, in every nook and corner of "the sweet city of the dreaming
+spires."
+
+The case of Mr. Maurice Grieffenhagen is similar to that of Mr. Dudley
+Hardy, insomuch as both have been well known for some time to the public
+as painters and as the producers of very accomplished work in black and
+white. At present Mr. Grieffenhagen, as a designer of posters, can only
+be judged by a single production. It may be said at once that nothing
+more distinguished, nothing which is less imitative or derivative, has
+come from English hands than Mr. Grieffenhagen's advertisement for the
+"Pall Mall Budget." Admirable alike in colour and in pattern, the poster
+is entirely appropriate to its purpose of keeping before the eyes of the
+public a publication which escaped frivolity on the one hand and dulness
+on the other. All who watch the development of the artistic poster
+in England with interest, cannot but hope that the "Pall Mall Budget"
+poster will be the first of a series by the same artist equally
+delightful and original.
+
+It is interesting to note that while we are still a long way behind
+the French in the matter of the artistic poster, the productions of
+the three artists with whom I have just dealt have received a cordial
+welcome at the hands of Parisian collectors. In the dealers' shops you
+may see Mr. Hardy's "Gaiety Girl" side by side with Lautrec's "Reine
+de Joie," while Mr. Grieffenhagen's young lady in red looks with demure
+surprise at the antics of her more frivolous sisters, as depicted by
+Jules Chéret. There is, again, a steady demand for anything by Mr.
+Beardsley, who, it would seem, has already become an established
+favourite with French connoisseurs. As we shall see in another chapter,
+the prices put in Paris upon English posters compare very favourably
+with those at which the works of the ablest French designers are valued.
+In matters of art, few cities are more insular and intolerant than the
+French metropolis; and those English artists who are devoting themselves
+to the poster, should be encouraged by enthusiastic recognition where
+enthusiasm was least to be expected.
+
+
+
+
+CHAPTER VIII.--THE WORK OF OTHER CONTEMPORARY ENGLISH DESIGNERS
+
+|Since this book was commenced as the companion, rather than the rival,
+of that of M. Maindron, English designers of the poster have multiplied
+in a degree altogether phenomenal.
+
+Up to the time in question, as we have already seen, the English
+artist who attempted the poster was exceptional. The famine, which was
+prevalent only a year or two ago, has become the abundance of today, so
+that where one expected a dearth of subject matter, one has in fact an
+excess. It seems to me that, apart from the English pioneers, whom we
+have already considered, the brothers Beggarstaff, in reality Messrs.
+Pryde and Simpson, two young artists, are entitled to the first
+place among the makers of the English artistic poster. They have best
+appreciated the essence of their business: less than almost any native
+designers, they are innocent of any homage of imitation. They have
+imitated neither Chéret nor Lautrec: it may well be that they have had
+the wisdom to take a hint here and there from both of these masters of
+the art of the _affiche_. As yet the hoardings of London are screaming
+with the vulgar designs of the advertiser's hack. The admirable art of
+the Beggarstaffs is, up to now, infrequently met with. Their curious
+advertisement for Sir Henry Irving's production of "Becket," was
+eclipsed by that done for the same manager's "Don Quixote," while the
+latter has to give place to one intended to announce a special issue of
+"Harper's Magazine." All of these force themselves on the collector's
+attention. They are at once striking and artistic; they cry their wares
+well, and they are a delight to the eyes. The lettering in the Harper
+poster is beyond all praise. Of its kind, it is the most beautiful
+English lettering of which I know. At the Aquarium Exhibition the
+Beggarstaff's showed four posters which advertised Nobody's Blue,
+Nobody's Candles, Nobody's Niggers, and Nobody's Pianos. If each
+"Nobody" is not rapidly converted into "Somebody," the various
+manufacturers and proprietors of the articles mentioned above must be
+very stupid people. All were excellent; that which advertised Nobody's
+Pianos was a most curious and à most original performance. It seems to
+me that the Beggarstaffs have few serious rivals in England, and not
+very many in France. Their works should help very
+
+[Illustration: 0256]
+
+considerably in the task of revolutionizing the English pictorial
+poster. The
+
+[Illustration: 0258]
+
+impression created by their designs on Frenchmen, who are past masters
+in the art of the hoarding, is most favourable.
+
+[Illustration: 8258]
+
+It will be remembered that when Mr. Sickert took it into his head to
+depict the Sisters Lloyd in their music-hall habit, the critics fell
+out greatly. Even the young ladies in question had, it is said,
+scant affection for a design in which everything was suggested and
+nothing declared.
+
+They had, it is true, the recompense of advertisement, and that, to a
+music-hall singer, is a very sweet recompense. It was characteristic of
+Mr. Sickert that he should go to the music-halls for a subject. The "New
+English Art Club" is devoted to things which are
+
+[Illustration: 0259]
+
+new and strange, the artistic poster amongst them. Mr. Sickert is not
+the only one of the members of this club who have made an essay in the
+latest form of applied art. Mr. Beardsley, Mr. R. Anning Bell, and Mr.
+
+[Illustration: 0260]
+
+[Illustration: 0262]
+
+[Illustration: 0264]
+
+Wilson Steer are amongst those of his colleagues who have done the same
+thing. Mr. Sickert's poster, which is, I believe, as yet unpublished, is
+in four colours. It is calculated to make a good advertisement, and one
+can only hope soon to meet with it on the hoardings. As an impressionist
+painter of talent, Mr. Wilson Steer is as well known as Mr. Sickert. A
+"New English Art Club" Exhibition without his work would be one which
+lacked a most characteristic feature. Mr. Steer gave us an opportunity
+of appreciating his talent as a painter by organizing a show of his
+own work. To advertise this he did a poster, which was excellent of
+its kind, and is in consequence very rare. It is a comparatively small
+lithograph in four colours, and is quite unlike this artist's other
+work. It leans, it seems to me, towards Pre-Raphaelitism rather than
+towards Impressionism. An artist who has certainly sat at the feet of
+Mr. Whistler is Mr. Mortimer Menpes. To advertise several exhibitions of
+his paintings, he has invented at least three posters, which certainly
+do not lack the merit of originality. He has abstained from the
+frivolous girl and grotesque man. The "France," the "Venice," and the
+"India" are in their way considerable achievements in dainty design and
+quiet and harmonious colour. Mr. Menpes, by being intentionally simple,
+has arrived at notable conspicuity. All this artist's designs are of
+small size, and are appropriate rather to the notice board than to the
+hoarding. Nothing more opposite to the fastidious productions of Mr.
+Menpes could be conceived than the vigorous poster by Mr. Lockhart Bogle
+advertising a Scottish Athletic Gathering, held in 1892. This is a large
+lithograph, consisting of a single figure of a Highlander, which, if not
+remarkably beautiful, is drawn with vigour and with no small accuracy.
+Mr. Brangwyn is one of those English painters of whom we are entitled
+to be proud. His directness, the audacity of his impressionism, the
+splendour (if sometimes ill-considered) of his colour schemes, cannot
+be passed over even by those who have slight sympathy with his method.
+That, if so inclined, he would produce a poster at once startling and
+artistic is not to be denied. The one which he has already designed to
+advertise an exhibition of South African pictures by himself and Mr.
+William Hunt, held at the Japanese Gallery, is certainly by no means
+worthy his remarkable talent, and one trusts that he will cease for
+a moment from painting pictures and produce a poster which shall be
+memorable in the history of the _affiche_ in England.
+
+Mr. Frank Richards is nothing if not versatile; his exhibition, held
+recently at the Dowdeswells' Galleries, came as a surprise to all who
+were unacquainted with his
+
+[Illustration: 0268]
+
+[Illustration: 0269]
+
+[Illustration: 0270]
+
+clever painting. In this exhibition his pictures ranged from a large
+study of Mr. Clive as "Hamlet" to slight but beautiful studies of Venice
+under various atmospheric conditions. In his poster work, of which at
+present little has been seen, Mr. Richards shows that, to some extent,
+he is under the influence of Mr. Dudley Hardy. Mr. Richards, no less
+than Mr. Hardy, is undeniably up to date, and his work is really
+effective. Among the most recent additions to the ranks of our popular
+illustrators is Mr. Lewis Baumer. One meets with his work everywhere;
+in "To-Day" and in the shortlived "Unicorn." His bills to advertise the
+Academy students' annual burlesque are pretty, if they are nothing else.
+Mr. Baumer has certainly still to make his mark as a poster designer.
+The Artistic Supply Company, who are paying special attention to the
+pictorial poster, have already produced a dainty little _affiche_ by
+him. It may be noted here that the company in question have arranged
+with some of the most eminent English designers for the reproduction of
+artistic posters, and that several, which illustrate these pages, do so
+only on account of their permission most generously given.
+
+Among other services which the comic journal "Pick-Me-Up" has rendered
+to the artistic public is the extremely important one of emphasizing,
+and giving a congenial outlet to, the remarkable talent of Mr.
+
+[Illustration: 0272]
+
+[Illustration: 0274]
+
+Raven-Hill. From almost the first, his connexion with the journal in
+question has been a very intimate one. Hardly a number is without a
+specimen of his powerful drawing and his gift of comic invention. While
+suggesting, in the best sense, the style of the incomparable Charles
+Keene, Mr. Raven-Hill's work in black and white is the outcome of his
+own personality. It would have been strange if this very modern artist
+had not produced pictorial posters: his talent was perfectly adapted to
+his doing so with success. His small bills for "Pick-Me-Up" are vigorous
+in drawing, bold in colour, and of a pleasant fantasy. They only measure
+twenty by thirty inches, but they are very telling. A complete set of
+them is a most desirable addition to the collector's portfolio. Another
+accomplished member of the staff of "Pick-Me-Up," Mr. Edgar Wilson, has
+designed a bill for the recently defunct journal, "The Unicorn." It is
+effective, but to me personally, the colour scheme is even more crude
+than the exigencies of a poster demand. Mr. Reginald Cleaver, whose
+sketches of scenes in the House of Commons created so favourable an
+impression in "The Daily Graphic," has not yet, I believe, deliberately
+produced a pictorial poster; but one of his drawings, reproduced on
+a large scale, lends itself well enough to the purposes of mural
+advertisement. Mr. Sydney Adamson, the art editor of
+
+"To-day" and "The Idler," has done a bill which, when it is seen, will
+be Jield, I have small doubt, a very striking performance. It is happily
+conceived and boldly executed, and should make a striking patch of
+colour on the hoardings.
+
+Merely to chronicle the names of the innumerable Wilsons who are
+producing pictures would take quite a considerable space. It may be
+noted in passing that, like Edgar of that name, Mr. W. Wilson has also
+attempted an _affiche_.
+
+Among others who have designed posters which have yet to be seen an the
+hoardings are Mr. Max Cowper, Mr. A. R. Miller, Mr. Kerr Lawson, Mr. F.
+H. Townsend, whose black and white work one meets everywhere, Mr. Roche,
+a prominent member of the Glasgow School, and one of the greatest living
+English artists, Mr. Phil May.
+
+Mr. Phil May is not the only "Punch" man who has been seized with the
+prevailing mania for the production of posters. His colleague, Mr.
+Bernard Partridge, has already designed one which is reproduced in these
+pages. One associates Mr. Partridge with dainty and idyllic work rather
+than with work which is vigorous, but his first essay in the poster
+seems to me to be very promising. Mr. J. T. Manuel's work is as unlike
+that of Mr. Bernard Partridge as possible. His pictures might be by a
+clever member of the young French School who
+
+[Illustration: 0278]
+
+[Illustration: 0280]
+
+[Illustration: 0282]
+
+[Illustration: 0284]
+
+[Illustration: 0286]
+
+[Illustration: 0288]
+
+[Illustration: 0290]
+
+[Illustration: 0292]
+
+[Illustration: 0294]
+
+[Illustration: 0296]
+
+[Illustration: 0298]
+
+have taken more than a hint from Forain. The designs for posters which
+Mr. Manuel exhibited at the Westminster Aquarium, if not so distinctive
+of his talent as his contributions in black and white to "Pick-Me-Up,"
+were not without definite merit. Of the three, that catalogued as "A
+Music-hall Singer" struck me as the best. It should be purchased by Miss
+Minnie Cunningham, for the likeness between her, and the young lady
+it represents, if accidental, is marvellous. Among young decorative
+painters of the day who are not mere imitators of such masters as Sir
+Edward Burne-Jones or Puvis de Chavannes, but have invented a style for
+themselves, must be included Mr. Charles Ffoulkes. The two examples of
+his poster-work here reproduced are as beautiful in colour as they are
+refined in pattern. Moreover, they proclaim themselves in loud tones.
+Their tones, however, are those of a silver trumpet rather than those of
+cymbal or of gong. At times Mr. Ffoulkes forsakes his lofty imaginings
+and depicts _chic_ young ladies quite in the best French manner. Mr. L.
+Solon's poster, reproduced here, is a very characteristic example of his
+decorative style. In inventing it, the artist has clearly kept before
+him the fact that a poster cannot live by beauty alone; if, happily,
+there be beauty, there must of necessity be advertisement, else is
+failure inevitable.
+
+[Illustration: 0300]
+
+Very unlike Mr. Solon's poster are the _affiches_ of Mr. Heywood Sumner;
+those which I reproduce here seem to me to be very characteristic of his
+graceful gift of design. Mr. Morrow is already an established favourite
+on the hoardings of London, and justly so in that his performances are
+of exceptional merit. His "Illustrated Bits"
+
+[Illustration: 0302]
+
+is a radiant affair, and his "New Woman" makes quite a pretty picture.
+His works should certainly be collected.
+
+Of Mr. R. Anning Bell it is not too much to say that for versatility
+only Mr. Walter Crane among English artists can be said to rival him,
+and, what is far more important, his success in a medley of mediums is
+not to be gainsaid. His poster for the Liverpool School of Art, over
+which he presides, is a magnificent piece of decoration, and nothing so
+fine, in its way, has ever been, seen on English hoardings. It takes one
+up to the Elgin marbles; it is an oasis of the classical in a desert of
+the new. I can only mention the following native artists, not previously
+considered, who have produced pictorial posters of interest: Mr. F.
+Barnard ("Everybody should read in the European School"), Mr. F. Simpson
+("Land of the Midnight Sun," "To Norway Fjords"), Mr. Robert Fowler,
+R.I., whose poster for the Walker Art Gallery is here illustrated, Mr.
+Sidney Haward (p. 279), Mr. Skipworth ("An Artist's Model"), Mr. Skinner
+("Pall Mall Magazine"), Mr. Starr Wood and Mr. A. G. Draper.
+
+I have already remarked that the poster movement in this country amounts
+to a positive revolution. No young artist is satisfied unless he has a
+hand in the decoration of the hoardings; the gold frame is for the time
+forgotten, and all have their eyes on the lithographer's stone. France
+has undoubtedly had a long start of us, but if she is to retain her
+supremacy she must look to her laurels. Our young men are beating at
+her doors, though beating only in a spirit of friendly rivalry. Happily,
+between England and France there is, at this moment, only one war-the
+war of the pictorial poster.
+
+[Illustration: 0304]
+
+[Illustration: 0306]
+
+
+
+
+CHAPTER IX.--IN AMERICA
+
+|In the sweet uses of advertisement the American is surely an expert,
+and it would have been curious indeed, if he had overlooked so obvious
+and so effective a method of advertising as the pictorial poster.
+Finding, in the notorious phrase of Mr. Whistler, that "Art was on
+the town," the American advertiser was one of the most eager of those
+passing gallants who chucked her under the chin. Who it was originated
+the artistic poster movement in the States, it were hard to say with
+certainty: it may have been Mr. Matt. Morgan. Among recent American
+poster producers, three, however, are most conspicuous, Mr. Edward
+Penfield, Mr. Louis J. Rhead, and Mr. Will. H. Bradley. It is probable
+that the first-named was the innovator: at least, one would be tempted
+to judge so from the quantity of his designs.
+
+Mr. Penfield is still young, having been born at Brooklyn in the year
+1866, so that if he was the first American artist to deal with the
+poster, the movement in that continent is obviously a recent one.
+Most of his posters are on a small scale, and partake of the nature
+of window-bills rather than of placards especially destined to the
+hoarding. At the same time, Mr. Penfield has been by no means slow to
+appreciate that it is the first
+
+[Illustration: 0309]
+
+business of an advertisement to advertise, and his appreciation of this
+fad, coupled with a very dainty fancy and no small technical skill, has
+led to results which are of unquestionable importance. With his earliest
+efforts I cannot pretend to be well acquainted. In 1893 he produced
+for a firm at Salem a large bill which measures eighty-one by forty-two
+inches. The subject is a girl in a black dress and yellow jacket who is
+laden with packages. For the publications of the firm of Harpers,
+Mr. Penfield has done quite a quantity of excellent and artistic
+advertisements. Amongst the most effective is one produced for a special
+midsummer number of "Harper's Bazar," representing a girl playing
+a banjo, divided by a crimson sun from an attentive listener of the
+opposite sex. Again, for the issue of July, 1894, the artist gives us
+a girl in white lighting red crackers arranged to spell the name of the
+month. For the February number of the following year, we are presented,
+most appropriately, with a gentleman posting a valentine in an orange
+coloured letter-box. In April of the same year, Mr. Penfield gives us
+Joan of Arc in yellow, wielding sword and staff. Amongst the numerous
+books which Mr. Penfield has advertised may be mentioned "The Cloister
+and the Hearth," "Pastime Stories," "Our English Cousins," and
+"Perlycross." This artist's work is always ingeniously conceived, and
+the colour schemes are not seldom pleasantly audacious. Mr. Penfield
+gives us very agreeable versions of the American girl in general, and of
+the "summer girl" in particular. His maidens are adorably conscious of
+their power to charm, and are fully alive to the fact that their gowns
+are of the smartest.
+
+To turn from Mr. Penfield to Mr. Louis J. Rhead is to turn to an artist
+settled in the United States, but English by birth and education. Mr.
+Rhead was born at Etruria, that unclassical place with the classical
+name, and comes of a family of artists. He was, I believe, a student at
+South
+
+[Illustration: 0312]
+
+[Illustration: 0314]
+
+Kensington for several years, and only reached America in 1883. He has
+exhibited at the
+
+[Illustration: 0316]
+
+Salon and the Academy and other important picture shows.
+
+Mr. Rhead seems to have taken to the poster with the greatest
+enthusiasm, and he has undoubtedly produced a series of curious and
+striking designs. By far the most important of his efforts, though not
+the largest, are the designs which he has done for the New York "Sun."
+In one of these very daring productions, a crimson sun glows in a golden
+sky. The ground is green, the footpath and the trees are blue, while the
+girl's costume is garnet and red. It must be confessed that this
+colour scheme sounds somewhat formidable, but Mr. Rhead has invented an
+arrangement at once artistic and compelling. The lettering, it must be
+noted with regret, is not from his own hand. One of the largest of Mr.
+Rhead's posters is the "Pearline," in which a girl in a green and red
+dress is represented in the act of pinning a sheet on to a line. This
+design measures forty-one by twenty-eight inches. Of considerable
+size, and of no small merit, is the poster executed for the "Century,"
+Christmas, 1894, the chief feature of which is a girl with a peacock.
+Among other effective designs which stand to the credit of Mr. Rhead
+may be mentioned those advertising "Harper's Bazar," Christmas, 1890,
+Thanksgiving, 1894, and Christmas of the same year. For the "Century,"
+besides that already noticed, he has done several interesting posters,
+and he helped to advertise various numbers of "St. Nicholas" last year.
+It is to be noted that
+
+[Illustration: 0318]
+
+Mr. Louis Rhead has held an exhibition of his posters, the catalogue of
+which, by reason of its very characteristic and personal decorations, is
+highly esteemed by collectors of those unconsidered trifles which end in
+becoming especially dear to the connoisseur.
+
+Among the magazines of the world, the "Chap Book," which emanates from
+Chicago, is by no means the least interesting. Fascinating as is the
+title, the contents of this little periodical are still more so; its
+editors seem to have eschewed banality, and to have gone in for novelty,
+even when the new did not possess an extraordinary degree of merit. It
+were meet that so original a publication should have an advertiser of
+corresponding eccentricity. In Mr. Will. H. Bradley, the proprietors of
+the "Chap Book" undoubtedly possess such an one. Born at Springfield,
+Massachusetts, Mr. Bradley lives in Chicago, and to that town and its
+publications he has mainly devoted his energies as an artist advertiser.
+It will hardly be disputed that he has seen and assimilated, in no small
+degree, the manner of Mr. Aubrey Beardsley. He is, however, a great deal
+more than a mere imitator; what he has borrowed, he has borrowed with
+conspicuous intelligence, and nobody could for a moment accuse him of
+anything approaching petty larceny. Among his most important posters
+is a colossal one which, in the manner of Mr. Beardsley, proclaims
+the attractions of the drama by Mr. Henry Arthur Jones, entitled "The
+Masqueraders." In 1894 Mr. Bradley advertised the "Chap Book" by means
+of two dancers in red and brown costumes; the following year he insisted
+on the same publication by means of a girl in white and a man in black;
+and yet again, through the medium of a young lady in blue, mixed up with
+trees in intense purple, outlined with red and white; and several other
+equally effective compositions.
+
+Mr. Bradley is, however, not the only artist intimately connected with
+Chicago who has distinguished himself in the production of posters. A
+native of that city, Mr. Will. Carqueville, has done very interesting
+work for the firm of Lippincott's. In the year 1894, at least one design
+by him was commissioned, and in the succeeding year he produced four or
+more. That he is not afraid of colour is proved by the fact that in
+the poster done for Lippincott's, March, 1895, he combines dark purple,
+yellow, blue, and bronze. In another design we meet with red, purple,
+yellow, and blue. Mr. Kenyon Cox is an American artist whose fame is by
+no means confined to the United States. A pupil of Gerôme and Carolus
+Duran, he has, so far as I know, made only one essay in the art of the
+poster. This measures eighty-one by forty inches, and is in black
+and white. It represents a male figure carrying a torch, and is an
+advertisement for "Scribner's Magazine." Mr. Scotson Clark was a
+schoolfellow of Mr. Aubrey Beardsley. He has, among other posters, done
+two to which the picturesque labels of "Our Lady of the Peacock
+Feather," and "Lady of the Iris," are attached. In addition, for the
+March issue of the "Bookman," 1895, Mr. Scotson Clark drew a monk, with
+book in hand. Mr. George Wharton Edwards, the well-known painter in
+water-colours, must be credited with three designs for the "Century," in
+the months of February, March, and April, 1895. Moreover, by means of a
+drawing of a girl and a peacock, he proclaimed the twenty-eighth
+annual exhibition of the American Water-Colour Society, in addition to
+designing a bill for a book entitled "The Man Who Married the Moon."
+The advertising enterprise of the firm of Scribner has made
+poster-collectors the richer by one or two productions by Mr. Charles
+Gibson Dana. He it was who announced, with no inconsiderable skill, the
+issues of "Scribner's Magazine" for the months of January and February,
+1895. Mr. Archie Gunn is the son of a well-known drawing master in one
+of the large towns of the Midlands. Leaving England for America, he
+found an outlet for his talent as a draughtsman on the New York journal
+"Truth." His work is nearly always vivacious, even where it is not
+particularly original. His posters were done for the "Illustrated
+American," and are by no means bad examples of his craftsmanship. Like
+most prominent American artists, Mr. Thomas Burford Meteyard studied in
+Paris. His poster to advertise a book called
+
+[Illustration: 0324]
+
+[Illustration: 0326]
+
+[Illustration: 0328]
+
+[Illustration: 0332]
+
+[Illustration: 0334]
+
+[Illustration: 0336]
+
+[Illustration: 0338]
+
+"Songs from Vagabondia" is in black and white, and consists of portraits
+of the artist himself and the authors of the book, Mr. Bliss Carman and
+Mr. Richard Hovey. A limited number of copies were printed "sur Japon,"
+and these, I believe, are rare. As in the case of so many other American
+artists, Mr. Francis Day's poster work was done for the most part for
+the great illustrated magazines which do such credit to the United
+States, as an art-producing nation. Mr. Day's design for "St. Nicholas,"
+Christmas, 1894, seems to me altogether agreeable, while in the series
+designed for "Scribner's Magazine," more than one interesting thing will
+be found.
+
+In dealing with the poster in England, we have noticed the fact that one
+woman, Mrs. Dearmer, has succeeded in producing a bill at once artistic
+and effective. Miss Ethel Reed would seem to be the most conspicuous
+lady-artist who has taken up the designing of artistic posters in
+the States. Her efforts date only from last February, when she did
+an advertisement for the "Boston Sunday Herald." Since then she has
+produced several designs which are held in considerable esteem by
+American collectors. Amongst other artists who have taken part in the
+poster movement on the other side of the Atlantic are the following:
+Messrs. Alder ("New York World," March 17th, 1895), Allen, Palmer Cox
+("New Brownie Book"), C. Miles Gardner ("Boston Sunday Herald," February
+10th, 1895, and March 10th, 1895), Oliver Herford, Charles M. Howard
+("Boston Sunday Herald," April 21st, 1895), Frank King ("New York
+World," April 7th, 1895), H. McCarter (the Green Tree Library), Moores
+("St. Nicholas," November, 1894), Julius A. Schweinfurth (Boston
+Festival Orchestra, 1895), W. Granville Smith ("Scribner's Magazine,"
+Christmas, 1894), W. L. Taylor, Abby E. Underwood, R. Wills Irving, C.
+H. Woodbury, Charles Hubbard Wright, and William M. Paxton. The last
+named has been chiefly associated with the "Boston Sunday Herald," and
+for that journal he has produced several posters of distinction.
+
+My review of the artistic poster movement in America has been of
+necessity brief, and cannot, therefore, be free from sins of omission.
+In writing it, I have, where my own knowledge has seemed to me
+insufficient, made use of the descriptive catalogue of the collection
+of American posters published last May by Mr. Charles Knowles Bolton,
+of Brookline, Massachusetts. From the useful bibliography printed at the
+end of this pamphlet, it would seem that the movement has been watched
+from the first by the American press with keen interest. So far back
+as the year 1892, we find Mr. Brander Matthews discussing the pictorial
+poster in the "Century" magazine. In the
+
+[Illustration: 0342]
+
+[Illustration: 0344]
+
+present year the subject has been dealt with by writers in such
+important newspapers as the "New York Tribune" and the "Boston Herald,"
+to say nothing of such journals as "Scribner's Magazine," the "Critic,"
+the "Art Interchange," and the "Art Amateur." Quite recently the English
+public have had opportunities of seeing the best work by French and
+native artists. It is to be hoped that at the next poster exhibition
+they will be afforded a chance of seeing what excellent work American
+designers are doing in this very practical branch of applied art.
+
+A poster by Mr. E. A. Abbey, illustrated on page 315, arrived too late
+for consideration in its proper place. It is entirely worthy the great
+reputation of the artist who has so kindly permitted us to reproduce
+it here. The figure is in red scale armour, bearing a shield with a red
+cross.
+
+[Illustration: 0346]
+
+[Illustration: 0348]
+
+
+
+
+CHAPTER X.--IN COUNTRIES NOT ALREADY DISCUSSED
+
+|That the picture poster was an incident of the ancient civilizations of
+China and Japan; goes without saying. The scope, however, of this book
+does not embrace the Far East; the illustrated placard in the Orient
+would, indeed, be a subject in itself. In the matter of applied art it
+is difficult to conceive anything which the Chinese and the Japanese
+have not attempted. They seem, from the earliest days, to have been
+consumed with a passion for decoration; nothing which by any chance
+admitted of ornament was left undecorated. It behoves the societies
+which are formed for the purpose of illustrating the artistic
+antiquities of these wonderful countries to concern themselves with the
+dawn and history of the pictorial poster in the East. Certain it is
+that the illustrated advertisement abounded, as it abounds today, in the
+cities of both the nations now being discussed. It is, indeed, found
+in the less advanced civilization of Burma, and of the various
+principalities which form our Indian Empire. To pass from Asia to
+Spain is to travel a long way. In Spain, at the present moment, the
+illustrated placard is receiving no small attention at the hands of
+artists who, however discouraged and ill-paid, are determined to do all
+that in them lies to raise the country which produced Murillo to the
+position she once held among art-producing nations. A recent writer in
+the "Sketch" grows enthusiastic over the Spanish _affiche_. "Spanish
+posters," he tells us, "are a delight. Well drawn, vividly but
+truly coloured, and perfectly printed, they shine down from walls and
+hoardings, attracting all passers-by. They depict the glories of coming
+fairs and bull-fights, and are couched in terms calculated to draw
+money from a stone. The announcement that a famous matador will kill, or
+assist to kill, _Seis Escogidos Toros_, throws the Spanish reader into
+a state of frenzy. Not infrequently some incident is depicted with frank
+realism. A bull standing over a dead horse gives an opportunity to
+the artist to draw the unfortunate horse disembowelled and lying
+on blood-stained sand, while the bull's hide shows the marks of
+the lance-thrusts, and his horns are likewise stained with blood.
+Colour-printing is so good in these regions of perpetual sunlight that
+nearly every detail of a matador's costume can be given. The poster
+artists are splendid when they depict
+
+[Illustration: 0352]
+
+[Illustration: 0358]
+
+[Illustration: 0360]
+
+movement; they are satisfactory in their purely decorative work, but
+figures in repose are apt to become 'woodeny.' In point of colour,
+Spain beats France; and as France is so much in advance of England, it
+scarcely needs a Euclid to demonstrate that English posters cannot be
+compared to those of Spain. The latter exhibit at times an admirable
+sense of distance and proportion, which serves to show that their
+designers learnt to draw before they began to paint." The four examples
+reproduced here will serve to indicate the type of Spanish poster most
+frequently met with. Whether Spain, in the matter of the pictorial
+placard, is in advance of France or not, is a question of taste. However
+brilliant the colour of the Spanish _affiche_, the design seems to me to
+lack boldness. Take, for example, the "Gran Feria de Cordoba, 1895;" in
+this case the whole thing appears to be a series of elaborate details
+rather than a bold and impressive design. The poster in Spain, however,
+is rapidly becoming of interest, dealing as it does with fascinating
+and essentially picturesque subjects. It is difficult to obtain exact
+information concerning the artists who design posters in Spain; the
+examples which I reproduce here, I cannot attribute to anybody with any
+degree of certainty.
+
+The Teutonic temperament is in no sense akin to the Spanish, and the
+pictorial posters of Germany are utterly unlike those of Spain. For the
+most part the Germans have, in the past, been addicted to elaborate and
+often admirably-executed lithographs, such, for instance, as that done
+by Ernest Klint for the Musical and Theatrical Exhibition held at Vienna
+in 1892. A new movement is, it appears, making itself conspicuous just
+now. The younger generation of German designers seem to be as anxious
+to experiment in the making of posters as those of France and England.
+Joseph Sattler, a designer of considerable originality and great
+dexterity, who has studied Albrecht Dürer with great advantage to his
+own work, has designed a very curious little window bill to advertise
+"Pan." It is reproduced here, and its strange individuality, its
+ingenuity, will not fail to make an impression upon those who look at it
+closely. The lettering is devised in an extraordinary way, and Sattler
+may be congratulated on the results of an interesting experiment. Very
+different to the work of Sattler is that of Franz Stuck. This represents
+a classical head in mosaic, and advertises an exhibition of the
+Munich Secessionists, a body of experimental painters and designers of
+rapidly-growing importance. The tendency of the illustrated poster in
+Austria is much the same as it is in Germany. Some admirable bills have
+been designed in Italy. Of its particular kind, I have seen few things
+better than a large and
+
+[Illustration: 0364]
+
+[Illustration: 0366]
+
+[Illustration: 0368]
+
+[Illustration: 0370]
+
+[Illustration: 0372]
+
+sombre poster to advertise Verdi's "Otello." At the same time, the
+Italian posters are not of a very distinctive type, nor does Italian
+taste concerning them appear to be very fastidious. The crude, enormous,
+and vulgar advertisements for Buffalo Bill's exhibition created quite a
+sensation in Rome when that redoubtable personage deigned to visit the
+most august of European capitals. The modern Romans forgot their Michael
+Angelo in the ecstasy induced by the latest enormity of the American
+colour printer. It may be noted that some of the posters done for
+the Italian railway companies are bright and gay as an Italian summer
+itself. The pictorial poster would not seem to have taken a great hold
+on Russia, nor, judging from a comparatively recent visit, has it made
+much headway in Scandinavia. In Holland, the present artistic vitality
+and enterprise of which are at once so astonishing and gratifying, one
+meets with very few posters of conspicuous merit. In Belgium, on the
+other hand, there are signs that the poster movement has affected not
+a few artists of distinction. The placard by Evenepoel, designed to
+advertise a publication in connexion with the Antwerp Exhibition, is
+excellent in colour and pattern and most decidedly original, owing very
+little to any foreign examples. Duyck's "Cortège des Fleurs (Ville de
+Bruxelles)" is decorative and pleasing. This artist has also designed
+another placard to advertise Spa (Ferme de Frahinfaz). To Delville we
+owe a curious little placard, in the Symbolist manner, which advertised
+"Pour l'art, Ier exposition à Bruxelles;" the advertisement for the second
+exhibition was the work of Ottevaere. A fantastic and rather picturesque
+poster was done to announce one of the annual exhibitions of "La Libre
+Esthetique." It represents a strange-looking human being standing
+among flowers, under a lurid sky, and holding in his hands a decorative
+scroll, upon which the legend is inscribed. Amongst other interesting
+Belgian placards are the "Velodrome Bruxellois" by G. Gaudy, the "Paul
+Hankar" by A. Crespin, and a poster in monochrome in imitation of
+a bas-relief bearing the legend "La plus noble force sociale est le
+Droit." All of these are reproduced here. It may be noted in conclusion
+that most of the Belgian posters show strong signs of French influence.
+
+[Illustration: 0376]
+
+[Illustration: 0378]
+
+[Illustration: 0380]
+
+
+
+
+CHAPTER XI.--THE PRICE OF THE PICTORIAL POSTER; AND CONCLUDING NOTE
+
+|It is obviously impossible to state accurately the price of the
+artistic poster, insomuch as fluctuations take place almost daily,
+and, moreover, the numerous dealers vary in their quotations in an
+extraordinary degree. Under these circumstances, the present chapter is
+written as a matter of current record, rather than with the idea that
+it will be of any permanent value for purposes of reference. It may
+be stated at the outset, that in dealing with the value of the poster,
+rarity has in the first place to be taken into consideration; and thus
+it happens that, while delightfully artistic designs are comparatively
+inexpensive, posters which are quite unattractive from the point of view
+of art are often very costly. The prices which follow are for the most
+part taken from the catalogues of M. Edmond Sagot of Paris, and Mr.
+Bella of London, the latter of whom, by the organization of exhibitions
+and in other ways, has rendered material assistance to English
+collectors. In fact, to some extent, he has called the English collector
+into existence.
+
+As an example of the price of the poster of which the interest is
+archaeological rather than artistic, one may instance a placard, dated
+the 20th of February, 1649, which deals with the opening and closing of
+the gates of Paris. Its only claim to be considered pictorial consists
+in the fact that it is ornamented with a woodcut representing the arms
+of the city. Many similar productions were executed in relation to
+London and to other English towns. The price asked for it three or four
+years ago was thirty francs. Interesting from another point of view are
+the illustrated posters which have heralded new books, or new editions
+of books, by great writers. Three of these, relating to the works of
+Balzac, and including one with woodcuts by Meissonier and Tony johannot,
+are valued at twelve francs.
+
+It is time, however, to pass from pictorial posters, which are
+interesting on account of age or literary association, to those which
+derive their value from their qualities as works of art. In this class
+some of the highest prices are obtained by the French artists who, for
+the most part, were the contemporaries, or immediate successors, of
+Gavarni. The best posters of this master are extremely difficult to
+procure, and examples in a fine state realize large sums.
+
+For the "Oeuvres Choisis" bill, together with that designed to advertise
+an illustrated edition of Balzac's "Philosophie de la Vie Conjugale,"
+something over a hundred francs is asked, while less important works can
+be obtained for five-and-twenty or thirty francs. It goes without saying
+that the smallest tear or other injury, however neatly and skilfully
+repaired, heavily discounts the value of works by Gavarni and the men of
+his time; but even slightly damaged examples are eagerly sought for, as
+it is almost impossible to obtain perfect ones. Of the productions of
+Edouard de Beaumont, two of the rarest are the "Nains Célèbres," already
+mentioned, and the "Diable Amoureux." For an exceptionally fine proof
+of the former, as much as a hundred francs has been asked, while the
+latter, which is very rare, commands about sixty francs. Sums scarcely
+less formidable are given for the better posters of Grandville, and
+fifty francs for a good Tony Johannot is not by any means an exceptional
+price, although unimportant specimens of his work may be picked up in
+Paris for a few sous. The excursions of Gustave Doré into the art of the
+poster were very few. His most important work was perhaps the "Légende
+du Juif Errant," a fine proof of which realizes sixty francs or more.
+Posters by Vivant Beaucé, Castelli, Cham, Victor Coindre, Charles
+Devrits, H. Emy, A. Farcy, and others of the same period, for the most
+part command sums comparatively small; the best productions of Bertall,
+Calame, Monnier, and C. Nanteuil, on the other hand, are only a
+little less expensive than those of Gavarni and the more distinguished
+designers of his time.
+
+Of posters by designers still living, those of Chéret have been most
+assiduously collected. It is probable that a complete set of his works
+does not exist; even one which is fairly representative, and includes
+some of his earlier and rarer _affiches_, is extremely valuable. In the
+Sagot catalogue of 1891, over five hundred and fifty posters by Chéret
+are described, and of these no less than eighty are priced at twenty
+francs or more. Since the publication of the catalogue, their value
+has steadily increased, and it is uncertain if many of them can now be
+procured at all. The collector of modest means need not, however, regret
+that the older and rarer examples of Chéret are beyond his reach, for
+the artist's more recent posters are the best that he has accomplished.
+For a comparatively small outlay, one may secure the flower of Chéret's
+work. Amongst the most valuable of his posters are two, of very large
+size, designed to advertise some Arabs who appeared with the Paris
+Hippodrome when it visited London in 1887. The price asked for them
+is over two pounds. They seem to have escaped the attention of French
+collectors from the fact that they were posted exclusively in London.
+The set of four
+
+[Illustration: 0386]
+
+Loie Fuller bills, in all of which the design is the same but the
+colouring different, is worth between thirty and forty shillings.
+These designs are among the most daring and characteristic specimens
+of Chéret's amazing colour, and as they only measure forty-nine by
+thirty-three inches, they are of manageable size, and should find
+their way into the portfolio of every collector. The set of unlettered
+decorative panels which were described in an earlier part of the book,
+is at present sold by all dealers for five pounds. It goes without
+saying that proofs before letters, or prints on special paper, of the
+posters of Chéret, or of nearly any other artist, are much more valuable
+than ordinary copies.
+
+Most of, the posters of other living French artists may still be
+procured for a few shillings, but it is extremely improbable that such
+a state of things will long continue to be the case. Already examples by
+men of the modern school, such as Toulouse-Lautrec, Anquetin, Bonnard,
+Steinlen, and Ibels, are in great demand, and collectors should use the
+present opportunity to procure a series of these curiously interesting
+designs before the prices rise. Even now, Lautrec's first attempt,
+"Le Pendu," has become _rarissime_, and is valued at something over a
+sovereign. What has happened in this case will doubtless happen in the
+case of "La Reine de Joie,"
+
+"Jane Avril," and Lautrec's other posters. The designs of Grasset
+are rapidly taking their place by the side of those of Chéret in the
+estimation of collectors, with the result that several of them command
+large prices. Thus the "Librairie Romantique," which was offered in 1891
+for three francs, was priced by the same dealer in November, 1894, at
+twenty. What is going on in the case of Chéret, Grasset, and Lautrec, is
+going on, though it may be somewhat less rapidly, in the case of
+those other artists who have assisted to make the French _affiche_ the
+charming and artistic thing it is.
+
+The posters of those artists who were the pioneers of the artistic
+poster movement in England are extremely rare. They worked in the days
+before the English collector existed, and any copies of their designs
+not actually posted, probably fell into the hands of the waste-paper
+dealer. I have been unable to trace any copies of the advertisement done
+by Fred Walker for "The Woman in White," but the original design has
+been recently exhibited in London, and the price put upon it by its
+owners is seventy guineas. Copies of Mr. Walter Crane's "Hippodrome"
+bill are extremely rare, as are those designed by Professor Herkomer for
+the "Magazine of Art," "Black and White," and the exhibition of his own
+works. Turning to the younger men, it is interesting to note that Mr.
