Thoughwe are dealing in this volume with pictorial posters, it is difficult to refrain from mentioning the poster proclamations issued by the Germans on their occupation of Belgium. Many of these proclamations, of great historical interest, are in the possession of the Imperial War Museum. One of the earliest, posted at Hasselt on August 17, 1914, immediately after the occupation of the town, threatens to kill a third of the male inhabitants should the German troops be fired upon. Another, posted in Andenne on August 21, 1914, states that by order of the German authorities about three hundred inhabitants had been massacred or burnt alive, and that those of the men who were unscathed were taken as hostages and the women made to clear away the pools of blood and remove the corpses.
The most poignant of these poster proclamations are two in regard to the executions of Nurse Cavell and Captain Fryatt. The bill, signed by General von Bissing, October 12, 1915, issued at Brussels and printed in French on blue paper, announces that Nurse Cavell has been shot, with others. CaptainFryatt had also been shot before the publication of the proclamation relative to him. This document, signed by Admiral von Schröder, dated at Bruges, July 27, 1916, and printed in German, Flemish, and French, in parallel sections, reads:
“Charles Fryatt, of Southampton, captain in the English Merchant Service, who, although not enrolled in the armed forces of the enemy, attempted on March 28, 1915, to destroy a German submarine by ramming. For this act he was condemned to death by the Naval Council of War and executed. A perverse act thus received its just, if tardy, chastisement.”
The only known copy of this poster is in the possession of the French Government, as evidence of German iniquity for which reparation must be exacted. It is worth noting that all these proclamations are rude specimens of typography, a fact indicating the difficulty which the Germans had in getting them printed.
When we pass to the pictorial posters of Germany and Austro-Hungary, we find that the Central Empires, like ourselves and our Allies, found the necessity for a constant stream of posters appealing to their peoples for aid in men and money for the prosecution of the War and for stimulating love of country as expressed in the resolution and determination to hold out to the last. But though the nature of the national appeals are akin, the posters of Germany and Austro-Hungary (we need scarcelycontinue to distinguish between them) disclose the varying national temperament and idiosyncrasy.
Since the days of Dürer and Holbein, Germany has been barren in pictorial art. In all her applied arts, as well as in her graphic arts, she has followed a policy of skilful adaptation, borrowing and remoulding on more economic lines the best products of other countries.[2]On the one hand—in the years before the war—the sanest British methods of typography and book production were deliberately imported into Germany; on the other hand, the most freakish of cubist and vorticist paintings found in Germany their principal buyers. If any note was added to what she adapted, it was that of an additional violence—the open assertion of Germany’s idea that “force is beauty.”
The war posters of Germany act as a mirror to German mentality. They dwell chiefly on one thing—force. Subjects and treatment are often crude and brutal, marked by a scorn and avoidance of human sympathy. Here and there we find a certain sensuous beauty, but, as a rule, they look on life with a coldness that is almost cynicism, an impassiveness that is nearer cruelty than pity. The remotest student could deduce a clear idea of theenormous gulf that lies between the national temperament of Germany and of France by a comparison of the posters of Engelhard, Leonard, and Erler with those of Steinlen, Faivre, Roll, Poulbot, and Willette.
But when all that is said, one has to admit that the German, above all others, does grasp the essential value of the poster as a means to an end. He realises that in the best poster there must be something of what was aimed at in the Post-Impressionist movement in painting, a desire for summarised form, strong and simplified line, and the reduction of tones to an arbitrary convention. And though we have used the word “Post-Impressionism,” we are only suggesting that the poster should accomplish what the stained-glass window at its best—with a religious instead of propagandist or commercial purpose—accomplished five hundred years ago. While the British poster must see everything in the round, must try to reproduce all that is intensely obvious in the varied texture and material pageantry and inexhaustible colouring of life, Germany is rightly content to be deliberately abstract, to seek the common factors from what is large and general, and to endeavour to find symbols to express ideas. She is not concerned with the pursuit of spiritual or physical beauty, but with a striking novelty or decorative composition. The colour schemes of the German posters are more curious and insistent than attractive, but they do possess that knock-down force which, after all, is the object of a poster. Its pictorialquality is a secondary matter; if it is a fine piece of wall decoration that one would like to live with, so much the better; but its function is to arrest and to make itself remembered. Indeed, the poster must be like a beacon set on a hill to which all eyes must go, all roads must seem inevitably to lead. The beacon is a flare in the night; the poster must act as a flare in the day.
