of them is worthy of the closest attention. The design for Marguerite Dufay is a piece of triumphant vulgarity. The subject is a very simple one; it is merely a woman of almost impossible fatness who performs at various Parisian music-halls on the trombone. Having stated this, one has, however, given no idea of the extraordinary qualities of this bill. It is safe to say that, once seen, it will never be forgotten; it should have made the fortune of the performer whom it advertises. The mirth of the thing is victorious and infectious; one seems almost to hear the coarse laugh; the ample body in the green dress seems to move as one stares at it. In line, in movement, this poster is, from a certain point of view, a veritable masterpiece. An advertisement which is, it seems to me, altogether more worthy of Anquetin's great talent is one designed for "Le Rire," a recently issued journal. It is an extremely fine lithograph in a single printing, and, as at present it can be procured for a few shillings, it should be in the possession, not only of those who care for posters as such, but also of all who are amateurs of the beautiful art of lithography. In the foreground is the figure of a huge man in mediaeval costume, which, while touched with the grotesque, is splendidly flamboyant At his side he carries a large portfolio, adorned with a grinning mask, while his hands, which are admirably drawn, point towards a crowd of grinning pigmies beneath him. Every one of the crowd is extremely expressive, and the effect of the whole production is enhanced by very excellent lettering. It would be difficult to meet with two affiches more interesting than the "Marguerite Dufay" and "Le Rire," and they place Anquetin amongst the masters of the art of the poster.
If Anquetin is an artist of marked originality, so, in a manner totally different, is Pierre Bonnard. Save in the small number of his posters, he resembles Anquetin in hardly anything; on the other hand, his work has points of similarity with the later work of Lautrec. The posters of both these artists are decorative in a curious and somewhat similar sort of way, decorative in spite of their marked grotesqueness. Between the "Confetti" of Lautrec and the "Revue Blanche" of Bonnard there is a distinct decorative affinity. As both of them are dated the same year, 1894, it is needless to suggest that either of these intensely personal artists has derived anything from the other; there is, indeed, no evidence whatsoever of imitation, or even influence. Of the two best-known posters of Bonnard, the "France Champagne" is the earlier in point of time, having been published in 1891. It is a lithograph in three colours, and represents an extraordinarily fantastic, and extremely décolletée girl, who holds in one hand a
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