+Dudley Hardy's "Yellow Girl" sells in Paris for twenty francs, the large
+"Gaiety Girl" for half as much, and the smaller bills for the same play
+for five francs. The first poster which this artist did for "St. Paul's"
+is very difficult to meet with; it will doubtless be among the most
+valuable of Mr. Hardy's designs. Mr. Beardsley's "Avenue" poster is
+quoted neither by Mr. Bella nor M. Sagot, and it may therefore be
+concluded that it is almost impossible to obtain it. The other posters
+of this designer are steadily increasing in value, and are
+eagerly sought for by collectors on both sides of the Channel. Mr.
+Greiffenhagen's "Pall Mall" poster, which has met with much success
+abroad, is worth about half a sovereign. The dainty little bill which
+Mr. Wilson Steer did for the exhibition of his paintings at the Goupil
+Gallery fetches about the same amount, and is rapidly becoming scarce.
+It is pleasant to think that the early efforts of English artists are
+welcomed by French collectors as enthusiastically as the masterpieces of
+French artists by collectors in England.
+
+The poster is obviously difficult to collect, because of its size.
+Not all of us are proprietors of such an immensity as the Chicago
+Exhibition. Most of us, on the other hand, could paper a room with
+posters of Lautrec alone. Everybody, however, can put the smaller bills
+into a portfolio, while the larger ones may be mounted as ordinary
+school maps. The collecting of pictorial posters needs nothing more than
+a little heroism.
+
+In the foregoing chapters, I have attempted to outline the history of
+art as applied to the poster, and to give an account of the pictorial
+placard in the present state of its development. The number of names,
+eminent in the history of various modern arts and crafts, who have
+applied themselves to the production of the pictorial poster seems to
+me to justify the publication of this book. The fact that men so highly
+endowed as Chéret and Lautrec deliberately choose to appeal to the
+public chiefly by means of the _affiche_, well knowing that their
+gallery is the common hoarding, places the illustrated poster outside
+the bounds of ridicule. A modern art critic of high repute and of
+enormous energy has assured us that, in these days, to neglect the
+poster is mere folly on the part of those who care for the application
+of taste and skill to the objects of everyday life. We are apt to talk
+of artistic periods; periods when the most ordinary objects had an
+aesthetic character of their own. It seems to me to be full of promise
+for the future that the hoarding should be among the first necessities
+of modern civilization to be rendered charming by the skill and
+imagination of the artist. Art is generally supposed to be inimical
+to commerce, and commerce inimical to art, yet here we have the two
+combining to the advantage of both, and succeeding in making the
+beautiful an incident of the necessary.
+
+[Illustration: 0391]
+
+
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Picture Posters, by Charles Hiatt
+
+*** END OF THIS PROJECT GUTENBERG EBOOK PICTURE POSTERS ***
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+<html xmlns="http://www.w3.org/1999/xhtml" lang="en">
+  <head>
+    <title>
+      Picture Posters, by Charles Hiatt
+    </title>
+    <style type="text/css" xml:space="preserve">
+
+    body { margin:5%; background:#faebd0; text-align:justify}
+    P { margin-top: .75em; margin-bottom: .75em; }
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+    .mynote    {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;}
+    .toc       { margin-left: 10%; margin-bottom: .75em;}
+    .toc2      { margin-left: 20%;}
+    .indent5   { margin-left: 5%;}
+    .indent10  { margin-left: 10%;}
+    .indent15  { margin-left: 15%;}
+    .indent20  { margin-left: 20%;}
+    .indent30  { margin-left: 30%;}
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+
+
+<pre>
+
+The Project Gutenberg EBook of Picture Posters, by Charles Hiatt
+
+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: Picture Posters
+       A Short History of the Illustrated Placard with Many
+              Reproductions of the Most Artistic Examples in all Countries
+
+Author: Charles Hiatt
+
+Illustrator: Various
+
+Release Date: May 1, 2014 [EBook #45555]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PICTURE POSTERS ***
+
+
+
+
+Produced by David Widger from page images generously
+provided by the Internet Archive
+
+
+
+
+
+
+</pre>
+
+    <div style="height: 8em;">
+      <br /><br /><br /><br /><br /><br /><br /><br />
+    </div>
+    <h1>
+      PICTURE POSTERS
+    </h1>
+    <h4>
+      A Short History Of The Illustrated Placard With Many Reproductions Of The
+      Most Artistic Examples In All Countries
+    </h4>
+    <h2>
+      By Charles Hiatt
+    </h2>
+    <h5>
+      London: George Bell And Sons New York <br /> <br /> MDCCCXCVI <br /> <br />
+      Second Edition
+    </h5>
+    <div class="fig" style="width:50%;">
+      <img src="images/0009m.jpg" alt="0009m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0009.jpg"><i>Original</i></a>
+    </h5>
+    <div class="fig" style="width:50%;">
+      <img src="images/0010m.jpg" alt="0010m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0010.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br />
+    </p>
+    <hr />
+    <p>
+      <br /><br />
+    </p>
+    <p>
+      <b>CONTENTS</b>
+    </p>
+    <p class="toc">
+      <a href="#link2H_PREF"> PREFACE. </a>
+    </p>
+    <p class="toc">
+      <a href="#link2HCH0001"> CHAPTER I. THE STORY OF THE PICTORIAL POSTER </a>
+    </p>
+    <p class="toc">
+      <a href="#link2HCH0002"> CHAPTER II.&mdash;IN FRANCE DURING THE PRESENT
+      CENTURY </a>
+    </p>
+    <p class="toc">
+      <a href="#link2HCH0003"> CHAPTER III.&mdash;IN FRANCE. THE WORK OF CHÉRET,
+      GRASSET, AND TOULOUSE-LAUTREC </a>
+    </p>
+    <p class="toc">
+      <a href="#link2HCH0004"> CHAPTER IV.&mdash;IN FRANCE: THE WORK OF
+      WILLETTE, FORAIN, STEINLEN </a>
+    </p>
+    <p class="toc">
+      <a href="#link2HCH0005"> CHAPTER V.&mdash;IN FRANCE: THE WORK OF
+      GUILLAUME, PALEOLOGUE, CHOU-BRAC </a>
+    </p>
+    <p class="toc">
+      <a href="#link2HCH0006"> CHAPTER VI.&mdash;IN ENGLAND: FROM FRED WALKER TO
+      DUDLEY HARDY </a>
+    </p>
+    <p class="toc">
+      <a href="#link2HCH0007"> CHAPTER VII.&mdash;IN ENGLAND: THE WORK OF DUDLEY
+      HARDY, AUBREY BEARDSLEY </a>
+    </p>
+    <p class="toc">
+      <a href="#link2HCH0008"> CHAPTER VIII.&mdash;THE WORK OF OTHER
+      CONTEMPORARY ENGLISH DESIGNERS </a>
+    </p>
+    <p class="toc">
+      <a href="#link2HCH0009"> CHAPTER IX.&mdash;IN AMERICA </a>
+    </p>
+    <p class="toc">
+      <a href="#link2HCH0010"> CHAPTER X.&mdash;IN COUNTRIES NOT ALREADY
+      DISCUSSED </a>
+    </p>
+    <p class="toc">
+      <a href="#link2HCH0011"> CHAPTER XI.&mdash;THE PRICE OF THE PICTORIAL
+      POSTER; AND CONCLUDING NOTE </a>
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <hr />
+    <p>
+      <a name="link2H_PREF" id="link2H_PREF"> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      PREFACE.
+    </h2>
+    <p>
+      In the present volume an attempt has been made briefly to trace (the
+      history of the picture poster from the earliest times!) and to comment
+      upon and reproduce some of the most noteworthy examples in various
+      countries. The English and American placards have received special
+      attention, while the best examples of the French school have not been
+      overlooked. With very few exceptions, only posters signed, or
+      acknowledged, by the artists producing them, are included among the
+      illustrations. The whole subject is treated from the point of view rather
+      of art than of commerce. While it is believed that this book is the first
+      which deals in English with the Pictorial Poster, the author desires to
+      recognize his indebtedness to M. Maindron's work, and to the catalogues of
+      M. Sagot and Mr. Bella. The last-named has rendered material aid by
+      lending, for the purpose of reproduction, not a few examples contained in
+      his collection.
+    </p>
+    <p>
+      To name the artists and owners of valuable copyrights who have laid the
+      author under obligations would, however carefully compiled, almost
+      certainly contain serious omissions. It is hoped, therefore, that those
+      whose names would figure in such a list will acquit him of intentional
+      discourtesy or ingratitude. Special thanks are due to Mr. Gleeson White
+      for his editorial work in connexion with this volume; indeed, whatever
+      merits it may possess are due, in no small degree, to his care and
+      assiduity. Although personally unknown to the writer, Mr. Spiel-mann has
+      been so good as to assist materially in the matter of illustration. To the
+      kindness of M. Henri de Toulouse-Lautrec is owing the frontispiece in the
+      shape of a hitherto unpublished study for a poster; while the reproduction
+      of a sketch for the "Phit-Eesi" placard was courteously consented to by
+      Mr. Dudley Hardy, and Messrs. Vaterlow who printed the poster itself. The
+      cover has been specially drawn by Mr. Charles Ffoulkes, to whom the writer
+      desires to express his sincere thanks. The Artistic Supply Company
+      (Limited) have been so good as to consent to the reproduction of
+      unpublished copyright designs by Messrs. Bernard Partridge, Max Cowper,
+      the Brothers Beggarstaff, Sydney Adamscm, Kerr Lawson, A. R. Wilson, and
+      Lewis Baumer. A design, representing Sir Henry Irving as "Don Quixote" is
+      illustrated here owing to the kindness of Miss Ellen Terry, who owns the
+      original.
+    </p>
+    <p>
+      Charles Hiatt
+    </p>
+    <p>
+      October, 1895.
+    </p>
+    <p>
+      <br /> <br />
+    </p>
+    <hr />
+    <p>
+      <br /> <br />
+    </p>
+    <h1>
+      PICTURE POSTERS.
+    </h1>
+    <p>
+      <br /><br />
+    </p>
+    <hr />
+    <p>
+      <a name="link2HCH0001" id="link2HCH0001"> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      CHAPTER I. THE STORY OF THE PICTORIAL POSTER
+    </h2>
+    <p>
+      It would be merely foolish to pretend that the pictorial poster, looked at
+      from the point of view of art, is of the same importance as a portrait by
+      Velasquez or an etching by Rembrandt. Its aesthetic qualities have of
+      necessity to be subordinated to its commercial qualities; the artist is
+      the servant of the tradesman. His first business is not to achieve a
+      decoration, but to call the attention of the man in the street to the
+      merits of an article. He may be fantastic only in so far as his fantasy
+      assists the advertisement; he must ever keep before his eyes the narrow
+      object of his effort. The closest limits are set to his invention; it is
+      not for him to do what he will, but rather to do what he must. Under such
+      circumstances, it is, at the first blush, somewhat surprising that artists
+      have condescended to the poster at all. The bounds of freedom in the cases
+      of painting and of sculpture are, comparatively speaking, so wide that one
+      is not unnaturally amazed that the artist of talent is willing to work
+      within the strict limitations imposed on him in the production of a
+      pictorial poster. And yet, after all, to the ingenious designer there is a
+      certain fascination in the very strictness of these limits; the complexity
+      of the problem allures him, and gives him the appetite for experiment.
+      Moreover, if he believe that art is something more than a vague grace, a
+      non-essential luxury, he is ever anxious to extend her domain, to make her
+      empire universal. He believes it to be his mission to touch some ugly
+      necessity, to inform it with art, and, in doing so, to adorn it. He is
+      restless for new worlds to conquer, for fresh fields to occupy. His ideal
+      is art everywhere, art in all. He would fain give style and grace even to
+      the paraphernalia of commerce: the necessities of trade shall not be
+      hideous if he can make them otherwise. And so it happens that he is
+      willing, nay eager, to turn his attention to the poster, with the result
+      that the hoarding becomes an interesting, even a charming, gallery of
+      designs. What was one of the most hideous of human inventions is
+      transformed into a delight to the eyes. Colour and interest are added to
+      the street; the gay and joyous take the place of the dull and ugly.
+    </p>
+    <p>
+      It follows, supposing that I have stated the case fairly, that it is not
+      derogatory to the dignity, even of a very great artist, to apply his
+      talent to the poster.
+    </p>
+    <p>
+      It is clear that the poster is one of the oldest and most obvious forms of
+      advertisement. It is almost impossible to conceive a time in the history
+      of man, once he had learned to express his thoughts in design or in
+      writing, when the idea of the thing did not exist. It must have been an
+      incident of the most crude and ancient of civilizations; even the
+      cave-dweller in the dim and distant past must surely have possessed the
+      essential idea of it. From the cave-dweller to the comparatively complex
+      civilization of the ancient and greater Egypt is a far cry. That the mural
+      inscription, which is obviously the germ of the poster, flourished
+      exceedingly in the Land of the Pharaohs is matter of history. A papyrus is
+      comprised in the collections of the Louvre, which may fairly be described
+      as a poster. It is dated so early as 146 b.c., and deals at length with
+      the escape of two slaves from the city of Alexandria, offering a reward to
+      anybody who should discover their place of retreat. Still more
+      interesting, though less ancient, is an inscription in Greek, discovered
+      in the Temple at Jerusalem, in 1872, by M. Clermont-Gannerau. It was
+      issued during the reign of Herod the Great, and forbids the entry, by
+      foreigners, to certain parts of the Temple on pain of death.
+    </p>
+    <p>
+      Of the poster in Greece we know very little. Legal inscriptions were
+      undoubtedly written on whitened walls, or on axones, the latter being
+      wooden tablets painted white, and made to revolve slowly on an upright
+      axis. In passing from Greece to Rome, we pass from somewhat fragmentary to
+      comparatively exact: information. The Roman notice-board was called an <i>album</i>,
+      and it is a matter of dispute whether it was white with black letters, or
+      of a dark colour with the text in white. Anybody who took away, destroyed,
+      or mutilated an album was liable to an <i>actio albi corrupti</i>, and to
+      heavy damages besides. It appears to have been invented in the first
+      place, in order to give publicity to the annual edict of the Prætor;
+      subsequently, however, the word album was used to signify any tablet on
+      which a public announcement was inscribed. The ruins of Pompeii have
+      furnished us with at least one interesting fragment of an album, on which
+      are written notices of the most diverse kinds. Amongst them are the
+      following:
+    </p>
+    <h3>
+      FAMILIA. GLADIATORIA VENATIO. ET. VELA.
+    </h3>
+    <p>
+      and:
+    </p>
+    <h3>
+      A. SVETTII. CERII.
+    </h3>
+    <h3>
+      AEDILIS. FAMILIA. GLADIATORIA. PUGNAVIT. POMPEIS. PR. K. IVNIAS. <br />
+      VENATIO. ET. VELA. ERUNT.
+    </h3>
+    <p>
+      and again:
+    </p>
+    <h3>
+      DEDICATIONS THERMARUM. MUNERIS.
+    </h3>
+    <h3>
+      ENAI. ALLEI. NIGIDII.
+    </h3>
+    <h3>
+      MAII. VENALIO. ATHELA.
+    </h3>
+    <h3>
+      SPARSIONES. VELA.
+    </h3>
+    <h3>
+      ERUNT. MAIO. PRINCIPI.
+    </h3>
+    <h3>
+      COLON IÆ. FELICITER.
+    </h3>
+    <p>
+      As for the Roman bookseller, he was in the habit of placarding his shop
+      with the titles of books just published, or about to be published. Take,
+      for instance, the shop described by Martial in the lines:
+    </p>
+    <p>
+      <br />
+    </p>
+    <p class="indent20">
+      " Contra Caesaris est forum taberna,
+    </p>
+    <p class="indent20">
+      Scriptis postibus hinc et inde totis,
+    </p>
+    <p class="indent20">
+      Omnes ut cito perlegas poetas.
+    </p>
+    <p class="indent20">
+      Illinc me pete.
+    </p>
+    <p>
+      <br />
+    </p>
+    <p>
+      The actor has never been inclined to hide his light under a bushel.
+      Advertisement has always been dear to him, and it is not surprising to
+      find that the Roman actor made the most of the opportunity of the
+      publicity offered to him by the <i>album.</i> Not content with having his
+      name inscribed in gigantic letters, he went a step further, and
+      anticipated the illustrated <i>affiche</i>. Just as Sarah Bernhardt
+      employs the decorative skill of Grasset to depict her as Joan of Arc, so
+      did the old Roman actor employ Callades, an artist mentioned very
+      favourably by Pliny, to portray him in his favourite parts. Callades would
+      seem to have been the Chéret of his age: he was the great artistic
+      advertiser of ancient Rome, just as Chéret is the great artistic
+      advertiser of modern Paris.
+    </p>
+    <p>
+      It is obvious, then, that the idea of the illustrated poster existed among
+      the Romans: the difference between Callades and Chéret is one of method
+      rather than of vital principle. And even the difference in method is
+      slight.
+    </p>
+    <p>
+      Of the poster in the time which immediately succeeded the fall of the
+      Roman Empire we have very little trustworthy information. It is possible
+      that the Romans introduced the album into Gaul and into Britain, and that
+      the sight of it became as familiar to the inhabitants of Eboracum and
+      Uriconium as it was to the natives of Rome and Pompeii. A French historian
+      of distinction has stated that the <i>affiche</i> was employed by the
+      earliest of the kings of France, but this statement can hardly be said to
+      be borne out by facts. It is at least certain that the signboard, which is
+      a variation of the pictorial poster, was employed in the early part of the
+      Middle Ages. The poster, unless illustrated, would have been useless in a
+      community in which the art of writing was held effeminate, in which the
+      most illustrious knight openly boasted of his inability to sign his name.
+      The principal means of advertisement at that time was the public crier. As
+      early as the twelfth century the criers of France formed an organized
+      body, "for," as Mr. Sampson tells us in his <i>History of Advertising</i>,
+      "by a charter of Louis VII. granted in the year 1141 to the inhabitants of
+      the province of Berry, the old custom of the country was confirmed,
+      according to which there were to be only twelve criers, five of whom
+      should go about the taverns crying with their usual cry, and carrying with
+      them samples of the wine they cried in order that people might taste. For
+      the first time they blew the horn they were entitled to a penny, and the
+      same for every time after, according to custom.... These wine-criers are
+      mentioned by John de Garlando, a Norman writer, who was probably
+      contemporary with William the Conqueror." The wine-crier is frequently
+      mentioned in early French street-ballads. To instance one of them:
+    </p>
+    <p class="indent20">
+      "Si crie l'on en plusors leurs
+    </p>
+    <p class="indent20">
+      Si bon vui fort a trente deux
+    </p>
+    <p class="indent20">
+      A seize, a douze, a six, a huiet."
+    </p>
+    <p>
+      In England also the crier was an early institution, for we find one Edmund
+      le Criour mentioned in a document dated 1299. Even when the crier was the
+      pre-eminent advertiser, the poster, or at least the handbill, had its
+      place. At first the bills were written, but almost as soon as Caxton
+      introduced the newly-discovered art of printing they were produced by that
+      method. Perhaps the earliest English poster is that by which Caxton, about
+      the year 1480, announced the "Pyes of Salisbury Use," at the Red Pole in
+      the Almonry at Westminster. The size of this broadside is five inches by
+      seven, and the text runs as follows:
+    </p>
+    <p>
+      "If it please any man spirituel or temporel to bye our pyes of two or thre
+      comemo-racio's of Salisburi use, emprunted after the form of this prese't
+      lettre, which ben wel and truly correct, late hym come to West-monster,
+      into the almonestrye at the reed pole ane he shall have them good and
+      chepe.
+    </p>
+    <p class="indent30">
+      "Supplico stet cedula."
+    </p>
+    <p>
+      The "pyes" in question, it may be noted, were a series of diocesan rules.
+    </p>
+    <p>
+      It is in the sixteenth century that we meet with the poster properly so
+      called. For example, we have a royal proclamation of François I relating
+      to the police of the city of Paris, which runs: "Nous voulons que ces
+      présentes ordonnances soient publiées tous les moys de l'an, par tous les
+      quarrefours de cette ville de Paris et faux bourgs d'icelle, à son de
+      trompe et cry public. Et néantmoins quelles soient attachées a un tableau,
+      escriptes en parche-main et en grosse lettre, en tous les seize quartiers
+      de ladite ville de Paris es esdiétz faux bourgs, et lieux les plus
+      éminents et apparens d'iceulx, afin qu'elles soient cognues et entendues
+      parfun chacun. Et qu'il ne soit loysible oster les dictz tableaux, sur
+      peine de punition corporelle, dont les dictz commissaires auront la charge
+      chacun en son quartier."
+    </p>
+    <p>
+      The words "attachées a un tableau, escriptes en parchemain et en grosse
+      lettre" leave no doubt that the poster as we now know it was a usual
+      method of advertisement in the reign of François Ier. The <i>affiche</i>
+      soon after received the attention of the French legislature, for the
+      production and exhibition of posters of certain kinds in France, was
+      expressly forbidden by "un arrêt du Parlement" dated the 7th of February,
+      1652. To publishers and booksellers, however, the privilege of posting the
+      titles of their new books was specially reserved.
+    </p>
+    <p>
+      As printing became less expensive and methods for the mechanical
+      reproduction of pictures and designs were discovered, it needed no great
+      ingenuity to add emphasis to the poster by means of pictorial
+      illustration. Acrobats, the stall-keepers at fairs on the ice, and the
+      like, were speedily induced to adorn their advertisements with rude
+      drawings, while Royal proclamations were usually decorated heraldically.
+      Early in the eighteenth century, the bills announcing the departure and
+      arrival of coaches were headed by pictures, as for example the one which
+      related to the Birmingham coach in 1731.
+    </p>
+    <p>
+      Even earlier in date, there are illustrated advertisements relating to the
+      Roman Catholic church. One of these, produced in France, dated 1602, is
+      very curious and elaborate in design. While, however, many posters such as
+      this are profoundly interesting to the archaeologist, they can hardly be
+      considered works of art. It is not until the middle of the present century
+      is reached that we find important examples of pictorial poster
+      deliberately planned by an artist. The modern artistic poster movement, as
+      we shall see in the next chapter, had its origin in Paris some fifty years
+      ago.
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <hr />
+    <p>
+      <a name="link2HCH0002" id="link2HCH0002"> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      CHAPTER II.&mdash;IN FRANCE DURING THE PRESENT CENTURY
+    </h2>
+    <p class="pfirst">
+      <span class="dropcap" style="font-size: 4.00em">A</span>s we have seen,
+      the idea of the poster, and even of the pictorial poster, is an extremely
+      ancient one, but it is only at the commencement of the present century
+      that distinguished designers deliberately attempted to make the pictorial
+      poster a work of art. The few posters, at once pictorial and artistic,
+      which are of earlier date than the time in question, are artistic by
+      accident rather than by deliberate intention. So early, however, as the
+      year 1836, we find a really distinguished French artist, Lalance,
+      producing a poster. Lalance was, perhaps, the pioneer of pioneers, and his
+      advertisement for the book, "Comment Meurent Les Femmes," if not of great
+      artistic interest, cannot be overlooked in any book dealing with the
+      history of art as applied to the poster. Only a fewr copies exist.
+      Immediately succeeding him, we have Célestin Nanteuil engaged in producing
+      an advertisement for an edition of "Robert Macaire," dated 1837. The year
+      following, Rafifet brought out his "Napoléon de Norvins." This work is
+      signed as well as dated. Raffet, in addition to the "Napoléon de Norvins,"
+      designed two more posters dealing with the career of the great emperor as
+      well as the history of Algeria. Very soon after comes an important <i>affiche</i>,
+      "Le Prado," by Eugène Gauché, and from that time the artistic poster
+      became an established institution.
+    </p>
+    <p>
+      It may be fairly stated that the direct cause of the artistic poster in
+      France was the illustrated book. The illustrated book, issued in weekly or
+      monthly numbers, has always appealed keenly to the French, and it is usual
+      to give the first number for nothing to all who care to ask for it. The
+      illustrators of these books were very frequently induced by the publishers
+      of them to do a poster advertising the edition of the works they had
+      illustrated. Sometimes one of the illustrations in the book was merely
+      enlarged and lithographed, but more generally the artist made a special
+      design. Perhaps, at the time, the most widely known among French producers
+      of the <i>affiche illustré</i> was Gavarni. The vogue for the works of
+      this eminent illustrator and satirist is perhaps not so great as it was
+      twenty years ago. At all events, the value of his works is not nearly so
+      great as it was then, and it has become usual to talk of him in a manner
+      which is patronizing rather than genuinely appreciative. It may be that
+      his
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0001" id="linkimage-0001"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0034m.jpg" alt="0034m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0034.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      savage and grotesque point of view discounts his merits as an artist. His
+      power and originality, however, few will deny.
+    </p>
+    <p>
+      Among the posters which he designed, one of the most characteristic is the
+      "Oeuvres Choisis." The original is extremely rare,
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0002" id="linkimage-0002"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0035m.jpg" alt="0035m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0035.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      but a copy exists in a folio volume in the British Museum, in which one or
+      two other posters by Gavarni will be found. For the "Almanach Imperial,
+      1846," by
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0003" id="linkimage-0003"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0036m.jpg" alt="0036m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0036.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      E. Marco de S. Hilaire, illustrated by Bertrand, a poster (which was,
+      perhaps, an enlargement of the cover) exists. It is a very
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0004" id="linkimage-0004"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0037m.jpg" alt="0037m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0037.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      OUVRAGE COMPLET, a jingo affair, representing the French emperor standing
+      on the globe with the imperial eagle of France at his feet. Of a little
+      later date are several interesting posters by Grandville. Amongst them are
+      "Les Metamorphoses du Jour" (of which a number
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0005" id="linkimage-0005"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0038m.jpg" alt="0038m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0038.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      of pigs in different costumes is the main feature), "Des Animaux," "Ma
+      Tante," "Petit Misère," and "St. Helène." Of the two latter I need say
+      nothing, since they are reproduced here, save that they are included in
+      the collection of the British Museum. An illustrated poster very
+      characteristic of
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0006" id="linkimage-0006"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0039m.jpg" alt="0039m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0039.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      its period, insomuch as it is intensely grotesque, is the "Voyage ou il
+      vous plaira," by Tony Johannot. Its central figures are a monstrous dwarf
+      holding a lantern, a crouching dragon, and an immense notice-board. An <i>affiche</i>
+      which is, perhaps, of
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0007" id="linkimage-0007"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0040m.jpg" alt="0040m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0040.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      even more general interest, is one done for an illustrated edition of "Don
+      Quichotte," in which the very perfect, gentle knight is represented with a
+      grotesqueness which would certainly have astonished Cervantes himself. Of
+      a similar kind is the "Nains Célèbres," by E. de Beaumont. An illustrated
+      poster of a kind utterly different to the one last discussed is by T. H.
+      Frère. It was designed for the advertisement of a work entitled "La
+      Touraine," by Stanislas Bellanger de Tours. Under no circumstances should
+      one overlook an <i>affiche</i> of about the same period on account of the
+      great personality of its designer. It is very generally admitted that the
+      name of Edouard Manet is one of the greatest in the history of modern
+      painting. It would indeed be difficult to over-estimate the extent of his
+      influence on the pictorial art of the day. The poster reproduced in these
+      pages is not unworthy his great talent. It is curious to notice that Manet
+      and Fred. Walker, an English artist of about the same time, as to whose
+      genius all are agreed, should have been at one in their endeavour to make
+      the illustrated poster artistic as well as merely pictorial.
+    </p>
+    <p>
+      I have not attempted to deal with any save the most prominent of the great
+      number of French designers who took part in the poster movement during the
+      fifties. Their names and the titles of some of their works will be found
+      in the first catalogue of M. Ed. Sagot, and valuable criticism is
+      contained in the pages of M. Maindron.
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0008" id="linkimage-0008"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0042m.jpg" alt="0042m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0042.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br />
+    </p>
+    <hr />
+    <p>
+      <a name="link2HCH0003" id="link2HCH0003"> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      CHAPTER III.&mdash;IN FRANCE. THE WORK OF CHÉRET, GRASSET, AND
+      TOULOUSE-LAUTREC
+    </h2>
+    <p class="pfirst">
+      <span class="dropcap" style="font-size: 4.00em">S</span>o many
+      contemporary French artists are designing posters, that a single chapter
+      dealing with them all would be of an alarming length. I have therefore, in
+      the first place, separated from their fellows three who seem to me
+      curiously individual and worthy of careful consideration. Of the men whose
+      names head this chapter, pre-eminence is due, for various reasons, to
+      Jules Chéret, whose position, in the matter of poster-designing, is quite
+      without parallel.
+    </p>
+    <p>
+      It may be that men of rarer, of more fascinating, talent have now and
+      again devoted themselves to the <i>affiche</i>; but none of them can
+      compare with Chéret in the magnitude and curiosity of his achievement.
+      Many have produced charming wall pictures: nobody, save Chéret, has made
+      an emphatic mark on the aspect of a metropolis. Paris, without its
+      Chérets, would be Paris without one of its most pronounced
+      characteristics; Paris, moreover, with its gaiety of aspect materially
+      diminished. The great masses of variegated colour formed by Chéret's
+      posters greet one joyously as one passes every hoarding, smile at one from
+      the walls of every café, arrest one before the windows of every kiosque.
+      The merits of the Saxoléine lamp, the gaieties of the Moulin Rouge, the
+      charms of Loie Fuller, the value of a particular brand of cough-lozenges,
+      are insisted upon with a good-humoured vehemence of which Jules Chéret
+      alone appears to know the secret. Others, in isolated cases, have possibly
+      achieved more compelling decorations, but none can pretend to a success so
+      uniform and so unequivocal. Few men as richly endowed with the gift of
+      decoration would! have been content to produce work which, were it not for
+      the portfolio of the collector, would be of an entirely ephemeral
+      character. It must be irritating to the artist to watch the gradual
+      destruction of his chefs-d'oeuvre, condemned as they are to be torn by
+      every wind, soaked by every shower, blistered by the sun, blurred by the
+      fog. It is natural that he should turn his eyes longingly to the
+      comparative permanence of canvas, marble, or bronze; and it says much for
+      Chéret's confidence in his artistic mission for his nice realization of
+      his possibilities and limitations that he has remained faithful to the <i>affiche</i>
+      for over twenty years. Now and
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0009" id="linkimage-0009"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0046m.jpg" alt="0046m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0046.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0010" id="linkimage-0010"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0048m.jpg" alt="0048m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0048.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      again, it is true, he has turned aside to do work of more universally
+      recognized and more pretentious a character, and the very fact that he has
+      touched scarcely anything which he has not adorned, emphasises his
+      fidelity to a branch of art until quite recently despised and held of
+      little moment. It is, indeed, mainly owing to this devotion, to this
+      lavish expense of talent, that the poster is not even now considered
+      beneath the dignity of the collector. The judicious, as soon as their eyes
+      fell upon Chéret's vast lithographs, decided that he was no mere
+      colour-printer's hack, but an artist whose work would have to be reckoned
+      with. There was something positively alluring in the spectacle of a man
+      who calmly placed his gift at the disposal of the tradesman, who accepted
+      without murmur the limitations which the tradesman imposed upon him. It is
+      possible that, had it not been for the circumstances of his life, the
+      streets of Paris would have remained undecorated, so far as Chéret was
+      concerned, to this day. Commencing as the humblest of lithographers,
+      Chéret did not take up art of set intention, but passed irresistibly,
+      though it may be unconsciously, into it. After long years of patient and
+      tedious work as an ordinary lithographer, at the dawn of the year 1866, he
+      commenced what was destined to be the most notable series of pictorial
+      posters in existence, a series containing over a thousand items, and one
+      which happily has yet to close. It is doubtless the conditions of his
+      early life, the lessons learned while under the yoke of trade, that have
+      enabled Chéret to appreciate to the full that the first business of an
+      advertisement is to advertise. Avoiding, therefore, all subtle harmonies,
+      he goes in for contrasts of colour, violent, it is true, but victorious in
+      their very violence. Blazing reds, hard blues, glowing yellows,
+      uncompromising greens, are flung together, apparently haphazard, but in
+      reality after the nicest calculation, with the result that the great
+      pictures, when on the hoardings, insist positively on recognition. One
+      might as well attempt to ignore a fall of golden rain, as to avoid
+      stopping to look at them; they are so many riots of colour, triumphant in
+      their certainty of fascinating and bewildering the passerby.
+    </p>
+    <p>
+      As may be imagined, Chéret's skill has fullest scope when dealing with the
+      lightest and gayest subjects: a <i>cascade de clowns</i>&mdash;to borrow a
+      phrase of Huysman&mdash;an entrance of ballet girls; a joyous troupe of
+      children, contented because toy-laden; these, and the like, are subjects
+      most congenial to him. His style is essentially the outcome of the day. It
+      possesses no decorative forerunners; it is not a thing derived; its
+      parents are the gaieties of modern Paris. It is intensely actual, and in
+      its actuality lies, it
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0011" id="linkimage-0011"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0052m.jpg" alt="0052m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0052.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      seems to me, its greatest claim to consideration. It is infused with a
+      somewhat hectic gaiety which holds a not unimportant place in the lives of
+      us suffering from this "sick disease of modern life." Of the sick disease
+      itself, Chéret gives no hint. He is unflagging in his vivacity, unswerving
+      in his insistence on the <i>joie de vivre</i>; instead of pondering over
+      the inevitable sorrow of life, he busies himself depicting the naïve grace
+      of the child, the elegance of the mondaine. His gifts lead him inevitably
+      to such subjects. His merit as a draughtsman lies, in part, in vivacious
+      rather than correct line: gaiety, as we have seen, is the chief quality of
+      his colour: his composition is remarkable on account of the piquancy and
+      appropriateness of its detail. He chooses with unerring fidelity the
+      subjects suited to his temperament and his gifts. These subjects are not
+      of infinite variety, and it follows that if one sees a great quantity of
+      Chéret's work together, one becomes aware of a certain feeling of
+      monotony. One can be satiated even of Chéret's gaiety and joyousness.
+    </p>
+    <p>
+      To attempt any account of Chéret's thousand and more posters, is obviously
+      impossible in any but an elaborate monograph devoted exclusively to him. I
+      can do no more here than comment on a few of the most striking. It may be
+      stated generally, that while the earlier ones are rarest because most
+      difficult to procure, the more recent designs show the artist at his best.
+      A mastery of chromo-lithography such as his, cannot be obtained without
+      many essays, some of which are foredoomed to failure. In addition, Chéret
+      has gradually improved alike in the splendour of his colour, and the
+      disposal of his pattern. Perhaps he has never been happier in his
+      treatment of children than in one or two of the "Buttes-Chaumont" series.
+      The joy of the little ones in the possession of their new playthings is
+      contagious. Utterly different in kind, though not less conspicuously
+      successful, is "Les Coulisses de l'Opéra au Musée Grevin," a delightfully
+      piquant representation of a group of premières danseuses in the
+      traditional costume. As a specimen of amazingly effective and strangely
+      beautiful colour, it would be difficult to exceed the "Loie Fuller"
+      series; while, in the matter of pert gracefulness, Chéret has done nothing
+      more delicious than the chic little lady in the yellow dress who smiles at
+      you in the "Pantomimes Lumineuses." Anybody who could resist her
+      fascinations would be a rival to St. Anthony. No collector of course, will
+      overlook the great series of <i>affiches</i> which Chéret has contrived
+      for the Folies Bergère, the Moulin Rouge, the Alcazar d'Eté, and similar
+      places of amusement In order to sum up his talent as a designer of
+      posters, Chéret has produced four decorative panels, which, although
+      without lettering,
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0012" id="linkimage-0012"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0056m.jpg" alt="0056m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0056.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0013" id="linkimage-0013"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0058m.jpg" alt="0058m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0058.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0014" id="linkimage-0014"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0060m.jpg" alt="0060m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0060.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0015" id="linkimage-0015"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0062m.jpg" alt="0062m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0062.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0016" id="linkimage-0016"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0064m.jpg" alt="0064m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0064.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0017" id="linkimage-0017"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0066m.jpg" alt="0066m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0066.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      are posters to all intents and purposes, and would take their places on a
+      hoarding quite admirably. The subjects are most happily chosen; who,
+      better than Chéret, could symbolize, in manner light and fantastic, music,
+      comedy, pantomime, and dancing? The designs gain immensely, insomuch as
+      they are not disfigured with a legend, for, in spite of the fact that the
+      disposal of the lettering is of the very essence of a poster, Chéret, for
+      some reason known only to himself, leaves that detail of his work to
+      another designer, with results by no means uniformly fortunate. Before
+      leaving Chéret, it is only just to him to point out that his work loses
+      more than that of almost any other artist, in the process of reproduction
+      in black and white. It is impossible to convey any idea of his amazing
+      colour by means of a halftone block, and therefore, fewer reproductions of
+      his designs are included in these pages than might be expected. Needless
+      to say, he suffers greatly from more or less unskilful imitators. For this
+      reason, combined with the fact that he is engaged on a series of
+      decorations for the Paris Hôtel de Ville, his excursions into the art of
+      the hoarding will be less frequent than has been the case hitherto.
+    </p>
+    <p>
+      To turn from Chéret to Eugène Grasset, is to turn to an artist in whose
+      art career the poster is merely an incident. Grasset is a paragon of
+      versatility; there are literally no bounds to his comprehensiveness.
+      Besides being a painter of distinction, he has designed everything, from
+      stained glass to book-covers, from piano-cases to menus. Unlike Chéret, he
+      has been profoundly impressed by the work of old decorative designers; he
+      has certainly not disdained to borrow; his borrowings, however, have been
+      at once legitimate and intelligent. The Japanese, the old Italians, and in
+      a less degree, the ancient Greeks, have been laid under contribution, with
+      results which, if not amazingly original, are at least delightful. It
+      would be idle to pretend that, from the standpoint of the advertiser,
+      Grasset is the equal of Chéret. His sense of beauty, his passion for
+      decoration, make it impossible for him to achieve the daring and
+      victorious colour which is so effective in the work of Chéret. A panel of
+      his posters, side by side with a panel of those of Chéret, is as a
+      beautiful and somewhat quiet-hued wall-paper to a cascade of flowers of
+      every conceivable colour. While, however, this is an important matter from
+      the advertiser's point of view, it is of little moment to the collector,
+      whose primary object is to fill his portfolios with things of beauty. At
+      times, indeed, Grasset does achieve irresistible advertisement; nobody,
+      for instance, could overlook the superb representation of Sarah Bernharct
+      as "Jeanne d'Arc," standing with splendid disdain amidst a forest of
+      spears
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0018" id="linkimage-0018"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0070m.jpg" alt="0070m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0070.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0019" id="linkimage-0019"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0072m.jpg" alt="0072m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0072.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      and a shower of arrows, and waving above her head a great silken banner
+      embroidered with the <i>fleur-de-lis</i>. Again, one lingers before the
+      "Fêtes de Paris," attracted by its
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0020" id="linkimage-0020"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0074m.jpg" alt="0074m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0074.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      fine decorative qualities. Of an entirely different kind is the delicious
+      little poster which the artist did for an exhibition of his own work at
+      the Salon des Cent in 1894; in the naïve simplicity of the thing, combined
+      with its fine decorative quality, there is a hint of Botticelli and the
+      old Italians. The contrast between this poster, slightly archaic as it is,
+      and the realistic "Odéon Théâtre" is complete. The latter represents a
+      charmingly graceful girl, in a delicious modern gown, watching a play. She
+      is accompanied by a highly-proper looking matron, whose self-importance is
+      enhanced by the possession of a handsome dress and a wealth of jewels.
+      Very pretty, again, is the "Librairie Romantique," with the façade of
+      Nôtre Dame in the background. Less worthy of Grasset is the "A la Place
+      Clichy," which, in spite of the majestic old oriental who descants on the
+      merits of an elaborate carpet to a critical European, is somewhat
+      commonplace. Among the other productions of this artist, some of them
+      excellent, but not calling for special description, are the "Histoire de
+      France," "Napoléon," "Chocolat Mexicain," and "L'Encre Marquet," as well
+      as those done to advertise a work on the capital cities of the world, and
+      the exhibition of the productions of French decorative artists held in
+      1893 at the Grafton Gallery. A bill designed for the South of France
+      Railway Company is curious, insomuch as it is unlike the other productions
+      of its designer. It consists of a series of pleasant little landscapes
+      wreathed in the characteristic fruits and flowers of the Riviera. The
+      colour is striking and the
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0021" id="linkimage-0021"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0076m.jpg" alt="0076m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0076.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0022" id="linkimage-0022"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0078m.jpg" alt="0078m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0078.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      poster full of sunshine. It is one of the merits of Grasset that he is
+      not, even in what is to him so small a matter as poster-designing, the
+      slave of a single style,
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0023" id="linkimage-0023"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0080m.jpg" alt="0080m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0080.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      although all his works are obviously from the same hand. Before leaving
+      him, it should in fairness be stated that the lettering of his bills is
+      ever appropriate and decorative. True artist that he is, he neglects no
+      detail whatsoever; in the smallest thing
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0024" id="linkimage-0024"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0081m.jpg" alt="0081m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0081.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      as in the greatest, he is not merely scrupulous, but even fastidious.