The famous sentence from the Academy discourses of Sir Joshua Reynolds, which is inscribed as a motto over the entrance to the Victoria and Albert Museum—a sentence much quoted during the Victorian era, but in these latter days perhaps little regarded—may be applied to the poster equally as to more durable and delightful works: “The excellence of every art must consist in the complete accomplishment of its purpose.” If the poster which accomplishes its purpose is indeed the most “artistic,” then Germany excels in the artistic poster. It may be brutal, it may be ugly, it may even shock and repel; but there is always in the best examples, instinct in their very conception, a definite purpose which gains full expression, because the artist has been trained to limit himself to what he has to say, and to say that with all his might.
The illustrations to this volume include work by several of the German poster artists, which, symptomatic of the whole, will serve to illustrate the foregoing remarks. Mention has already been made in the section dealing with British posters of the strong, rugged simplicity of Louis Oppenheim’s“Hindenburg.” The artist has in this most successfully imposed upon the spectator, not the bolstered-up individual of real life, but the strong, massive calm we seek for in the ideal leader, the man in whom we can place entire confidence. It is thus, in addition to being a successful poster, a piece of successful propaganda. But as its strength is in its reserve and the quiet it imposes, so in Engelhard you get passion released and surging over the onlooker with its flood of hatred. His “Nein! Niemals!” (illustration No.43) is a powerful instance of this. It is almost impossible to look at the grasping, claw-like hands and ravenous face without a fury of hate, and a realisation of how Germany mastered her people. “Elend und Untergang folgen der Anarchie” (Misery and Destruction follow Anarchy), a poster of the German Revolution by the same artist, is another example of intense force, but this time, for all the brutality of the bestial gorilla figure, wonderfully held in reserve and simple. Bearing a curious comparison with the Czecho-Slovak posters by Preissig, published in New York during the last stages of the War, is the German War Loan poster (illustration No.35, used also as a design for the back of the cover) by Otto Leonard, “Zereisst Englands Macht” (Rend England’s Might). Wohlfeld’s poster appealing for women’s hair, which is reproduced as a frontispiece, and the poster of the Ludendorff Fund for those disabled by the War (illustration No.46), show other phases of strength and reserve equally good in their way.
The poster used for the front cover of this book is, apart from its own intrinsic merit, a matter of historical interest, insomuch as it served as a figure in the notorious speech to the German National Assembly at Berlin on May 12, 1919, when the peace terms had been handed to the plenipotentiaries at Versailles. Herr Scheidemann in the course of his denunciation of the Allies’ terms said:
“Ladies and Gentlemen,—All over Berlin we see posters which are intended to arouse a practical love for our brothers in captivity; sad, hopeless faces behind prison bars. That is the proper frontispiece for the so-called Peace Treaty; that is the true portrait of Germany’s future: sixty millions behind barbed wire and prison bars; sixty millions at hard labour, for whom the enemy will make their own land a prison camp.”
The Austrian poster artists, Krafter, Arpellus, and Puchinger, did important work, examples of which are reproduced in this book; but several of the Hungarian artists, in particular, did distinguished posters, as will be seen by a reference to illustration No.41, that by Biró, No.57, and the little group by Biró and Kurthy, Nos.59,61, and62.
