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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.
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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 Sickert's poster, which is, I believe, as yet unpublished, is in four colours.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 theaffichein 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
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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 littleafficheby 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.
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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 anaffiche.
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
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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 depictschicyoung 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.
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Very unlike Mr. Solon's poster are theaffichesof 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"
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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.
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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
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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
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Kensington for several years, and only reached America in 1883. He has exhibited at the
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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
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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
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"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
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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.
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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 Spanishaffiche. "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
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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 Spanishaffiche, 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
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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.
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