+    </p>
+    <p>
+      It is no dispraise of Chéret and Grasset to say that the work of Henri de
+      Toulouse-Lautrec is more fascinating than theirs. The designs of the
+      former two are alike in
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0025" id="linkimage-0025"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0082m.jpg" alt="0082m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0082.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      that they are charming, though charming in manner entirely different;
+      Lautrec's productions, alluring and powerful as they are, can by no
+      stretch of the word be so described. He does not seek to attract you by
+      joyousness of colour or grace of pattern, but rather to compel your
+      attention by the force of his realism or the curiosity of his
+      grotesqueness. For his posters are at once realistic and grotesque; they
+      are delineations of life as seen by a man who, possessing the most acute
+      powers of observation, is poignantly impressed by the incongruities of
+      modern life, the physical peculiarities of modern men. He has some points
+      of similarity with Hogarth, with Rowlandson; and the like, but his art is
+      quite non-moral; he has no mission to depict vice as either hideous or
+      ridiculous. His extraordinary "Reine de Joie," perhaps the most powerful,
+      and certainly the least agreeable, of his posters, is a statement of fact
+      rather than a criticism. This great bill, owing to the vehemence of the
+      expression on the faces of the three people it represents, to the
+      wonderful vigour of its line, to its extraordinarily effective, though
+      simple, colour, is one of the most powerful designs of the kind ever
+      accomplished. It may be doubted whether any book has been advertised in so
+      unforgettable a manner as <i>La Reine de Joie</i>.
+    </p>
+    <p>
+      For the Paris <i>café chantant</i> artiste who possesses the charming name
+      of Jane Avril, this designer has devised a grotesque decoration, which
+      could not fail imperiously to call attention to her talents as a dancer.
+      Inspired it may be by her name, it may be
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0026" id="linkimage-0026"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0084m.jpg" alt="0084m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0084.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      by a happy accident, Lautrec has employed a scheme of colour in which are
+      found the pale
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0027" id="linkimage-0027"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0086m.jpg" alt="0086m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0086.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      tulip. Once having seen this work, the name, and indeed something of the
+      personality, of Jane Avril is impressed on one's mind. Moreover, one
+      easily recalls this unassuming poster vividly, when works of art,
+      consecrated by the admiration of generations of critics, are quite
+      forgotten, or only faintly remembered. No man of more passionate and
+      curious talent than Aristide Bruant has ever devoted himself to the
+      business of light amusement, and it was no doubt quite congenial to
+      Lautrec to advertise the performances which he gives in his cabaret.
+      Again, the artist's picture of another entertainer, Caudieux, represented
+      in the act of quitting the stage, is masterly for its indication of
+      movement and its powerful characterization. Bad from the advertiser's
+      point of view, but most interesting from that of the collector, is the
+      extremely rare "Le Pendu," a production which for weird and intense
+      tragedy compares to advantage with any of the artist's posters. Scarcely
+      less rare, though by no means so important, is the <i>affiche</i> done to
+      advertise the performances of La Goulue at the Moulin Rouge. A far more
+      agreeable design is the "Divan Japonais," in which a fearful and wonderful
+      girl, accompanied by a man as fashionable as he seems to be imbecile, is
+      represented under the spell of Yvette Guilbert, whose tall, thin figure is
+      seen across the orchestra, her arms, in the famous black gloves, being
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0028" id="linkimage-0028"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0088m.jpg" alt="0088m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0088.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0029" id="linkimage-0029"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0090m.jpg" alt="0090m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0090.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0030" id="linkimage-0030"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0092m.jpg" alt="0092m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0092.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0031" id="linkimage-0031"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0094m.jpg" alt="0094m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0094.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      crossed in front of her with characteristic nonchalance.
+    </p>
+    <p>
+      It is in no way astonishing that Mile. Guilbert has strongly attracted
+      Lautrec, and that he has frequently made her the subject of his work. No
+      music-hall performer has, so far, approached this brilliant woman in
+      ability or in artistic prestige. Like Patti and Sarah Bernhardt, she is
+      implored to testify to the merits of every brand of soap or every new
+      perfume; like them her reputation extends beyond the bounds of her native
+      place, and she is the admired of several foreign capitals. If the flower
+      of French art and literature assemble to honour Zola, the proceedings are
+      incomplete without a song from her; if the fastidious De Goncourt is
+      presented with the rosette of the Legion of Honour, what more fitting than
+      that she should deliver a recitation? In some degree she sees the life of
+      modern Paris in the same light as Lautrec; her wonderful delineations are
+      realistic as are his, though their realism is touched with a suspicion of
+      the grotesque. Amongst other things, she has inspired Lautrec to a series
+      of illustrations remarkable alike in drawing and colour; and he has not
+      disdained to design lithographs to adorn the covers of different items of
+      her <i>répertoire</i>. Owing to his kindness, I am enabled to reproduce,
+      as the frontispiece to this volume, a sketch for a poster which he
+      designed for her, but which, unfortunately, has never got beyond the
+      experimental stage. It seems to me a specially interesting example of a
+      remarkable talent applied to a very congenial subject. The posters of
+      Lautrec are something more than works of art; they are human documents
+      strangely eloquent of their moment. For this reason, their value may be
+      more permanent than that of the productions either of Chéret or Grasset,
+      delightfully fantastic as are the former, charmingly decorative as are the
+      latter.
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <hr />
+    <p>
+      <a name="link2HCH0004" id="link2HCH0004"> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      CHAPTER IV.&mdash;IN FRANCE: THE WORK OF WILLETTE, FORAIN, STEINLEN
+    </h2>
+    <h3>
+      ANQUETIN, BONNARD, IBELS, VALLOTON, DE FEURE, AND McTIVET
+    </h3>
+    <p class="pfirst">
+      <span class="dropcap" style="font-size: 4.00em">I</span>t is not for a
+      moment to be pretended that the artists with whom this chapter deals are
+      in any sense members of a single school: they have, indeed, many more
+      points of difference than of similarity. I deal with them together,
+      because, speaking roughly, their designs are saturated with the spirit of
+      the day: their decorations are realistic, rather than fantastic or
+      picturesque. They lean towards Lautrec, rather than towards Chéret or
+      Grasset, but they are in no sense his imitators; some of them, indeed, are
+      actually his predecessors.
+    </p>
+    <p>
+      Willette is an artist of such astonishing facility and variety, that he
+      has, comparatively speaking, devoted little time to the <i>affiche</i>,
+      and save in one or two conspicuous instances, he has failed to achieve
+      compelling advertisements. And yet his artistic personality is so curious
+      and so powerful that his posters are nearly all interesting to the
+      collector,-more interesting to the collector, it may well be, than
+      satisfactory to the advertiser. Willette is master of several manners. He
+      can be realistic to the point of brutality, symbolical, graceful; while
+      now and then he is almost austerely classical. There are, happily, few
+      posters so impregnated with race hatred as the anti-Semitic bill intended
+      to forward the artist's candidature at the <i>Elections législatives</i>
+      of the 22nd of September, 1889. The design is ugly in the last degree, but
+      it is, nevertheless, strangely powerful. Very different and very much more
+      pleasing is the lithograph in black-admirably composed and executed&mdash;which
+      advertised the successful pantomime, entitled L'Enfant Prodigue. The
+      design is at once graceful and dramatic, and it is not surprising that a
+      proof before letters is one of the gems of a collection of the posters of
+      Willette. No more interesting souvenir of an experiment which fascinated
+      both Paris and London can be conceived. Again, the bill advertising the
+      International Exhibition of Commerce and Industry, held some time ago at
+      the Champs de Mars (an unlettered proof of which commands no less than two
+      pounds), is very desirable. The little bill in colours bearing the legend,
+    </p>
+    <p>
+      <br />
+    </p>
+    <p class="indent15">
+      "Ainsi qu'un papillon volage,
+    </p>
+    <p class="indent15">
+      A qui passe aujourd'hui, demain sera passé.
+    </p>
+    <p class="indent15">
+      Laisse-toi cuellir au passage
+    </p>
+    <p class="indent20">
+      Papillon d'Actualité,"
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0032" id="linkimage-0032"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0100m.jpg" alt="0100m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0100.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0033" id="linkimage-0033"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0102m.jpg" alt="0102m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0102.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0034" id="linkimage-0034"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0104m.jpg" alt="0104m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0104.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0035" id="linkimage-0035"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0106m.jpg" alt="0106m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0106.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0036" id="linkimage-0036"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0108m.jpg" alt="0108m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0108.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      is pretty, alike in colour and pattern, and has already become rare.
+    </p>
+    <p>
+      Entirely appropriate to its purpose is the "Nouveau Cirque" advertisement,
+      in which clowns, bare-back riders, and performing animals of all
+      kinds-from a frog to an elephant-disport themselves with the utmost <i>abandon</i>.
+      From this to the "Cacao Van Houten," is a far cry. From the point of view
+      of the advertiser, Willette has done nothing better than his life-size
+      study of a Dutch waitress in national costume. The thing is very
+      decorative, and succeeds admirably in attracting attention: another and
+      more complicated design for the same firm is only a shade less successful.
+      This is entitled "La loi défendent le cacao contre le chocolat." The other
+      posters of this artist include the rare "Petite National," the "Evénement
+      Parisien" (which was, I believe, suppressed), the "Courrier Française,"
+      the "Exposition Charlet," and the "Elysée Montmartre." The posters of
+      Willette are marked by variety and ingenuity of invention, and there is
+      little doubt that they will be of permanent value as revelations of a
+      talent as individual as it is powerful.
+    </p>
+    <p>
+      If the artistic poster is an unimportant incident in the career of
+      Willette, it is still more so in that of Forain, whose essays in this
+      direction have been few and far between. Forain is known to nearly every
+      artist in Europe as a great master of black and white.
+    </p>
+    <p>
+      Few, if any, can approach him in technical dexterity, few can express so
+      much in so few lines. Moreover, to his technical mastery is added a
+      searching power of criticism which gives to his work a further, and a most
+      important, interest. In his desire to depict the truth, the whole truth,
+      and nothing but the truth, he (no doubt unconsciously) becomes a moralist.
+      He depicts life from no sentimental point of view; he can be realistic
+      without seeming to appreciate the tragedy which is of the very essence of
+      realism, so that on seeing one of his illustrations of modern life, one
+      receives, apart from technical delight, a distinctly literary impression.
+      Of his posters, perhaps the earliest is one unsigned and without
+      lettering, representing an illuminated garden, in which a woman is
+      depicted in the midst of an explosion of fireworks. Subsequent to this
+      comes a bill to advertise one of the novels of Dubut de Laforest, which
+      bears the artist's signature. The design which announces Forain's
+      political drawings for the "Figaro" is of slight importance, as it was not
+      originally intended for a poster. In spite of this it is by no means easy
+      to meet with. Of greater interest is the "Exposition des Arts de la
+      Femme." It was, however, only when Forain received a commission to produce
+      an illustrated advertisement for a cycle show that he achieved a really
+      memorable poster, a poster of real charm and rare
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0037" id="linkimage-0037"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0112m.jpg" alt="0112m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0112.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0038" id="linkimage-0038"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0114m.jpg" alt="0114m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0114.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      originality. The sport of bicycling seems to have fascinated the <i>Parisienne</i>
+      completely, and Forain has made a charming design, in which she is
+      depicted in complete enjoyment of the fashionable pastime. The colour
+      scheme is restrained and delicate, and the production, which exists in two
+      sizes, should certainly be found amongst the treasures of every amateur of
+      the <i>affiche</i>.
+    </p>
+    <p>
+      The somewhat risky pages of the <i>Gil Bias Illustré</i> have for a
+      considerable time been noticeable to artists, chiefly on account of a
+      series of coloured illustrations by Steinlen. His relentless veracity in
+      depicting the life of the lower classes of the Paris of to-day is almost
+      without rival. No detail of squalor seems to escape him; without a tinge
+      of remorse he proceeds to inform us of the meanest incidents in the
+      tragedy of the poor or vicious quarters of the great city. By reason of a
+      certain emphasis of colour and crudeness of design the art of Steinlen is
+      admirably adapted to the production of such human documents. But it cannot
+      be maintained that, whatever their technical merits, these studies of
+      human misery are other than unpleasant-even painful. It is, therefore,
+      altogether agreeable, when one turns to his essays in the art of the
+      poster, to find his work graceful rather than tragic, urbane rather than
+      mordant. Forsaking his mission of realistic illustration, he becomes gay,
+      dainty, and fanciful as the best of his fellows. Even in a higher degree
+      than the majority of them, he makes his design appropriate to the thing
+      advertised. His decorations are spiced with a certain actuality, and, in
+      being so, insist more effectively on the particular article the merits of
+      which it is their business to proclaim. No better example of this could, I
+      think, be put forward than the "Lait pur de la Vingeannestérilisé," a
+      design which, in view of the material to be advertised, is conceived in
+      the happiest vein. The pretty little girl drinking the milk, so much
+      coveted of the cats which surround her, is less interesting than the
+      animals themselves. The draughtsmanship of the latter is excellent, while
+      there is a hint of that humanity of expression about the creatures which
+      has produced for the work of Landseer so immense a popularity. Not less
+      admirable, and of still greater interest, is the poster designed to
+      advertise the performances of Yvette Guilbert at the Ambassadeurs. Amongst
+      the numerous artists to whom the Sarah Bernharct of the music-halls has
+      given commissions none has been more successful than Steinlen. The poster
+      represents the singer behind the footlights in an attitude pre-eminently
+      characteristic. The thing does not amount to a caricature, as does the
+      hitherto unpublished delineation of Toulouse-Lautrec, but is merely a
+      slightly exaggerated portrait. It is remarkably suggestive of a most
+      alluring and delightful
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0039" id="linkimage-0039"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0118m.jpg" alt="0118m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0118.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0040" id="linkimage-0040"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0120m.jpg" alt="0120m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0120.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      personality. As an advertisement, it must be confessed, it is not all that
+      could be desired. The colour scheme, while very dainty, is not one which
+      insists on its presence on the hoardings, so that the proximity of (for
+      example) a Chéret renders it to some extent ineffective. At the same time,
+      it is one of the most charming designs of the kind in existence, and no
+      collector should fail to possess himself of a copy. It exists in three
+      states: proofs before letters pulled in two tints only, ordinary proofs
+      before letters, and prints after letters. In the former state it is
+      rapidly increasing in value, but, insomuch as the lettering is of the
+      essence of the design, the final state is the most desirable of all. To
+      advertise an exhibition of his own work, Steinlen produced another study
+      of cats, which is almost as agreeable as the "Lait pur." It is in two
+      states: proofs before and after letters. The artist's design for the
+      watering-place, Vernet-les-Bains, is not very important, but his early
+      "Mothu et Doria," in three states, should not be overlooked. Earlier in
+      date than any of the designs I have discussed is the "Trouville" and "Le
+      Rêve." The latter is a pretty composition reproduced in
+      chromotypo-gravure. While the posters of Steinlen are not so striking on
+      the hoarding as those of some of his contemporaries, they are of the
+      highest artistic interest, and will no doubt take a place second to none
+      in the affections of many collectors. It is significant that already the
+      rarest of them are by no means easy to procure.
+    </p>
+    <p>
+      The art of Ibels is as little comprised in the poster as that of Steinlen.
+      It is happily characteristic of young artists of the present day, both
+      here and in France, that painting is not the only god of their aesthetic
+      adoration:
+    </p>
+    <p>
+      they experiment in many mediums, and it is really remarkable in how great
+      a number of such experiments they succeed. What is generally true, is
+      especially so of H. G. Ibels. Like Grasset, he has held an exhibition of
+      his pictures at the Salon des Cent; he has made his mark in the galleries
+      of the Champs de Mars; he has designed the covers of several pieces of
+      music, and of a volume of poems by his brother, entitled "Chansons
+      Colorées"; in addition, he is well-known as a book illustrator. His point
+      of view is somewhat akin to that of Toulouse-Lautrec: he is passionately
+      interested in his own moment, and depicts modern life with similar
+      insistence on its ugly and grotesque aspects. And yet Ibels rarely fails
+      to be decorative, and his style is the outcome of his own artistic
+      personality, rather than the result of study of the work of other men. In
+      his posters he has been conspicuously successful; so much so, that it is
+      difficult to point to a single failure, though, it must be remembered,
+      that as yet his productions have not been very numerous. It is possible
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0041" id="linkimage-0041"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0124m.jpg" alt="0124m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0124.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0042" id="linkimage-0042"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0126m.jpg" alt="0126m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0126.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      that with some the "Mévisto à l'Horloge" will be deemed his best design,
+      but it can in no sense be considered his most original. It represents the
+      actor as Pierrot, and is graceful and pleasing rather than characteristic;
+      indeed, one would almost think that in designing it the artist had been at
+      pains to conceal his personality. Nor is the "Salon des Cent"-a charming
+      and delicate little lithograph-in spite of the ingenuity and fantasy of
+      its grouping of Pierrot, Harlequin and Columbine, the most noteworthy of
+      Ibels' posters. We see him at his most original, in an advertisement for
+      the illustrated paper entitled "l'Escar-mouche," to which he, together
+      with Lautrec, Vuillard, Willette, and Anquetin, contributed drawings. It
+      represents a café of the lower class, such as abounds in the workmen's
+      quarter of Paris. The enormously fat <i>patron</i> enthroned behind the
+      metal-topped bar, the waitress, cloth in hand, clad in her slovenly dress,
+      the <i>ouvriers</i> in typical blue blouses, are studies in which accurate
+      portraiture has been but slightly sacrificed to grotesqueness. The whole
+      scene is admirably conceived, and the colour scheme, though very
+      restrained, is certainly telling. Those who can do so should secure a
+      proof before letters of this work, for the lettering is, I believe, not by
+      the artist himself, and mars the effect of the design, although not in a
+      very marked degree. Another interesting bill is that done for Mévisto's
+      performances at the Scala music-hall; this is of great size and striking
+      originality. But if grotesque force, and the power of reducing scenes of
+      modern lower-class life into decoration, are Ibels' most pronounced
+      characteristics, he can produce posters of the suavest charm. Amongst all
+      the <i>affiches</i> I know, none seems to me more delightful than this
+      artist's "Irène Henry." The <i>café chantant</i> singer whom it represents
+      is justly a popular favourite with the Parisian public from the fact that
+      she infuses into her performances no small amount of personality;
+      moreover, her art is marked by grace and finish. Those who would see her
+      as she appears to audiences at the Horloge, without going there, have only
+      to look at Ibels' poster. With the rarest felicity, he has caught her
+      physical individuality. She is represented in the act of singing in the
+      open air to a crowd in the <i>café</i>, lighted by the familiar circle of
+      white lamps. The line of the figure is most expressive: violet is the
+      predominating colour. This poster is worthy a place in the French music
+      hall series, which includes those designed by Lautrec for Jane Avril, by
+      Steinlen for Yvette Guilbert, and by an artist whom I am about to
+      consider, Anque-tin, for Marguerite Dufay.
+    </p>
+    <p>
+      So far as I know, Anquetin has only produced two <i>affiches</i> of
+      importance, but each
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0043" id="linkimage-0043"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0130m.jpg" alt="0130m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0130.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0044" id="linkimage-0044"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0132m.jpg" alt="0132m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0132.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      of them is worthy of the closest attention. The design for Marguerite
+      Dufay is a piece of triumphant vulgarity. The subject is a very simple
+      one; it is merely a woman of almost impossible fatness who performs at
+      various Parisian music-halls on the trombone. Having stated this, one has,
+      however, given no idea of the extraordinary qualities of this bill. It is
+      safe to say that, once seen, it will never be forgotten; it should have
+      made the fortune of the performer whom it advertises. The mirth of the
+      thing is victorious and infectious; one seems almost to hear the coarse
+      laugh; the ample body in the green dress seems to move as one stares at
+      it. In line, in movement, this poster is, from a certain point of view, a
+      veritable masterpiece. An advertisement which is, it seems to me,
+      altogether more worthy of Anquetin's great talent is one designed for "Le
+      Rire," a recently issued journal. It is an extremely fine lithograph in a
+      single printing, and, as at present it can be procured for a few
+      shillings, it should be in the possession, not only of those who care for
+      posters as such, but also of all who are amateurs of the beautiful art of
+      lithography. In the foreground is the figure of a huge man in mediaeval
+      costume, which, while touched with the grotesque, is splendidly flamboyant
+      At his side he carries a large portfolio, adorned with a grinning mask,
+      while his hands, which are admirably drawn, point towards a crowd of
+      grinning pigmies beneath him. Every one of the crowd is extremely
+      expressive, and the effect of the whole production is enhanced by very
+      excellent lettering. It would be difficult to meet with two <i>affiches</i>
+      more interesting than the "Marguerite Dufay" and "Le Rire," and they place
+      Anquetin amongst the masters of the art of the poster.
+    </p>
+    <p>
+      If Anquetin is an artist of marked originality, so, in a manner totally
+      different, is Pierre Bonnard. Save in the small number of his posters, he
+      resembles Anquetin in hardly anything; on the other hand, his work has
+      points of similarity with the later work of Lautrec. The posters of both
+      these artists are decorative in a curious and somewhat similar sort of
+      way, decorative in spite of their marked grotesqueness. Between the
+      "Confetti" of Lautrec and the "Revue Blanche" of Bonnard there is a
+      distinct decorative affinity. As both of them are dated the same year,
+      1894, it is needless to suggest that either of these intensely personal
+      artists has derived anything from the other; there is, indeed, no evidence
+      whatsoever of imitation, or even influence. Of the two best-known posters
+      of Bonnard, the "France Champagne" is the earlier in point of time, having
+      been published in 1891. It is a lithograph in three colours, and
+      represents an extraordinarily fantastic, and extremely <i>décolletée</i>
+      girl, who holds in one hand a
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0045" id="linkimage-0045"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0136m.jpg" alt="0136m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0136.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0046" id="linkimage-0046"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0138m.jpg" alt="0138m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0138.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0047" id="linkimage-0047"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0140m.jpg" alt="0140m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0140.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0048" id="linkimage-0048"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0142m.jpg" alt="0142m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0142.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      closed fan, and in the other an overflowing glass of champagne, which
+      tumbles about her in a great cascade of foam. The background is yellow and
+      the girl's dress red, while the upper part of the design is occupied by
+      the arms of Paris and the text in large letters. The draughtsmanship is
+      curious and vivacious, and the colouring conspicuously successful. This
+      poster is not large, measuring as it does, only thirty-two by twenty-nine
+      inches. The "Revue Blanche," though of nearly the same size, is much more
+      complicated. In the foreground is a woman in huge hat and cape, which
+      partly conceal her face, at whom an extraordinarily grotesque street
+      urchin points his finger. The background is composed of innumerable
+      advertisements of the <i>revue</i>, which a man in a great coat and silk
+      hat, with his back to the spectator, is reading attentively. All the
+      figures are in a sort of slate colour. The legend is admirably introduced
+      into the foreground by means of huge white letters. Owing to the curiosity
+      of its decoration, this specimen of Bonnard's work is a most desirable
+      possession for the collector.
+    </p>
+    <p>
+      It has been the good fortune of Valloton to produce at least one poster
+      which is excellent from every point of view. Nothing more appropriate to
+      the advertisement of a frivolous burlesque than his "Ah! la Pé. la Pé, la
+      pépinièré" could well be imagined. It represents a characteristic audience
+      at a
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0049" id="linkimage-0049"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0146m.jpg" alt="0146m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0146.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0050" id="linkimage-0050"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0148m.jpg" alt="0148m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0148.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0051" id="linkimage-0051"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0150m.jpg" alt="0150m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0150.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0052" id="linkimage-0052"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0153m.jpg" alt="0153m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0153.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      theatre convulsed with laughter at what is taking place on the stage. The
+      variety of expression on the faces of the spectators is infinite, and the
+      effect of the whole thing is as mirthful as may be. From the advertiser's
+      point of view, I can conceive nothing more completely satisfactory. It
+      exists in colours and in black, and the latter is the rarer. The same
+      artist's "Carte de Paris" would seem already to have become scarce. It is
+      a large lithograph in one colour; an example was shown at the Poster
+      Exhibition at the Royal Aquarium. There is also a large address card
+      designed by Valloton for M. Sagot. While this is not actually a poster it
+      almost amounts to one, and were it to be executed on a large scale, it
+      would doubtless be most successful. It is to be hoped that Valloton,
+      encouraged by his universally recognized success in the art of the poster,
+      will not altogether give up its practice in favour of those other branches
+      of art in which he is distinguished.
+    </p>
+    <p>
+      The style of De Feure, if not so well adapted to poster work as that of
+      some of his contemporaries, is nevertheless very interesting. His most
+      characteristic effort is, perhaps, the "Salon des Cent, 5e Exposition."
+      This design is very modern and very fantastic. It exists in three states&mdash;proofs
+      before letters on vellum, proofs on Japanese paper, and ordinary prints.
+      The proofs before letters command very good prices. Amongst the other
+      posters of De Feure is that done for the performance of the singer, Edmée
+      Lescaut, at the Casino de Paris; for the newspaper "Le Diablotin"; and for
+      the "Paris Almanach." In addition, we must not overlook the pleasant
+      little design for the contents bill of a special issue of "To-Day."
+    </p>
+    <p>
+      The posters of Lucien Métivetare of very unequal merit. On the one hand
+      the designs done by him for Eugénie Buffet, in her realistic <i>répertoire</i>
+      of songs, are extremely distinguished. While, on the other, I could point
+      to examples by this artist which are utterly unworthy his talent. Amongst
+      Métivet's earlier works are "La Famille, journal hebdomadaire illustré,"
+      and "L'Hygiène." A more recent bill advertises "Les Joyeuses commères de
+      Paris," but Métivet's talent is seen at its best in the Eugénie Buffet
+      advertisements, two studies worthy a place amongst the best posters which
+      have come from the hands of contemporary French artists.
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <hr />
+    <p>
+      <a name="link2HCH0005" id="link2HCH0005"> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      CHAPTER V.&mdash;IN FRANCE: THE WORK OF GUILLAUME, PALEOLOGUE, CHOU-BRAC
+    </h2>
+    <h3>
+      BOUTET DE MONVEL, AMAN-JEAN, SCHWÆBE, SINET, JOSSOT, MAYET, AND OTHERS
+    </h3>
+    <p class="pfirst">
+      <span class="dropcap" style="font-size: 4.00em">P</span>rominent among the
+      French designers of posters with whom I have not previously dealt is
+      Guillaume, an artist widely known in England by reason of the admirable
+      illustrations which, from time to time, appear in our periodicals. Save
+      Chéret and Choubrac, few artists have done so much poster work as
+      Guillaume, and not many have maintained so high a level of accomplishment.
+      Vigour, vivacity, and high spirits, rather than beautiful design and fine
+      colour, are the characteristic qualities of posters by Guillaume. He is,
+      it seems to me, seen at his best in the admirable "Extrait de Viande
+      Armour," which is reproduced here. In its way, and looking to the thing to
+      be advertised, nothing better has been done. The gigantic "strong man,"
+      with his huge torso, colossal arms and legs, holding a tiny teacup in his
+      immense hands, is not easily forgotten. The expression on the man's face
+      is inimitable, and the accessories, such as cannons and dumbbells, are
+      most appropriately chosen. The "Chapeaux l'elion" is a more complicated
+      design, representing a crowd of men wearing hats of every conceivable
+      shape. The colour of this design is very good, but its chief merit lies in
+      the facial expression of the different members of the crowd. It would be
+      impossible to conceive any single person in a hat other than the one he is
+      wearing. In another excellent poster we are presented with a very <i>fin-de-siècle</i>
+      young lady riding astride a stork which bears her rapidly through space.
+      It would be hopeless to attempt anything like a complete list of
+      Guillaume's posters, but among the most recent are the following, all of
+      which deserve the attention of the collector: "Dentifrices du Dr. Bonn,"
+      "Gigolette," "Old England," "Le Pôle Nord," "Cycles Vincent fils," "Le Vin
+      d'Or" (in two sizes, unsigned), "Parfumerie Diaphane; le Diaphane Sarah
+      Bernhardt," "L'ouvre de Rabelais par J. Gamier," and "Ducreux et Giralduc
+      (Ambassadeurs)".
+    </p>
+    <p>
+      Although a Frenchman, the work of Jean de Paleologue, or "Pal," as he is
+      more frequently called, is perhaps better known to the Londoner than to
+      the Parisian. His
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0053" id="linkimage-0053"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0159m.jpg" alt="0159m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0159.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0054" id="linkimage-0054"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0161m.jpg" alt="0161m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0161.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0055" id="linkimage-0055"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0163m.jpg" alt="0163m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0163.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0056" id="linkimage-0056"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0165m.jpg" alt="0165m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0165.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      bright and flippant posters can be seen any day on the London hoardings,
+      and I have, therefore, purposely selected for reproduction two examples in
+      his less usual manner. The "Lucile Wraim" is of an elegance to which
+      Paleologue does not often attain, and would be distinguished in almost any
+      collection of posters. "The Euskal Jai Parisien," besides being a good
+      advertisement, is curious on account of its subject. Collectors who would
+      possess a more typical example of Paleologue's work would be well advised
+      to secure one or more of his music-hall series or his "Cabourg," an
+      advertisement for the watering-place of that name. It is a large
+      lithograph in five colours, and represents a very charming lady who, while
+      bathing, is bent upon displaying her charms to the utmost. While
+      Paleologue can in no sense be compared to Chéret in his gift of diffusing
+      joyousness and gaiety, his work is undoubtedly "chic," and rarely fails in
+      its first business of advertisement. Some of his posters have become
+      difficult to procure, notably one designed for a Drury Lane pantomime some
+      few years since.
+    </p>
+    <p>
+      No artist, save Jules Chéret, has been more indefatigable in the making of
+      posters than Choubrac. The list given in M. Maindron's book is a long one;
+      that given in the catalogues of M. Sagot is still longer. The posters of
+      Choubrac do not seem to have received so much attention at the hands of
+      collectors as those of some of his better-known contemporaries. At the
+      same time, not a few of them are interesting and rare. The bill done for
+      the "Fin de Siècle" was suppressed, and, as a consequence, is in great
+      demand. It exists in four states, three of which, in good condition,
+      command no less than fifty francs. Merely to give the names of the
+      music-halls and theatres for which Choubrac has worked would take up the
+      better part of a page, while a list of the <i>artistes</i> whom he has
+      advertised would be still longer. Amongst the most noticeable of his
+      recent bills are the following: "Eldorado. Y'a pas d'erreur," "Folies
+      Bergère. Armand Ary," "Folies Bergère. Programme," "Folies Dramatiques.
+      Miss Robinson," "Moulin Rouge. Au Joyeux," "Neuilly-sur-Seine. Fête des
+      fleurs," and "Gaieté. Rosa et Josepha" (in two states).
+    </p>
+    <p>
+      An artist more unlike Choubrac than Maurice Boutet de Monvel it would be
+      assuredly impossible to find, and the fact that these names are in
+      juxtaposition must be taken as proof that no systematic arrangement has
+      been attempted in this chapter. Boutet de Monvel is a painter of European
+      reputation. His fame as an illustrator for, and a delineator of, children
+      stands very high. His studies of child-life are unlike those of any other
+      artist. They display the keenest observation and, as Mr. Pennell has
+      rightly observed, one finds in them not a line without
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0057" id="linkimage-0057"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0169m.jpg" alt="0169m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0169.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0058" id="linkimage-0058"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0171m.jpg" alt="0171m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0171.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      meaning. Boutet de Monvel has, I believe, produced only three posters. Two
+      of them are among the most charming things seen on the Paris hoardings for
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0059" id="linkimage-0059"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0173m.jpg" alt="0173m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0173.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      many a long day. Both of these are comparatively small. That which is
+      earlier in date, "Petite Poucette," was originally designed as a cover for
+      a piece of music, but, when reproduced on a larger scale, was found to be
+      thoroughly effective as a poster. More dainty, if not more characteristic
+      of the art of Boutet de Monvel, is the "Pâte Dentifrice du Dr. Pierre." In
+      this design, one of the prettiest and most delightful little ladies in the
+      whole Monvel gallery of pretty little ladies insists on the merit of the
+      tooth-paste which, if it be half as good as she is charming, must be
+      excellent indeed. Every artist knows his own business best, but one can
+      only hope that, in what leisure he can snatch from his work in paint and
+      illustration, Boutet de Monvel will place the collector of posters under
+      new obligations to him. His note as a decorator of the hoardings is as
+      distinct as it is agreeable.
+    </p>
+    <p>
+      A very interesting figure in modern design is undoubtedly Carloz Schwæbe.
+      One of the leading lights of that curious institution the "Salon Rose +
+      Croix," it would indeed be curious if Schwæbe did anything commonplace.
+      His posters are as remarkable as those other productions with which he has
+      delighted some and puzzled not a few. Mystic, slightly archaic, they are
+      the work of a man of poetical temperament who has chosen the graphic arts
+      instead of literature as his means of expression. The two posters from his
+      hand are very decorative in their strange way, and contain passages of
+      great beauty. In the
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0060" id="linkimage-0060"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0175m.jpg" alt="0175m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0175.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0061" id="linkimage-0061"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0177m.jpg" alt="0177m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0177.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      kneeling woman is remarkably impressive, while the irises amidst which she
+      kneels are beautifully drawn. The lettering of this poster is most
+      original, and the designer has evidently taken great pains with it. It is
+      a lithograph in two colours, and measures forty-two and a half by
+      thirty-one and a half inches. Schwæbe's larger poster, the "Salon Rose +
+      Croix," is in one colour only, and is a good example of his work. So far
+      this curiously-gifted artist has confined himself to advertising a concert
+      and a picture show; it is not to be expected that he will ever condescend
+      to soap or extract of beef. Another of the Rose + Croix men, Aman-Jean,
+      has done a poster for the Salon which rivals in curiosity the productions
+      of Schwæbe himself.
+    </p>
+    <p>
+      A little advertisement which had, it may well be, some influence on the
+      poster movement in England, was that by which André Sinet advertised an
+      exhibition of his own works held at the Goupil Gallery in 1893. This was
+      an attractive little bit of design of which the colour was very agreeable.
+      In addition to it, Sinet has done the inevitable poster for Yvette
+      Guilbert. Another painter of talent who has made an advertisement for an
+      exhibition of his own work is H. Guérard. It represents a group of ravens
+      and is in poker work. It would appear to be rare, as it is quoted in none
+      of the catalogues. A copy, exhibited at the Aquarium in 1894, is in the
+      collection of Mr. Ernest Hart. Still another artist who
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0062" id="linkimage-0062"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0179m.jpg" alt="0179m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0179.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0063" id="linkimage-0063"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0181m.jpg" alt="0181m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0181.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0064" id="linkimage-0064"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0183m.jpg" alt="0183m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0183.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0065" id="linkimage-0065"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0185m.jpg" alt="0185m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0185.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      has, I believe, done only one poster, is Goissaud. His design was to
+      advertise the "Société des miniaturistes et enlumineurs de France," and is
+      a lithograph in one colour. Among the Salon des Cent series we have,
+      besides the admirable posters of Grasset and Ibels already alluded to, a
+      very grotesque and effective little design by Jossot. It represents an
+      amazing old gentleman of weird aspect, in cocked hat, paying his franc for
+      admission to the exhibition. Of its kind it is effective enough. Another,
+      by Cazoly, with a curious portrait of Paul Verlaine is reproduced here.
+    </p>
+    <p>
+      It is certainly with no view to hurt the feelings of those artists whose
+      names do not head this chapter that they are represented by a mere <i>et
+      cetera</i>. It must be understood that one of the least polite of
+      contractions, in this case, involves no discourtesy whatsoever.
+    </p>
+    <p>
+      For example, I may instance such able work as Grün's "Le Carillon: cabaret
+      artistique." Few posters are more vivid or more actual than this. The
+      price of it is a matter of pence, and it should certainly not be neglected
+      by those whom it amuses to collect the <i>affiche illustré</i>. Grün, in
+      addition to "Le Carillon," has produced "Poléon-Revue: Décadent's
+      Concert," and in addition a design for an insurance company. One of the
+      most charming of the more recent French posters is one by H. Gray, dealing
+      with "La Prétentaine," a play produced some time ago at the Nouveau
+      Théâtre. In addition he has advertised "La Bonita" at the Cirque d'Eté,
+      "Les Mousquetaires," at the same place, "Les Saltimbanques" at the Cirque
+      d'Hiver, and the <i>bal masqué</i> at the Théâtre de l'Opéra. The last is
+      perhaps the best known of his <i>affiches</i>. Among others, Bac has done
+      a poster for Yvette Guilbert at the Horloge, which is signed and dated
+      1892. The bicycling craze has called into existence a perfect torrent of
+      posters, and Bac, together with Gray, Guillaume, Lunel, and Paleologue,
+      have produced posters of more or less interest. A gentleman who is
+      sufficiently modest not to state his name, did a design which called forth
+      the wrath of the authorities. Whereupon an artist called Lepur designed an
+      <i>affiche</i> bearing the significant legend, of which this is a
+      translation: "Grand choice of vine-leaves (fig-leaves) of all sizes for
+      posters, as demanded by the virtuous journals, the 'T(emps '), the
+      'G(aulois '), and the 'D(ébats ')."
+    </p>
+    <p>
+      The following is a list, with the names of typical examples of their work,
+      of some other French artists of distinction who have designed posters:
+      Barbizet ("La branche cassée"), Bouisset (F.) ("Bazar de
+      l'Hôtel-de-Ville," "Exposition de jouets," "Chocolat Menier"), Desicy (H.)
+      ("Un héritage, roman"), Dutriac ("Ambassadeurs: Danseuses Espagnols"),
+      Faria ("Ba-ta-clan: [Illustration: 0189] Paulus"), Dufay ("Portrait,")
+      ("Les Rey Nol's)," Galice (G.) ("Concert parisien: Esther Lekain," "Fête
+      des Fleurs," "Paulan Brébion," "Scala: Jeanne Bloch"), Guydo ("Eldorado:
+      Aimée Eymard"), Honer ("Concert parisien: Bonnaire"), Hope ("Gaieté: Tour
+      de Nesle"), Huvey ("Gras-side"), Lamy (L.) ("Le capitaine Henriot, opéra
+      comique," "Théâtre national lyrique"), Lebégue (L.) ("Bals travestes et
+      tableaux vivants"), Lefèvre (L.) ("Cacao lacté," "Electricine," "L'hiver à
+      Nice"), Levy (E.) ("Châtelet Michel Strogoff," "Cirque d'Hiver: Caravane
+      dans le désert," "Folies Bergère: Vue de la salle," "Petit national: Le
+      prince Mouffetard"), Meunier (G.) ("Papier à cigarettes Job," "Parfumerie
+      Edéa," "Le Sahara à Paris: Champ de Mars"), Truchet (A.) ("Cabaret des
+      Quat'z' Arts," "Eldorado: Alice Berthier.")
+    </p>
+    <p>
+      It will have been noticed already how great apart the music-hall and the
+      <i>café chantant</i> play in the history of the pictorial poster. Yvette
+      Guilbert has been the cause of a baker's dozen of <i>affiches</i>; Anna
+      Thibaud (that charming singer of the songs of Béranger); Anna Held, with
+      her curious manner, and still more curious appearance; Irène Henri, of
+      intense personality; Jane Avril, and May Belfort; to say nothing of
+      Aristide Bruant, of Caudieux, of Paulus, and the rest of the school who
+      have made the music-hall stage of France a matter of no small importance
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0066" id="linkimage-0066"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0191m.jpg" alt="0191m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0191.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      in her social life, have been favourite subjects of the designers of
+      posters. It has always been held that the career of an actor, in
+      consideration of its evanescence, is not
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0067" id="linkimage-0067"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0193m.jpg" alt="0193m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0193.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      without a certain pathos. It is true that we remember, through the gossip
+      of their friends, Garrick and Mrs. Siddons, Talma and Rachel, but even
+      these are uncertain phantoms lingering in the haze of memory. Only
+      yesterday they were intensely actual, to-day they are not more real than
+      Burbage and Betterton. After all, the history of the actor's art is not
+      without its immortals. Macaulay's schoolboy could doubtless have related
+      the compliment of Dr. Johnson to Mrs. Siddons: the latest escapade of the
+      great Sarah is the joy of the paragrapher. The music-hall, however, has
+      still no artist in any country (save, perhaps, the unforgettable Yvette)
+      who has much chance of permanent remembrance. But when the toil and moil
+      of existence is ended, when the singer has sung his last song, it may
+      chance that he will be remembered because some collector of such
+      unconsidered trifles as picture posters has placed in his portfolio a work
+      of Chéret or of Lautrec.