Itis a commonplace to say that America is the true home of the advertisement agent; but in considering the history of poster art in the United States, one is surprised to find that so small a proportion of work done in the past shows any striking originality or real grip. In a country whose special capacity has seemed to consist in beating a very large drum repeatedly, often without much provocation, it was to be expected that the very bones and sinews of a poster should be understood, and that results of the highest order should have been obtained. Contrary to this expectation, only a small group of artists doing important work can be named as illustrating the best ability of the revival which, awaking with Chéret, Steinlen, and the others in France, spread to England, and thence normally to America. Of this group, the most able and important exponents of the art were often frankly derivative in their work. Will H. Bradley designed a number of posters which, with those of Penfield, may be said to have brought about the birth of poster art in the United States; but his most successful designs were openly based on the work of Aubrey Beardsley, the originality, charm, and extravagance of whose genius hadrecently taken the whole art world by storm. And Edward Penfield, whose pronounced ability seemed largely directed to the assimilation of different styles, produced posters excellent in their order, but most of them obvious work by a devoted and imaginative disciple of half a dozen schools varying during the long process of his development. We find him, for instance, producing an admirable American Steinlen in 1897, so clearly and frankly in Steinlen’s spirit, yet with such artistic ability and undoubted personality that it could be placed beside the great French master’s work, be identified with it, and yet retain its own character. This, while excellent in its way, is of course by no means provocative of a real national school, but rather serves to cramp the steps of later exponents of the art, and render their work lifeless; and one is not surprised to find that, after the days of Penfield, Bradley, and Gould, a good many years passed without any striking development in poster art in America. The last ten years, however, have discovered artists of pronounced originality and genius, and the posters of Robert Wildhack, Adolph Treidler, and Maxfield Parrish—to mention only three of the most eminent of their designers of the days immediately before the War—testified to the existence of a genuine national school, and led one to expect vital results in the production of posters inspired by the great world upheaval.
In this, indeed, were the very elements needed to call out the utmost ability of the national artists. The United States—we say it with all respect—has akeener eye for advertisement than any other nation. Let the American loose on a “whirlwind campaign”—whether in aid of church funds, an enormous commercial enterprise, or a world war—and he is in his element. All the possibilities of sign-boards, hoardings, flashlights, and every novelty and contrivance for catching the public eye, have been carried to their farthest limit, either of invention or of human endurance, on the other side of the Atlantic; and behind all this is the driving power of an intense, restless energy. It is not our place to speak here of the battlefields of Europe, and of how that energy and activity were thrown into the scale to weigh down the balance which had been trembling for so long. But in the United States, as elsewhere, it was inevitable that posters should be among the first munitions of war, and it was to be anticipated that, learning their lesson from the experiences of countries engaged in the struggle whilst their own yet remained in the position of a spectator, the State departments would improve upon the machinery which Europe had produced in this particular cause. To some extent this was done. As regards the magnitude of output, never was there such facility in the production of posters. Immediately on the outbreak of war, the Army, the Navy, and the Treasury Departments plunged into an orgy of advertisement, and employed not only their national artists, but men among the Allies and neutrals who had done distinguished work in the cause of universal freedom. That these artists were not slow to availthemselves of this new field for their restless energies is witnessed by the work done by Brangwyn and Raemaekers, who, like knights-errant, plunged with enthusiasm into this new campaign. Jonas, too, the French lithographer, was among the artists of other nations employed by the United States, and one of his posters—“Four Years in the Fight”—aiming to provide houses of cheer for the women of France, is reproduced in illustration No.68.
We cannot, however, too often reiterate the fact that it is not enough to have a pronounced conviction and a definite purpose in doing things of this kind to do them well. The best poster artists—and here again we may instance Steinlen, Brangwyn and Pryse—are generally craftsmen of the highest order, having a very true sense of the historical development, and a perfect acquaintance with the mechanism and technique, of their art. This knowledge counts enormously, and is visible in the whole structure of the work produced. The bureaucrat who sits in his office conducting a hurried campaign on the telephone, and patronising art when at length it proves necessary to the community, fails on account of his ignorance of the real roots of the matter. The nation needed posters, so the American bureaucrat, like his brother in Whitehall, issued orders for posters to be designed—in much the same way as the British Food Controller ordered bacon to be provided, without a staff of provision experts to see that it was first properly cured.
It is, perhaps, a pity that Mr. Joseph Pennell’sbook on his own Liberty Loan poster[3]was not written as a textbook for the use of Government Departments earlier in the day. The writing of an elaborate treatise on a single war poster may seem at first sight to be giving altogether disproportionate importance even to an admirable example of this type of art, and it is in danger of placing the exponent under the accusation of appreciating his own labours at an excessively high value. But when all things like this have been said, the fact remains that the volume is a serious and dignified exposition of a fine poster by a craftsman who considers that due weight should be given to all that pertains to its actual production, from the original conception of the design to the satisfactory register and inking of the final stone. It should act as a wholesome corrective of the usual slipshod treatment accorded to the artist. Mr. Pennell is at least an enthusiastic lithographer. He knows the business right through; and his little series of essays should leave his reader convinced that a poster grows in power and influence upon the spectator just in accordance with the genuine craftsmanship displayed in it.
