has, I believe, done only one poster, is Goissaud. His design was to advertise the "Société des miniaturistes et enlumineurs de France," and is a lithograph in one colour. Among the Salon des Cent series we have, besides the admirable posters of Grasset and Ibels already alluded to, a very grotesque and effective little design by Jossot. It represents an amazing old gentleman of weird aspect, in cocked hat, paying his franc for admission to the exhibition. Of its kind it is effective enough. Another, by Cazoly, with a curious portrait of Paul Verlaine is reproduced here.
It is certainly with no view to hurt the feelings of those artists whose names do not head this chapter that they are represented by a mere et cetera. It must be understood that one of the least polite of contractions, in this case, involves no discourtesy whatsoever.
For example, I may instance such able work as Grün's "Le Carillon: cabaret artistique." Few posters are more vivid or more actual than this. The price of it is a matter of pence, and it should certainly not be neglected by those whom it amuses to collect the affiche illustré. Grün, in addition to "Le Carillon," has produced "Poléon-Revue: Décadent's Concert," and in addition a design for an insurance company. One of the most charming of the more recent French posters is one by H. Gray, dealing with "La Prétentaine," a play produced