+    </p>
+    <p>
+      To turn from the music-halls to the great railway companies is an emphatic
+      transition, and yet the former, no less than the latter have done much to
+      encourage the artist to apply his talent to the <i>affiche</i>. The Great
+      Western Railway Company have illustrated at their stations and in their
+      carriages, by means of photography, all that is romantic and interesting
+      in the country through which their line runs. And, again, the great lines
+      of the United States have brought into vogue vast systems of pictorial
+      advertisement. Their opportunity was undoubtedly a magnificent one. For
+      subject
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0068" id="linkimage-0068"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0195m.jpg" alt="0195m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0195.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0069" id="linkimage-0069"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0197m.jpg" alt="0197m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0197.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      matter they had some of those vast natural developments which appeal to
+      mere man as absolutely terrific. The waterfall, splashing itself into
+      luminous dust, the immense and silent mountains, the lakes which are seas,
+      the vasty canons which occur in different parts of the States, inevitably
+      appeal to the imagination. It is therefore not wonderful that the great
+      lines of America have preferred literal and exact illustration to
+      fantastic delineation. The railways of France, on the other hand, have
+      employed to no inconsiderable extent the artist to figure the beauties of
+      the places at which they have stations. Amongst the most important French
+      designers who have worked at the railway <i>affiche</i> are:-Fraipont
+      (G.): ("Chemin de fer de l'Etat: Bains de mer de Royan": "Royan sur
+      l'Océan," "Chemin de fer d'Orléans: Excursions en Tou-raine": "Excursions
+      en Touraine et aux châteaux des bords de la Loire," "Chemin de fer de
+      l'Ouest: Argenteuil à Mantes," "Cie de l'Ouest et de Brighton: Fleurs,
+      fruits, primeurs à destination de Londres," "Paris à Londres (L'Angleterre
+      et l'Ecosse)" "Chemin de fer du Nord: Excursions à la mer," "Chemin de fer
+      de l'Est: Royat," "Chemin de fer de l'Ouest: Bretagne, Normandie,"
+      "Normandie et Bretagne," "Chemin de fer de l'Ouest à Brighton: Paris à
+      Londres," "Chemin de fer du Nord: Anvers, Exposition universelle.") Ochoa:
+      ("Club Train," "Méditerranée," "Express (Cie Int. des wagons-lits),"
+      "Orient-Express," "Peninsular-Express"). Hugo d'Alési (<i>affiches</i>
+      simili-aquarelles): "Paris, Lyons, Marseilles, Algérie," "Genève,"
+      "L'hiver à Nice," (two subjects), "Lac de Thoune," "Mont Revard," "Le Mont
+      Rose," "Le Puy," "Tunisie," "La Turbie," "Uriage-les-Bains," "Chemin de
+      fer du Midi: Pyrénées," "Chemin de fer d'Orléans: Excursions en Auvergne"
+      (1894), "La Creuse et l'Indre," "Chemin de fer de l'Ouest: Dieppe,"
+      "L'Auvergne (Orléans)." Lefèvre (L.): "Nord. Eté a Cobourg," "Orléans
+      Excursions aux Pyrénées," "Bains de mer du Golfe de Gascogne," "Ouest
+      Excursions sur les côtes de Normandie, en Bretagne, et à l'île de Jersey."
+      Among other designers for French railway companies and watering-places may
+      be named Orazi, whose "Trouville" poster is reproduced on p. 181, Balzer,
+      Baylac, Japhet, and Ogé.
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0070" id="linkimage-0070"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0201m.jpg" alt="0201m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0201.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0071" id="linkimage-0071"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0203m.jpg" alt="0203m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0203.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br />
+    </p>
+    <hr />
+    <p>
+      <a name="link2HCH0006" id="link2HCH0006"> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      CHAPTER VI.&mdash;IN ENGLAND: FROM FRED WALKER TO DUDLEY HARDY
+    </h2>
+    <p class="pfirst">
+      <span class="dropcap" style="font-size: 4.00em">W</span>hile the pictorial
+      poster undoubtedly existed in England previous to the production of Fred
+      Walker's "Woman in White," its artistic qualities were conspicuous by
+      their absence. No body of artists who designed posters, such as that of
+      which Ga-varni was one in France, is to be met with in the history of
+      English art until the present day. While, as Mr. Spielmann reminds us in a
+      recent magazine article, Mr. Godfroy Durand and Mr. Walter Crane had both
+      attempted the artistic <i>affiche</i> previous to Walker, the efforts of
+      neither made a pronounced impression, nor were they productive of
+      permanent results. The work of the first of these three artists announced
+      the appearance of the then newly-founded "Graphic," and that of Mr. Walter
+      Crane proclaimed the merits of a brand of lead pencils. It is interesting,
+      as an example of Mr. Crane's immense versatility in decorative design,
+      that he should be among the pioneers of the poster movement in this
+      country. That his early effort was overshadowed by Walker's very imposing
+      work is not a matter of surprise. From the first, Walker appears to have
+      been deeply impressed by the possibilities of the hoardings as a free art
+      gallery. To use his own words, as quoted by Mr. Spielmann: "I am impressed
+      on doing all I can with a first attempt at what I consider might develop
+      into a most important branch of art." How Walker's view has been realized
+      the mere existence of this book is sufficient to prove. This design, which
+      was done to advertise Wilkie Collins's novel, "The Woman in White,"
+      represents a magnificently-draped female figure stepping through a door
+      out into the night. With one hand she opens the door, with the other she
+      imposes silence on some person unseen. This was cut on wood by W. H.
+      Hooper, who also engraved the small block we are permitted to reproduce
+      here from "The Magazine of Art." The design is in black and white, and has
+      the limitations from the advertising point of view of black and white
+      work; but, apart from this, it is in every way a work which could not fail
+      to impress the passer-by. "The Woman in White" is, unfortunately, Walker's
+      sole essay in the art of the poster; on the other hand, Mr. Walter Crane
+      has produced a series which, we may hope, has yet to close. It would seem
+      that over ten years elapsed between his first and second attempts in the
+      art of the poster. We meet with him for the second time in a design in
+      blue and yellow
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0072" id="linkimage-0072"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0207m.jpg" alt="0207m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0207.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      which advertised the Covent Garden Promenade Concerts given in 1880. This
+      has become extremely rare, and the artist himself does not, I believe,
+      possess a copy. Following the Covent Garden bill was one announcing the
+      performances in London of the Paris Hippodrome Troupe. This is merely an
+      enlargement on a vast scale of a classical drawing intended to adorn a
+      book describing the show, but it is distinctly interesting, more so, it
+      seems to me, than the pretty little coloured thing-a window-bill, rather
+      than a poster-which advertises Hau's champagnes. Other posters by Mr.
+      Crane deal with an exhibition of his own works, with various insurance
+      companies, with the "English Illustrated Magazine" (an enlarged version of
+      the cover), and the exhibitions of the Arts and Crafts Society. It will be
+      seen that Mr. Crane's contribution to the art of the poster is a very
+      substantial one, and if his designs do not always fulfil the sweet uses of
+      advertisement, they are generally marked by fine taste. It is a matter of
+      common knowledge that Professor Herkomer has left hardly any art or craft
+      untouched, and it therefore goes without saying that he has left some of
+      them unadorned. To succeed as painter, etcher, carver, musician, poet and
+      playwright, lecturer, and actor is not given to mere man. Professor
+      Herkomer's posters cannot, I think, be considered among his more fortunate
+      performances. That done for "The Magazine of Art" does not lack a certain
+      feeling for composition: the weird
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0073" id="linkimage-0073"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0209m.jpg" alt="0209m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0209.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0074" id="linkimage-0074"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0211m.jpg" alt="0211m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0211.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0075" id="linkimage-0075"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0213m.jpg" alt="0213m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0213.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0076" id="linkimage-0076"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0215m.jpg" alt="0215m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0215.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      creature who told us that "Black and White" was coming seemed to me to
+      lack both dignity and grace, and, moreover, to possess very few
+      compensating qualities. Amongst other posters by Professor Herkomer is one
+      for his own exhibition, and one for an exhibition of pictures recently
+      held at Oxford.
+    </p>
+    <p>
+      It should be noted that while most of the mural decorations of Mr. Crane
+      and Professor Herkomer are, strictly speaking, posters, in that they were
+      designed for the hoardings and for the hoardings alone, a great many
+      designs and pictures by eminent artists have been reproduced and posted
+      contrary to the original intention of their designers. The most prominent
+      of these is, of course, Sir John Millais' famous "Bubbles," on the
+      reproduction of which enormous sums have been spent. The thing is pretty
+      enough, but cannot compete as an advertisement with a really good poster
+      properly so called. Of course the name of Sir John Millais was one to
+      conjure with, and the success of the thing has been, doubtless, great. But
+      it is not an experiment one cares to see frequently repeated. Messrs.
+      Pears were more happily inspired in the commission which they gave to Mr.
+      Stacy Marks to produce a <i>bona fide</i> poster. His "Monks Shaving,"
+      seems to be most excellently conceived, and, indeed, to be the most
+      interesting of Messrs. Pears
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0077" id="linkimage-0077"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0219m.jpg" alt="0219m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0219.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0078" id="linkimage-0078"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0221m.jpg" alt="0221m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0221.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      gallery of illustrated advertisements. Art has certainly played a very
+      prominent part in the battle of the soaps. Mr. G. D. Leslie used his gifts
+      to insist on the merits of the Sunlight brand, while Mr. Burton Barber
+      pleaded pictorially for the Lifebuoy brand. A curious bit of poster-making
+      was the reproduction of a random sketch of a girl sitting on a champagne
+      cork, by Mr. Linley Sambourne, which seems to meet us at every turning.
+      Again, Mr. Harry Furniss's man who had used Pears' soap years back, "and
+      since then had used no other," is an enlarged reproduction used for
+      advertising purposes of a drawing in "Punch." On the other hand, the
+      "Minerva," which Mr. Poynter designed for the Guardian Assurance Company,
+      was actually devised for the purpose of a mural advertisement. It cannot
+      be strictly called a poster, insomuch as it is never seen in the open air
+      unless glazed. It is a classical design in several colours, and is of a
+      very elaborate character. For the purpose of exhibition indoors, it is
+      glazed and mounted on linen with rollers. Another contemporary English
+      painter who has received very high official recognition and has done a
+      poster is Sir James Linton, P.R.I. His subject was assuredly an attractive
+      one, "Antony and Cleopatra," but it can hardly be maintained that, for an
+      artist of so great repute, he has produced an especially memorable design.
+      It is a lithograph in one colour, and measures fifty by fifty-two inches.
+      Its date is 1874, so it is clear that Sir James Linton is among the little
+      band who tried to do something for the pictorial poster in
+    </p>
+    <p>
+      England when it was held of no account. Mr. Charles Green, a member of the
+      institution of which Sir James is president, produced a rather ingenious
+      advertisement of an exhibition of works in black and white held some time
+      ago in Mosley Street. It
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0079" id="linkimage-0079"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0223m.jpg" alt="0223m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0223.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0080" id="linkimage-0080"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0226m.jpg" alt="0226m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0226.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      is not very large, and is a lithograph in one colour.
+    </p>
+    <p>
+      It will be observed that the artistic poster was in the air in England not
+      very long after it began to develop in France. It does not, however, seem
+      to have taken so great a hold on English artists or on the English public
+      as on the artists and public of France. In England the artistic poster
+      appears to have been received coldly or with indifference, and doubtless
+      many designers who would have been glad to turn their attention to the
+      poster were deterred therefrom by lack of public sympathy. But all this
+      has happily been changed, and if the number of poster designers is to
+      continue increasing at the present rate, the difficulty will be, not to
+      find the artistic advertiser, but to find the thing to be advertised. A
+      crowd of clever young men, actuated by the success which met the efforts
+      of the designers dealt with in the next chapter, have rushed to the poster
+      with results altogether important.
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <hr />
+    <p>
+      <a name="link2HCH0007" id="link2HCH0007"> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      CHAPTER VII.&mdash;IN ENGLAND: THE WORK OF DUDLEY HARDY, AUBREY BEARDSLEY
+    </h2>
+    <h3>
+      AND MAURICE GREIFFENHAGEN
+    </h3>
+    <p class="pfirst">
+      <span class="dropcap" style="font-size: 4.00em">T</span>he English artists
+      of established reputation with whom I dealt in the last chapter, were, as
+      we saw, so anxious to inform their posters with aesthetic qualities, that
+      for the most part, they overlooked the obvious fact that their work was
+      vain unless it really fulfilled its primary purpose of advertising. It was
+      left for the three men (all of comparatively recent reputation) whose
+      names head this chapter, to give the right direction; to insist that not
+      art, but advertisement, was the first essential. It is not for an instant
+      to be pretended that their achievement equals in importance that of the
+      three designers discussed in a corresponding chapter in the section of
+      this book devoted to France. Quantity of production, it is true, is a
+      small matter in art; and yet, in so far as quantity of production entails
+      experience, one is forced to take it into consideration. The success of a
+      man who has produced a hundred posters, or more, is scarcely to be
+      expected of a designer, however ingenious, who is only making his first
+      attempt. Moreover, to an artist accustomed to work on a small scale, it is
+      a matter of extreme difficulty to appreciate, and when in the throes of
+      production to keep in mind, the essentials of a design intended to be seen
+      at a considerable distance, in the open air. He is apt to be tempted into
+      pretty detail or subtle and harmonious colour, and therefore to forget
+      that he should be simple almost to the point of crudeness. Under these
+      circumstances, it is not less remarkable than it is encouraging, that Mr.
+      Hardy, Mr. Beardsley, and Mr. Greiffenhagen in their earliest essays
+      apprehended the situation at once, and produced posters which inevitably
+      caught the eye of the beholder and created an impression which remained
+      with him for a considerable time. Differing in all else, the first designs
+      of these three artists were alike, in that they were admirable
+      advertisements. From every hoarding in London, from the walls of every
+      station on the Underground Railway, one was vehemently called upon to
+      purchase a new weekly, or a new series of an old one, or to visit the
+      Avenue Theatre. If the call was resisted, it was assuredly no fault of
+      these artist-advertisers. To suggest that what they have done would have
+      been impossible,
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0081" id="linkimage-0081"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0230m.jpg" alt="0230m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0230.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0082" id="linkimage-0082"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0231m.jpg" alt="0231m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0231.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      or at least improbable, if France had not paved the way, is scarcely to
+      discount their immediate and unequivocal success: even the greatest artist
+      is unwise if he does not condescend to make use of the work of the past.
+    </p>
+    <p>
+      It is, I think, Mr. Dudley Hardy who, of the three artists named, owes
+      most to France. He has made a variation, a very personal and alluring
+      variation, be it said, of a theme essentially Gallic in its unrestrained
+      gaiety, its reckless joyousness. There is something of Chéret, and there
+      is even more of Jan Van Beers, in the end-of-the-century girl, elegant as
+      she is impudent, whom Mr. Hardy depiéts with such amazing verve and
+      abandon. She is too light-hearted, too irresponsible, to be a daughter of
+      this land of grey and rainy skies; she takes nothing seriously, save
+      perchance a detail of her costume. And yet she is stamped with Mr. Hardy's
+      personality as thoroughly as are the charming <i>Parisiennes</i> of Chéret
+      with the individuality of their inventor. Mr. Hardy began, and began
+      wisely, by trusting for his effect to a single bold figure. Elaborate
+      composition implies detail, and detail is one of the pitfalls of the
+      designer of posters. Take, for example, the vast sheets which were
+      employed to advertise one of the spectacles at Olympia. The overcrowding
+      of small figures and closely-realized views either produced no impression
+      whatsoever on the spectator, or at the most an impression due entirely to
+      the immensity of the sheets. Mr. Hardy's series of posters commenced most
+      auspiciously with that audacious young lady in a yellow dress, saucy hat,
+      and flying black boa, who, not deigning to entreat, compelled the
+      passer-by to rush to the nearest bookstall for a copy of Mr. Jerome's
+      weekly "To-Day." Later, in similar vein, came the dashing girl in red,
+      used by the manager of the Prince of Wales's Theatre to insist on the
+      merits of "A Gaiety Girl." It may be doubted whether any more effective
+      mural advertisement has ever been seen in London than that formed by
+      half-a-dozen copies of this poster, arranged in the manner of a frieze in
+      front of the theatre during the run of the piece. If the idea was that of
+      the bill-sticker, the man was a genius of his kind: I cannot help
+      suspecting, however, that the striking arrangement was due to Mr. Hardy
+      himself. Or perhaps it was the happy thought of an outsider. In addition
+      to the large "Gaiety Girl" poster, the two smaller bills which this artist
+      designed to advertise the same play, full as they were of dash and go,
+      must not be overlooked. To the collector they have a merit which he will
+      not fail to appreciate. They are of manageable size, and this is more than
+      can be said of most of Mr. Hardy's productions. It must not be thought,
+      however, that
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0083" id="linkimage-0083"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0234m.jpg" alt="0234m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0234.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      Mr. Hardy can do no more than repeat with slight variety of detail the <i>chic</i>
+      girl to whom he first introduced us; already, notwithstanding the
+      comparatively small number of his designs, he has shown a very commendable
+      versatility. The proprietors of "St. Paul's," in the days when that
+      journal regaled its readers on the portraits, not of dancing girls, but of
+      right reverend prelates, commissioned Mr. Hardy for a large design
+      appropriate to the semi-ecclesiastical character of their journal. The
+      choice, in view of the "Yellow Girl," was a somewhat curious one; but the
+      experiment justified itself. The artist rose to the occasion; on the
+      hoardings of London there appeared a woman of austere, even saintly,
+      demeanour, clad in sombre robes, and armed with a spike of the Madonna
+      lily. In spite of the low scheme of colour, the design was very telling as
+      an advertisement. It has become very rare; indeed, notwithstanding the
+      fad; that the dealers quote it at various prices in their catalogues, it
+      may be questioned whether it is to be procured at all. When the policy of
+      "St. Paul's" was changed&mdash;when it stepped down from its shrine to
+      join the multitude and be of the world, worldly&mdash;the art of Mr. Hardy
+      was once more called in to introduce the paper in its new guise. For the
+      first time, so far as I know, he attempted composition. His idea was a
+      happy one. The poster represented a young lady, evidently light-hearted
+      and of unquestionably fantastic costume, see-sawing on a quarter of the
+      moon with a gentleman of slight intellect, but exceedingly smart clothes.
+      Seen under certain conditions the composition is distinctly effective, but
+      from a long distance it fails to assert itself as do Mr. Hardy's simpler
+      designs. In his most recent effort he has returned to the single figure,
+      and he has done nothing more striking than his bill for "The Chieftain,"
+      at the Savoy Theatre, which represents a man in picturesque costume on a
+      red ground. The lettering of nearly all Mr. Hardy's posters is admirable.
+      It is invented by the artist himself, and forms an essential part of the
+      design. For the rest, it should be remembered that the poster is a mere
+      incident in Mr. Hardy's art career. As an illustrator he is with us
+      everywhere; as a painter he is held in deserved esteem. It is to be hoped,
+      for the sake of the artistic poster in England, that he will continue to
+      devote some of his time to a branch of art in which, in comparatively a
+      short time, he has so greatly succeeded.
+    </p>
+    <p>
+      The art of Mr. Aubrey Beardsley has been so enthusiastically received, on
+      the one hand, as a new revelation, and so passionately condemned, on the
+      other, as the mere glorification of a hideous and putrescent aspect of
+      modern life, that it is difficult to consider his work with calmness. One
+      thing, however, is certain: an impression
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0084" id="linkimage-0084"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0238m.jpg" alt="0238m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0238.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0085" id="linkimage-0085"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0240m.jpg" alt="0240m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0240.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      of some kind, whether agreeable or the reverse, it has undoubtedly left
+      upon all who have seen it. It cannot be dismissed by stating that it is
+      derivative rather than original; that to a large extent it is the outcome
+      of Japan, and in a less degree of the old English school of caricaturists.
+      Whether it be good or bad, the extraordinary impression it has made cannot
+      be gainsaid. It is probable that the work of no young designer of recent
+      times has called forth so much homage of imitation, so great an amount of
+      that kind of caricature which is among the sincerest forms of flattery.
+      Mr. Beardsley's eccentricities are so pronounced, that to parody his work
+      was simply to do the obvious. From "Punch," august by reason of its fifty
+      years of tradition, to the poorest comic rag produced to catch the
+      errand-boy's spare halfpenny, is a far cry; and yet the former, no less
+      than the latter, has treated its readers to a series of pictorial
+      Beardsleyisms. It would have been wonderful, indeed, if Mr. Beardsley, who
+      is nothing if not modern, had not attempted the artistic poster. His
+      opportunity came when the Avenue Theatre was taken by an enthusiastic and
+      courageous young actress for the production of plays by living English
+      writers, which, whatever their fate from the commercial point of view,
+      were at least to possess definite merits as pieces of literature. In order
+      to advertise Dr. Todhunter's "Comedy of Sighs," and Mr. G. Bernard Shaw's
+      "Arms and the Man," Mr. Beardsley excelled himself, and designed perhaps
+      the most remarkable poster ever seen, up to that time, in London.
+    </p>
+    <p>
+      Nothing so compelling, so irresistible, had ever been posted on the
+      hoardings of the metropolis before. Some gazed at it with awe, as if it
+      were the final achievement of modern art; others jeered at it as a
+      palpable piece of buffoonery: everybody, however, from the labourer
+      hurrying in the dim light of the morning to his work, to the prosperous
+      stockbroker on his way to the "House," was forced to stop and look at it.
+      Hence, it fulfilled its primary purpose to admiration; it was a most
+      excellent advertisement. The old theatrical poster represented, in glaring
+      colours, the hero in a supreme moment of exaltation, or the heroine in the
+      depths of despair. Mr. Beardsley did not condescend to illustrate, but
+      produced a design, irrelevant and tantalizing to the average man, though
+      doubtless full of significance to himself. In many respects the Avenue
+      bill must be considered the best poster which so far has come from this
+      artist's hands. The very graceful figure on a small poster for "The Yellow
+      Book" speaks for itself. It is more vivid, more curious, than either of
+      the two done for a London publisher. Most collectors, however, will
+      treasure even more highly
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0086" id="linkimage-0086"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0244m.jpg" alt="0244m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0244.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0087" id="linkimage-0087"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0245m.jpg" alt="0245m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0245.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0088" id="linkimage-0088"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0246m.jpg" alt="0246m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0246.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      the charming design done by Mr. Beardsley to advertise the Pseudonym
+      series of short stories. In it we meet with the artist in his less mordant
+      mood. The sketch of the old bookshop in the background is quite
+      delightful, and the whole design is less grotesque than most of Mr.
+      Beardsley's productions. The arrangement in purple and white, which he did
+      for the same firm, is a very striking performance in his later manner. Its
+      importance as a poster is, however, seriously discounted by the fact that
+      the design has nothing whatsoever to do with the text, which has been
+      added in a manner almost inconceivably clumsy.
+    </p>
+    <p>
+      The success of Mr. Beardsley in the production of artistic posters has
+      encouraged a host of imitators, so that it is quite within the bounds of
+      possibility that he will found something in the nature of a school.
+      Already, on the other side of the Atlantic, more than one artist has been
+      inspired by him. The posters of Mr. Bradley, for example, with which I
+      shall deal later, are unquestionably adaptations, at once skilful and
+      intelligent, of Mr. Beardsley's decorative manner. Again, to return to
+      England, the pleasant arrangement in red and white, designed by Mrs.
+      Dearmer to advertise a recital recently given by her in London, proves
+      that she has been affected by the simplicity and directness which are so
+      conspicuous among the merits of Mr. Beardsley in his essays in the art of
+      the hoarding. Of his many parodists only one, I think, has actually
+      attempted the poster. The essay in question was made by Mr. J. Hearn,
+      under the signature of "Weirdsly Daubery," and the result was very
+      fantastic and amusing. The design was done for some amateur theatricals at
+      Oxford, and it was curious to
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0089" id="linkimage-0089"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0248m.jpg" alt="0248m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0248.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0090" id="linkimage-0090"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0250m.jpg" alt="0250m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0250.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      meet this atom of the so-called decadence flaunting itself, with strange
+      incongruity, in every nook and corner of "the sweet city of the dreaming
+      spires."
+    </p>
+    <p>
+      The case of Mr. Maurice Grieffenhagen is similar to that of Mr. Dudley
+      Hardy, insomuch as both have been well known for some time to the public
+      as painters and as the producers of very accomplished work in black and
+      white. At present Mr. Grieffenhagen, as a designer of posters, can only be
+      judged by a single production. It may be said at once that nothing more
+      distinguished, nothing which is less imitative or derivative, has come
+      from English hands than Mr. Grieffenhagen's advertisement for the "Pall
+      Mall Budget." Admirable alike in colour and in pattern, the poster is
+      entirely appropriate to its purpose of keeping before the eyes of the
+      public a publication which escaped frivolity on the one hand and dulness
+      on the other. All who watch the development of the artistic poster in
+      England with interest, cannot but hope that the "Pall Mall Budget" poster
+      will be the first of a series by the same artist equally delightful and
+      original.
+    </p>
+    <p>
+      It is interesting to note that while we are still a long way behind the
+      French in the matter of the artistic poster, the productions of the three
+      artists with whom I have just dealt have received a cordial welcome at the
+      hands of Parisian collectors. In the dealers' shops you may see Mr.
+      Hardy's "Gaiety Girl" side by side with Lautrec's "Reine de Joie," while
+      Mr. Grieffenhagen's young lady in red looks with demure surprise at the
+      antics of her more frivolous sisters, as depicted by Jules Chéret. There
+      is, again, a steady demand for anything by Mr. Beardsley, who, it would
+      seem, has already become an established favourite with French
+      connoisseurs. As we shall see in another chapter, the prices put in Paris
+      upon English posters compare very favourably with those at which the works
+      of the ablest French designers are valued. In matters of art, few cities
+      are more insular and intolerant than the French metropolis; and those
+      English artists who are devoting themselves to the poster, should be
+      encouraged by enthusiastic recognition where enthusiasm was least to be
+      expected.
+    </p>
+    <p>
+      <br /><br />
+    </p>
+    <hr />
+    <p>
+      <a name="link2HCH0008" id="link2HCH0008"> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      CHAPTER VIII.&mdash;THE WORK OF OTHER CONTEMPORARY ENGLISH DESIGNERS
+    </h2>
+    <p class="pfirst">
+      <span class="dropcap" style="font-size: 4.00em">S</span>ince this book was
+      commenced as the companion, rather than the rival, of that of M. Maindron,
+      English designers of the poster have multiplied in a degree altogether
+      phenomenal.
+    </p>
+    <p>
+      Up to the time in question, as we have already seen, the English artist
+      who attempted the poster was exceptional. The famine, which was prevalent
+      only a year or two ago, has become the abundance of today, so that where
+      one expected a dearth of subject matter, one has in fact an excess. It
+      seems to me that, apart from the English pioneers, whom we have already
+      considered, the brothers Beggarstaff, in reality Messrs. Pryde and
+      Simpson, two young artists, are entitled to the first place among the
+      makers of the English artistic poster. They have best appreciated the
+      essence of their business: less than almost any native designers, they are
+      innocent of any homage of imitation. They have imitated neither Chéret nor
+      Lautrec: it may well be that they have had the wisdom to take a hint here
+      and there from both of these masters of the art of the <i>affiche</i>. As
+      yet the hoardings of London are screaming with the vulgar designs of the
+      advertiser's hack. The admirable art of the Beggarstaffs is, up to now,
+      infrequently met with. Their curious advertisement for Sir Henry Irving's
+      production of "Becket," was eclipsed by that done for the same manager's
+      "Don Quixote," while the latter has to give place to one intended to
+      announce a special issue of "Harper's Magazine." All of these force
+      themselves on the collector's attention. They are at once striking and
+      artistic; they cry their wares well, and they are a delight to the eyes.
+      The lettering in the Harper poster is beyond all praise. Of its kind, it
+      is the most beautiful English lettering of which I know. At the Aquarium
+      Exhibition the Beggarstaff's showed four posters which advertised Nobody's
+      Blue, Nobody's Candles, Nobody's Niggers, and Nobody's Pianos. If each
+      "Nobody" is not rapidly converted into "Somebody," the various
+      manufacturers and proprietors of the articles mentioned above must be very
+      stupid people. All were excellent; that which advertised Nobody's Pianos
+      was a most curious and à most original performance. It seems to me that
+      the Beggarstaffs have few serious rivals in England, and not very many in
+      France. Their works should help very
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0091" id="linkimage-0091"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0256m.jpg" alt="0256m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0256.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      considerably in the task of revolutionizing the English pictorial poster.
+      The
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0092" id="linkimage-0092"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0258m.jpg" alt="0258m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0258.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      impression created by their designs on Frenchmen, who are past masters in
+      the art of the hoarding, is most favourable.
+    </p>
+    <p>
+      It will be remembered that when Mr. Sickert took it into his head to
+      depict the Sisters Lloyd in their music-hall habit, the critics fell out
+      greatly. Even the young ladies in question had, it is said, scant
+      affection for a design in which everything was suggested and nothing
+      declared.
+    </p>
+    <p>
+      They had, it is true, the recompense of advertisement, and that, to a
+      music-hall singer, is a very sweet recompense. It was characteristic of
+      Mr. Sickert that he should go to the music-halls for a subject. The "New
+      English Art Club" is devoted to things which are
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0094" id="linkimage-0094"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0259m.jpg" alt="0259m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0259.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      new and strange, the artistic poster amongst them. Mr. Sickert is not the
+      only one of the members of this club who have made an essay in the latest
+      form of applied art. Mr. Beardsley, Mr. R. Anning Bell, and Mr.
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0095" id="linkimage-0095"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0260m.jpg" alt="0260m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0260.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0096" id="linkimage-0096"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0262m.jpg" alt="0262m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0262.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0097" id="linkimage-0097"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0264m.jpg" alt="0264m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0264.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      Wilson Steer are amongst those of his colleagues who have done the same
+      thing. Mr. Sickert's poster, which is, I believe, as yet unpublished, is
+      in four colours. It is calculated to make a good advertisement, and one
+      can only hope soon to meet with it on the hoardings. As an impressionist
+      painter of talent, Mr. Wilson Steer is as well known as Mr. Sickert. A
+      "New English Art Club" Exhibition without his work would be one which
+      lacked a most characteristic feature. Mr. Steer gave us an opportunity of
+      appreciating his talent as a painter by organizing a show of his own work.
+      To advertise this he did a poster, which was excellent of its kind, and is
+      in consequence very rare. It is a comparatively small lithograph in four
+      colours, and is quite unlike this artist's other work. It leans, it seems
+      to me, towards Pre-Raphaelitism rather than towards Impressionism. An
+      artist who has certainly sat at the feet of Mr. Whistler is Mr. Mortimer
+      Menpes. To advertise several exhibitions of his paintings, he has invented
+      at least three posters, which certainly do not lack the merit of
+      originality. He has abstained from the frivolous girl and grotesque man.
+      The "France," the "Venice," and the "India" are in their way considerable
+      achievements in dainty design and quiet and harmonious colour. Mr. Menpes,
+      by being intentionally simple, has arrived at notable conspicuity. All
+      this artist's designs are of small size, and are appropriate rather to the
+      notice board than to the hoarding. Nothing more opposite to the fastidious
+      productions of Mr. Menpes could be conceived than the vigorous poster by
+      Mr. Lockhart Bogle advertising a Scottish Athletic Gathering, held in
+      1892. This is a large lithograph, consisting of a single figure of a
+      Highlander, which, if not remarkably beautiful, is drawn with vigour and
+      with no small accuracy. Mr. Brangwyn is one of those English painters of
+      whom we are entitled to be proud. His directness, the audacity of his
+      impressionism, the splendour (if sometimes ill-considered) of his colour
+      schemes, cannot be passed over even by those who have slight sympathy with
+      his method. That, if so inclined, he would produce a poster at once
+      startling and artistic is not to be denied. The one which he has already
+      designed to advertise an exhibition of South African pictures by himself
+      and Mr. William Hunt, held at the Japanese Gallery, is certainly by no
+      means worthy his remarkable talent, and one trusts that he will cease for
+      a moment from painting pictures and produce a poster which shall be
+      memorable in the history of the <i>affiche</i> in England.
+    </p>
+    <p>
+      Mr. Frank Richards is nothing if not versatile; his exhibition, held
+      recently at the Dowdeswells' Galleries, came as a surprise to all who were
+      unacquainted with his
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0098" id="linkimage-0098"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0268m.jpg" alt="0268m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0268.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0099" id="linkimage-0099"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0269m.jpg" alt="0269m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0269.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0100" id="linkimage-0100"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0270m.jpg" alt="0270m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0270.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      clever painting. In this exhibition his pictures ranged from a large study
+      of Mr. Clive as "Hamlet" to slight but beautiful studies of Venice under
+      various atmospheric conditions. In his poster work, of which at present
+      little has been seen, Mr. Richards shows that, to some extent, he is under
+      the influence of Mr. Dudley Hardy. Mr. Richards, no less than Mr. Hardy,
+      is undeniably up to date, and his work is really effective. Among the most
+      recent additions to the ranks of our popular illustrators is Mr. Lewis
+      Baumer. One meets with his work everywhere; in "To-Day" and in the
+      shortlived "Unicorn." His bills to advertise the Academy students' annual
+      burlesque are pretty, if they are nothing else. Mr. Baumer has certainly
+      still to make his mark as a poster designer. The Artistic Supply Company,
+      who are paying special attention to the pictorial poster, have already
+      produced a dainty little <i>affiche</i> by him. It may be noted here that
+      the company in question have arranged with some of the most eminent
+      English designers for the reproduction of artistic posters, and that
+      several, which illustrate these pages, do so only on account of their
+      permission most generously given.
+    </p>
+    <p>
+      Among other services which the comic journal "Pick-Me-Up" has rendered to
+      the artistic public is the extremely important one of emphasizing, and
+      giving a congenial outlet to, the remarkable talent of Mr.
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0101" id="linkimage-0101"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0272m.jpg" alt="0272m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0272.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0102" id="linkimage-0102"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0274m.jpg" alt="0274m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0274.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      Raven-Hill. From almost the first, his connexion with the journal in
+      question has been a very intimate one. Hardly a number is without a
+      specimen of his powerful drawing and his gift of comic invention. While
+      suggesting, in the best sense, the style of the incomparable Charles
+      Keene, Mr. Raven-Hill's work in black and white is the outcome of his own
+      personality. It would have been strange if this very modern artist had not
+      produced pictorial posters: his talent was perfectly adapted to his doing
+      so with success. His small bills for "Pick-Me-Up" are vigorous in drawing,
+      bold in colour, and of a pleasant fantasy. They only measure twenty by
+      thirty inches, but they are very telling. A complete set of them is a most
+      desirable addition to the collector's portfolio. Another accomplished
+      member of the staff of "Pick-Me-Up," Mr. Edgar Wilson, has designed a bill
+      for the recently defunct journal, "The Unicorn." It is effective, but to
+      me personally, the colour scheme is even more crude than the exigencies of
+      a poster demand. Mr. Reginald Cleaver, whose sketches of scenes in the
+      House of Commons created so favourable an impression in "The Daily
+      Graphic," has not yet, I believe, deliberately produced a pictorial
+      poster; but one of his drawings, reproduced on a large scale, lends itself
+      well enough to the purposes of mural advertisement. Mr. Sydney Adamson,
+      the art editor of
+    </p>
+    <p>
+      "To-day" and "The Idler," has done a bill which, when it is seen, will be
+      Jield, I have small doubt, a very striking performance. It is happily
+      conceived and boldly executed, and should make a striking patch of colour
+      on the hoardings.
+    </p>
+    <p>
+      Merely to chronicle the names of the innumerable Wilsons who are producing
+      pictures would take quite a considerable space. It may be noted in passing
+      that, like Edgar of that name, Mr. W. Wilson has also attempted an <i>affiche</i>.
+    </p>
+    <p>
+      Among others who have designed posters which have yet to be seen an the
+      hoardings are Mr. Max Cowper, Mr. A. R. Miller, Mr. Kerr Lawson, Mr. F. H.
+      Townsend, whose black and white work one meets everywhere, Mr. Roche, a
+      prominent member of the Glasgow School, and one of the greatest living
+      English artists, Mr. Phil May.
+    </p>
+    <p>
+      Mr. Phil May is not the only "Punch" man who has been seized with the
+      prevailing mania for the production of posters. His colleague, Mr. Bernard
+      Partridge, has already designed one which is reproduced in these pages.
+      One associates Mr. Partridge with dainty and idyllic work rather than with
+      work which is vigorous, but his first essay in the poster seems to me to
+      be very promising. Mr. J. T. Manuel's work is as unlike that of Mr.
+      Bernard Partridge as possible. His pictures might be by a clever member of
+      the young French School who
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0103" id="linkimage-0103"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0278m.jpg" alt="0278m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0278.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0104" id="linkimage-0104"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0280m.jpg" alt="0280m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0280.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0105" id="linkimage-0105"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0282m.jpg" alt="0282m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0282.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0106" id="linkimage-0106"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0284m.jpg" alt="0284m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0284.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0107" id="linkimage-0107"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0286m.jpg" alt="0286m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0286.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0108" id="linkimage-0108"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0288m.jpg" alt="0288m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0288.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0109" id="linkimage-0109"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0290m.jpg" alt="0290m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0290.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0110" id="linkimage-0110"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0292m.jpg" alt="0292m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0292.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0111" id="linkimage-0111"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0294m.jpg" alt="0294m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0294.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0112" id="linkimage-0112"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0296m.jpg" alt="0296m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0296.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0113" id="linkimage-0113"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0298m.jpg" alt="0298m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0298.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      have taken more than a hint from Forain. The designs for posters which Mr.
+      Manuel exhibited at the Westminster Aquarium, if not so distinctive of his
+      talent as his contributions in black and white to "Pick-Me-Up," were not
+      without definite merit. Of the three, that catalogued as "A Music-hall
+      Singer" struck me as the best. It should be purchased by Miss Minnie
+      Cunningham, for the likeness between her, and the young lady it
+      represents, if accidental, is marvellous. Among young decorative painters
+      of the day who are not mere imitators of such masters as Sir Edward
+      Burne-Jones or Puvis de Chavannes, but have invented a style for
+      themselves, must be included Mr. Charles Ffoulkes. The two examples of his
+      poster-work here reproduced are as beautiful in colour as they are refined
+      in pattern. Moreover, they proclaim themselves in loud tones. Their tones,
+      however, are those of a silver trumpet rather than those of cymbal or of
+      gong. At times Mr. Ffoulkes forsakes his lofty imaginings and depicts <i>chic</i>
+      young ladies quite in the best French manner. Mr. L. Solon's poster,
+      reproduced here, is a very characteristic example of his decorative style.
+      In inventing it, the artist has clearly kept before him the fact that a
+      poster cannot live by beauty alone; if, happily, there be beauty, there
+      must of necessity be advertisement, else is failure inevitable.
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0114" id="linkimage-0114"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0300m.jpg" alt="0300m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0300.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      Very unlike Mr. Solon's poster are the <i>affiches</i> of Mr. Heywood
+      Sumner; those which I reproduce here seem to me to be very characteristic
+      of his graceful gift of design. Mr. Morrow is already an established
+      favourite on the hoardings of London, and justly so in that his
+      performances are of exceptional merit. His "Illustrated Bits"
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0115" id="linkimage-0115"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0302m.jpg" alt="0302m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0302.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      is a radiant affair, and his "New Woman" makes quite a pretty picture. His
+      works should certainly be collected.
+    </p>
+    <p>
+      Of Mr. R. Anning Bell it is not too much to say that for versatility only
+      Mr. Walter Crane among English artists can be said to rival him, and, what
+      is far more important, his success in a medley of mediums is not to be
+      gainsaid. His poster for the Liverpool School of Art, over which he
+      presides, is a magnificent piece of decoration, and nothing so fine, in
+      its way, has ever been, seen on English hoardings. It takes one up to the
+      Elgin marbles; it is an oasis of the classical in a desert of the new. I
+      can only mention the following native artists, not previously considered,
+      who have produced pictorial posters of interest: Mr. F. Barnard
+      ("Everybody should read in the European School"), Mr. F. Simpson ("Land of
+      the Midnight Sun," "To Norway Fjords"), Mr. Robert Fowler, R.I., whose
+      poster for the Walker Art Gallery is here illustrated, Mr. Sidney Haward
+      (p. 279), Mr. Skipworth ("An Artist's Model"), Mr. Skinner ("Pall Mall
+      Magazine"), Mr. Starr Wood and Mr. A. G. Draper.
+    </p>
+    <p>
+      I have already remarked that the poster movement in this country amounts
+      to a positive revolution. No young artist is satisfied unless he has a
+      hand in the decoration of the hoardings; the gold frame is for the time
+      forgotten, and all have their eyes on the lithographer's stone. France has
+      undoubtedly had a long start of us, but if she is to retain her supremacy
+      she must look to her laurels. Our young men are beating at her doors,
+      though beating only in a spirit of friendly rivalry. Happily, between
+      England and France there is, at this moment, only one war-the war of the
+      pictorial poster.