The total effect of a poster is cumulative: we feel its design; but we feel its design more strongly for its fitting colour scheme; and still more strongly when the designer knows and works upon all the subtle qualities and texture of the stone he uses.For its maximum influence the poster must be designed by a skilled lithographic artist (if lithography should be the medium chosen), executed upon stone by him, and printed either by him or under his direct supervision. It is the failure to appreciate this which has marred so many of the United States posters, and made them of little importance. Anyone who could draw has been considered suitable for the task of designing; anyone who could print has been considered equal to printing their posters. And so we have a great mass of work, some lithographed, some photo-lithographed, some produced from photo-process blocks in colour on varieties of glazed, unsuitable papers; but very few which leave one with the cool, satisfied feeling that here is good work well done. The influence of a work of art is an elusive thing, easily lost; and to a full understanding of it years of special training are necessary. The passer in the street may be unaware of the causes of his admiration or sympathy, but the effects upon him have been proved times without number.
Necessarily, however, there are many exceptions to this general failure in craftsmanship, cases in which artists triumphed over all mechanical obstacles, and instances of great lithographic firms, with contracts from the Government, who were skilled in poster production and able to act in genuine consonance with the designers. If we set up a well-defined standard, and place in the front rank men like Raleigh, Treidler, Pennell, and Young, who arevery able lithographic artists, producing posters of a high order, there still remains a large group of designers whose work may be characterised as possessing, in a pronounced degree, what has been described as the “poster sense.” They may not have the craftsmanship to make the poster all that—viewed as a complete artistic production—it should be; but there is “punch” in their sure and speedy way of conveying a message, in the pithiness and wit of their legends. Above all, they possess a great humanity—that sense of human suffering to be relieved, human wrongs to be righted, which kept the United States a beneficent neutral so long, and at length called her into the War. This is exemplified in their very best work. Raleigh’s “Must Children Die, and Mothers Plead in Vain?” reproduced in No.63, nobly illustrates it. Several other fine posters by this artist, in a style perhaps reminiscent of Brangwyn, yet full of original energy and stirred by genuine passion, deal with the same or similar sentiments. A large number of posters of varying merit follow this lead: “America the Home of All who Suffer, the Dread of All who Wrong,” runs the legend on a poster by Paus; “Remember Belgium—Buy Bonds,” says another; and it is a general strain.
The recruiting posters in particular have a freedom of design, a vigour and grip, which really tell. For when America came into the War, she started to hustle with all the feverish pent-up energy characteristic of the race. Posters like Christy’s pretty girl in naval uniform exclaiming, “Gee! I wish Iwere a Man. I’d join the Navy”; Bancroft’s ringing “To Arms!” and Whitehead’s “Come on!” show a vigour and freshness which our official British recruiting posters never possessed. There was an air of glad youth in them which came like a Spring wind over our war-weary spirits.
In America, as elsewhere, all forms of activity were announced by posters—Recruiting, Food Economy, Red Cross Work, Homes for Women in France, War Loans, the organising of Polish and Czecho-Slovak citizens,[4]all kinds of propaganda, were advertised by this means.
It is unnecessary to draw further attention to Mr. Pennell’s poster, “That Liberty shall not Perish from the Earth.” He states his own intention in designing it: “My idea was New York City bombed, shot down, burning, blown up by an enemy, and this idea I have tried to carry out.” He conveys, in an effective colour scheme, the impression of a purely imaginary air-raid—a raid that never was on sea or land—with results highly picturesque and impossible. It is to be reckoned, however, as one of the successful posters of the War.
Adolph Treidler in several designs has justified the expectations founded on his pre-war work, as will be seen from one of his posters here reproduced (illustration No.66). The work of Young and Morgan is worthy of the highest commendation; and for Raleigh’s steady craftsmanship and noble designs there can be nothing but praise.
