The Project Gutenberg eBook ofPicture PostersThis ebook is for the use of anyone anywhere in the United States and most other parts of the world 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 atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.Title: Picture PostersAuthor: Charles HiattRelease date: May 1, 2014 [eBook #45555]Language: EnglishCredits: Produced by David Widger from page images generouslyprovided by the Internet Archive*** START OF THE PROJECT GUTENBERG EBOOK PICTURE POSTERS ***
This ebook is for the use of anyone anywhere in the United States and most other parts of the world 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 atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.
Title: Picture PostersAuthor: Charles HiattRelease date: May 1, 2014 [eBook #45555]Language: EnglishCredits: Produced by David Widger from page images generouslyprovided by the Internet Archive
Title: Picture Posters
Author: Charles Hiatt
Author: Charles Hiatt
Release date: May 1, 2014 [eBook #45555]
Language: English
Credits: Produced by David Widger from page images generouslyprovided by the Internet Archive
*** START OF THE PROJECT GUTENBERG EBOOK PICTURE POSTERS ***
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CONTENTS
PREFACE.
CHAPTER I. THE STORY OF THE PICTORIAL POSTER
CHAPTER II.—IN FRANCE DURING THE PRESENT CENTURY
CHAPTER III.—IN FRANCE. THE WORK OF CHÉRET, GRASSET, AND TOULOUSE-LAUTREC
CHAPTER IV.—IN FRANCE: THE WORK OF WILLETTE, FORAIN, STEINLEN
CHAPTER V.—IN FRANCE: THE WORK OF GUILLAUME, PALEOLOGUE, CHOU-BRAC
CHAPTER VI.—IN ENGLAND: FROM FRED WALKER TO DUDLEY HARDY
CHAPTER VII.—IN ENGLAND: THE WORK OF DUDLEY HARDY, AUBREY BEARDSLEY
CHAPTER VIII.—THE WORK OF OTHER CONTEMPORARY ENGLISH DESIGNERS
CHAPTER IX.—IN AMERICA
CHAPTER X.—IN COUNTRIES NOT ALREADY DISCUSSED
CHAPTER XI.—THE PRICE OF THE PICTORIAL POSTER; AND CONCLUDING NOTE
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.
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 analbum, 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 anactio 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:
and:
and again:
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 thealbum.Not content with having his name inscribed in gigantic letters, he went a step further, and anticipated the illustratedaffiche. 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 theaffichewas 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 hisHistory 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. Theaffichesoon 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.
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 importantaffiche, "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 theaffiche illustréwas 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
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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,
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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
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E. Marco de S. Hilaire, illustrated by Bertrand, a poster (which was, perhaps, an enlargement of the cover) exists. It is a very
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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
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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
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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. Anaffichewhich is, perhaps, of
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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 anafficheof 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.
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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 theaffiche; 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 theaffichefor over twenty years. Now and
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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: acascade 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
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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 thejoie 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 ofafficheswhich 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,
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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
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and a shower of arrows, and waving above her head a great silken banner embroidered with thefleur-de-lis. Again, one lingers before the "Fêtes de Paris," attracted by its
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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