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0116" id="linkimage-0116"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0304m.jpg" alt="0304m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0304.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0117" id="linkimage-0117"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0306m.jpg" alt="0306m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0306.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br />
+    </p>
+    <hr />
+    <p>
+      <a name="link2HCH0009" id="link2HCH0009"> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      CHAPTER IX.&mdash;IN AMERICA
+    </h2>
+    <p class="pfirst">
+      <span class="dropcap" style="font-size: 4.00em">I</span>n the sweet uses
+      of advertisement the American is surely an expert, and it would have been
+      curious indeed, if he had overlooked so obvious and so effective a method
+      of advertising as the pictorial poster. Finding, in the notorious phrase
+      of Mr. Whistler, that "Art was on the town," the American advertiser was
+      one of the most eager of those passing gallants who chucked her under the
+      chin. Who it was originated the artistic poster movement in the States, it
+      were hard to say with certainty: it may have been Mr. Matt. Morgan. Among
+      recent American poster producers, three, however, are most conspicuous,
+      Mr. Edward Penfield, Mr. Louis J. Rhead, and Mr. Will. H. Bradley. It is
+      probable that the first-named was the innovator: at least, one would be
+      tempted to judge so from the quantity of his designs.
+    </p>
+    <p>
+      Mr. Penfield is still young, having been born at Brooklyn in the year
+      1866, so that if he was the first American artist to deal with the poster,
+      the movement in that continent is obviously a recent one. Most of his
+      posters are on a small scale, and partake of the nature of window-bills
+      rather than of placards especially destined to the hoarding. At the same
+      time, Mr. Penfield has been by no means slow to appreciate that it is the
+      first
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0118" id="linkimage-0118"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0309m.jpg" alt="0309m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0309.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      business of an advertisement to advertise, and his appreciation of this
+      fad, coupled with a very dainty fancy and no small technical skill, has
+      led to results which are of unquestionable importance. With his earliest
+      efforts I cannot pretend to be well acquainted. In 1893 he produced for a
+      firm at Salem a large bill which measures eighty-one by forty-two inches.
+      The subject is a girl in a black dress and yellow jacket who is laden with
+      packages. For the publications of the firm of Harpers, Mr. Penfield has
+      done quite a quantity of excellent and artistic advertisements. Amongst
+      the most effective is one produced for a special midsummer number of
+      "Harper's Bazar," representing a girl playing a banjo, divided by a
+      crimson sun from an attentive listener of the opposite sex. Again, for the
+      issue of July, 1894, the artist gives us a girl in white lighting red
+      crackers arranged to spell the name of the month. For the February number
+      of the following year, we are presented, most appropriately, with a
+      gentleman posting a valentine in an orange coloured letter-box. In April
+      of the same year, Mr. Penfield gives us Joan of Arc in yellow, wielding
+      sword and staff. Amongst the numerous books which Mr. Penfield has
+      advertised may be mentioned "The Cloister and the Hearth," "Pastime
+      Stories," "Our English Cousins," and "Perlycross." This artist's work is
+      always ingeniously conceived, and the colour schemes are not seldom
+      pleasantly audacious. Mr. Penfield gives us very agreeable versions of the
+      American girl in general, and of the "summer girl" in particular. His
+      maidens are adorably conscious of their power to charm, and are fully
+      alive to the fact that their gowns are of the smartest.
+    </p>
+    <p>
+      To turn from Mr. Penfield to Mr. Louis J. Rhead is to turn to an artist
+      settled in the United States, but English by birth and education. Mr.
+      Rhead was born at Etruria, that unclassical place with the classical name,
+      and comes of a family of artists. He was, I believe, a student at South
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0119" id="linkimage-0119"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0312m.jpg" alt="0312m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0312.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0120" id="linkimage-0120"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0314m.jpg" alt="0314m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0314.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      Kensington for several years, and only reached America in 1883. He has
+      exhibited at the
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0121" id="linkimage-0121"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0316m.jpg" alt="0316m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0316.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      Salon and the Academy and other important picture shows.
+    </p>
+    <p>
+      Mr. Rhead seems to have taken to the poster with the greatest enthusiasm,
+      and he has undoubtedly produced a series of curious and striking designs.
+      By far the most important of his efforts, though not the largest, are the
+      designs which he has done for the New York "Sun." In one of these very
+      daring productions, a crimson sun glows in a golden sky. The ground is
+      green, the footpath and the trees are blue, while the girl's costume is
+      garnet and red. It must be confessed that this colour scheme sounds
+      somewhat formidable, but Mr. Rhead has invented an arrangement at once
+      artistic and compelling. The lettering, it must be noted with regret, is
+      not from his own hand. One of the largest of Mr. Rhead's posters is the
+      "Pearline," in which a girl in a green and red dress is represented in the
+      act of pinning a sheet on to a line. This design measures forty-one by
+      twenty-eight inches. Of considerable size, and of no small merit, is the
+      poster executed for the "Century," Christmas, 1894, the chief feature of
+      which is a girl with a peacock. Among other effective designs which stand
+      to the credit of Mr. Rhead may be mentioned those advertising "Harper's
+      Bazar," Christmas, 1890, Thanksgiving, 1894, and Christmas of the same
+      year. For the "Century," besides that already noticed, he has done several
+      interesting posters, and he helped to advertise various numbers of "St.
+      Nicholas" last year. It is to be noted that
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0122" id="linkimage-0122"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0318m.jpg" alt="0318m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0318.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      Mr. Louis Rhead has held an exhibition of his posters, the catalogue of
+      which, by reason of its very characteristic and personal decorations, is
+      highly esteemed by collectors of those unconsidered trifles which end in
+      becoming especially dear to the connoisseur.
+    </p>
+    <p>
+      Among the magazines of the world, the "Chap Book," which emanates from
+      Chicago, is by no means the least interesting. Fascinating as is the
+      title, the contents of this little periodical are still more so; its
+      editors seem to have eschewed banality, and to have gone in for novelty,
+      even when the new did not possess an extraordinary degree of merit. It
+      were meet that so original a publication should have an advertiser of
+      corresponding eccentricity. In Mr. Will. H. Bradley, the proprietors of
+      the "Chap Book" undoubtedly possess such an one. Born at Springfield,
+      Massachusetts, Mr. Bradley lives in Chicago, and to that town and its
+      publications he has mainly devoted his energies as an artist advertiser.
+      It will hardly be disputed that he has seen and assimilated, in no small
+      degree, the manner of Mr. Aubrey Beardsley. He is, however, a great deal
+      more than a mere imitator; what he has borrowed, he has borrowed with
+      conspicuous intelligence, and nobody could for a moment accuse him of
+      anything approaching petty larceny. Among his most important posters is a
+      colossal one which, in the manner of Mr. Beardsley, proclaims the
+      attractions of the drama by Mr. Henry Arthur Jones, entitled "The
+      Masqueraders." In 1894 Mr. Bradley advertised the "Chap Book" by means of
+      two dancers in red and brown costumes; the following year he insisted on
+      the same publication by means of a girl in white and a man in black; and
+      yet again, through the medium of a young lady in blue, mixed up with trees
+      in intense purple, outlined with red and white; and several other equally
+      effective compositions.
+    </p>
+    <p>
+      Mr. Bradley is, however, not the only artist intimately connected with
+      Chicago who has distinguished himself in the production of posters. A
+      native of that city, Mr. Will. Carqueville, has done very interesting work
+      for the firm of Lippincott's. In the year 1894, at least one design by him
+      was commissioned, and in the succeeding year he produced four or more.
+      That he is not afraid of colour is proved by the fact that in the poster
+      done for Lippincott's, March, 1895, he combines dark purple, yellow, blue,
+      and bronze. In another design we meet with red, purple, yellow, and blue.
+      Mr. Kenyon Cox is an American artist whose fame is by no means confined to
+      the United States. A pupil of Gerôme and Carolus Duran, he has, so far as
+      I know, made only one essay in the art of the poster. This measures
+      eighty-one by forty inches, and is in black and white. It represents a
+      male figure carrying a torch, and is an advertisement for "Scribner's
+      Magazine." Mr. Scotson Clark was a schoolfellow of Mr. Aubrey Beardsley.
+      He has, among other posters, done two to which the picturesque labels of
+      "Our Lady of the Peacock Feather," and "Lady of the Iris," are attached.
+      In addition, for the March issue of the "Bookman," 1895, Mr. Scotson Clark
+      drew a monk, with book in hand. Mr. George Wharton Edwards, the well-known
+      painter in water-colours, must be credited with three designs for the
+      "Century," in the months of February, March, and April, 1895. Moreover, by
+      means of a drawing of a girl and a peacock, he proclaimed the
+      twenty-eighth annual exhibition of the American Water-Colour Society, in
+      addition to designing a bill for a book entitled "The Man Who Married the
+      Moon." The advertising enterprise of the firm of Scribner has made
+      poster-collectors the richer by one or two productions by Mr. Charles
+      Gibson Dana. He it was who announced, with no inconsiderable skill, the
+      issues of "Scribner's Magazine" for the months of January and February,
+      1895. Mr. Archie Gunn is the son of a well-known drawing master in one of
+      the large towns of the Midlands. Leaving England for America, he found an
+      outlet for his talent as a draughtsman on the New York journal "Truth."
+      His work is nearly always vivacious, even where it is not particularly
+      original. His posters were done for the "Illustrated American," and are by
+      no means bad examples of his craftsmanship. Like most prominent American
+      artists, Mr. Thomas Burford Meteyard studied in Paris. His poster to
+      advertise a book called
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0123" id="linkimage-0123"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0324m.jpg" alt="0324m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0324.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0124" id="linkimage-0124"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0326m.jpg" alt="0326m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0326.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0125" id="linkimage-0125"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0328m.jpg" alt="0328m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0328.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0126" id="linkimage-0126"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0332m.jpg" alt="0332m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0332.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0127" id="linkimage-0127"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0334m.jpg" alt="0334m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0334.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0128" id="linkimage-0128"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0336m.jpg" alt="0336m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0336.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0129" id="linkimage-0129"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0338m.jpg" alt="0338m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0338.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      "Songs from Vagabondia" is in black and white, and consists of portraits
+      of the artist himself and the authors of the book, Mr. Bliss Carman and
+      Mr. Richard Hovey. A limited number of copies were printed "sur Japon,"
+      and these, I believe, are rare. As in the case of so many other American
+      artists, Mr. Francis Day's poster work was done for the most part for the
+      great illustrated magazines which do such credit to the United States, as
+      an art-producing nation. Mr. Day's design for "St. Nicholas," Christmas,
+      1894, seems to me altogether agreeable, while in the series designed for
+      "Scribner's Magazine," more than one interesting thing will be found.
+    </p>
+    <p>
+      In dealing with the poster in England, we have noticed the fact that one
+      woman, Mrs. Dearmer, has succeeded in producing a bill at once artistic
+      and effective. Miss Ethel Reed would seem to be the most conspicuous
+      lady-artist who has taken up the designing of artistic posters in the
+      States. Her efforts date only from last February, when she did an
+      advertisement for the "Boston Sunday Herald." Since then she has produced
+      several designs which are held in considerable esteem by American
+      collectors. Amongst other artists who have taken part in the poster
+      movement on the other side of the Atlantic are the following: Messrs.
+      Alder ("New York World," March 17th, 1895), Allen, Palmer Cox ("New
+      Brownie Book"), C. Miles Gardner ("Boston Sunday Herald," February 10th,
+      1895, and March 10th, 1895), Oliver Herford, Charles M. Howard ("Boston
+      Sunday Herald," April 21st, 1895), Frank King ("New York World," April
+      7th, 1895), H. McCarter (the Green Tree Library), Moores ("St. Nicholas,"
+      November, 1894), Julius A. Schweinfurth (Boston Festival Orchestra, 1895),
+      W. Granville Smith ("Scribner's Magazine," Christmas, 1894), W. L. Taylor,
+      Abby E. Underwood, R. Wills Irving, C. H. Woodbury, Charles Hubbard
+      Wright, and William M. Paxton. The last named has been chiefly associated
+      with the "Boston Sunday Herald," and for that journal he has produced
+      several posters of distinction.
+    </p>
+    <p>
+      My review of the artistic poster movement in America has been of necessity
+      brief, and cannot, therefore, be free from sins of omission. In writing
+      it, I have, where my own knowledge has seemed to me insufficient, made use
+      of the descriptive catalogue of the collection of American posters
+      published last May by Mr. Charles Knowles Bolton, of Brookline,
+      Massachusetts. From the useful bibliography printed at the end of this
+      pamphlet, it would seem that the movement has been watched from the first
+      by the American press with keen interest. So far back as the year 1892, we
+      find Mr. Brander Matthews discussing the pictorial poster in the "Century"
+      magazine. In the
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0130" id="linkimage-0130"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0342m.jpg" alt="0342m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0342.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0131" id="linkimage-0131"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0344m.jpg" alt="0344m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0344.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      present year the subject has been dealt with by writers in such important
+      newspapers as the "New York Tribune" and the "Boston Herald," to say
+      nothing of such journals as "Scribner's Magazine," the "Critic," the "Art
+      Interchange," and the "Art Amateur." Quite recently the English public
+      have had opportunities of seeing the best work by French and native
+      artists. It is to be hoped that at the next poster exhibition they will be
+      afforded a chance of seeing what excellent work American designers are
+      doing in this very practical branch of applied art.
+    </p>
+    <p>
+      A poster by Mr. E. A. Abbey, illustrated on page 315, arrived too late for
+      consideration in its proper place. It is entirely worthy the great
+      reputation of the artist who has so kindly permitted us to reproduce it
+      here. The figure is in red scale armour, bearing a shield with a red
+      cross.
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0132" id="linkimage-0132"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0346m.jpg" alt="0346m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0346.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0133" id="linkimage-0133"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0348m.jpg" alt="0348m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0348.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br />
+    </p>
+    <hr />
+    <p>
+      <a name="link2HCH0010" id="link2HCH0010"> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      CHAPTER X.&mdash;IN COUNTRIES NOT ALREADY DISCUSSED
+    </h2>
+    <p class="pfirst">
+      <span class="dropcap" style="font-size: 4.00em">T</span>hat the picture
+      poster was an incident of the ancient civilizations of China and Japan;
+      goes without saying. The scope, however, of this book does not embrace the
+      Far East; the illustrated placard in the Orient would, indeed, be a
+      subject in itself. In the matter of applied art it is difficult to
+      conceive anything which the Chinese and the Japanese have not attempted.
+      They seem, from the earliest days, to have been consumed with a passion
+      for decoration; nothing which by any chance admitted of ornament was left
+      undecorated. It behoves the societies which are formed for the purpose of
+      illustrating the artistic antiquities of these wonderful countries to
+      concern themselves with the dawn and history of the pictorial poster in
+      the East. Certain it is that the illustrated advertisement abounded, as it
+      abounds today, in the cities of both the nations now being discussed. It
+      is, indeed, found in the less advanced civilization of Burma, and of the
+      various principalities which form our Indian Empire. To pass from Asia to
+      Spain is to travel a long way. In Spain, at the present moment, the
+      illustrated placard is receiving no small attention at the hands of
+      artists who, however discouraged and ill-paid, are determined to do all
+      that in them lies to raise the country which produced Murillo to the
+      position she once held among art-producing nations. A recent writer in the
+      "Sketch" grows enthusiastic over the Spanish <i>affiche</i>. "Spanish
+      posters," he tells us, "are a delight. Well drawn, vividly but truly
+      coloured, and perfectly printed, they shine down from walls and hoardings,
+      attracting all passers-by. They depict the glories of coming fairs and
+      bull-fights, and are couched in terms calculated to draw money from a
+      stone. The announcement that a famous matador will kill, or assist to
+      kill, <i>Seis Escogidos Toros</i>, throws the Spanish reader into a state
+      of frenzy. Not infrequently some incident is depicted with frank realism.
+      A bull standing over a dead horse gives an opportunity to the artist to
+      draw the unfortunate horse disembowelled and lying on blood-stained sand,
+      while the bull's hide shows the marks of the lance-thrusts, and his horns
+      are likewise stained with blood. Colour-printing is so good in these
+      regions of perpetual sunlight that nearly every detail of a matador's
+      costume can be given. The poster artists are splendid when they depict
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0134" id="linkimage-0134"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0352m.jpg" alt="0352m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0352.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0135" id="linkimage-0135"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0358m.jpg" alt="0358m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0358.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0136" id="linkimage-0136"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0360m.jpg" alt="0360m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0360.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      movement; they are satisfactory in their purely decorative work, but
+      figures in repose are apt to become 'woodeny.' In point of colour, Spain
+      beats France; and as France is so much in advance of England, it scarcely
+      needs a Euclid to demonstrate that English posters cannot be compared to
+      those of Spain. The latter exhibit at times an admirable sense of distance
+      and proportion, which serves to show that their designers learnt to draw
+      before they began to paint." The four examples reproduced here will serve
+      to indicate the type of Spanish poster most frequently met with. Whether
+      Spain, in the matter of the pictorial placard, is in advance of France or
+      not, is a question of taste. However brilliant the colour of the Spanish
+      <i>affiche</i>, the design seems to me to lack boldness. Take, for
+      example, the "Gran Feria de Cordoba, 1895;" in this case the whole thing
+      appears to be a series of elaborate details rather than a bold and
+      impressive design. The poster in Spain, however, is rapidly becoming of
+      interest, dealing as it does with fascinating and essentially picturesque
+      subjects. It is difficult to obtain exact information concerning the
+      artists who design posters in Spain; the examples which I reproduce here,
+      I cannot attribute to anybody with any degree of certainty.
+    </p>
+    <p>
+      The Teutonic temperament is in no sense akin to the Spanish, and the
+      pictorial posters of Germany are utterly unlike those of Spain. For the
+      most part the Germans have, in the past, been addicted to elaborate and
+      often admirably-executed lithographs, such, for instance, as that done by
+      Ernest Klint for the Musical and Theatrical Exhibition held at Vienna in
+      1892. A new movement is, it appears, making itself conspicuous just now.
+      The younger generation of German designers seem to be as anxious to
+      experiment in the making of posters as those of France and England. Joseph
+      Sattler, a designer of considerable originality and great dexterity, who
+      has studied Albrecht Dürer with great advantage to his own work, has
+      designed a very curious little window bill to advertise "Pan." It is
+      reproduced here, and its strange individuality, its ingenuity, will not
+      fail to make an impression upon those who look at it closely. The
+      lettering is devised in an extraordinary way, and Sattler may be
+      congratulated on the results of an interesting experiment. Very different
+      to the work of Sattler is that of Franz Stuck. This represents a classical
+      head in mosaic, and advertises an exhibition of the Munich Secessionists,
+      a body of experimental painters and designers of rapidly-growing
+      importance. The tendency of the illustrated poster in Austria is much the
+      same as it is in Germany. Some admirable bills have been designed in
+      Italy. Of its particular kind, I have seen few things better than a large
+      and
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0137" id="linkimage-0137"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0364m.jpg" alt="0364m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0364.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0138" id="linkimage-0138"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0366m.jpg" alt="0366m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0366.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0139" id="linkimage-0139"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0368m.jpg" alt="0368m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0368.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0140" id="linkimage-0140"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0370m.jpg" alt="0370m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0370.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0141" id="linkimage-0141"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0372m.jpg" alt="0372m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0372.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      sombre poster to advertise Verdi's "Otello." At the same time, the Italian
+      posters are not of a very distinctive type, nor does Italian taste
+      concerning them appear to be very fastidious. The crude, enormous, and
+      vulgar advertisements for Buffalo Bill's exhibition created quite a
+      sensation in Rome when that redoubtable personage deigned to visit the
+      most august of European capitals. The modern Romans forgot their Michael
+      Angelo in the ecstasy induced by the latest enormity of the American
+      colour printer. It may be noted that some of the posters done for the
+      Italian railway companies are bright and gay as an Italian summer itself.
+      The pictorial poster would not seem to have taken a great hold on Russia,
+      nor, judging from a comparatively recent visit, has it made much headway
+      in Scandinavia. In Holland, the present artistic vitality and enterprise
+      of which are at once so astonishing and gratifying, one meets with very
+      few posters of conspicuous merit. In Belgium, on the other hand, there are
+      signs that the poster movement has affected not a few artists of
+      distinction. The placard by Evenepoel, designed to advertise a publication
+      in connexion with the Antwerp Exhibition, is excellent in colour and
+      pattern and most decidedly original, owing very little to any foreign
+      examples. Duyck's "Cortège des Fleurs (Ville de Bruxelles)" is decorative
+      and pleasing. This artist has also designed another placard to advertise
+      Spa (Ferme de Frahinfaz). To Delville we owe a curious little placard, in
+      the Symbolist manner, which advertised "Pour l'art, Ier exposition à
+      Bruxelles;" the advertisement for the second exhibition was the work of
+      Ottevaere. A fantastic and rather picturesque poster was done to announce
+      one of the annual exhibitions of "La Libre Esthetique." It represents a
+      strange-looking human being standing among flowers, under a lurid sky, and
+      holding in his hands a decorative scroll, upon which the legend is
+      inscribed. Amongst other interesting Belgian placards are the "Velodrome
+      Bruxellois" by G. Gaudy, the "Paul Hankar" by A. Crespin, and a poster in
+      monochrome in imitation of a bas-relief bearing the legend "La plus noble
+      force sociale est le Droit." All of these are reproduced here. It may be
+      noted in conclusion that most of the Belgian posters show strong signs of
+      French influence.
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0142" id="linkimage-0142"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0376m.jpg" alt="0376m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0376.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0143" id="linkimage-0143"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0378m.jpg" alt="0378m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0378.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br /><a name="linkimage-0144" id="linkimage-0144"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0380m.jpg" alt="0380m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0380.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      <br /><br />
+    </p>
+    <hr />
+    <p>
+      <a name="link2HCH0011" id="link2HCH0011"> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      CHAPTER XI.&mdash;THE PRICE OF THE PICTORIAL POSTER; AND CONCLUDING NOTE
+    </h2>
+    <p class="pfirst">
+      <span class="dropcap" style="font-size: 4.00em">I</span>t is obviously
+      impossible to state accurately the price of the artistic poster, insomuch
+      as fluctuations take place almost daily, and, moreover, the numerous
+      dealers vary in their quotations in an extraordinary degree. Under these
+      circumstances, the present chapter is written as a matter of current
+      record, rather than with the idea that it will be of any permanent value
+      for purposes of reference. It may be stated at the outset, that in dealing
+      with the value of the poster, rarity has in the first place to be taken
+      into consideration; and thus it happens that, while delightfully artistic
+      designs are comparatively inexpensive, posters which are quite
+      unattractive from the point of view of art are often very costly. The
+      prices which follow are for the most part taken from the catalogues of M.
+      Edmond Sagot of Paris, and Mr. Bella of London, the latter of whom, by the
+      organization of exhibitions and in other ways, has rendered material
+      assistance to English collectors. In fact, to some extent, he has called
+      the English collector into existence.
+    </p>
+    <p>
+      As an example of the price of the poster of which the interest is
+      archaeological rather than artistic, one may instance a placard, dated the
+      20th of February, 1649, which deals with the opening and closing of the
+      gates of Paris. Its only claim to be considered pictorial consists in the
+      fact that it is ornamented with a woodcut representing the arms of the
+      city. Many similar productions were executed in relation to London and to
+      other English towns. The price asked for it three or four years ago was
+      thirty francs. Interesting from another point of view are the illustrated
+      posters which have heralded new books, or new editions of books, by great
+      writers. Three of these, relating to the works of Balzac, and including
+      one with woodcuts by Meissonier and Tony johannot, are valued at twelve
+      francs.
+    </p>
+    <p>
+      It is time, however, to pass from pictorial posters, which are interesting
+      on account of age or literary association, to those which derive their
+      value from their qualities as works of art. In this class some of the
+      highest prices are obtained by the French artists who, for the most part,
+      were the contemporaries, or immediate successors, of Gavarni. The best
+      posters of this master are extremely difficult to procure, and examples in
+      a fine state realize large sums.
+    </p>
+    <p>
+      For the "Oeuvres Choisis" bill, together with that designed to advertise
+      an illustrated edition of Balzac's "Philosophie de la Vie Conjugale,"
+      something over a hundred francs is asked, while less important works can
+      be obtained for five-and-twenty or thirty francs. It goes without saying
+      that the smallest tear or other injury, however neatly and skilfully
+      repaired, heavily discounts the value of works by Gavarni and the men of
+      his time; but even slightly damaged examples are eagerly sought for, as it
+      is almost impossible to obtain perfect ones. Of the productions of Edouard
+      de Beaumont, two of the rarest are the "Nains Célèbres," already
+      mentioned, and the "Diable Amoureux." For an exceptionally fine proof of
+      the former, as much as a hundred francs has been asked, while the latter,
+      which is very rare, commands about sixty francs. Sums scarcely less
+      formidable are given for the better posters of Grandville, and fifty
+      francs for a good Tony Johannot is not by any means an exceptional price,
+      although unimportant specimens of his work may be picked up in Paris for a
+      few sous. The excursions of Gustave Doré into the art of the poster were
+      very few. His most important work was perhaps the "Légende du Juif
+      Errant," a fine proof of which realizes sixty francs or more. Posters by
+      Vivant Beaucé, Castelli, Cham, Victor Coindre, Charles Devrits, H. Emy, A.
+      Farcy, and others of the same period, for the most part command sums
+      comparatively small; the best productions of Bertall, Calame, Monnier, and
+      C. Nanteuil, on the other hand, are only a little less expensive than
+      those of Gavarni and the more distinguished designers of his time.
+    </p>
+    <p>
+      Of posters by designers still living, those of Chéret have been most
+      assiduously collected. It is probable that a complete set of his works
+      does not exist; even one which is fairly representative, and includes some
+      of his earlier and rarer <i>affiches</i>, is extremely valuable. In the
+      Sagot catalogue of 1891, over five hundred and fifty posters by Chéret are
+      described, and of these no less than eighty are priced at twenty francs or
+      more. Since the publication of the catalogue, their value has steadily
+      increased, and it is uncertain if many of them can now be procured at all.
+      The collector of modest means need not, however, regret that the older and
+      rarer examples of Chéret are beyond his reach, for the artist's more
+      recent posters are the best that he has accomplished. For a comparatively
+      small outlay, one may secure the flower of Chéret's work. Amongst the most
+      valuable of his posters are two, of very large size, designed to advertise
+      some Arabs who appeared with the Paris Hippodrome when it visited London
+      in 1887. The price asked for them is over two pounds. They seem to have
+      escaped the attention of French collectors from the fact that they were
+      posted exclusively in London. The set of four
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0145" id="linkimage-0145"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0386m.jpg" alt="0386m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0386.jpg"><i>Original</i></a>
+    </h5>
+    <p>
+      Loie Fuller bills, in all of which the design is the same but the
+      colouring different, is worth between thirty and forty shillings. These
+      designs are among the most daring and characteristic specimens of Chéret's
+      amazing colour, and as they only measure forty-nine by thirty-three
+      inches, they are of manageable size, and should find their way into the
+      portfolio of every collector. The set of unlettered decorative panels
+      which were described in an earlier part of the book, is at present sold by
+      all dealers for five pounds. It goes without saying that proofs before
+      letters, or prints on special paper, of the posters of Chéret, or of
+      nearly any other artist, are much more valuable than ordinary copies.
+    </p>
+    <p>
+      Most of, the posters of other living French artists may still be procured
+      for a few shillings, but it is extremely improbable that such a state of
+      things will long continue to be the case. Already examples by men of the
+      modern school, such as Toulouse-Lautrec, Anquetin, Bonnard, Steinlen, and
+      Ibels, are in great demand, and collectors should use the present
+      opportunity to procure a series of these curiously interesting designs
+      before the prices rise. Even now, Lautrec's first attempt, "Le Pendu," has
+      become <i>rarissime</i>, and is valued at something over a sovereign. What
+      has happened in this case will doubtless happen in the case of "La Reine
+      de Joie,"
+    </p>
+    <p>
+      "Jane Avril," and Lautrec's other posters. The designs of Grasset are
+      rapidly taking their place by the side of those of Chéret in the
+      estimation of collectors, with the result that several of them command
+      large prices. Thus the "Librairie Romantique," which was offered in 1891
+      for three francs, was priced by the same dealer in November, 1894, at
+      twenty. What is going on in the case of Chéret, Grasset, and Lautrec, is
+      going on, though it may be somewhat less rapidly, in the case of those
+      other artists who have assisted to make the French <i>affiche</i> the
+      charming and artistic thing it is.
+    </p>
+    <p>
+      The posters of those artists who were the pioneers of the artistic poster
+      movement in England are extremely rare. They worked in the days before the
+      English collector existed, and any copies of their designs not actually
+      posted, probably fell into the hands of the waste-paper dealer. I have
+      been unable to trace any copies of the advertisement done by Fred Walker
+      for "The Woman in White," but the original design has been recently
+      exhibited in London, and the price put upon it by its owners is seventy
+      guineas. Copies of Mr. Walter Crane's "Hippodrome" bill are extremely
+      rare, as are those designed by Professor Herkomer for the "Magazine of
+      Art," "Black and White," and the exhibition of his own works. Turning to
+      the younger men, it is interesting to note that Mr. Dudley Hardy's "Yellow
+      Girl" sells in Paris for twenty francs, the large "Gaiety Girl" for half
+      as much, and the smaller bills for the same play for five francs. The
+      first poster which this artist did for "St. Paul's" is very difficult to
+      meet with; it will doubtless be among the most valuable of Mr. Hardy's
+      designs. Mr. Beardsley's "Avenue" poster is quoted neither by Mr. Bella
+      nor M. Sagot, and it may therefore be concluded that it is almost
+      impossible to obtain it. The other posters of this designer are steadily
+      increasing in value, and are eagerly sought for by collectors on both
+      sides of the Channel. Mr. Greiffenhagen's "Pall Mall" poster, which has
+      met with much success abroad, is worth about half a sovereign. The dainty
+      little bill which Mr. Wilson Steer did for the exhibition of his paintings
+      at the Goupil Gallery fetches about the same amount, and is rapidly
+      becoming scarce. It is pleasant to think that the early efforts of English
+      artists are welcomed by French collectors as enthusiastically as the
+      masterpieces of French artists by collectors in England.
+    </p>
+    <p>
+      The poster is obviously difficult to collect, because of its size. Not all
+      of us are proprietors of such an immensity as the Chicago Exhibition. Most
+      of us, on the other hand, could paper a room with posters of Lautrec
+      alone. Everybody, however, can put the smaller bills into a portfolio,
+      while the larger ones may be mounted as ordinary school maps. The
+      collecting of pictorial posters needs nothing more than a little heroism.
+    </p>
+    <p>
+      In the foregoing chapters, I have attempted to outline the history of art
+      as applied to the poster, and to give an account of the pictorial placard
+      in the present state of its development. The number of names, eminent in
+      the history of various modern arts and crafts, who have applied themselves
+      to the production of the pictorial poster seems to me to justify the
+      publication of this book. The fact that men so highly endowed as Chéret
+      and Lautrec deliberately choose to appeal to the public chiefly by means
+      of the <i>affiche</i>, well knowing that their gallery is the common
+      hoarding, places the illustrated poster outside the bounds of ridicule. A
+      modern art critic of high repute and of enormous energy has assured us
+      that, in these days, to neglect the poster is mere folly on the part of
+      those who care for the application of taste and skill to the objects of
+      everyday life. We are apt to talk of artistic periods; periods when the
+      most ordinary objects had an aesthetic character of their own. It seems to
+      me to be full of promise for the future that the hoarding should be among
+      the first necessities of modern civilization to be rendered charming by
+      the skill and imagination of the artist. Art is generally supposed to be
+      inimical to commerce, and commerce inimical to art, yet here we have the
+      two combining to the advantage of both, and succeeding in making the
+      beautiful an incident of the necessary.
+    </p>
+    <p>
+      <br /><br /><a name="linkimage-0146" id="linkimage-0146"> </a>
+    </p>
+    <div class="fig" style="width:50%;">
+      <img src="images/0391m.jpg" alt="0391m " width="100%" /><br />
+    </div>
+    <h5>
+      <a href="images/0391.jpg"><i>Original</i></a>
+    </h5>
+    <div style="height: 6em;">
+      <br /><br /><br /><br /><br /><br />
+    </div>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Picture Posters, by Charles Hiatt
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+</pre>
+
+  </body>
+</html>
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+The Project Gutenberg EBook of Picture Posters, by Charles Hiatt
+
+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: Picture Posters
+       A Short History of the Illustrated Placard with Many
+       Reproductions of the Most Artistic Examples in all Countries
+
+Author: Charles Hiatt
+
+Illustrator: Various
+
+Release Date: May 1, 2014 [EBook #45555]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PICTURE POSTERS ***
+
+
+
+
+Produced by David Widger from page images generously
+provided by the Internet Archive
+
+
+
+
+
+
+
+
+
+PICTURE POSTERS
+
+A Short History Of The Illustrated Placard With Many Reproductions Of
+The Most Artistic Examples In All Countries
+
+By Charles Hiatt
+
+London: George Bell And Sons New York
+
+MDCCCXCVI
+
+Second Edition
+
+
+
+
+PREFACE.
+
+In the present volume an attempt has been made briefly to trace (the
+history of the picture poster from the earliest times!) and to comment
+upon and reproduce some of the most noteworthy examples in various
+countries. The English and American placards have received special
+attention, while the best examples of the French school have not
+been overlooked. With very few exceptions, only posters signed, or
+acknowledged, by the artists producing them, are included among the
+illustrations. The whole subject is treated from the point of view
+rather of art than of commerce. While it is believed that this book is
+the first which deals in English with the Pictorial Poster, the author
+desires to recognize his indebtedness to M. Maindron's work, and to
+the catalogues of M. Sagot and Mr. Bella. The last-named has rendered
+material aid by lending, for the purpose of reproduction, not a few
+examples contained in his collection.
+
+To name the artists and owners of valuable copyrights who have laid
+the author under obligations would, however carefully compiled, almost
+certainly contain serious omissions. It is hoped, therefore, that those
+whose names would figure in such a list will acquit him of intentional
+discourtesy or ingratitude. Special thanks are due to Mr. Gleeson White
+for his editorial work in connexion with this volume; indeed, whatever
+merits it may possess are due, in no small degree, to his care and
+assiduity. Although personally unknown to the writer, Mr. Spiel-mann has
+been so good as to assist materially in the matter of illustration. To
+the kindness of M. Henri de Toulouse-Lautrec is owing the frontispiece
+in the shape of a hitherto unpublished study for a poster; while the
+reproduction of a sketch for the "Phit-Eesi" placard was courteously
+consented to by Mr. Dudley Hardy, and Messrs. Vaterlow who printed
+the poster itself. The cover has been specially drawn by Mr. Charles
+Ffoulkes, to whom the writer desires to express his sincere thanks. The
+Artistic Supply Company (Limited) have been so good as to consent to
+the reproduction of unpublished copyright designs by Messrs. Bernard
+Partridge, Max Cowper, the Brothers Beggarstaff, Sydney Adamscm, Kerr
+Lawson, A. R. Wilson, and Lewis Baumer. A design, representing Sir Henry
+Irving as "Don Quixote" is illustrated here owing to the kindness of
+Miss Ellen Terry, who owns the original.
+
+Charles Hiatt
+
+October, 1895.
+
+PICTURE POSTERS.
+
+
+
+
+CHAPTER I. THE STORY OF THE PICTORIAL POSTER
+
+It would be merely foolish to pretend that the pictorial poster,
+looked at from the point of view of art, is of the same importance as
+a portrait by Velasquez or an etching by Rembrandt. Its aesthetic
+qualities have of necessity to be subordinated to its commercial
+qualities; the artist is the servant of the tradesman. His first
+business is not to achieve a decoration, but to call the attention of
+the man in the street to the merits of an article. He may be fantastic
+only in so far as his fantasy assists the advertisement; he must ever
+keep before his eyes the narrow object of his effort. The closest limits
+are set to his invention; it is not for him to do what he will, but
+rather to do what he must. Under such circumstances, it is, at the first
+blush, somewhat surprising that artists have condescended to the poster
+at all. The bounds of freedom in the cases of painting and of sculpture
+are, comparatively speaking, so wide that one is not unnaturally
+amazed that the artist of talent is willing to work within the strict
+limitations imposed on him in the production of a pictorial poster. And
+yet, after all, to the ingenious designer there is a certain fascination
+in the very strictness of these limits; the complexity of the problem
+allures him, and gives him the appetite for experiment. Moreover, if he
+believe that art is something more than a vague grace, a non-essential
+luxury, he is ever anxious to extend her domain, to make her empire
+universal. He believes it to be his mission to touch some ugly
+necessity, to inform it with art, and, in doing so, to adorn it. He
+is restless for new worlds to conquer, for fresh fields to occupy. His
+ideal is art everywhere, art in all. He would fain give style and grace
+even to the paraphernalia of commerce: the necessities of trade shall
+not be hideous if he can make them otherwise. And so it happens that
+he is willing, nay eager, to turn his attention to the poster, with
+the result that the hoarding becomes an interesting, even a charming,
+gallery of designs. What was one of the most hideous of human inventions
+is transformed into a delight to the eyes. Colour and interest are added
+to the street; the gay and joyous take the place of the dull and ugly.
+
+It follows, supposing that I have stated the case fairly, that it is
+not derogatory to the dignity, even of a very great artist, to apply his
+talent to the poster.
+
+It is clear that the poster is one of the oldest and most obvious forms
+of advertisement. It is almost impossible to conceive a time in the
+history of man, once he had learned to express his thoughts in design or
+in writing, when the idea of the thing did not exist. It must have been
+an incident of the most crude and ancient of civilizations; even the
+cave-dweller in the dim and distant past must surely have possessed the
+essential idea of it. From the cave-dweller to the comparatively complex
+civilization of the ancient and greater Egypt is a far cry. That the
+mural inscription, which is obviously the germ of the poster, flourished
+exceedingly in the Land of the Pharaohs is matter of history. A papyrus
+is comprised in the collections of the Louvre, which may fairly be
+described as a poster. It is dated so early as 146 b.c., and deals
+at length with the escape of two slaves from the city of Alexandria,
+offering a reward to anybody who should discover their place of retreat.
+Still more interesting, though less ancient, is an inscription in Greek,
+discovered in the Temple at Jerusalem, in 1872, by M. Clermont-Gannerau.
+It was issued during the reign of Herod the Great, and forbids the
+entry, by foreigners, to certain parts of the Temple on pain of death.
+
+Of the poster in Greece we know very little. Legal inscriptions were
+undoubtedly written on whitened walls, or on axones, the latter being
+wooden tablets painted white, and made to revolve slowly on an upright
+axis. In passing from Greece to Rome, we pass from somewhat fragmentary
+to comparatively exact: information. The Roman notice-board was called
+an _album_, and it is a matter of dispute whether it was white with
+black letters, or of a dark colour with the text in white. Anybody who
+took away, destroyed, or mutilated an album was liable to an _actio
+albi corrupti_, and to heavy damages besides. It appears to have been
+invented in the first place, in order to give publicity to the annual
+edict of the Praetor; subsequently, however, the word album was used to
+signify any tablet on which a public announcement was inscribed.
+The ruins of Pompeii have furnished us with at least one interesting
+fragment of an album, on which are written notices of the most diverse
+kinds. Amongst them are the following:
+
+FAMILIA. GLADIATORIA VENATIO. ET. VELA.
+
+and:
+
+A. SVETTII. CERII.
+
+AEDILIS. FAMILIA. GLADIATORIA. PUGNAVIT. POMPEIS. PR. K. IVNIAS.
+VENATIO. ET. VELA. ERUNT.
+
+and again:
+
+DEDICATIONS THERMARUM. MUNERIS.
+
+ENAI. ALLEI. NIGIDII.
+
+MAII. VENALIO. ATHELA.
+
+SPARSIONES. VELA.
+
+ERUNT. MAIO. PRINCIPI.
+
+COLON IAE. FELICITER.
+
+As for the Roman bookseller, he was in the habit of placarding his shop
+with the titles of books just published, or about to be published. Take,
+for instance, the shop described by Martial in the lines:
+
+                   " Contra Caesaris est forum taberna,
+
+                   Scriptis postibus hinc et inde totis,
+
+                   Omnes ut cito perlegas poetas.
+
+                   Illinc me pete.
+
+The actor has never been inclined to hide his light under a bushel.
+Advertisement has always been dear to him, and it is not surprising
+to find that the Roman actor made the most of the opportunity of the
+publicity offered to him by the _album._ Not content with having
+his name inscribed in gigantic letters, he went a step further, and
+anticipated the illustrated _affiche_. Just as Sarah Bernhardt employs
+the decorative skill of Grasset to depict her as Joan of Arc, so did the
+old Roman actor employ Callades, an artist mentioned very favourably
+by Pliny, to portray him in his favourite parts. Callades would seem to
+have been the Cheret of his age: he was the great artistic advertiser of
+ancient Rome, just as Cheret is the great artistic advertiser of modern
+Paris.