Tomake a comprehensive survey of posters related to the War in all countries where they were issued would be a formidable task, not so much on account of the quantity of work of outstanding artistic merit, but because the range and variety of mediocre posters, which probably answered their purpose with tolerable efficiency at the moment, is so very extensive. All the nations engaged in the combat had something to proclaim in this manner, often a message of life or death, and others had much to display in propaganda posters all over the world.
Of the chief belligerents not yet mentioned, it is notable that Italy, the native home of the arts, produced few posters of the ordinary type that possessed either originality or definite individual character. The journalistic cartoon, always a powerful means of propaganda in Italy, had a great vogue in the earliest months of the war; and the most popular and able artists of the country fought for the Allied cause with an abandon and self-denial that one remembers with the warmest gratitude. In June and July, 1916, an exhibition of drawings was held at the Leicester Galleries, entitled “Italian Artists andthe War.” There were several actual poster designs, but by far the larger proportion of the drawings exhibited consisted of war cartoons and caricatures akin to those of Raemaekers and Dyson, though prints from them were extensively displayed upon newspaper bills and walls in Rome and other Italian cities. Serving a double purpose, they were to this extent small posters, and cannot be dismissed without some word of the high praise due to them. Such an incessant and effective war was waged upon Germany and German ideals by these cartoons that, before Italy threw in her lot with the Allies, the Embassies of the Central Powers sought to stay their issue, and to that end prosecuted the most prolific and merciless of the cartoonists, Gabriele Galantara. Cynicism, scorn, contempt, and an utter abhorrence of Germany and all her acts are expressed in these impulsive sketches; and it is no wonder that they acted as a powerful spur upon the Italian people, showing which way led towards freedom and humanity. It would seem, however, that this great campaign, begun so early by the Italian artists before their nation was ready to participate in the struggle, and continued with a violent energy during the earliest months of Italian fighting, exhausted their resources to a considerable extent. Moreover, many of the most eminent among them—Sachetti, Oppo, Ventura, Codognato, and others—at once joined the Italian forces, mostly as combatants, and a few older men, like Pogliaghi, accompanied the armies to illustrate, in thrilling terms, the formidableachievements of their country amid the mighty fastnesses of the Tyrol. When the time arrived for the Italian Government to issue War Loan and other posters, the most capable of her designers were no longer accessible.
The experience of other nations shows that really noble posters have been produced through artists being inspired by the cause rather than as a result of their employment by the State. Italy proved no exception to this. Such of her best designers as were left still devoted their energies to the production of cartoons; and in due time others returned to their previous work, wounded, like Oppo, cartoonist of theIdea Nationale, who, when the 130th Infantry Regiment was annihilated in July, 1915, was one of the five survivors, and came back to his paper with a useless arm, to wage war as of old for land and liberty. The cartoon being thus the most natural means of propaganda in Italy, such posters of the ordinary type as were produced were, in consequence, of an extremely secondary order; so much so that, in making a selection to exhibit at the Grafton Galleries in June, 1919, the Imperial War Museum chose only eight to represent Italy, and of the eight three were posters advertising Raemaekers’ cartoons. One of these, “Neutral America and the Hun,” is reproduced in illustration75. Among the actual Italian examples, Barchi’s “Sotto-scrivete” and Mauzan’s “Fate tutti il vostro dovere” alone were notable.
Greece, on the contrary, showed a considerablefacility in the production of war posters. But anxious as one is to consider in a favourable light whatever artistic creation emanates from the land which inspired and nourished Western art in its infancy, it is impossible to regard their war posters with anything more than an indulgent eye. Mr. Pennell, in his little book to which we have already referred, has claimed all notable productions in decorative art through the ages as posters, and would bid us look on the frieze of the Parthenon as an excellent piece of Greek poster art. It is a wild application, not to be taken too seriously. Modern art is not necessarily a development from the art of other ages; and even where the form is comparable, the purpose is widely divergent. For a vital modern art is for ever the expression of a new spirit, the revelation of a fresh aspect of life, another facet of a many-sided jewel; and it is this unexpected quality, the surprise of this revelation, which is so valuable to the world. Nothing new, nothing fresh, appeared in the Greek posters: tame and poor in line, meagre in their quality as reproductions, we must regard them as a brave attempt rather than applaud their achievement.