+
+It is obvious, then, that the idea of the illustrated poster existed
+among the Romans: the difference between Callades and Cheret is one of
+method rather than of vital principle. And even the difference in method
+is slight.
+
+Of the poster in the time which immediately succeeded the fall of the
+Roman Empire we have very little trustworthy information. It is possible
+that the Romans introduced the album into Gaul and into Britain, and
+that the sight of it became as familiar to the inhabitants of Eboracum
+and Uriconium as it was to the natives of Rome and Pompeii. A French
+historian of distinction has stated that the _affiche_ was employed by
+the earliest of the kings of France, but this statement can hardly
+be said to be borne out by facts. It is at least certain that the
+signboard, which is a variation of the pictorial poster, was employed in
+the early part of the Middle Ages. The poster, unless illustrated, would
+have been useless in a community in which the art of writing was held
+effeminate, in which the most illustrious knight openly boasted of his
+inability to sign his name. The principal means of advertisement at that
+time was the public crier. As early as the twelfth century the criers of
+France formed an organized body, "for," as Mr. Sampson tells us in his
+_History of Advertising_, "by a charter of Louis VII. granted in the
+year 1141 to the inhabitants of the province of Berry, the old custom
+of the country was confirmed, according to which there were to be only
+twelve criers, five of whom should go about the taverns crying with
+their usual cry, and carrying with them samples of the wine they cried
+in order that people might taste. For the first time they blew the
+horn they were entitled to a penny, and the same for every time after,
+according to custom.... These wine-criers are mentioned by John de
+Garlando, a Norman writer, who was probably contemporary with William
+the Conqueror." The wine-crier is frequently mentioned in early French
+street-ballads. To instance one of them:
+
+                   "Si crie l'on en plusors leurs
+
+                   Si bon vui fort a trente deux
+
+                   A seize, a douze, a six, a huiet."
+
+In England also the crier was an early institution, for we find one
+Edmund le Criour mentioned in a document dated 1299. Even when the crier
+was the pre-eminent advertiser, the poster, or at least the handbill,
+had its place. At first the bills were written, but almost as soon
+as Caxton introduced the newly-discovered art of printing they were
+produced by that method. Perhaps the earliest English poster is that
+by which Caxton, about the year 1480, announced the "Pyes of Salisbury
+Use," at the Red Pole in the Almonry at Westminster. The size of this
+broadside is five inches by seven, and the text runs as follows:
+
+"If it please any man spirituel or temporel to bye our pyes of two or
+thre comemo-racio's of Salisburi use, emprunted after the form of
+this prese't lettre, which ben wel and truly correct, late hym come to
+West-monster, into the almonestrye at the reed pole ane he shall have
+them good and chepe.
+
+                        "Supplico stet cedula."
+
+The "pyes" in question, it may be noted, were a series of diocesan
+rules.
+
+It is in the sixteenth century that we meet with the poster properly so
+called. For example, we have a royal proclamation of Francois I relating
+to the police of the city of Paris, which runs: "Nous voulons que ces
+presentes ordonnances soient publiees tous les moys de l'an, par tous
+les quarrefours de cette ville de Paris et faux bourgs d'icelle, a son
+de trompe et cry public. Et neantmoins quelles soient attachees a un
+tableau, escriptes en parche-main et en grosse lettre, en tous les seize
+quartiers de ladite ville de Paris es esdietz faux bourgs, et lieux
+les plus eminents et apparens d'iceulx, afin qu'elles soient cognues
+et entendues parfun chacun. Et qu'il ne soit loysible oster les dictz
+tableaux, sur peine de punition corporelle, dont les dictz commissaires
+auront la charge chacun en son quartier."
+
+The words "attachees a un tableau, escriptes en parchemain et en grosse
+lettre" leave no doubt that the poster as we now know it was a usual
+method of advertisement in the reign of Francois Ier. The _affiche_
+soon after received the attention of the French legislature, for the
+production and exhibition of posters of certain kinds in France,
+was expressly forbidden by "un arret du Parlement" dated the 7th of
+February, 1652. To publishers and booksellers, however, the privilege of
+posting the titles of their new books was specially reserved.
+
+As printing became less expensive and methods for the mechanical
+reproduction of pictures and designs were discovered, it needed no
+great ingenuity to add emphasis to the poster by means of pictorial
+illustration. Acrobats, the stall-keepers at fairs on the ice, and the
+like, were speedily induced to adorn their advertisements with rude
+drawings, while Royal proclamations were usually decorated heraldically.
+Early in the eighteenth century, the bills announcing the departure and
+arrival of coaches were headed by pictures, as for example the one which
+related to the Birmingham coach in 1731.
+
+Even earlier in date, there are illustrated advertisements relating to
+the Roman Catholic church. One of these, produced in France, dated 1602,
+is very curious and elaborate in design. While, however, many posters
+such as this are profoundly interesting to the archaeologist, they can
+hardly be considered works of art. It is not until the middle of the
+present century is reached that we find important examples of pictorial
+poster deliberately planned by an artist. The modern artistic poster
+movement, as we shall see in the next chapter, had its origin in Paris
+some fifty years ago.
+
+
+
+
+CHAPTER II.--IN FRANCE DURING THE PRESENT CENTURY
+
+|As we have seen, the idea of the poster, and even of the pictorial
+poster, is an extremely ancient one, but it is only at the commencement
+of the present century that distinguished designers deliberately
+attempted to make the pictorial poster a work of art. The few posters,
+at once pictorial and artistic, which are of earlier date than the
+time in question, are artistic by accident rather than by deliberate
+intention. So early, however, as the year 1836, we find a really
+distinguished French artist, Lalance, producing a poster. Lalance was,
+perhaps, the pioneer of pioneers, and his advertisement for the book,
+"Comment Meurent Les Femmes," if not of great artistic interest, cannot
+be overlooked in any book dealing with the history of art as applied
+to the poster. Only a fewr copies exist. Immediately succeeding him,
+we have Celestin Nanteuil engaged in producing an advertisement for an
+edition of "Robert Macaire," dated 1837. The year following, Rafifet
+brought out his "Napoleon de Norvins." This work is signed as well as
+dated. Raffet, in addition to the "Napoleon de Norvins," designed two
+more posters dealing with the career of the great emperor as well as the
+history of Algeria. Very soon after comes an important _affiche_, "Le
+Prado," by Eugene Gauche, and from that time the artistic poster became
+an established institution.
+
+It may be fairly stated that the direct cause of the artistic poster in
+France was the illustrated book. The illustrated book, issued in weekly
+or monthly numbers, has always appealed keenly to the French, and it is
+usual to give the first number for nothing to all who care to ask for
+it. The illustrators of these books were very frequently induced by the
+publishers of them to do a poster advertising the edition of the works
+they had illustrated. Sometimes one of the illustrations in the book was
+merely enlarged and lithographed, but more generally the artist made a
+special design. Perhaps, at the time, the most widely known among French
+producers of the _affiche illustre_ was Gavarni. The vogue for the works
+of this eminent illustrator and satirist is perhaps not so great as
+it was twenty years ago. At all events, the value of his works is not
+nearly so great as it was then, and it has become usual to talk of him
+in a manner which is patronizing rather than genuinely appreciative. It
+may be that his
+
+[Illustration: 0034]
+
+savage and grotesque point of view discounts his merits as an artist.
+His power and originality, however, few will deny.
+
+Among the posters which he designed, one of the most characteristic is
+the "Oeuvres Choisis." The original is extremely rare,
+
+[Illustration: 0035]
+
+but a copy exists in a folio volume in the British Museum, in which
+one or two other posters by Gavarni will be found. For the "Almanach
+Imperial, 1846," by
+
+[Illustration: 0036]
+
+E. Marco de S. Hilaire, illustrated by Bertrand, a poster (which was,
+perhaps, an enlargement of the cover) exists. It is a very
+
+[Illustration: 0037]
+
+OUVRAGE COMPLET, a jingo affair, representing the French emperor
+standing on the globe with the imperial eagle of France at his feet.
+Of a little later date are several interesting posters by Grandville.
+Amongst them are "Les Metamorphoses du Jour" (of which a number
+
+[Illustration: 0038]
+
+of pigs in different costumes is the main feature), "Des Animaux," "Ma
+Tante," "Petit Misere," and "St. Helene." Of the two latter I need say
+nothing, since they are reproduced here, save that they are included
+in the collection of the British Museum. An illustrated poster very
+characteristic of
+
+[Illustration: 0039]
+
+its period, insomuch as it is intensely grotesque, is the "Voyage ou
+il vous plaira," by Tony Johannot. Its central figures are a
+monstrous dwarf holding a lantern, a crouching dragon, and an immense
+notice-board. An _affiche_ which is, perhaps, of
+
+[Illustration: 0040]
+
+even more general interest, is one done for an illustrated edition of
+"Don Quichotte," in which the very perfect, gentle knight is represented
+with a grotesqueness which would certainly have astonished Cervantes
+himself. Of a similar kind is the "Nains Celebres," by E. de Beaumont.
+An illustrated poster of a kind utterly different to the one last
+discussed is by T. H. Frere. It was designed for the advertisement of a
+work entitled "La Touraine," by Stanislas Bellanger de Tours. Under no
+circumstances should one overlook an _affiche_ of about the same
+period on account of the great personality of its designer. It is very
+generally admitted that the name of Edouard Manet is one of the greatest
+in the history of modern painting. It would indeed be difficult to
+over-estimate the extent of his influence on the pictorial art of the
+day. The poster reproduced in these pages is not unworthy his great
+talent. It is curious to notice that Manet and Fred. Walker, an English
+artist of about the same time, as to whose genius all are agreed, should
+have been at one in their endeavour to make the illustrated poster
+artistic as well as merely pictorial.
+
+I have not attempted to deal with any save the most prominent of the
+great number of French designers who took part in the poster movement
+during the fifties. Their names and the titles of some of their works
+will be found in the first catalogue of M. Ed. Sagot, and valuable
+criticism is contained in the pages of M. Maindron.
+
+[Illustration: 0042]
+
+
+
+
+CHAPTER III.--IN FRANCE. THE WORK OF CHERET, GRASSET, AND TOULOUSE-LAUTREC
+
+|So many contemporary French artists are designing posters, that a
+single chapter dealing with them all would be of an alarming length. I
+have therefore, in the first place, separated from their fellows three
+who seem to me curiously individual and worthy of careful consideration.
+Of the men whose names head this chapter, pre-eminence is due, for
+various reasons, to Jules Cheret, whose position, in the matter of
+poster-designing, is quite without parallel.
+
+It may be that men of rarer, of more fascinating, talent have now and
+again devoted themselves to the _affiche_; but none of them can compare
+with Cheret in the magnitude and curiosity of his achievement. Many
+have produced charming wall pictures: nobody, save Cheret, has made an
+emphatic mark on the aspect of a metropolis. Paris, without its Cherets,
+would be Paris without one of its most pronounced characteristics;
+Paris, moreover, with its gaiety of aspect materially diminished. The
+great masses of variegated colour formed by Cheret's posters greet one
+joyously as one passes every hoarding, smile at one from the walls of
+every cafe, arrest one before the windows of every kiosque. The merits
+of the Saxoleine lamp, the gaieties of the Moulin Rouge, the charms
+of Loie Fuller, the value of a particular brand of cough-lozenges, are
+insisted upon with a good-humoured vehemence of which Jules Cheret alone
+appears to know the secret. Others, in isolated cases, have possibly
+achieved more compelling decorations, but none can pretend to a success
+so uniform and so unequivocal. Few men as richly endowed with the gift
+of decoration would! have been content to produce work which, were
+it not for the portfolio of the collector, would be of an entirely
+ephemeral character. It must be irritating to the artist to watch the
+gradual destruction of his chefs-d'oeuvre, condemned as they are to
+be torn by every wind, soaked by every shower, blistered by the sun,
+blurred by the fog. It is natural that he should turn his eyes longingly
+to the comparative permanence of canvas, marble, or bronze; and it
+says much for Cheret's confidence in his artistic mission for his nice
+realization of his possibilities and limitations that he has remained
+faithful to the _affiche_ for over twenty years. Now and
+
+[Illustration: 0046]
+
+[Illustration: 0048]
+
+again, it is true, he has turned aside to do work of more universally
+recognized and more pretentious a character, and the very fact that he
+has touched scarcely anything which he has not adorned, emphasises his
+fidelity to a branch of art until quite recently despised and held of
+little moment. It is, indeed, mainly owing to this devotion, to this
+lavish expense of talent, that the poster is not even now considered
+beneath the dignity of the collector. The judicious, as soon as their
+eyes fell upon Cheret's vast lithographs, decided that he was no
+mere colour-printer's hack, but an artist whose work would have to be
+reckoned with. There was something positively alluring in the spectacle
+of a man who calmly placed his gift at the disposal of the tradesman,
+who accepted without murmur the limitations which the tradesman imposed
+upon him. It is possible that, had it not been for the circumstances of
+his life, the streets of Paris would have remained undecorated, so far
+as Cheret was concerned, to this day. Commencing as the humblest of
+lithographers, Cheret did not take up art of set intention, but passed
+irresistibly, though it may be unconsciously, into it. After long years
+of patient and tedious work as an ordinary lithographer, at the dawn
+of the year 1866, he commenced what was destined to be the most notable
+series of pictorial posters in existence, a series containing over a
+thousand items, and one which happily has yet to close. It is doubtless
+the conditions of his early life, the lessons learned while under the
+yoke of trade, that have enabled Cheret to appreciate to the full
+that the first business of an advertisement is to advertise. Avoiding,
+therefore, all subtle harmonies, he goes in for contrasts of colour,
+violent, it is true, but victorious in their very violence. Blazing
+reds, hard blues, glowing yellows, uncompromising greens, are flung
+together, apparently haphazard, but in reality after the nicest
+calculation, with the result that the great pictures, when on the
+hoardings, insist positively on recognition. One might as well attempt
+to ignore a fall of golden rain, as to avoid stopping to look at them;
+they are so many riots of colour, triumphant in their certainty of
+fascinating and bewildering the passerby.
+
+As may be imagined, Cheret's skill has fullest scope when dealing with
+the lightest and gayest subjects: a _cascade de clowns_--to borrow
+a phrase of Huysman--an entrance of ballet girls; a joyous troupe of
+children, contented because toy-laden; these, and the like, are subjects
+most congenial to him. His style is essentially the outcome of the day.
+It possesses no decorative forerunners; it is not a thing derived; its
+parents are the gaieties of modern Paris. It is intensely actual, and in
+its actuality lies, it
+
+[Illustration: 0052]
+
+seems to me, its greatest claim to consideration. It is infused with a
+somewhat hectic gaiety which holds a not unimportant place in the lives
+of us suffering from this "sick disease of modern life." Of the sick
+disease itself, Cheret gives no hint. He is unflagging in his vivacity,
+unswerving in his insistence on the _joie de vivre_; instead of
+pondering over the inevitable sorrow of life, he busies himself
+depicting the naive grace of the child, the elegance of the mondaine.
+His gifts lead him inevitably to such subjects. His merit as a
+draughtsman lies, in part, in vivacious rather than correct line:
+gaiety, as we have seen, is the chief quality of his colour: his
+composition is remarkable on account of the piquancy and appropriateness
+of its detail. He chooses with unerring fidelity the subjects suited
+to his temperament and his gifts. These subjects are not of infinite
+variety, and it follows that if one sees a great quantity of Cheret's
+work together, one becomes aware of a certain feeling of monotony. One
+can be satiated even of Cheret's gaiety and joyousness.
+
+To attempt any account of Cheret's thousand and more posters, is
+obviously impossible in any but an elaborate monograph devoted
+exclusively to him. I can do no more here than comment on a few of the
+most striking. It may be stated generally, that while the earlier ones
+are rarest because most difficult to procure, the more recent designs
+show the artist at his best. A mastery of chromo-lithography such
+as his, cannot be obtained without many essays, some of which are
+foredoomed to failure. In addition, Cheret has gradually improved alike
+in the splendour of his colour, and the disposal of his pattern. Perhaps
+he has never been happier in his treatment of children than in one or
+two of the "Buttes-Chaumont" series. The joy of the little ones in the
+possession of their new playthings is contagious. Utterly different in
+kind, though not less conspicuously successful, is "Les Coulisses de
+l'Opera au Musee Grevin," a delightfully piquant representation of a
+group of premieres danseuses in the traditional costume. As a specimen
+of amazingly effective and strangely beautiful colour, it would be
+difficult to exceed the "Loie Fuller" series; while, in the matter of
+pert gracefulness, Cheret has done nothing more delicious than the chic
+little lady in the yellow dress who smiles at you in the "Pantomimes
+Lumineuses." Anybody who could resist her fascinations would be a rival
+to St. Anthony. No collector of course, will overlook the great series
+of _affiches_ which Cheret has contrived for the Folies Bergere, the
+Moulin Rouge, the Alcazar d'Ete, and similar places of amusement In
+order to sum up his talent as a designer of posters, Cheret has produced
+four decorative panels, which, although without lettering,
+
+[Illustration: 0056]
+
+[Illustration: 0058]
+
+[Illustration: 0060]
+
+[Illustration: 0062]
+
+[Illustration: 0064]
+
+[Illustration: 0066]
+
+are posters to all intents and purposes, and would take their places on
+a hoarding quite admirably. The subjects are most happily chosen; who,
+better than Cheret, could symbolize, in manner light and fantastic,
+music, comedy, pantomime, and dancing? The designs gain immensely,
+insomuch as they are not disfigured with a legend, for, in spite of
+the fact that the disposal of the lettering is of the very essence of
+a poster, Cheret, for some reason known only to himself, leaves that
+detail of his work to another designer, with results by no means
+uniformly fortunate. Before leaving Cheret, it is only just to him to
+point out that his work loses more than that of almost any other artist,
+in the process of reproduction in black and white. It is impossible to
+convey any idea of his amazing colour by means of a halftone block,
+and therefore, fewer reproductions of his designs are included in these
+pages than might be expected. Needless to say, he suffers greatly from
+more or less unskilful imitators. For this reason, combined with the
+fact that he is engaged on a series of decorations for the Paris Hotel
+de Ville, his excursions into the art of the hoarding will be less
+frequent than has been the case hitherto.
+
+To turn from Cheret to Eugene Grasset, is to turn to an artist in whose
+art career the poster is merely an incident. Grasset is a paragon of
+versatility; there are literally no bounds to his comprehensiveness.
+Besides being a painter of distinction, he has designed everything, from
+stained glass to book-covers, from piano-cases to menus. Unlike
+Cheret, he has been profoundly impressed by the work of old decorative
+designers; he has certainly not disdained to borrow; his borrowings,
+however, have been at once legitimate and intelligent. The Japanese, the
+old Italians, and in a less degree, the ancient Greeks, have been laid
+under contribution, with results which, if not amazingly original,
+are at least delightful. It would be idle to pretend that, from the
+standpoint of the advertiser, Grasset is the equal of Cheret. His sense
+of beauty, his passion for decoration, make it impossible for him to
+achieve the daring and victorious colour which is so effective in the
+work of Cheret. A panel of his posters, side by side with a panel of
+those of Cheret, is as a beautiful and somewhat quiet-hued wall-paper to
+a cascade of flowers of every conceivable colour. While, however, this
+is an important matter from the advertiser's point of view, it is of
+little moment to the collector, whose primary object is to fill his
+portfolios with things of beauty. At times, indeed, Grasset does achieve
+irresistible advertisement; nobody, for instance, could overlook the
+superb representation of Sarah Bernharct as "Jeanne d'Arc," standing
+with splendid disdain amidst a forest of spears
+
+[Illustration: 0070]
+
+[Illustration: 0072]
+
+and a shower of arrows, and waving above her head a great silken banner
+embroidered with the _fleur-de-lis_. Again, one lingers before the
+"Fetes de Paris," attracted by its
+
+[Illustration: 0074]
+
+fine decorative qualities. Of an entirely different kind is the
+delicious little poster which the artist did for an exhibition of his
+own work at the Salon des Cent in 1894; in the naive simplicity of the
+thing, combined with its fine decorative quality, there is a hint of
+Botticelli and the old Italians. The contrast between this poster,
+slightly archaic as it is, and the realistic "Odeon Theatre" is
+complete. The latter represents a charmingly graceful girl, in a
+delicious modern gown, watching a play. She is accompanied by a
+highly-proper looking matron, whose self-importance is enhanced by the
+possession of a handsome dress and a wealth of jewels. Very pretty,
+again, is the "Librairie Romantique," with the facade of Notre Dame in
+the background. Less worthy of Grasset is the "A la Place Clichy," which,
+in spite of the majestic old oriental who descants on the merits of an
+elaborate carpet to a critical European, is somewhat commonplace. Among
+the other productions of this artist, some of them excellent, but
+not calling for special description, are the "Histoire de France,"
+"Napoleon," "Chocolat Mexicain," and "L'Encre Marquet," as well as those
+done to advertise a work on the capital cities of the world, and the
+exhibition of the productions of French decorative artists held in 1893
+at the Grafton Gallery. A bill designed for the South of France Railway
+Company is curious, insomuch as it is unlike the other productions of
+its designer. It consists of a series of pleasant little landscapes
+wreathed in the characteristic fruits and flowers of the Riviera. The
+colour is striking and the
+
+[Illustration: 0076]
+
+[Illustration: 0078]
+
+poster full of sunshine. It is one of the merits of Grasset that he is
+not, even in what is to him so small a matter as poster-designing, the
+slave of a single style,
+
+[Illustration: 0080]
+
+although all his works are obviously from the same hand. Before leaving
+him, it should in fairness be stated that the lettering of his bills is
+ever appropriate and decorative. True artist that he is, he neglects no
+detail whatsoever; in the smallest thing
+
+[Illustration: 0081]
+
+as in the greatest, he is not merely scrupulous, but even fastidious.
+
+It is no dispraise of Cheret and Grasset to say that the work of Henri
+de Toulouse-Lautrec is more fascinating than theirs. The designs of the
+former two are alike in
+
+[Illustration: 0082]
+
+that they are charming, though charming in manner entirely different;
+Lautrec's productions, alluring and powerful as they are, can by no
+stretch of the word be so described. He does not seek to attract you
+by joyousness of colour or grace of pattern, but rather to compel
+your attention by the force of his realism or the curiosity of his
+grotesqueness. For his posters are at once realistic and grotesque; they
+are delineations of life as seen by a man who, possessing the most acute
+powers of observation, is poignantly impressed by the incongruities
+of modern life, the physical peculiarities of modern men. He has some
+points of similarity with Hogarth, with Rowlandson; and the like, but
+his art is quite non-moral; he has no mission to depict vice as either
+hideous or ridiculous. His extraordinary "Reine de Joie," perhaps the
+most powerful, and certainly the least agreeable, of his posters, is a
+statement of fact rather than a criticism. This great bill, owing to
+the vehemence of the expression on the faces of the three people it
+represents, to the wonderful vigour of its line, to its extraordinarily
+effective, though simple, colour, is one of the most powerful designs of
+the kind ever accomplished. It may be doubted whether any book has been
+advertised in so unforgettable a manner as _La Reine de Joie_.
+
+For the Paris _cafe chantant_ artiste who possesses the charming name
+of Jane Avril, this designer has devised a grotesque decoration, which
+could not fail imperiously to call attention to her talents as a dancer.
+Inspired it may be by her name, it may be
+
+[Illustration: 0084]
+
+by a happy accident, Lautrec has employed a scheme of colour in which
+are found the pale
+
+[Illustration: 0086]
+
+tulip. Once having seen this work, the name, and indeed something of
+the personality, of Jane Avril is impressed on one's mind. Moreover,
+one easily recalls this unassuming poster vividly, when works of art,
+consecrated by the admiration of generations of critics, are quite
+forgotten, or only faintly remembered. No man of more passionate and
+curious talent than Aristide Bruant has ever devoted himself to the
+business of light amusement, and it was no doubt quite congenial to
+Lautrec to advertise the performances which he gives in his cabaret.
+Again, the artist's picture of another entertainer, Caudieux,
+represented in the act of quitting the stage, is masterly for its
+indication of movement and its powerful characterization. Bad from
+the advertiser's point of view, but most interesting from that of the
+collector, is the extremely rare "Le Pendu," a production which for
+weird and intense tragedy compares to advantage with any of the artist's
+posters. Scarcely less rare, though by no means so important, is the
+_affiche_ done to advertise the performances of La Goulue at the Moulin
+Rouge. A far more agreeable design is the "Divan Japonais," in which a
+fearful and wonderful girl, accompanied by a man as fashionable as he
+seems to be imbecile, is represented under the spell of Yvette Guilbert,
+whose tall, thin figure is seen across the orchestra, her arms, in the
+famous black gloves, being
+
+[Illustration: 0088]
+
+[Illustration: 0090]
+
+[Illustration: 0092]
+
+[Illustration: 0094]
+
+crossed in front of her with characteristic nonchalance.
+
+It is in no way astonishing that Mile. Guilbert has strongly attracted
+Lautrec, and that he has frequently made her the subject of his work.
+No music-hall performer has, so far, approached this brilliant woman in
+ability or in artistic prestige. Like Patti and Sarah Bernhardt, she is
+implored to testify to the merits of every brand of soap or every new
+perfume; like them her reputation extends beyond the bounds of her
+native place, and she is the admired of several foreign capitals. If
+the flower of French art and literature assemble to honour Zola, the
+proceedings are incomplete without a song from her; if the fastidious
+De Goncourt is presented with the rosette of the Legion of Honour, what
+more fitting than that she should deliver a recitation? In some degree
+she sees the life of modern Paris in the same light as Lautrec; her
+wonderful delineations are realistic as are his, though their realism is
+touched with a suspicion of the grotesque. Amongst other things, she
+has inspired Lautrec to a series of illustrations remarkable alike in
+drawing and colour; and he has not disdained to design lithographs to
+adorn the covers of different items of her _repertoire_. Owing to his
+kindness, I am enabled to reproduce, as the frontispiece to this
+volume, a sketch for a poster which he designed for her, but which,
+unfortunately, has never got beyond the experimental stage. It seems to
+me a specially interesting example of a remarkable talent applied to a
+very congenial subject. The posters of Lautrec are something more than
+works of art; they are human documents strangely eloquent of their
+moment. For this reason, their value may be more permanent than that of
+the productions either of Cheret or Grasset, delightfully fantastic as
+are the former, charmingly decorative as are the latter.
+
+
+
+
+CHAPTER IV.--IN FRANCE: THE WORK OF WILLETTE, FORAIN, STEINLEN
+
+ANQUETIN, BONNARD, IBELS, VALLOTON, DE FEURE, AND McTIVET
+
+|It is not for a moment to be pretended that the artists with whom this
+chapter deals are in any sense members of a single school: they have,
+indeed, many more points of difference than of similarity. I deal with
+them together, because, speaking roughly, their designs are saturated
+with the spirit of the day: their decorations are realistic, rather than
+fantastic or picturesque. They lean towards Lautrec, rather than towards
+Cheret or Grasset, but they are in no sense his imitators; some of them,
+indeed, are actually his predecessors.
+
+Willette is an artist of such astonishing facility and variety, that he
+has, comparatively speaking, devoted little time to the _affiche_,
+and save in one or two conspicuous instances, he has failed to achieve
+compelling advertisements. And yet his artistic personality is so
+curious and so powerful that his posters are nearly all interesting to
+the collector,-more interesting to the collector, it may well be, than
+satisfactory to the advertiser. Willette is master of several manners.
+He can be realistic to the point of brutality, symbolical, graceful;
+while now and then he is almost austerely classical. There are, happily,
+few posters so impregnated with race hatred as the anti-Semitic
+bill intended to forward the artist's candidature at the _Elections
+legislatives_ of the 22nd of September, 1889. The design is ugly in the
+last degree, but it is, nevertheless, strangely powerful. Very different
+and very much more pleasing is the lithograph in black-admirably
+composed and executed--which advertised the successful pantomime,
+entitled L'Enfant Prodigue. The design is at once graceful and dramatic,
+and it is not surprising that a proof before letters is one of the gems
+of a collection of the posters of Willette. No more interesting
+souvenir of an experiment which fascinated both Paris and London can be
+conceived. Again, the bill advertising the International Exhibition
+of Commerce and Industry, held some time ago at the Champs de Mars (an
+unlettered proof of which commands no less than two pounds), is very
+desirable. The little bill in colours bearing the legend,
+
+               "Ainsi qu'un papillon volage,
+
+               A qui passe aujourd'hui, demain sera passe.
+
+               Laisse-toi cuellir au passage
+
+                   Papillon d'Actualite,"
+
+[Illustration: 0100]
+
+[Illustration: 0102]
+
+[Illustration: 0104]
+
+[Illustration: 0106]
+
+[Illustration: 0108]
+
+is pretty, alike in colour and pattern, and has already become rare.
+
+Entirely appropriate to its purpose is the "Nouveau Cirque"
+advertisement, in which clowns, bare-back riders, and performing animals
+of all kinds-from a frog to an elephant-disport themselves with the
+utmost _abandon_. From this to the "Cacao Van Houten," is a far cry.
+From the point of view of the advertiser, Willette has done nothing
+better than his life-size study of a Dutch waitress in national costume.
+The thing is very decorative, and succeeds admirably in attracting
+attention: another and more complicated design for the same firm is only
+a shade less successful. This is entitled "La loi defendent le cacao
+contre le chocolat." The other posters of this artist include the rare
+"Petite National," the "Evenement Parisien" (which was, I believe,
+suppressed), the "Courrier Francaise," the "Exposition Charlet," and the
+"Elysee Montmartre." The posters of Willette are marked by variety and
+ingenuity of invention, and there is little doubt that they will be
+of permanent value as revelations of a talent as individual as it is
+powerful.
+
+If the artistic poster is an unimportant incident in the career of
+Willette, it is still more so in that of Forain, whose essays in this
+direction have been few and far between. Forain is known to nearly every
+artist in Europe as a great master of black and white.
+
+Few, if any, can approach him in technical dexterity, few can express
+so much in so few lines. Moreover, to his technical mastery is added a
+searching power of criticism which gives to his work a further, and a
+most important, interest. In his desire to depict the truth, the whole
+truth, and nothing but the truth, he (no doubt unconsciously) becomes a
+moralist. He depicts life from no sentimental point of view; he can be
+realistic without seeming to appreciate the tragedy which is of the very
+essence of realism, so that on seeing one of his illustrations of modern
+life, one receives, apart from technical delight, a distinctly literary
+impression. Of his posters, perhaps the earliest is one unsigned and
+without lettering, representing an illuminated garden, in which a woman
+is depicted in the midst of an explosion of fireworks. Subsequent to
+this comes a bill to advertise one of the novels of Dubut de Laforest,
+which bears the artist's signature. The design which announces Forain's
+political drawings for the "Figaro" is of slight importance, as it was
+not originally intended for a poster. In spite of this it is by no means
+easy to meet with. Of greater interest is the "Exposition des Arts de
+la Femme." It was, however, only when Forain received a commission to
+produce an illustrated advertisement for a cycle show that he achieved a
+really memorable poster, a poster of real charm and rare
+
+[Illustration: 0112]
+
+[Illustration: 0114]
+
+originality. The sport of bicycling seems to have fascinated the
+_Parisienne_ completely, and Forain has made a charming design, in which
+she is depicted in complete enjoyment of the fashionable pastime. The
+colour scheme is restrained and delicate, and the production, which
+exists in two sizes, should certainly be found amongst the treasures of
+every amateur of the _affiche_.
+
+The somewhat risky pages of the _Gil Bias Illustre_ have for a
+considerable time been noticeable to artists, chiefly on account of a
+series of coloured illustrations by Steinlen. His relentless veracity in
+depicting the life of the lower classes of the Paris of to-day is almost
+without rival. No detail of squalor seems to escape him; without a tinge
+of remorse he proceeds to inform us of the meanest incidents in the
+tragedy of the poor or vicious quarters of the great city. By reason of
+a certain emphasis of colour and crudeness of design the art of Steinlen
+is admirably adapted to the production of such human documents. But
+it cannot be maintained that, whatever their technical merits, these
+studies of human misery are other than unpleasant-even painful. It is,
+therefore, altogether agreeable, when one turns to his essays in the
+art of the poster, to find his work graceful rather than tragic, urbane
+rather than mordant. Forsaking his mission of realistic illustration, he
+becomes gay, dainty, and fanciful as the best of his fellows. Even in a
+higher degree than the majority of them, he makes his design appropriate
+to the thing advertised. His decorations are spiced with a certain
+actuality, and, in being so, insist more effectively on the particular
+article the merits of which it is their business to proclaim. No better
+example of this could, I think, be put forward than the "Lait pur de
+la Vingeannesterilise," a design which, in view of the material to be
+advertised, is conceived in the happiest vein. The pretty little girl
+drinking the milk, so much coveted of the cats which surround her, is
+less interesting than the animals themselves. The draughtsmanship of
+the latter is excellent, while there is a hint of that humanity of
+expression about the creatures which has produced for the work of
+Landseer so immense a popularity. Not less admirable, and of still
+greater interest, is the poster designed to advertise the performances
+of Yvette Guilbert at the Ambassadeurs. Amongst the numerous artists to
+whom the Sarah Bernharct of the music-halls has given commissions none
+has been more successful than Steinlen. The poster represents the singer
+behind the footlights in an attitude pre-eminently characteristic. The
+thing does not amount to a caricature, as does the hitherto unpublished
+delineation of Toulouse-Lautrec, but is merely a slightly exaggerated
+portrait. It is remarkably suggestive of a most alluring and delightful
+
+[Illustration: 0118]
+
+[Illustration: 0120]
+
+personality. As an advertisement, it must be confessed, it is not all
+that could be desired. The colour scheme, while very dainty, is not one
+which insists on its presence on the hoardings, so that the proximity
+of (for example) a Cheret renders it to some extent ineffective. At
+the same time, it is one of the most charming designs of the kind in
+existence, and no collector should fail to possess himself of a copy. It
+exists in three states: proofs before letters pulled in two tints only,
+ordinary proofs before letters, and prints after letters. In the former
+state it is rapidly increasing in value, but, insomuch as the lettering
+is of the essence of the design, the final state is the most desirable
+of all. To advertise an exhibition of his own work, Steinlen produced
+another study of cats, which is almost as agreeable as the "Lait pur."
+It is in two states: proofs before and after letters. The artist's
+design for the watering-place, Vernet-les-Bains, is not very important,
+but his early "Mothu et Doria," in three states, should not be
+overlooked. Earlier in date than any of the designs I have discussed
+is the "Trouville" and "Le Reve." The latter is a pretty composition
+reproduced in chromotypo-gravure. While the posters of Steinlen are not
+so striking on the hoarding as those of some of his contemporaries, they
+are of the highest artistic interest, and will no doubt take a place
+second to none in the affections of many collectors. It is significant
+that already the rarest of them are by no means easy to procure.
+
+The art of Ibels is as little comprised in the poster as that of
+Steinlen. It is happily characteristic of young artists of the present
+day, both here and in France, that painting is not the only god of their
+aesthetic adoration:
+
+they experiment in many mediums, and it is really remarkable in how
+great a number of such experiments they succeed. What is generally true,
+is especially so of H. G. Ibels. Like Grasset, he has held an exhibition
+of his pictures at the Salon des Cent; he has made his mark in the
+galleries of the Champs de Mars; he has designed the covers of several
+pieces of music, and of a volume of poems by his brother, entitled
+"Chansons Colorees"; in addition, he is well-known as a book
+illustrator. His point of view is somewhat akin to that of
+Toulouse-Lautrec: he is passionately interested in his own moment, and
+depicts modern life with similar insistence on its ugly and grotesque
+aspects. And yet Ibels rarely fails to be decorative, and his style is
+the outcome of his own artistic personality, rather than the result of
+study of the work of other men. In his posters he has been conspicuously
+successful; so much so, that it is difficult to point to a single
+failure, though, it must be remembered, that as yet his productions have
+not been very numerous. It is possible
+
+[Illustration: 0124]
+
+[Illustration: 0126]
+
+that with some the "Mevisto a l'Horloge" will be deemed his best design,
+but it can in no sense be considered his most original. It represents
+the actor as Pierrot, and is graceful and pleasing rather than
+characteristic; indeed, one would almost think that in designing it the
+artist had been at pains to conceal his personality. Nor is the "Salon
+des Cent"-a charming and delicate little lithograph-in spite of
+the ingenuity and fantasy of its grouping of Pierrot, Harlequin and
+Columbine, the most noteworthy of Ibels' posters. We see him at his
+most original, in an advertisement for the illustrated paper entitled
+"l'Escar-mouche," to which he, together with Lautrec, Vuillard,
+Willette, and Anquetin, contributed drawings. It represents a cafe of
+the lower class, such as abounds in the workmen's quarter of Paris.
+The enormously fat _patron_ enthroned behind the metal-topped bar, the
+waitress, cloth in hand, clad in her slovenly dress, the _ouvriers_ in
+typical blue blouses, are studies in which accurate portraiture has been
+but slightly sacrificed to grotesqueness. The whole scene is admirably
+conceived, and the colour scheme, though very restrained, is certainly
+telling. Those who can do so should secure a proof before letters of
+this work, for the lettering is, I believe, not by the artist himself,
+and mars the effect of the design, although not in a very marked degree.
+Another interesting bill is that done for Mevisto's performances at the
+Scala music-hall; this is of great size and striking originality. But if
+grotesque force, and the power of reducing scenes of modern lower-class
+life into decoration, are Ibels' most pronounced characteristics, he
+can produce posters of the suavest charm. Amongst all the _affiches_ I
+know, none seems to me more delightful than this artist's "Irene Henry."
+The _cafe chantant_ singer whom it represents is justly a popular
+favourite with the Parisian public from the fact that she infuses into
+her performances no small amount of personality; moreover, her art is
+marked by grace and finish. Those who would see her as she appears to
+audiences at the Horloge, without going there, have only to look at
+Ibels' poster. With the rarest felicity, he has caught her physical
+individuality. She is represented in the act of singing in the open air
+to a crowd in the _cafe_, lighted by the familiar circle of white lamps.
+The line of the figure is most expressive: violet is the predominating
+colour. This poster is worthy a place in the French music hall series,
+which includes those designed by Lautrec for Jane Avril, by Steinlen
+for Yvette Guilbert, and by an artist whom I am about to consider,
+Anque-tin, for Marguerite Dufay.
+
+So far as I know, Anquetin has only produced two _affiches_ of
+importance, but each
+
+[Illustration: 0130]
+
+[Illustration: 0132]
+
+of them is worthy of the closest attention. The design for Marguerite
+Dufay is a piece of triumphant vulgarity. The subject is a very simple
+one; it is merely a woman of almost impossible fatness who performs at
+various Parisian music-halls on the trombone. Having stated this, one
+has, however, given no idea of the extraordinary qualities of this bill.
+It is safe to say that, once seen, it will never be forgotten; it should
+have made the fortune of the performer whom it advertises. The mirth
+of the thing is victorious and infectious; one seems almost to hear the
+coarse laugh; the ample body in the green dress seems to move as one
+stares at it. In line, in movement, this poster is, from a certain point
+of view, a veritable masterpiece. An advertisement which is, it seems
+to me, altogether more worthy of Anquetin's great talent is one designed
+for "Le Rire," a recently issued journal. It is an extremely fine
+lithograph in a single printing, and, as at present it can be procured
+for a few shillings, it should be in the possession, not only of those
+who care for posters as such, but also of all who are amateurs of the
+beautiful art of lithography. In the foreground is the figure of a huge
+man in mediaeval costume, which, while touched with the grotesque, is
+splendidly flamboyant At his side he carries a large portfolio, adorned
+with a grinning mask, while his hands, which are admirably drawn, point
+towards a crowd of grinning pigmies beneath him. Every one of the crowd
+is extremely expressive, and the effect of the whole production is
+enhanced by very excellent lettering. It would be difficult to meet
+with two _affiches_ more interesting than the "Marguerite Dufay" and
+"Le Rire," and they place Anquetin amongst the masters of the art of the
+poster.
+
+If Anquetin is an artist of marked originality, so, in a manner totally
+different, is Pierre Bonnard. Save in the small number of his posters,
+he resembles Anquetin in hardly anything; on the other hand, his work
+has points of similarity with the later work of Lautrec. The posters of
+both these artists are decorative in a curious and somewhat similar sort
+of way, decorative in spite of their marked grotesqueness. Between the
+"Confetti" of Lautrec and the "Revue Blanche" of Bonnard there is a
+distinct decorative affinity. As both of them are dated the same year,
+1894, it is needless to suggest that either of these intensely personal
+artists has derived anything from the other; there is, indeed, no
+evidence whatsoever of imitation, or even influence. Of the two
+best-known posters of Bonnard, the "France Champagne" is the earlier
+in point of time, having been published in 1891. It is a lithograph
+in three colours, and represents an extraordinarily fantastic, and
+extremely _decolletee_ girl, who holds in one hand a
+
+[Illustration: 0136]
+
+[Illustration: 0138]
+
+[Illustration: 0140]
+
+[Illustration: 0142]
+
+closed fan, and in the other an overflowing glass of champagne, which
+tumbles about her in a great cascade of foam. The background is yellow
+and the girl's dress red, while the upper part of the design is occupied
+by the arms of Paris and the text in large letters. The draughtsmanship
+is curious and vivacious, and the colouring conspicuously successful.
+This poster is not large, measuring as it does, only thirty-two by
+twenty-nine inches. The "Revue Blanche," though of nearly the same size,
+is much more complicated. In the foreground is a woman in huge hat
+and cape, which partly conceal her face, at whom an extraordinarily
+grotesque street urchin points his finger. The background is composed of
+innumerable advertisements of the _revue_, which a man in a great coat
+and silk hat, with his back to the spectator, is reading attentively.
+All the figures are in a sort of slate colour. The legend is admirably
+introduced into the foreground by means of huge white letters. Owing to
+the curiosity of its decoration, this specimen of Bonnard's work is a
+most desirable possession for the collector.
+
+It has been the good fortune of Valloton to produce at least one poster
+which is excellent from every point of view. Nothing more appropriate to
+the advertisement of a frivolous burlesque than his "Ah! la Pe. la Pe,
+la pepiniere" could well be imagined. It represents a characteristic
+audience at a
+
+[Illustration: 0146]
+
+[Illustration: 0148]
+
+[Illustration: 0150]
+
+[Illustration: 0153]
+
+theatre convulsed with laughter at what is taking place on the stage.
+The variety of expression on the faces of the spectators is infinite,
+and the effect of the whole thing is as mirthful as may be. From the
+advertiser's point of view, I can conceive nothing more completely
+satisfactory. It exists in colours and in black, and the latter is the
+rarer. The same artist's "Carte de Paris" would seem already to have
+become scarce. It is a large lithograph in one colour; an example was
+shown at the Poster Exhibition at the Royal Aquarium. There is also a
+large address card designed by Valloton for M. Sagot. While this is not
+actually a poster it almost amounts to one, and were it to be executed
+on a large scale, it would doubtless be most successful. It is to be
+hoped that Valloton, encouraged by his universally recognized success
+in the art of the poster, will not altogether give up its practice in
+favour of those other branches of art in which he is distinguished.
+
+The style of De Feure, if not so well adapted to poster work as that of
+some of his contemporaries, is nevertheless very interesting. His most
+characteristic effort is, perhaps, the "Salon des Cent, 5e Exposition."
+This design is very modern and very fantastic. It exists in three
+states--proofs before letters on vellum, proofs on Japanese paper, and
+ordinary prints. The proofs before letters command very good prices.
+Amongst the other posters of De Feure is that done for the performance
+of the singer, Edmee Lescaut, at the Casino de Paris; for the newspaper
+"Le Diablotin"; and for the "Paris Almanach." In addition, we must not
+overlook the pleasant little design for the contents bill of a special
+issue of "To-Day."
+
+The posters of Lucien Metivetare of very unequal merit. On the one
+hand the designs done by him for Eugenie Buffet, in her realistic
+_repertoire_ of songs, are extremely distinguished. While, on the other,
+I could point to examples by this artist which are utterly unworthy
+his talent. Amongst Metivet's earlier works are "La Famille, journal
+hebdomadaire illustre," and "L'Hygiene." A more recent bill advertises
+"Les Joyeuses commeres de Paris," but Metivet's talent is seen at its
+best in the Eugenie Buffet advertisements, two studies worthy a place
+amongst the best posters which have come from the hands of contemporary
+French artists.
+
+
+
+
+CHAPTER V.--IN FRANCE: THE WORK OF GUILLAUME, PALEOLOGUE, CHOU-BRAC
+
+BOUTET DE MONVEL, AMAN-JEAN, SCHWAEBE, SINET, JOSSOT, MAYET, AND OTHERS
+
+
+|Prominent among the French designers of posters with whom I have not
+previously dealt is Guillaume, an artist widely known in England by
+reason of the admirable illustrations which, from time to time, appear
+in our periodicals. Save Cheret and Choubrac, few artists have done so
+much poster work as Guillaume, and not many have maintained so high a
+level of accomplishment. Vigour, vivacity, and high spirits, rather than
+beautiful design and fine colour, are the characteristic qualities of
+posters by Guillaume. He is, it seems to me, seen at his best in the
+admirable "Extrait de Viande Armour," which is reproduced here. In its
+way, and looking to the thing to be advertised, nothing better has been
+done. The gigantic "strong man," with his huge torso, colossal arms
+and legs, holding a tiny teacup in his immense hands, is not easily
+forgotten. The expression on the man's face is inimitable, and the
+accessories, such as cannons and dumbbells, are most appropriately
+chosen. The "Chapeaux l'elion" is a more complicated design,
+representing a crowd of men wearing hats of every conceivable shape.
+The colour of this design is very good, but its chief merit lies in the
+facial expression of the different members of the crowd. It would be
+impossible to conceive any single person in a hat other than the one
+he is wearing. In another excellent poster we are presented with a
+very _fin-de-siecle_ young lady riding astride a stork which bears her
+rapidly through space. It would be hopeless to attempt anything like a
+complete list of Guillaume's posters, but among the most recent are
+the following, all of which deserve the attention of the collector:
+"Dentifrices du Dr. Bonn," "Gigolette," "Old England," "Le Pole
+Nord," "Cycles Vincent fils," "Le Vin d'Or" (in two sizes, unsigned),
+"Parfumerie Diaphane; le Diaphane Sarah Bernhardt," "L'ouvre de Rabelais
+par J. Gamier," and "Ducreux et Giralduc (Ambassadeurs)".
+
+Although a Frenchman, the work of Jean de Paleologue, or "Pal," as he is
+more frequently called, is perhaps better known to the Londoner than to
+the Parisian. His
+
+[Illustration: 0159]
+
+[Illustration: 0161]
+
+[Illustration: 0163]
+
+[Illustration: 0165]
+
+bright and flippant posters can be seen any day on the London hoardings,
+and I have, therefore, purposely selected for reproduction two examples
+in his less usual manner. The "Lucile Wraim" is of an elegance to which
+Paleologue does not often attain, and would be distinguished in almost
+any collection of posters. "The Euskal Jai Parisien," besides being a
+good advertisement, is curious on account of its subject. Collectors who
+would possess a more typical example of Paleologue's work would be well
+advised to secure one or more of his music-hall series or his "Cabourg,"
+an advertisement for the watering-place of that name. It is a large
+lithograph in five colours, and represents a very charming lady who,
+while bathing, is bent upon displaying her charms to the utmost.
+While Paleologue can in no sense be compared to Cheret in his gift of
+diffusing joyousness and gaiety, his work is undoubtedly "chic," and
+rarely fails in its first business of advertisement. Some of his posters
+have become difficult to procure, notably one designed for a Drury Lane
+pantomime some few years since.
+
+No artist, save Jules Cheret, has been more indefatigable in the making
+of posters than Choubrac. The list given in M. Maindron's book is a
+long one; that given in the catalogues of M. Sagot is still longer. The
+posters of Choubrac do not seem to have received so much attention
+at the hands of collectors as those of some of his better-known
+contemporaries. At the same time, not a few of them are interesting and
+rare. The bill done for the "Fin de Siecle" was suppressed, and, as
+a consequence, is in great demand. It exists in four states, three of
+which, in good condition, command no less than fifty francs. Merely to
+give the names of the music-halls and theatres for which Choubrac has
+worked would take up the better part of a page, while a list of the
+_artistes_ whom he has advertised would be still longer. Amongst the
+most noticeable of his recent bills are the following: "Eldorado.
+Y'a pas d'erreur," "Folies Bergere. Armand Ary," "Folies Bergere.
+Programme," "Folies Dramatiques. Miss Robinson," "Moulin Rouge. Au
+Joyeux," "Neuilly-sur-Seine. Fete des fleurs," and "Gaiete. Rosa et
+Josepha" (in two states).
+
+An artist more unlike Choubrac than Maurice Boutet de Monvel it would
+be assuredly impossible to find, and the fact that these names are in
+juxtaposition must be taken as proof that no systematic arrangement
+has been attempted in this chapter. Boutet de Monvel is a painter of
+European reputation. His fame as an illustrator for, and a delineator
+of, children stands very high. His studies of child-life are unlike those
+of any other artist. They display the keenest observation and, as Mr.
+Pennell has rightly observed, one finds in them not a line without
+
+[Illustration: 0169]
+
+[Illustration: 0171]
+
+meaning. Boutet de Monvel has, I believe, produced only three posters.
+Two of them are among the most charming things seen on the Paris
+hoardings for
+
+[Illustration: 0173]
+
+many a long day. Both of these are comparatively small. That which is
+earlier in date, "Petite Poucette," was originally designed as a cover
+for a piece of music, but, when reproduced on a larger scale, was
+found to be thoroughly effective as a poster. More dainty, if not more
+characteristic of the art of Boutet de Monvel, is the "Pate Dentifrice
+du Dr. Pierre." In this design, one of the prettiest and most delightful
+little ladies in the whole Monvel gallery of pretty little ladies
+insists on the merit of the tooth-paste which, if it be half as good as
+she is charming, must be excellent indeed. Every artist knows his own
+business best, but one can only hope that, in what leisure he can snatch
+from his work in paint and illustration, Boutet de Monvel will place
+the collector of posters under new obligations to him. His note as a
+decorator of the hoardings is as distinct as it is agreeable.
+
+A very interesting figure in modern design is undoubtedly Carloz
+Schwaebe. One of the leading lights of that curious institution the
+"Salon Rose + Croix," it would indeed be curious if Schwaebe did anything
+commonplace. His posters are as remarkable as those other productions
+with which he has delighted some and puzzled not a few. Mystic, slightly
+archaic, they are the work of a man of poetical temperament who
+has chosen the graphic arts instead of literature as his means of
+expression. The two posters from his hand are very decorative in their
+strange way, and contain passages of great beauty. In the
+
+[Illustration: 0175]
+
+[Illustration: 0177]
+
+kneeling woman is remarkably impressive, while the irises amidst which
+she kneels are beautifully drawn. The lettering of this poster is most
+original, and the designer has evidently taken great pains with it. It
+is a lithograph in two colours, and measures forty-two and a half by
+thirty-one and a half inches. Schwaebe's larger poster, the "Salon Rose +
+Croix," is in one colour only, and is a good example of his work. So
+far this curiously-gifted artist has confined himself to advertising a
+concert and a picture show; it is not to be expected that he will ever
+condescend to soap or extract of beef. Another of the Rose + Croix men,
+Aman-Jean, has done a poster for the Salon which rivals in curiosity the
+productions of Schwaebe himself.
+
+A little advertisement which had, it may well be, some influence on the
+poster movement in England, was that by which Andre Sinet advertised an
+exhibition of his own works held at the Goupil Gallery in 1893. This
+was an attractive little bit of design of which the colour was very
+agreeable. In addition to it, Sinet has done the inevitable poster for
+Yvette Guilbert. Another painter of talent who has made an advertisement
+for an exhibition of his own work is H. Guerard. It represents a group
+of ravens and is in poker work. It would appear to be rare, as it is
+quoted in none of the catalogues. A copy, exhibited at the Aquarium in
+1894, is in the collection of Mr. Ernest Hart. Still another artist who
+
+[Illustration: 0179]
+
+[Illustration: 0181]
+
+[Illustration: 0183]
+
+[Illustration: 0185]
+
+has, I believe, done only one poster, is Goissaud. His design was to
+advertise the "Societe des miniaturistes et enlumineurs de France," and
+is a lithograph in one colour. Among the Salon des Cent series we have,
+besides the admirable posters of Grasset and Ibels already alluded to,
+a very grotesque and effective little design by Jossot. It represents an
+amazing old gentleman of weird aspect, in cocked hat, paying his franc
+for admission to the exhibition. Of its kind it is effective enough.
+Another, by Cazoly, with a curious portrait of Paul Verlaine is
+reproduced here.
+
+It is certainly with no view to hurt the feelings of those artists whose
+names do not head this chapter that they are represented by a mere
+_et cetera_. It must be understood that one of the least polite of
+contractions, in this case, involves no discourtesy whatsoever.
+
+For example, I may instance such able work as Gruen's "Le Carillon:
+cabaret artistique." Few posters are more vivid or more actual than
+this. The price of it is a matter of pence, and it should certainly not
+be neglected by those whom it amuses to collect the _affiche illustre_.
+Gruen, in addition to "Le Carillon," has produced "Poleon-Revue:
+Decadent's Concert," and in addition a design for an insurance company.
+One of the most charming of the more recent French posters is one by H.
+Gray, dealing with "La Pretentaine," a play produced some time ago at
+the Nouveau Theatre. In addition he has advertised "La Bonita" at
+the Cirque d'Ete, "Les Mousquetaires," at the same place, "Les
+Saltimbanques" at the Cirque d'Hiver, and the _bal masque_ at
+the Theatre de l'Opera. The last is perhaps the best known of his
+_affiches_. Among others, Bac has done a poster for Yvette Guilbert at
+the Horloge, which is signed and dated 1892. The bicycling craze has
+called into existence a perfect torrent of posters, and Bac, together
+with Gray, Guillaume, Lunel, and Paleologue, have produced posters of
+more or less interest. A gentleman who is sufficiently modest not
+to state his name, did a design which called forth the wrath of the
+authorities. Whereupon an artist called Lepur designed an _affiche_
+bearing the significant legend, of which this is a translation: "Grand
+choice of vine-leaves (fig-leaves) of all sizes for posters, as demanded
+by the virtuous journals, the 'T(emps '), the 'G(aulois '), and the
+'D(ebats ')."
+
+The following is a list, with the names of typical examples of their
+work, of some other French artists of distinction who have designed
+posters: Barbizet ("La branche cassee"), Bouisset (F.) ("Bazar de
+l'Hotel-de-Ville," "Exposition de jouets," "Chocolat Menier"),
+Desicy (H.) ("Un heritage, roman"), Dutriac ("Ambassadeurs: Danseuses
+Espagnols"), Faria ("Ba-ta-clan: [Illustration: 0189] Paulus"), Dufay
+("Portrait,") ("Les Rey Nol's)," Galice (G.) ("Concert parisien: Esther
+Lekain," "Fete des Fleurs," "Paulan Brebion," "Scala: Jeanne Bloch"),
+Guydo ("Eldorado: Aimee Eymard"), Honer ("Concert parisien: Bonnaire"),
+Hope ("Gaiete: Tour de Nesle"), Huvey ("Gras-side"), Lamy (L.) ("Le
+capitaine Henriot, opera comique," "Theatre national lyrique"), Lebegue
+(L.) ("Bals travestes et tableaux vivants"), Lefevre (L.) ("Cacao
+lacte," "Electricine," "L'hiver a Nice"), Levy (E.) ("Chatelet Michel
+Strogoff," "Cirque d'Hiver: Caravane dans le desert," "Folies Bergere:
+Vue de la salle," "Petit national: Le prince Mouffetard"), Meunier (G.)
+("Papier a cigarettes Job," "Parfumerie Edea," "Le Sahara a Paris: Champ
+de Mars"), Truchet (A.) ("Cabaret des Quat'z' Arts," "Eldorado: Alice
+Berthier.")
+
+It will have been noticed already how great apart the music-hall and
+the _cafe chantant_ play in the history of the pictorial poster.
+Yvette Guilbert has been the cause of a baker's dozen of _affiches_;
+Anna Thibaud (that charming singer of the songs of Beranger); Anna Held,
+with her curious manner, and still more curious appearance; Irene Henri,
+of intense personality; Jane Avril, and May Belfort; to say nothing of
+Aristide Bruant, of Caudieux, of Paulus, and the rest of the school who
+have made the music-hall stage of France a matter of no small importance
+
+[Illustration: 0191]
+
+in her social life, have been favourite subjects of the designers
+of posters. It has always been held that the career of an actor, in
+consideration of its evanescence, is not
+
+[Illustration: 0193]
+
+without a certain pathos. It is true that we remember, through the
+gossip of their friends, Garrick and Mrs. Siddons, Talma and Rachel, but
+even these are uncertain phantoms lingering in the haze of memory. Only
+yesterday they were intensely actual, to-day they are not more real than
+Burbage and Betterton. After all, the history of the actor's art is not
+without its immortals. Macaulay's schoolboy could doubtless have related
+the compliment of Dr. Johnson to Mrs. Siddons: the latest escapade of
+the great Sarah is the joy of the paragrapher. The music-hall, however,
+has still no artist in any country (save, perhaps, the unforgettable
+Yvette) who has much chance of permanent remembrance. But when the toil
+and moil of existence is ended, when the singer has sung his last song,
+it may chance that he will be remembered because some collector of such
+unconsidered trifles as picture posters has placed in his portfolio a
+work of Cheret or of Lautrec.
+
+To turn from the music-halls to the great railway companies is an
+emphatic transition, and yet the former, no less than the latter have
+done much to encourage the artist to apply his talent to the _affiche_.
+The Great Western Railway Company have illustrated at their stations and
+in their carriages, by means of photography, all that is romantic and
+interesting in the country through which their line runs. And, again,
+the great lines of the United States have brought into vogue vast
+systems of pictorial advertisement. Their opportunity was undoubtedly a
+magnificent one. For subject
+
+[Illustration: 0195]
+
+[Illustration: 0197]
+
+matter they had some of those vast natural developments which appeal to
+mere man as absolutely terrific. The waterfall, splashing itself into
+luminous dust, the immense and silent mountains, the lakes which are
+seas, the vasty canons which occur in different parts of the States,
+inevitably appeal to the imagination. It is therefore not wonderful that
+the great lines of America have preferred literal and exact illustration
+to fantastic delineation. The railways of France, on the other hand,
+have employed to no inconsiderable extent the artist to figure the
+beauties of the places at which they have stations. Amongst the most
+important French designers who have worked at the railway _affiche_
+are:-Fraipont (G.): ("Chemin de fer de l'Etat: Bains de mer de Royan":
+"Royan sur l'Ocean," "Chemin de fer d'Orleans: Excursions en Tou-raine":
+"Excursions en Touraine et aux chateaux des bords de la Loire," "Chemin
+de fer de l'Ouest: Argenteuil a Mantes," "Cie de l'Ouest et de Brighton:
+Fleurs, fruits, primeurs a destination de Londres," "Paris a Londres
+(L'Angleterre et l'Ecosse)" "Chemin de fer du Nord: Excursions a la
+mer," "Chemin de fer de l'Est: Royat," "Chemin de fer de l'Ouest:
+Bretagne, Normandie," "Normandie et Bretagne," "Chemin de fer de l'Ouest
+a Brighton: Paris a Londres," "Chemin de fer du Nord: Anvers, Exposition
+universelle.") Ochoa: ("Club Train," "Mediterranee," "Express (Cie Int.
+des wagons-lits)," "Orient-Express," "Peninsular-Express"). Hugo d'Alesi
+(_affiches_ simili-aquarelles): "Paris, Lyons, Marseilles, Algerie,"
+"Geneve," "L'hiver a Nice," (two subjects), "Lac de Thoune,"
+"Mont Revard," "Le Mont Rose," "Le Puy," "Tunisie," "La Turbie,"
+"Uriage-les-Bains," "Chemin de fer du Midi: Pyrenees," "Chemin de fer
+d'Orleans: Excursions en Auvergne" (1894), "La Creuse et l'Indre,"
+"Chemin de fer de l'Ouest: Dieppe," "L'Auvergne (Orleans)." Lefevre
+(L.): "Nord. Ete a Cobourg," "Orleans Excursions aux Pyrenees," "Bains
+de mer du Golfe de Gascogne," "Ouest Excursions sur les cotes de
+Normandie, en Bretagne, et a l'ile de Jersey." Among other designers for
+French railway companies and watering-places may be named Orazi, whose
+"Trouville" poster is reproduced on p. 181, Balzer, Baylac, Japhet, and
+Oge.
+
+[Illustration: 0201]
+
+[Illustration: 0203]
+
+
+
+
+CHAPTER VI.--IN ENGLAND: FROM FRED WALKER TO DUDLEY HARDY
+
+|While the pictorial poster undoubtedly existed in England previous to
+the production of Fred Walker's "Woman in White," its artistic qualities
+were conspicuous by their absence. No body of artists who designed
+posters, such as that of which Ga-varni was one in France, is to be met
+with in the history of English art until the present day. While, as Mr.
+Spielmann reminds us in a recent magazine article, Mr. Godfroy Durand
+and Mr. Walter Crane had both attempted the artistic _affiche_ previous
+to Walker, the efforts of neither made a pronounced impression, nor were
+they productive of permanent results. The work of the first of these
+three artists announced the appearance of the then newly-founded
+"Graphic," and that of Mr. Walter Crane proclaimed the merits of a brand
+of lead pencils. It is interesting, as an example of Mr. Crane's immense
+versatility in decorative design, that he should be among the pioneers
+of the poster movement in this country. That his early effort was
+overshadowed by Walker's very imposing work is not a matter of surprise.
+From the first, Walker appears to have been deeply impressed by the
+possibilities of the hoardings as a free art gallery. To use his own
+words, as quoted by Mr. Spielmann: "I am impressed on doing all I
+can with a first attempt at what I consider might develop into a most
+important branch of art." How Walker's view has been realized the mere
+existence of this book is sufficient to prove. This design, which
+was done to advertise Wilkie Collins's novel, "The Woman in White,"
+represents a magnificently-draped female figure stepping through a door
+out into the night. With one hand she opens the door, with the other
+she imposes silence on some person unseen. This was cut on wood by W. H.
+Hooper, who also engraved the small block we are permitted to reproduce
+here from "The Magazine of Art." The design is in black and white, and
+has the limitations from the advertising point of view of black and
+white work; but, apart from this, it is in every way a work which
+could not fail to impress the passer-by. "The Woman in White" is,
+unfortunately, Walker's sole essay in the art of the poster; on the
+other hand, Mr. Walter Crane has produced a series which, we may hope,
+has yet to close. It would seem that over ten years elapsed between his
+first and second attempts in the art of the poster. We meet with him for
+the second time in a design in blue and yellow
+
+[Illustration: 0207]
+
+which advertised the Covent Garden Promenade Concerts given in 1880.
+This has become extremely rare, and the artist himself does not, I
+believe, possess a copy. Following the Covent Garden bill was one
+announcing the performances in London of the Paris Hippodrome Troupe.
+This is merely an enlargement on a vast scale of a classical drawing
+intended to adorn a book describing the show, but it is distinctly
+interesting, more so, it seems to me, than the pretty little coloured
+thing-a window-bill, rather than a poster-which advertises Hau's
+champagnes. Other posters by Mr. Crane deal with an exhibition of
+his own works, with various insurance companies, with the "English
+Illustrated Magazine" (an enlarged version of the cover), and the
+exhibitions of the Arts and Crafts Society. It will be seen that Mr.
+Crane's contribution to the art of the poster is a very substantial one,
+and if his designs do not always fulfil the sweet uses of advertisement,
+they are generally marked by fine taste. It is a matter of common
+knowledge that Professor Herkomer has left hardly any art or craft
+untouched, and it therefore goes without saying that he has left some
+of them unadorned. To succeed as painter, etcher, carver, musician, poet
+and playwright, lecturer, and actor is not given to mere man. Professor
+Herkomer's posters cannot, I think, be considered among his more
+fortunate performances. That done for "The Magazine of Art" does not
+lack a certain feeling for composition: the weird
+
+[Illustration: 0209]
+
+[Illustration: 0211]
+
+[Illustration: 0213]
+
+[Illustration: 0215]
+
+creature who told us that "Black and White" was coming seemed to me
+to lack both dignity and grace, and, moreover, to possess very few
+compensating qualities. Amongst other posters by Professor Herkomer
+is one for his own exhibition, and one for an exhibition of pictures
+recently held at Oxford.
+
+It should be noted that while most of the mural decorations of Mr. Crane
+and Professor Herkomer are, strictly speaking, posters, in that they
+were designed for the hoardings and for the hoardings alone, a great
+many designs and pictures by eminent artists have been reproduced and
+posted contrary to the original intention of their designers. The most
+prominent of these is, of course, Sir John Millais' famous "Bubbles,"
+on the reproduction of which enormous sums have been spent. The thing is
+pretty enough, but cannot compete as an advertisement with a really good
+poster properly so called. Of course the name of Sir John Millais was
+one to conjure with, and the success of the thing has been, doubtless,
+great. But it is not an experiment one cares to see frequently repeated.
+Messrs. Pears were more happily inspired in the commission which they
+gave to Mr. Stacy Marks to produce a _bona fide_ poster. His "Monks
+Shaving," seems to be most excellently conceived, and, indeed, to be the
+most interesting of Messrs. Pears
+
+[Illustration: 0219]
+
+[Illustration: 0221]
+
+gallery of illustrated advertisements. Art has certainly played a very
+prominent part in the battle of the soaps. Mr. G. D. Leslie used his
+gifts to insist on the merits of the Sunlight brand, while Mr. Burton
+Barber pleaded pictorially for the Lifebuoy brand. A curious bit of
+poster-making was the reproduction of a random sketch of a girl sitting
+on a champagne cork, by Mr. Linley Sambourne, which seems to meet us at
+every turning. Again, Mr. Harry Furniss's man who had used Pears'
+soap years back, "and since then had used no other," is an enlarged
+reproduction used for advertising purposes of a drawing in "Punch."
+On the other hand, the "Minerva," which Mr. Poynter designed for the
+Guardian Assurance Company, was actually devised for the purpose of a
+mural advertisement. It cannot be strictly called a poster, insomuch as
+it is never seen in the open air unless glazed. It is a classical
+design in several colours, and is of a very elaborate character. For the
+purpose of exhibition indoors, it is glazed and mounted on linen with
+rollers. Another contemporary English painter who has received very high
+official recognition and has done a poster is Sir James Linton, P.R.I.
+His subject was assuredly an attractive one, "Antony and Cleopatra," but
+it can hardly be maintained that, for an artist of so great repute, he
+has produced an especially memorable design. It is a lithograph in one
+colour, and measures fifty by fifty-two inches. Its date is 1874, so it
+is clear that Sir James Linton is among the little band who tried to do
+something for the pictorial poster in
+
+England when it was held of no account. Mr. Charles Green, a member
+of the institution of which Sir James is president, produced a rather
+ingenious advertisement of an exhibition of works in black and white
+held some time ago in Mosley Street. It
+
+[Illustration: 0223]
+
+[Illustration: 0226]
+
+is not very large, and is a lithograph in one colour.
+
+It will be observed that the artistic poster was in the air in England
+not very long after it began to develop in France. It does not, however,
+seem to have taken so great a hold on English artists or on the English
+public as on the artists and public of France. In England the artistic
+poster appears to have been received coldly or with indifference,
+and doubtless many designers who would have been glad to turn their
+attention to the poster were deterred therefrom by lack of public
+sympathy. But all this has happily been changed, and if the number of
+poster designers is to continue increasing at the present rate, the
+difficulty will be, not to find the artistic advertiser, but to find
+the thing to be advertised. A crowd of clever young men, actuated by the
+success which met the efforts of the designers dealt with in the next
+chapter, have rushed to the poster with results altogether important.
+
+
+
+
+CHAPTER VII.--IN ENGLAND: THE WORK OF DUDLEY HARDY, AUBREY BEARDSLEY
+
+AND MAURICE GREIFFENHAGEN
+
+|The English artists of established reputation with whom I dealt in the
+last chapter, were, as we saw, so anxious to inform their posters with
+aesthetic qualities, that for the most part, they overlooked the obvious
+fact that their work was vain unless it really fulfilled its primary
+purpose of advertising. It was left for the three men (all of
+comparatively recent reputation) whose names head this chapter, to give
+the right direction; to insist that not art, but advertisement, was the
+first essential. It is not for an instant to be pretended that their
+achievement equals in importance that of the three designers discussed
+in a corresponding chapter in the section of this book devoted to
+France. Quantity of production, it is true, is a small matter in art;
+and yet, in so far as quantity of production entails experience, one
+is forced to take it into consideration. The success of a man who has
+produced a hundred posters, or more, is scarcely to be expected of
+a designer, however ingenious, who is only making his first attempt.
+Moreover, to an artist accustomed to work on a small scale, it is a
+matter of extreme difficulty to appreciate, and when in the throes of
+production to keep in mind, the essentials of a design intended to
+be seen at a considerable distance, in the open air. He is apt to
+be tempted into pretty detail or subtle and harmonious colour, and
+therefore to forget that he should be simple almost to the point of
+crudeness. Under these circumstances, it is not less remarkable than it
+is encouraging, that Mr. Hardy, Mr. Beardsley, and Mr. Greiffenhagen in
+their earliest essays apprehended the situation at once, and produced
+posters which inevitably caught the eye of the beholder and created an
+impression which remained with him for a considerable time. Differing in
+all else, the first designs of these three artists were alike, in that
+they were admirable advertisements. From every hoarding in London,
+from the walls of every station on the Underground Railway, one was
+vehemently called upon to purchase a new weekly, or a new series of an
+old one, or to visit the Avenue Theatre. If the call was resisted, it
+was assuredly no fault of these artist-advertisers. To suggest that what
+they have done would have been impossible,
+
+[Illustration: 0230]
+
+[Illustration: 0231]
+
+or at least improbable, if France had not paved the way, is scarcely
+to discount their immediate and unequivocal success: even the greatest
+artist is unwise if he does not condescend to make use of the work of
+the past.
+
+It is, I think, Mr. Dudley Hardy who, of the three artists named, owes
+most to France. He has made a variation, a very personal and alluring
+variation, be it said, of a theme essentially Gallic in its unrestrained
+gaiety, its reckless joyousness. There is something of Cheret, and there
+is even more of Jan Van Beers, in the end-of-the-century girl, elegant
+as she is impudent, whom Mr. Hardy depiets with such amazing verve and
+abandon. She is too light-hearted, too irresponsible, to be a daughter
+of this land of grey and rainy skies; she takes nothing seriously, save
+perchance a detail of her costume. And yet she is stamped with Mr.
+Hardy's personality as thoroughly as are the charming _Parisiennes_ of
+Cheret with the individuality of their inventor. Mr. Hardy began,
+and began wisely, by trusting for his effect to a single bold figure.
+Elaborate composition implies detail, and detail is one of the pitfalls
+of the designer of posters. Take, for example, the vast sheets which
+were employed to advertise one of the spectacles at Olympia. The
+overcrowding of small figures and closely-realized views either produced
+no impression whatsoever on the spectator, or at the most an impression
+due entirely to the immensity of the sheets. Mr. Hardy's series of
+posters commenced most auspiciously with that audacious young lady in
+a yellow dress, saucy hat, and flying black boa, who, not deigning to
+entreat, compelled the passer-by to rush to the nearest bookstall for a
+copy of Mr. Jerome's weekly "To-Day." Later, in similar vein, came
+the dashing girl in red, used by the manager of the Prince of Wales's
+Theatre to insist on the merits of "A Gaiety Girl." It may be doubted
+whether any more effective mural advertisement has ever been seen in
+London than that formed by half-a-dozen copies of this poster, arranged
+in the manner of a frieze in front of the theatre during the run of the
+piece. If the idea was that of the bill-sticker, the man was a genius
+of his kind: I cannot help suspecting, however, that the striking
+arrangement was due to Mr. Hardy himself. Or perhaps it was the happy
+thought of an outsider. In addition to the large "Gaiety Girl" poster,
+the two smaller bills which this artist designed to advertise the same
+play, full as they were of dash and go, must not be overlooked. To the
+collector they have a merit which he will not fail to appreciate. They
+are of manageable size, and this is more than can be said of most of Mr.
+Hardy's productions. It must not be thought, however, that
+
+[Illustration: 0234]
+
+Mr. Hardy can do no more than repeat with slight variety of detail the
+_chic_ girl to whom he first introduced us; already, notwithstanding
+the comparatively small number of his designs, he has shown a very
+commendable versatility. The proprietors of "St. Paul's," in the days
+when that journal regaled its readers on the portraits, not of dancing
+girls, but of right reverend prelates, commissioned Mr. Hardy for a
+large design appropriate to the semi-ecclesiastical character of their
+journal. The choice, in view of the "Yellow Girl," was a somewhat
+curious one; but the experiment justified itself. The artist rose to the
+occasion; on the hoardings of London there appeared a woman of austere,
+even saintly, demeanour, clad in sombre robes, and armed with a spike of
+the Madonna lily. In spite of the low scheme of colour, the design
+was very telling as an advertisement. It has become very rare; indeed,
+notwithstanding the fad; that the dealers quote it at various prices in
+their catalogues, it may be questioned whether it is to be procured at
+all. When the policy of "St. Paul's" was changed--when it stepped down
+from its shrine to join the multitude and be of the world, worldly--the
+art of Mr. Hardy was once more called in to introduce the paper in
+its new guise. For the first time, so far as I know, he attempted
+composition. His idea was a happy one. The poster represented a young
+lady, evidently light-hearted and of unquestionably fantastic costume,
+see-sawing on a quarter of the moon with a gentleman of slight
+intellect, but exceedingly smart clothes. Seen under certain conditions
+the composition is distinctly effective, but from a long distance it
+fails to assert itself as do Mr. Hardy's simpler designs. In his most
+recent effort he has returned to the single figure, and he has done
+nothing more striking than his bill for "The Chieftain," at the Savoy
+Theatre, which represents a man in picturesque costume on a red ground.
+The lettering of nearly all Mr. Hardy's posters is admirable. It is
+invented by the artist himself, and forms an essential part of the
+design. For the rest, it should be remembered that the poster is a mere
+incident in Mr. Hardy's art career. As an illustrator he is with us
+everywhere; as a painter he is held in deserved esteem. It is to be
+hoped, for the sake of the artistic poster in England, that he will
+continue to devote some of his time to a branch of art in which, in
+comparatively a short time, he has so greatly succeeded.
+
+The art of Mr. Aubrey Beardsley has been so enthusiastically received,
+on the one hand, as a new revelation, and so passionately condemned, on
+the other, as the mere glorification of a hideous and putrescent aspect
+of modern life, that it is difficult to consider his work with calmness.
+One thing, however, is certain: an impression
+
+[Illustration: 0238]
+
+[Illustration: 0240]
+
+of some kind, whether agreeable or the reverse, it has undoubtedly left
+upon all who have seen it. It cannot be dismissed by stating that it
+is derivative rather than original; that to a large extent it is the
+outcome of Japan, and in a less degree of the old English school of
+caricaturists. Whether it be good or bad, the extraordinary impression
+it has made cannot be gainsaid. It is probable that the work of no young
+designer of recent times has called forth so much homage of imitation,
+so great an amount of that kind of caricature which is among the
+sincerest forms of flattery. Mr. Beardsley's eccentricities are so
+pronounced, that to parody his work was simply to do the obvious.
+From "Punch," august by reason of its fifty years of tradition, to the
+poorest comic rag produced to catch the errand-boy's spare halfpenny, is
+a far cry; and yet the former, no less than the latter, has treated
+its readers to a series of pictorial Beardsleyisms. It would have been
+wonderful, indeed, if Mr. Beardsley, who is nothing if not modern, had
+not attempted the artistic poster. His opportunity came when the Avenue
+Theatre was taken by an enthusiastic and courageous young actress for
+the production of plays by living English writers, which, whatever
+their fate from the commercial point of view, were at least to possess
+definite merits as pieces of literature. In order to advertise Dr.
+Todhunter's "Comedy of Sighs," and Mr. G. Bernard Shaw's "Arms and the
+Man," Mr. Beardsley excelled himself, and designed perhaps the most
+remarkable poster ever seen, up to that time, in London.
+
+Nothing so compelling, so irresistible, had ever been posted on the
+hoardings of the metropolis before. Some gazed at it with awe, as if
+it were the final achievement of modern art; others jeered at it as
+a palpable piece of buffoonery: everybody, however, from the labourer
+hurrying in the dim light of the morning to his work, to the prosperous
+stockbroker on his way to the "House," was forced to stop and look at
+it. Hence, it fulfilled its primary purpose to admiration; it was a
+most excellent advertisement. The old theatrical poster represented,
+in glaring colours, the hero in a supreme moment of exaltation, or the
+heroine in the depths of despair. Mr. Beardsley did not condescend to
+illustrate, but produced a design, irrelevant and tantalizing to the
+average man, though doubtless full of significance to himself. In many
+respects the Avenue bill must be considered the best poster which so far
+has come from this artist's hands. The very graceful figure on a small
+poster for "The Yellow Book" speaks for itself. It is more vivid,
+more curious, than either of the two done for a London publisher. Most
+collectors, however, will treasure even more highly
+
+[Illustration: 0244]
+
+[Illustration: 0245]
+
+[Illustration: 0246]
+
+the charming design done by Mr. Beardsley to advertise the Pseudonym
+series of short stories. In it we meet with the artist in his less
+mordant mood. The sketch of the old bookshop in the background is quite
+delightful, and the whole design is less grotesque than most of Mr.
+Beardsley's productions. The arrangement in purple and white, which
+he did for the same firm, is a very striking performance in his later
+manner. Its importance as a poster is, however, seriously discounted
+by the fact that the design has nothing whatsoever to do with the text,
+which has been added in a manner almost inconceivably clumsy.
+
+The success of Mr. Beardsley in the production of artistic posters has
+encouraged a host of imitators, so that it is quite within the bounds
+of possibility that he will found something in the nature of a school.
+Already, on the other side of the Atlantic, more than one artist has
+been inspired by him. The posters of Mr. Bradley, for example, with
+which I shall deal later, are unquestionably adaptations, at once
+skilful and intelligent, of Mr. Beardsley's decorative manner. Again, to
+return to England, the pleasant arrangement in red and white, designed
+by Mrs. Dearmer to advertise a recital recently given by her in London,
+proves that she has been affected by the simplicity and directness which
+are so conspicuous among the merits of Mr. Beardsley in his essays in
+the art of the hoarding. Of his many parodists only one, I think, has
+actually attempted the poster. The essay in question was made by Mr.
+J. Hearn, under the signature of "Weirdsly Daubery," and the result
+was very fantastic and amusing. The design was done for some amateur
+theatricals at Oxford, and it was curious to
+
+[Illustration: 0248]
+
+[Illustration: 0250]
+
+meet this atom of the so-called decadence flaunting itself, with strange
+incongruity, in every nook and corner of "the sweet city of the dreaming
+spires."
+
+The case of Mr. Maurice Grieffenhagen is similar to that of Mr. Dudley
+Hardy, insomuch as both have been well known for some time to the public
+as painters and as the producers of very accomplished work in black and
+white. At present Mr. Grieffenhagen, as a designer of posters, can only
+be judged by a single production. It may be said at once that nothing
+more distinguished, nothing which is less imitative or derivative, has
+come from English hands than Mr. Grieffenhagen's advertisement for the
+"Pall Mall Budget." Admirable alike in colour and in pattern, the poster
+is entirely appropriate to its purpose of keeping before the eyes of the
+public a publication which escaped frivolity on the one hand and dulness
+on the other. All who watch the development of the artistic poster
+in England with interest, cannot but hope that the "Pall Mall Budget"
+poster will be the first of a series by the same artist equally
+delightful and original.
+
+It is interesting to note that while we are still a long way behind
+the French in the matter of the artistic poster, the productions of
+the three artists with whom I have just dealt have received a cordial
+welcome at the hands of Parisian collectors. In the dealers' shops you
+may see Mr. Hardy's "Gaiety Girl" side by side with Lautrec's "Reine
+de Joie," while Mr. Grieffenhagen's young lady in red looks with demure
+surprise at the antics of her more frivolous sisters, as depicted by
+Jules Cheret. There is, again, a steady demand for anything by Mr.
+Beardsley, who, it would seem, has already become an established
+favourite with French connoisseurs. As we shall see in another chapter,
+the prices put in Paris upon English posters compare very favourably
+with those at which the works of the ablest French designers are valued.
+In matters of art, few cities are more insular and intolerant than the
+French metropolis; and those English artists who are devoting themselves
+to the poster, should be encouraged by enthusiastic recognition where
+enthusiasm was least to be expected.
+
+
+
+
+CHAPTER VIII.--THE WORK OF OTHER CONTEMPORARY ENGLISH DESIGNERS
+
+|Since this book was commenced as the companion, rather than the rival,
+of that of M. Maindron, English designers of the poster have multiplied
+in a degree altogether phenomenal.
+
+Up to the time in question, as we have already seen, the English
+artist who attempted the poster was exceptional. The famine, which was
+prevalent only a year or two ago, has become the abundance of today, so
+that where one expected a dearth of subject matter, one has in fact an
+excess. It seems to me that, apart from the English pioneers, whom we
+have already considered, the brothers Beggarstaff, in reality Messrs.