Japanese posters issued during the War attracted some attention, and favourable comment has been made from time to time upon their merits; but it seems probable that the quaint English inscriptions many of them bore, rather than their intrinsic qualities as posters, beguiled the critics into taking a genial and generous view of their worth. Suchsentences as “The severe battle at the Kuragaw—German troops are extremely defeated,” “Our troops attack on Tsingau Retreat German Army and Affrighted,” and a very happy mis-spelling, “The GritishSydneyforced the GermanEmdento fight and the sharp action that ensued,” are naturally attractive and amusing. The Japanese, in their colour-printing from wood blocks, invented the most perfect poster technique in the world for use on a small scale. The theatrical posters they produced in the eighteenth and early nineteenth centuries could not be surpassed. They contain in miniature all the qualities we most value in this branch of art, and are at the present day as fresh and enthralling as if they referred to matters of contemporary interest. The Japanese have proved themselves a wonderfully adaptable race: they have utilised our modern engines of war with an amazing application, and avoided errors, not always obvious, into which other nations have fallen. But while this has its admirable side in the mechanical things of life, imitation in the processes of art proves altogether a failure. The old Japanese spirit has departed. One is tempted to think that the Japanese understanding of their native art is on the wane. For their posters very little can be said. The curse of European influence is apparent in the modern cheap lithographs, crude in colour and design, which they have produced. We have not been fortunate in finding one that would worthily serve the purpose of an illustration.
Of the British Colonies, Australia, Canada, andSouth Africa produced posters of quite a high standard. The eminence attained by the artists of theSydney Bulletinled one to expect some notable examples from New South Wales; but that province, noble as its achievements were through the fighting qualities of its sons, contributed little to poster art. The Canadian poster reproduced in illustration74, simple in idea and design, with its fitting legend, shows what promise there is, and indeed attainment, among the Western children of our race. A poster from India (illustration No.72) is interesting, since it makes an appeal to the Marathas in their own tongue, and in what we are given to understand is tolerably good native verse. The designer, however, is an Englishman resident in India.
A few Russian posters made their appearance previous to the Revolution in that unhappy country. Others have occasionally been issued since, though we have seen none of any outstanding merit. We reproduce, in illustration No.77, a poster which, when exhibited, was described as a “Bolshevist cartoon”; but there seems more reason to regard it as an example of German propaganda in Russia, of the period following the so-called Peace of Brest-Litovsk. Europe, a sad and worn woman, stands with a youth before an idol which bears the name “Anglia”; below is the inscription, in Russian characters: “How much longer shall we sacrifice our sons to this accursed idol?” It is at best a poor thing, and, if German, most carefully designed to bear the impress of a Russian product.
A series of six eminently successful posters was issued as an appeal to the Czecho-Slovak people in the United States. For consistent merit, alike in design, colour, and general conception, they take a high place among the posters of the War. The artist, V. Preissig, is a Bohemian living in America, who did the work for the sake of recruiting his fellow-countrymen there. Perhaps the best of them is that shown in our coloured illustration, No.76, “Czecho-Slovaks! Join our free colours!” with its flags of the four Bohemian States as its main feature, carried by marching men whose heads come in dark silhouette along the bottom of the design. The poster is admirably planned, and the lettering on this and the whole series is simple and distinguished.
Many of us in England recall with amusement the various spy stories which went the rounds among otherwise perfectly reliable people in the early days of the War. We all seemed for a time to have an intimate friend or relation whose nursery governess, butler, or confidential clerk had been discovered in a wanton act of espionage. It was on the most unimpeachable authority. Happily it was left for Brazil to embody its attack of this spy-fever in the form of a poster. “Keep your eyes open and your mouth shut,” runs its legend. The poster shows representations of the different disguises under which spies are probably concealing themselves—as nursemaids, schoolboys, tramps, and so on—and warns the public to avoid them. Life in Brazil would doubtlessbe exciting for an innocent stranger whilst the mania lasted.