+Pryde and Simpson, two young artists, are entitled to the first
+place among the makers of the English artistic poster. They have best
+appreciated the essence of their business: less than almost any native
+designers, they are innocent of any homage of imitation. They have
+imitated neither Cheret nor Lautrec: it may well be that they have had
+the wisdom to take a hint here and there from both of these masters of
+the art of the _affiche_. As yet the hoardings of London are screaming
+with the vulgar designs of the advertiser's hack. The admirable art of
+the Beggarstaffs is, up to now, infrequently met with. Their curious
+advertisement for Sir Henry Irving's production of "Becket," was
+eclipsed by that done for the same manager's "Don Quixote," while the
+latter has to give place to one intended to announce a special issue of
+"Harper's Magazine." All of these force themselves on the collector's
+attention. They are at once striking and artistic; they cry their wares
+well, and they are a delight to the eyes. The lettering in the Harper
+poster is beyond all praise. Of its kind, it is the most beautiful
+English lettering of which I know. At the Aquarium Exhibition the
+Beggarstaff's showed four posters which advertised Nobody's Blue,
+Nobody's Candles, Nobody's Niggers, and Nobody's Pianos. If each
+"Nobody" is not rapidly converted into "Somebody," the various
+manufacturers and proprietors of the articles mentioned above must be
+very stupid people. All were excellent; that which advertised Nobody's
+Pianos was a most curious and a most original performance. It seems to
+me that the Beggarstaffs have few serious rivals in England, and not
+very many in France. Their works should help very
+
+[Illustration: 0256]
+
+considerably in the task of revolutionizing the English pictorial
+poster. The
+
+[Illustration: 0258]
+
+impression created by their designs on Frenchmen, who are past masters
+in the art of the hoarding, is most favourable.
+
+[Illustration: 8258]
+
+It will be remembered that when Mr. Sickert took it into his head to
+depict the Sisters Lloyd in their music-hall habit, the critics fell
+out greatly. Even the young ladies in question had, it is said,
+scant affection for a design in which everything was suggested and
+nothing declared.
+
+They had, it is true, the recompense of advertisement, and that, to a
+music-hall singer, is a very sweet recompense. It was characteristic of
+Mr. Sickert that he should go to the music-halls for a subject. The "New
+English Art Club" is devoted to things which are
+
+[Illustration: 0259]
+
+new and strange, the artistic poster amongst them. Mr. Sickert is not
+the only one of the members of this club who have made an essay in the
+latest form of applied art. Mr. Beardsley, Mr. R. Anning Bell, and Mr.
+
+[Illustration: 0260]
+
+[Illustration: 0262]
+
+[Illustration: 0264]
+
+Wilson Steer are amongst those of his colleagues who have done the same
+thing. Mr. Sickert's poster, which is, I believe, as yet unpublished, is
+in four colours. It is calculated to make a good advertisement, and one
+can only hope soon to meet with it on the hoardings. As an impressionist
+painter of talent, Mr. Wilson Steer is as well known as Mr. Sickert. A
+"New English Art Club" Exhibition without his work would be one which
+lacked a most characteristic feature. Mr. Steer gave us an opportunity
+of appreciating his talent as a painter by organizing a show of his
+own work. To advertise this he did a poster, which was excellent of
+its kind, and is in consequence very rare. It is a comparatively small
+lithograph in four colours, and is quite unlike this artist's other
+work. It leans, it seems to me, towards Pre-Raphaelitism rather than
+towards Impressionism. An artist who has certainly sat at the feet of
+Mr. Whistler is Mr. Mortimer Menpes. To advertise several exhibitions of
+his paintings, he has invented at least three posters, which certainly
+do not lack the merit of originality. He has abstained from the
+frivolous girl and grotesque man. The "France," the "Venice," and the
+"India" are in their way considerable achievements in dainty design and
+quiet and harmonious colour. Mr. Menpes, by being intentionally simple,
+has arrived at notable conspicuity. All this artist's designs are of
+small size, and are appropriate rather to the notice board than to the
+hoarding. Nothing more opposite to the fastidious productions of Mr.
+Menpes could be conceived than the vigorous poster by Mr. Lockhart Bogle
+advertising a Scottish Athletic Gathering, held in 1892. This is a large
+lithograph, consisting of a single figure of a Highlander, which, if not
+remarkably beautiful, is drawn with vigour and with no small accuracy.
+Mr. Brangwyn is one of those English painters of whom we are entitled
+to be proud. His directness, the audacity of his impressionism, the
+splendour (if sometimes ill-considered) of his colour schemes, cannot
+be passed over even by those who have slight sympathy with his method.
+That, if so inclined, he would produce a poster at once startling and
+artistic is not to be denied. The one which he has already designed to
+advertise an exhibition of South African pictures by himself and Mr.
+William Hunt, held at the Japanese Gallery, is certainly by no means
+worthy his remarkable talent, and one trusts that he will cease for
+a moment from painting pictures and produce a poster which shall be
+memorable in the history of the _affiche_ in England.
+
+Mr. Frank Richards is nothing if not versatile; his exhibition, held
+recently at the Dowdeswells' Galleries, came as a surprise to all who
+were unacquainted with his
+
+[Illustration: 0268]
+
+[Illustration: 0269]
+
+[Illustration: 0270]
+
+clever painting. In this exhibition his pictures ranged from a large
+study of Mr. Clive as "Hamlet" to slight but beautiful studies of Venice
+under various atmospheric conditions. In his poster work, of which at
+present little has been seen, Mr. Richards shows that, to some extent,
+he is under the influence of Mr. Dudley Hardy. Mr. Richards, no less
+than Mr. Hardy, is undeniably up to date, and his work is really
+effective. Among the most recent additions to the ranks of our popular
+illustrators is Mr. Lewis Baumer. One meets with his work everywhere;
+in "To-Day" and in the shortlived "Unicorn." His bills to advertise the
+Academy students' annual burlesque are pretty, if they are nothing else.
+Mr. Baumer has certainly still to make his mark as a poster designer.
+The Artistic Supply Company, who are paying special attention to the
+pictorial poster, have already produced a dainty little _affiche_ by
+him. It may be noted here that the company in question have arranged
+with some of the most eminent English designers for the reproduction of
+artistic posters, and that several, which illustrate these pages, do so
+only on account of their permission most generously given.
+
+Among other services which the comic journal "Pick-Me-Up" has rendered
+to the artistic public is the extremely important one of emphasizing,
+and giving a congenial outlet to, the remarkable talent of Mr.
+
+[Illustration: 0272]
+
+[Illustration: 0274]
+
+Raven-Hill. From almost the first, his connexion with the journal in
+question has been a very intimate one. Hardly a number is without a
+specimen of his powerful drawing and his gift of comic invention. While
+suggesting, in the best sense, the style of the incomparable Charles
+Keene, Mr. Raven-Hill's work in black and white is the outcome of his
+own personality. It would have been strange if this very modern artist
+had not produced pictorial posters: his talent was perfectly adapted to
+his doing so with success. His small bills for "Pick-Me-Up" are vigorous
+in drawing, bold in colour, and of a pleasant fantasy. They only measure
+twenty by thirty inches, but they are very telling. A complete set of
+them is a most desirable addition to the collector's portfolio. Another
+accomplished member of the staff of "Pick-Me-Up," Mr. Edgar Wilson, has
+designed a bill for the recently defunct journal, "The Unicorn." It is
+effective, but to me personally, the colour scheme is even more crude
+than the exigencies of a poster demand. Mr. Reginald Cleaver, whose
+sketches of scenes in the House of Commons created so favourable an
+impression in "The Daily Graphic," has not yet, I believe, deliberately
+produced a pictorial poster; but one of his drawings, reproduced on
+a large scale, lends itself well enough to the purposes of mural
+advertisement. Mr. Sydney Adamson, the art editor of
+
+"To-day" and "The Idler," has done a bill which, when it is seen, will
+be Jield, I have small doubt, a very striking performance. It is happily
+conceived and boldly executed, and should make a striking patch of
+colour on the hoardings.
+
+Merely to chronicle the names of the innumerable Wilsons who are
+producing pictures would take quite a considerable space. It may be
+noted in passing that, like Edgar of that name, Mr. W. Wilson has also
+attempted an _affiche_.
+
+Among others who have designed posters which have yet to be seen an the
+hoardings are Mr. Max Cowper, Mr. A. R. Miller, Mr. Kerr Lawson, Mr. F.
+H. Townsend, whose black and white work one meets everywhere, Mr. Roche,
+a prominent member of the Glasgow School, and one of the greatest living
+English artists, Mr. Phil May.
+
+Mr. Phil May is not the only "Punch" man who has been seized with the
+prevailing mania for the production of posters. His colleague, Mr.
+Bernard Partridge, has already designed one which is reproduced in these
+pages. One associates Mr. Partridge with dainty and idyllic work rather
+than with work which is vigorous, but his first essay in the poster
+seems to me to be very promising. Mr. J. T. Manuel's work is as unlike
+that of Mr. Bernard Partridge as possible. His pictures might be by a
+clever member of the young French School who
+
+[Illustration: 0278]
+
+[Illustration: 0280]
+
+[Illustration: 0282]
+
+[Illustration: 0284]
+
+[Illustration: 0286]
+
+[Illustration: 0288]
+
+[Illustration: 0290]
+
+[Illustration: 0292]
+
+[Illustration: 0294]
+
+[Illustration: 0296]
+
+[Illustration: 0298]
+
+have taken more than a hint from Forain. The designs for posters which
+Mr. Manuel exhibited at the Westminster Aquarium, if not so distinctive
+of his talent as his contributions in black and white to "Pick-Me-Up,"
+were not without definite merit. Of the three, that catalogued as "A
+Music-hall Singer" struck me as the best. It should be purchased by Miss
+Minnie Cunningham, for the likeness between her, and the young lady
+it represents, if accidental, is marvellous. Among young decorative
+painters of the day who are not mere imitators of such masters as Sir
+Edward Burne-Jones or Puvis de Chavannes, but have invented a style for
+themselves, must be included Mr. Charles Ffoulkes. The two examples of
+his poster-work here reproduced are as beautiful in colour as they are
+refined in pattern. Moreover, they proclaim themselves in loud tones.
+Their tones, however, are those of a silver trumpet rather than those of
+cymbal or of gong. At times Mr. Ffoulkes forsakes his lofty imaginings
+and depicts _chic_ young ladies quite in the best French manner. Mr. L.
+Solon's poster, reproduced here, is a very characteristic example of his
+decorative style. In inventing it, the artist has clearly kept before
+him the fact that a poster cannot live by beauty alone; if, happily,
+there be beauty, there must of necessity be advertisement, else is
+failure inevitable.
+
+[Illustration: 0300]
+
+Very unlike Mr. Solon's poster are the _affiches_ of Mr. Heywood Sumner;
+those which I reproduce here seem to me to be very characteristic of his
+graceful gift of design. Mr. Morrow is already an established favourite
+on the hoardings of London, and justly so in that his performances are
+of exceptional merit. His "Illustrated Bits"
+
+[Illustration: 0302]
+
+is a radiant affair, and his "New Woman" makes quite a pretty picture.
+His works should certainly be collected.
+
+Of Mr. R. Anning Bell it is not too much to say that for versatility
+only Mr. Walter Crane among English artists can be said to rival him,
+and, what is far more important, his success in a medley of mediums is
+not to be gainsaid. His poster for the Liverpool School of Art, over
+which he presides, is a magnificent piece of decoration, and nothing so
+fine, in its way, has ever been, seen on English hoardings. It takes one
+up to the Elgin marbles; it is an oasis of the classical in a desert of
+the new. I can only mention the following native artists, not previously
+considered, who have produced pictorial posters of interest: Mr. F.
+Barnard ("Everybody should read in the European School"), Mr. F. Simpson
+("Land of the Midnight Sun," "To Norway Fjords"), Mr. Robert Fowler,
+R.I., whose poster for the Walker Art Gallery is here illustrated, Mr.
+Sidney Haward (p. 279), Mr. Skipworth ("An Artist's Model"), Mr. Skinner
+("Pall Mall Magazine"), Mr. Starr Wood and Mr. A. G. Draper.
+
+I have already remarked that the poster movement in this country amounts
+to a positive revolution. No young artist is satisfied unless he has a
+hand in the decoration of the hoardings; the gold frame is for the time
+forgotten, and all have their eyes on the lithographer's stone. France
+has undoubtedly had a long start of us, but if she is to retain her
+supremacy she must look to her laurels. Our young men are beating at
+her doors, though beating only in a spirit of friendly rivalry. Happily,
+between England and France there is, at this moment, only one war-the
+war of the pictorial poster.
+
+[Illustration: 0304]
+
+[Illustration: 0306]
+
+
+
+
+CHAPTER IX.--IN AMERICA
+
+|In the sweet uses of advertisement the American is surely an expert,
+and it would have been curious indeed, if he had overlooked so obvious
+and so effective a method of advertising as the pictorial poster.
+Finding, in the notorious phrase of Mr. Whistler, that "Art was on
+the town," the American advertiser was one of the most eager of those
+passing gallants who chucked her under the chin. Who it was originated
+the artistic poster movement in the States, it were hard to say with
+certainty: it may have been Mr. Matt. Morgan. Among recent American
+poster producers, three, however, are most conspicuous, Mr. Edward
+Penfield, Mr. Louis J. Rhead, and Mr. Will. H. Bradley. It is probable
+that the first-named was the innovator: at least, one would be tempted
+to judge so from the quantity of his designs.
+
+Mr. Penfield is still young, having been born at Brooklyn in the year
+1866, so that if he was the first American artist to deal with the
+poster, the movement in that continent is obviously a recent one.
+Most of his posters are on a small scale, and partake of the nature
+of window-bills rather than of placards especially destined to the
+hoarding. At the same time, Mr. Penfield has been by no means slow to
+appreciate that it is the first
+
+[Illustration: 0309]
+
+business of an advertisement to advertise, and his appreciation of this
+fad, coupled with a very dainty fancy and no small technical skill, has
+led to results which are of unquestionable importance. With his earliest
+efforts I cannot pretend to be well acquainted. In 1893 he produced
+for a firm at Salem a large bill which measures eighty-one by forty-two
+inches. The subject is a girl in a black dress and yellow jacket who is
+laden with packages. For the publications of the firm of Harpers,
+Mr. Penfield has done quite a quantity of excellent and artistic
+advertisements. Amongst the most effective is one produced for a special
+midsummer number of "Harper's Bazar," representing a girl playing
+a banjo, divided by a crimson sun from an attentive listener of the
+opposite sex. Again, for the issue of July, 1894, the artist gives us
+a girl in white lighting red crackers arranged to spell the name of the
+month. For the February number of the following year, we are presented,
+most appropriately, with a gentleman posting a valentine in an orange
+coloured letter-box. In April of the same year, Mr. Penfield gives us
+Joan of Arc in yellow, wielding sword and staff. Amongst the numerous
+books which Mr. Penfield has advertised may be mentioned "The Cloister
+and the Hearth," "Pastime Stories," "Our English Cousins," and
+"Perlycross." This artist's work is always ingeniously conceived, and
+the colour schemes are not seldom pleasantly audacious. Mr. Penfield
+gives us very agreeable versions of the American girl in general, and of
+the "summer girl" in particular. His maidens are adorably conscious of
+their power to charm, and are fully alive to the fact that their gowns
+are of the smartest.
+
+To turn from Mr. Penfield to Mr. Louis J. Rhead is to turn to an artist
+settled in the United States, but English by birth and education. Mr.
+Rhead was born at Etruria, that unclassical place with the classical
+name, and comes of a family of artists. He was, I believe, a student at
+South
+
+[Illustration: 0312]
+
+[Illustration: 0314]
+
+Kensington for several years, and only reached America in 1883. He has
+exhibited at the
+
+[Illustration: 0316]
+
+Salon and the Academy and other important picture shows.
+
+Mr. Rhead seems to have taken to the poster with the greatest
+enthusiasm, and he has undoubtedly produced a series of curious and
+striking designs. By far the most important of his efforts, though not
+the largest, are the designs which he has done for the New York "Sun."
+In one of these very daring productions, a crimson sun glows in a golden
+sky. The ground is green, the footpath and the trees are blue, while the
+girl's costume is garnet and red. It must be confessed that this
+colour scheme sounds somewhat formidable, but Mr. Rhead has invented an
+arrangement at once artistic and compelling. The lettering, it must be
+noted with regret, is not from his own hand. One of the largest of Mr.
+Rhead's posters is the "Pearline," in which a girl in a green and red
+dress is represented in the act of pinning a sheet on to a line. This
+design measures forty-one by twenty-eight inches. Of considerable
+size, and of no small merit, is the poster executed for the "Century,"
+Christmas, 1894, the chief feature of which is a girl with a peacock.
+Among other effective designs which stand to the credit of Mr. Rhead
+may be mentioned those advertising "Harper's Bazar," Christmas, 1890,
+Thanksgiving, 1894, and Christmas of the same year. For the "Century,"
+besides that already noticed, he has done several interesting posters,
+and he helped to advertise various numbers of "St. Nicholas" last year.
+It is to be noted that
+
+[Illustration: 0318]
+
+Mr. Louis Rhead has held an exhibition of his posters, the catalogue of
+which, by reason of its very characteristic and personal decorations, is
+highly esteemed by collectors of those unconsidered trifles which end in
+becoming especially dear to the connoisseur.
+
+Among the magazines of the world, the "Chap Book," which emanates from
+Chicago, is by no means the least interesting. Fascinating as is the
+title, the contents of this little periodical are still more so; its
+editors seem to have eschewed banality, and to have gone in for novelty,
+even when the new did not possess an extraordinary degree of merit. It
+were meet that so original a publication should have an advertiser of
+corresponding eccentricity. In Mr. Will. H. Bradley, the proprietors of
+the "Chap Book" undoubtedly possess such an one. Born at Springfield,
+Massachusetts, Mr. Bradley lives in Chicago, and to that town and its
+publications he has mainly devoted his energies as an artist advertiser.
+It will hardly be disputed that he has seen and assimilated, in no small
+degree, the manner of Mr. Aubrey Beardsley. He is, however, a great deal
+more than a mere imitator; what he has borrowed, he has borrowed with
+conspicuous intelligence, and nobody could for a moment accuse him of
+anything approaching petty larceny. Among his most important posters
+is a colossal one which, in the manner of Mr. Beardsley, proclaims
+the attractions of the drama by Mr. Henry Arthur Jones, entitled "The
+Masqueraders." In 1894 Mr. Bradley advertised the "Chap Book" by means
+of two dancers in red and brown costumes; the following year he insisted
+on the same publication by means of a girl in white and a man in black;
+and yet again, through the medium of a young lady in blue, mixed up with
+trees in intense purple, outlined with red and white; and several other
+equally effective compositions.
+
+Mr. Bradley is, however, not the only artist intimately connected with
+Chicago who has distinguished himself in the production of posters. A
+native of that city, Mr. Will. Carqueville, has done very interesting
+work for the firm of Lippincott's. In the year 1894, at least one design
+by him was commissioned, and in the succeeding year he produced four or
+more. That he is not afraid of colour is proved by the fact that in
+the poster done for Lippincott's, March, 1895, he combines dark purple,
+yellow, blue, and bronze. In another design we meet with red, purple,
+yellow, and blue. Mr. Kenyon Cox is an American artist whose fame is by
+no means confined to the United States. A pupil of Gerome and Carolus
+Duran, he has, so far as I know, made only one essay in the art of the
+poster. This measures eighty-one by forty inches, and is in black
+and white. It represents a male figure carrying a torch, and is an
+advertisement for "Scribner's Magazine." Mr. Scotson Clark was a
+schoolfellow of Mr. Aubrey Beardsley. He has, among other posters, done
+two to which the picturesque labels of "Our Lady of the Peacock
+Feather," and "Lady of the Iris," are attached. In addition, for the
+March issue of the "Bookman," 1895, Mr. Scotson Clark drew a monk, with
+book in hand. Mr. George Wharton Edwards, the well-known painter in
+water-colours, must be credited with three designs for the "Century," in
+the months of February, March, and April, 1895. Moreover, by means of a
+drawing of a girl and a peacock, he proclaimed the twenty-eighth
+annual exhibition of the American Water-Colour Society, in addition to
+designing a bill for a book entitled "The Man Who Married the Moon."
+The advertising enterprise of the firm of Scribner has made
+poster-collectors the richer by one or two productions by Mr. Charles
+Gibson Dana. He it was who announced, with no inconsiderable skill, the
+issues of "Scribner's Magazine" for the months of January and February,
+1895. Mr. Archie Gunn is the son of a well-known drawing master in one
+of the large towns of the Midlands. Leaving England for America, he
+found an outlet for his talent as a draughtsman on the New York journal
+"Truth." His work is nearly always vivacious, even where it is not
+particularly original. His posters were done for the "Illustrated
+American," and are by no means bad examples of his craftsmanship. Like
+most prominent American artists, Mr. Thomas Burford Meteyard studied in
+Paris. His poster to advertise a book called
+
+[Illustration: 0324]
+
+[Illustration: 0326]
+
+[Illustration: 0328]
+
+[Illustration: 0332]
+
+[Illustration: 0334]
+
+[Illustration: 0336]
+
+[Illustration: 0338]
+
+"Songs from Vagabondia" is in black and white, and consists of portraits
+of the artist himself and the authors of the book, Mr. Bliss Carman and
+Mr. Richard Hovey. A limited number of copies were printed "sur Japon,"
+and these, I believe, are rare. As in the case of so many other American
+artists, Mr. Francis Day's poster work was done for the most part for
+the great illustrated magazines which do such credit to the United
+States, as an art-producing nation. Mr. Day's design for "St. Nicholas,"
+Christmas, 1894, seems to me altogether agreeable, while in the series
+designed for "Scribner's Magazine," more than one interesting thing will
+be found.
+
+In dealing with the poster in England, we have noticed the fact that one
+woman, Mrs. Dearmer, has succeeded in producing a bill at once artistic
+and effective. Miss Ethel Reed would seem to be the most conspicuous
+lady-artist who has taken up the designing of artistic posters in
+the States. Her efforts date only from last February, when she did
+an advertisement for the "Boston Sunday Herald." Since then she has
+produced several designs which are held in considerable esteem by
+American collectors. Amongst other artists who have taken part in the
+poster movement on the other side of the Atlantic are the following:
+Messrs. Alder ("New York World," March 17th, 1895), Allen, Palmer Cox
+("New Brownie Book"), C. Miles Gardner ("Boston Sunday Herald," February
+10th, 1895, and March 10th, 1895), Oliver Herford, Charles M. Howard
+("Boston Sunday Herald," April 21st, 1895), Frank King ("New York
+World," April 7th, 1895), H. McCarter (the Green Tree Library), Moores
+("St. Nicholas," November, 1894), Julius A. Schweinfurth (Boston
+Festival Orchestra, 1895), W. Granville Smith ("Scribner's Magazine,"
+Christmas, 1894), W. L. Taylor, Abby E. Underwood, R. Wills Irving, C.
+H. Woodbury, Charles Hubbard Wright, and William M. Paxton. The last
+named has been chiefly associated with the "Boston Sunday Herald," and
+for that journal he has produced several posters of distinction.
+
+My review of the artistic poster movement in America has been of
+necessity brief, and cannot, therefore, be free from sins of omission.
+In writing it, I have, where my own knowledge has seemed to me
+insufficient, made use of the descriptive catalogue of the collection
+of American posters published last May by Mr. Charles Knowles Bolton,
+of Brookline, Massachusetts. From the useful bibliography printed at the
+end of this pamphlet, it would seem that the movement has been watched
+from the first by the American press with keen interest. So far back
+as the year 1892, we find Mr. Brander Matthews discussing the pictorial
+poster in the "Century" magazine. In the
+
+[Illustration: 0342]
+
+[Illustration: 0344]
+
+present year the subject has been dealt with by writers in such
+important newspapers as the "New York Tribune" and the "Boston Herald,"
+to say nothing of such journals as "Scribner's Magazine," the "Critic,"
+the "Art Interchange," and the "Art Amateur." Quite recently the English
+public have had opportunities of seeing the best work by French and
+native artists. It is to be hoped that at the next poster exhibition
+they will be afforded a chance of seeing what excellent work American
+designers are doing in this very practical branch of applied art.
+
+A poster by Mr. E. A. Abbey, illustrated on page 315, arrived too late
+for consideration in its proper place. It is entirely worthy the great
+reputation of the artist who has so kindly permitted us to reproduce
+it here. The figure is in red scale armour, bearing a shield with a red
+cross.
+
+[Illustration: 0346]
+
+[Illustration: 0348]
+
+
+
+
+CHAPTER X.--IN COUNTRIES NOT ALREADY DISCUSSED
+
+|That the picture poster was an incident of the ancient civilizations of
+China and Japan; goes without saying. The scope, however, of this book
+does not embrace the Far East; the illustrated placard in the Orient
+would, indeed, be a subject in itself. In the matter of applied art it
+is difficult to conceive anything which the Chinese and the Japanese
+have not attempted. They seem, from the earliest days, to have been
+consumed with a passion for decoration; nothing which by any chance
+admitted of ornament was left undecorated. It behoves the societies
+which are formed for the purpose of illustrating the artistic
+antiquities of these wonderful countries to concern themselves with the
+dawn and history of the pictorial poster in the East. Certain it is
+that the illustrated advertisement abounded, as it abounds today, in the
+cities of both the nations now being discussed. It is, indeed, found
+in the less advanced civilization of Burma, and of the various
+principalities which form our Indian Empire. To pass from Asia to
+Spain is to travel a long way. In Spain, at the present moment, the
+illustrated placard is receiving no small attention at the hands of
+artists who, however discouraged and ill-paid, are determined to do all
+that in them lies to raise the country which produced Murillo to the
+position she once held among art-producing nations. A recent writer in
+the "Sketch" grows enthusiastic over the Spanish _affiche_. "Spanish
+posters," he tells us, "are a delight. Well drawn, vividly but
+truly coloured, and perfectly printed, they shine down from walls and
+hoardings, attracting all passers-by. They depict the glories of coming
+fairs and bull-fights, and are couched in terms calculated to draw
+money from a stone. The announcement that a famous matador will kill, or
+assist to kill, _Seis Escogidos Toros_, throws the Spanish reader into
+a state of frenzy. Not infrequently some incident is depicted with frank
+realism. A bull standing over a dead horse gives an opportunity to
+the artist to draw the unfortunate horse disembowelled and lying
+on blood-stained sand, while the bull's hide shows the marks of
+the lance-thrusts, and his horns are likewise stained with blood.
+Colour-printing is so good in these regions of perpetual sunlight that
+nearly every detail of a matador's costume can be given. The poster
+artists are splendid when they depict
+
+[Illustration: 0352]
+
+[Illustration: 0358]
+
+[Illustration: 0360]
+
+movement; they are satisfactory in their purely decorative work, but
+figures in repose are apt to become 'woodeny.' In point of colour,
+Spain beats France; and as France is so much in advance of England, it
+scarcely needs a Euclid to demonstrate that English posters cannot be
+compared to those of Spain. The latter exhibit at times an admirable
+sense of distance and proportion, which serves to show that their
+designers learnt to draw before they began to paint." The four examples
+reproduced here will serve to indicate the type of Spanish poster most
+frequently met with. Whether Spain, in the matter of the pictorial
+placard, is in advance of France or not, is a question of taste. However
+brilliant the colour of the Spanish _affiche_, the design seems to me to
+lack boldness. Take, for example, the "Gran Feria de Cordoba, 1895;" in
+this case the whole thing appears to be a series of elaborate details
+rather than a bold and impressive design. The poster in Spain, however,
+is rapidly becoming of interest, dealing as it does with fascinating
+and essentially picturesque subjects. It is difficult to obtain exact
+information concerning the artists who design posters in Spain; the
+examples which I reproduce here, I cannot attribute to anybody with any
+degree of certainty.
+
+The Teutonic temperament is in no sense akin to the Spanish, and the
+pictorial posters of Germany are utterly unlike those of Spain. For the
+most part the Germans have, in the past, been addicted to elaborate and
+often admirably-executed lithographs, such, for instance, as that done
+by Ernest Klint for the Musical and Theatrical Exhibition held at Vienna
+in 1892. A new movement is, it appears, making itself conspicuous just
+now. The younger generation of German designers seem to be as anxious
+to experiment in the making of posters as those of France and England.
+Joseph Sattler, a designer of considerable originality and great
+dexterity, who has studied Albrecht Duerer with great advantage to his
+own work, has designed a very curious little window bill to advertise
+"Pan." It is reproduced here, and its strange individuality, its
+ingenuity, will not fail to make an impression upon those who look at it
+closely. The lettering is devised in an extraordinary way, and Sattler
+may be congratulated on the results of an interesting experiment. Very
+different to the work of Sattler is that of Franz Stuck. This represents
+a classical head in mosaic, and advertises an exhibition of the
+Munich Secessionists, a body of experimental painters and designers of
+rapidly-growing importance. The tendency of the illustrated poster in
+Austria is much the same as it is in Germany. Some admirable bills have
+been designed in Italy. Of its particular kind, I have seen few things
+better than a large and
+
+[Illustration: 0364]
+
+[Illustration: 0366]
+
+[Illustration: 0368]
+
+[Illustration: 0370]
+
+[Illustration: 0372]
+
+sombre poster to advertise Verdi's "Otello." At the same time, the
+Italian posters are not of a very distinctive type, nor does Italian
+taste concerning them appear to be very fastidious. The crude, enormous,
+and vulgar advertisements for Buffalo Bill's exhibition created quite a
+sensation in Rome when that redoubtable personage deigned to visit the
+most august of European capitals. The modern Romans forgot their Michael
+Angelo in the ecstasy induced by the latest enormity of the American
+colour printer. It may be noted that some of the posters done for
+the Italian railway companies are bright and gay as an Italian summer
+itself. The pictorial poster would not seem to have taken a great hold
+on Russia, nor, judging from a comparatively recent visit, has it made
+much headway in Scandinavia. In Holland, the present artistic vitality
+and enterprise of which are at once so astonishing and gratifying, one
+meets with very few posters of conspicuous merit. In Belgium, on the
+other hand, there are signs that the poster movement has affected not
+a few artists of distinction. The placard by Evenepoel, designed to
+advertise a publication in connexion with the Antwerp Exhibition, is
+excellent in colour and pattern and most decidedly original, owing very
+little to any foreign examples. Duyck's "Cortege des Fleurs (Ville de
+Bruxelles)" is decorative and pleasing. This artist has also designed
+another placard to advertise Spa (Ferme de Frahinfaz). To Delville we
+owe a curious little placard, in the Symbolist manner, which advertised
+"Pour l'art, Ier exposition a Bruxelles;" the advertisement for the second
+exhibition was the work of Ottevaere. A fantastic and rather picturesque
+poster was done to announce one of the annual exhibitions of "La Libre
+Esthetique." It represents a strange-looking human being standing
+among flowers, under a lurid sky, and holding in his hands a decorative
+scroll, upon which the legend is inscribed. Amongst other interesting
+Belgian placards are the "Velodrome Bruxellois" by G. Gaudy, the "Paul
+Hankar" by A. Crespin, and a poster in monochrome in imitation of
+a bas-relief bearing the legend "La plus noble force sociale est le
+Droit." All of these are reproduced here. It may be noted in conclusion
+that most of the Belgian posters show strong signs of French influence.
+
+[Illustration: 0376]
+
+[Illustration: 0378]
+
+[Illustration: 0380]
+
+
+
+
+CHAPTER XI.--THE PRICE OF THE PICTORIAL POSTER; AND CONCLUDING NOTE
+
+|It is obviously impossible to state accurately the price of the
+artistic poster, insomuch as fluctuations take place almost daily,
+and, moreover, the numerous dealers vary in their quotations in an
+extraordinary degree. Under these circumstances, the present chapter is
+written as a matter of current record, rather than with the idea that
+it will be of any permanent value for purposes of reference. It may
+be stated at the outset, that in dealing with the value of the poster,
+rarity has in the first place to be taken into consideration; and thus
+it happens that, while delightfully artistic designs are comparatively
+inexpensive, posters which are quite unattractive from the point of view
+of art are often very costly. The prices which follow are for the most
+part taken from the catalogues of M. Edmond Sagot of Paris, and Mr.
+Bella of London, the latter of whom, by the organization of exhibitions
+and in other ways, has rendered material assistance to English
+collectors. In fact, to some extent, he has called the English collector
+into existence.
+
+As an example of the price of the poster of which the interest is
+archaeological rather than artistic, one may instance a placard, dated
+the 20th of February, 1649, which deals with the opening and closing of
+the gates of Paris. Its only claim to be considered pictorial consists
+in the fact that it is ornamented with a woodcut representing the arms
+of the city. Many similar productions were executed in relation to
+London and to other English towns. The price asked for it three or four
+years ago was thirty francs. Interesting from another point of view are
+the illustrated posters which have heralded new books, or new editions
+of books, by great writers. Three of these, relating to the works of
+Balzac, and including one with woodcuts by Meissonier and Tony johannot,
+are valued at twelve francs.
+
+It is time, however, to pass from pictorial posters, which are
+interesting on account of age or literary association, to those which
+derive their value from their qualities as works of art. In this class
+some of the highest prices are obtained by the French artists who, for
+the most part, were the contemporaries, or immediate successors, of
+Gavarni. The best posters of this master are extremely difficult to
+procure, and examples in a fine state realize large sums.
+
+For the "Oeuvres Choisis" bill, together with that designed to advertise
+an illustrated edition of Balzac's "Philosophie de la Vie Conjugale,"
+something over a hundred francs is asked, while less important works can
+be obtained for five-and-twenty or thirty francs. It goes without saying
+that the smallest tear or other injury, however neatly and skilfully
+repaired, heavily discounts the value of works by Gavarni and the men of
+his time; but even slightly damaged examples are eagerly sought for, as
+it is almost impossible to obtain perfect ones. Of the productions of
+Edouard de Beaumont, two of the rarest are the "Nains Celebres," already
+mentioned, and the "Diable Amoureux." For an exceptionally fine proof
+of the former, as much as a hundred francs has been asked, while the
+latter, which is very rare, commands about sixty francs. Sums scarcely
+less formidable are given for the better posters of Grandville, and
+fifty francs for a good Tony Johannot is not by any means an exceptional
+price, although unimportant specimens of his work may be picked up in
+Paris for a few sous. The excursions of Gustave Dore into the art of the
+poster were very few. His most important work was perhaps the "Legende
+du Juif Errant," a fine proof of which realizes sixty francs or more.
+Posters by Vivant Beauce, Castelli, Cham, Victor Coindre, Charles
+Devrits, H. Emy, A. Farcy, and others of the same period, for the most
+part command sums comparatively small; the best productions of Bertall,
+Calame, Monnier, and C. Nanteuil, on the other hand, are only a
+little less expensive than those of Gavarni and the more distinguished
+designers of his time.
+
+Of posters by designers still living, those of Cheret have been most
+assiduously collected. It is probable that a complete set of his works
+does not exist; even one which is fairly representative, and includes
+some of his earlier and rarer _affiches_, is extremely valuable. In the
+Sagot catalogue of 1891, over five hundred and fifty posters by Cheret
+are described, and of these no less than eighty are priced at twenty
+francs or more. Since the publication of the catalogue, their value
+has steadily increased, and it is uncertain if many of them can now be
+procured at all. The collector of modest means need not, however, regret
+that the older and rarer examples of Cheret are beyond his reach, for
+the artist's more recent posters are the best that he has accomplished.
+For a comparatively small outlay, one may secure the flower of Cheret's
+work. Amongst the most valuable of his posters are two, of very large
+size, designed to advertise some Arabs who appeared with the Paris
+Hippodrome when it visited London in 1887. The price asked for them
+is over two pounds. They seem to have escaped the attention of French
+collectors from the fact that they were posted exclusively in London.
+The set of four
+
+[Illustration: 0386]
+
+Loie Fuller bills, in all of which the design is the same but the
+colouring different, is worth between thirty and forty shillings.
+These designs are among the most daring and characteristic specimens
+of Cheret's amazing colour, and as they only measure forty-nine by
+thirty-three inches, they are of manageable size, and should find
+their way into the portfolio of every collector. The set of unlettered
+decorative panels which were described in an earlier part of the book,
+is at present sold by all dealers for five pounds. It goes without
+saying that proofs before letters, or prints on special paper, of the
+posters of Cheret, or of nearly any other artist, are much more valuable
+than ordinary copies.
+
+Most of, the posters of other living French artists may still be
+procured for a few shillings, but it is extremely improbable that such
+a state of things will long continue to be the case. Already examples by
+men of the modern school, such as Toulouse-Lautrec, Anquetin, Bonnard,
+Steinlen, and Ibels, are in great demand, and collectors should use the
+present opportunity to procure a series of these curiously interesting
+designs before the prices rise. Even now, Lautrec's first attempt,
+"Le Pendu," has become _rarissime_, and is valued at something over a
+sovereign. What has happened in this case will doubtless happen in the
+case of "La Reine de Joie,"
+
+"Jane Avril," and Lautrec's other posters. The designs of Grasset
+are rapidly taking their place by the side of those of Cheret in the
+estimation of collectors, with the result that several of them command
+large prices. Thus the "Librairie Romantique," which was offered in 1891
+for three francs, was priced by the same dealer in November, 1894, at
+twenty. What is going on in the case of Cheret, Grasset, and Lautrec, is
+going on, though it may be somewhat less rapidly, in the case of
+those other artists who have assisted to make the French _affiche_ the
+charming and artistic thing it is.
+
+The posters of those artists who were the pioneers of the artistic
+poster movement in England are extremely rare. They worked in the days
+before the English collector existed, and any copies of their designs
+not actually posted, probably fell into the hands of the waste-paper
+dealer. I have been unable to trace any copies of the advertisement done
+by Fred Walker for "The Woman in White," but the original design has
+been recently exhibited in London, and the price put upon it by its
+owners is seventy guineas. Copies of Mr. Walter Crane's "Hippodrome"
+bill are extremely rare, as are those designed by Professor Herkomer for
+the "Magazine of Art," "Black and White," and the exhibition of his own
+works. Turning to the younger men, it is interesting to note that Mr.
+Dudley Hardy's "Yellow Girl" sells in Paris for twenty francs, the large
+"Gaiety Girl" for half as much, and the smaller bills for the same play
+for five francs. The first poster which this artist did for "St. Paul's"
+is very difficult to meet with; it will doubtless be among the most
+valuable of Mr. Hardy's designs. Mr. Beardsley's "Avenue" poster is
+quoted neither by Mr. Bella nor M. Sagot, and it may therefore be
+concluded that it is almost impossible to obtain it. The other posters
+of this designer are steadily increasing in value, and are
+eagerly sought for by collectors on both sides of the Channel. Mr.
+Greiffenhagen's "Pall Mall" poster, which has met with much success
+abroad, is worth about half a sovereign. The dainty little bill which
+Mr. Wilson Steer did for the exhibition of his paintings at the Goupil
+Gallery fetches about the same amount, and is rapidly becoming scarce.
+It is pleasant to think that the early efforts of English artists are
+welcomed by French collectors as enthusiastically as the masterpieces of
+French artists by collectors in England.
+
+The poster is obviously difficult to collect, because of its size.
+Not all of us are proprietors of such an immensity as the Chicago
+Exhibition. Most of us, on the other hand, could paper a room with
+posters of Lautrec alone. Everybody, however, can put the smaller bills
+into a portfolio, while the larger ones may be mounted as ordinary
+school maps. The collecting of pictorial posters needs nothing more than
+a little heroism.
+
+In the foregoing chapters, I have attempted to outline the history of
+art as applied to the poster, and to give an account of the pictorial
+placard in the present state of its development. The number of names,
+eminent in the history of various modern arts and crafts, who have
+applied themselves to the production of the pictorial poster seems to
+me to justify the publication of this book. The fact that men so highly
+endowed as Cheret and Lautrec deliberately choose to appeal to the
+public chiefly by means of the _affiche_, well knowing that their
+gallery is the common hoarding, places the illustrated poster outside
+the bounds of ridicule. A modern art critic of high repute and of
+enormous energy has assured us that, in these days, to neglect the
+poster is mere folly on the part of those who care for the application
+of taste and skill to the objects of everyday life. We are apt to talk
+of artistic periods; periods when the most ordinary objects had an
+aesthetic character of their own. It seems to me to be full of promise
+for the future that the hoarding should be among the first necessities
+of modern civilization to be rendered charming by the skill and
+imagination of the artist. Art is generally supposed to be inimical
+to commerce, and commerce inimical to art, yet here we have the two
+combining to the advantage of both, and succeeding in making the
+beautiful an incident of the necessary.
+
+[Illustration: 0391]
+
+
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Picture Posters, by Charles Hiatt
+
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