Holland, living in dangerous proximity to our principal enemy, sought generally to avoid material of an inflammatory nature in her posters. Very few of them are notable. We illustrate in colour, on Plate 73, the poster of an exhibition at Tilburg of the “Fraternelle Belge,” one of the most satisfactory examples of this class produced in the country. Such institutions as this and the Dutch Anti-War Society are typical sources of inspiration for their posters during the War. But a word must be said of the one exception, the Dutch artist whose force of character and definiteness of aim made him, though a neutral, a protagonist in the cause for which our country’s blood was being shed. Louis Raemaekers, cartoonist of the AmsterdamTelegraaf, fearless knight-errant for the sake of humanity, who toiled with a pencil of flame against the outragers and oppressors of prostrate Belgium, was worth an invincible battalion to the Allies. His posters were few, and not usually issued in Holland. It is by his cartoons that he will be remembered, a great universal figure, with an irresistible passion for freedom which found full expression in his numberless masterly drawings.
Note.—The heavy black numerals indicate pictures in the book; thenumber of the pictureis given in this case.
Adler, Jules,32Arpellus, A. K.,27,58Babcock, —,80Bancroft, —,35Barchi, —,38Beardsley, Aubrey,7,15,28“Beggarstaff Brothers,”15Biró, —,27,57,61Bonnard, Pierre,16Bradley, Will H.,28,29Brangwyn, Frank,3,9,10,13,14,19,20,31,34,5,7,19Brown, T. G.,4Burns, Cecil L.,72Caffyn, —,11Capon, G.,26Chéret, Jules,15,16,28Christy, H. C.,34Clausen, George,11,10Codognato, Plinio,37Crane, Walter,15Dankó, —,50Dyson, Will,37Engelhard, F. K.,23,26,43,56Erdt, H. R.,39Erler, —,23,37Faivre, Jules Abel,17,18,19,24,23,30Faragógéz, —,60Fouqueray, D. Charles,19,22,25Franke, —,51Galantara, Gabriele,37Gipkins, —,78Gould, J. J.,29Grasset, Eugène,16Guillaume, —,16Gulbransson, Olaf,46Hansi, —,20Hassall, John,13,14Hatt, Doris,11Jackson, F. Ernest,11,3Jonas, L.,31,68Krafter, Roland,27,55Kürthy, —,27,59,62Leete, Alfred,9Lehmann, Otto,35Lenz, M.,45Leonard, Otto,23,26,38Leroux, Auguste,33Lipscombe, Guy,11Mauzan, —,28Morgan, —,35,70Mucha, Alphonse,15,16Nash, Paul,16Neumon, Maurice,18,29Nicholson, W.,7O. A.,73Offner, Alfred,79Oppenheim, Louis,9,25Oppo, —,37,38Orpen, Sir W.,17Parrish, Maxfield,29Partridge, Bernard,11,2,12,15Paul, Gerd,44Paus, —,34Penfield, Edward,28,29Pennell, Joseph,31,32,33,35,39,67Plontke, P.,34,52Pogliaghi, Ludovico,37Polte, Oswald,40Poulbot, —,17,18,19,24,20,76Preissig, V.,26,42,76Pryde, —,7Pryse, G. Spencer,3,10,13,31,8,9Puchinger, Erwin,27,36Raemaekers, Louis,23,31,37,38,43,71,75Raleigh, —,33,34,35,63Raven-Hill, L.,11Roll, Auguste,19,24,21S. A.,41Sachetti, E.,37Sem, —,27Sims, Charles,11Steinlen, Théophile Alexandre,15,16,17,18,20,24,28,29,31,28Toulouse-Lautrec, H. de,16Treidler, Adolph,29,33,35,66Ventura, —,37West, J. Walter,11,6Whistler, J. A. McNeill,12Whitehead, Walter,33Wildhack, Robert J.,29Wilkinson, Norman,18Willette, Adolphe,16,17,18,19,24,31Wohlfeld, —,26,FrontispieceYoung, Ellsworth,33,35,65
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GROUPED UNDER THE COUNTRIES OF ISSUE
2.
BERNARD PARTRIDGE.
“Take Up the Sword of Justice.”
Issued by the Parliamentary Recruiting Committee:No. 106 of their posters.