Original World War 1 vintage USMC military poster for the U. S. Marines -  " Soldiers of the Sea " by Bruce Moore. " AN OPPORTUNITY TO  SEE THE WORLD - FOREIGN TRAVEL - GOOD PAY - EXPENSES PAID - FOR FULL INFORMATION APPLY TO POSTMASTER ".  This is the 18" x 26" version wall hanger with the metal strips at the top and bottom to keep the posted hanging straight without the edges and bottom rolling up and folding in. It is in very good condition with some holes at the very top and bottom in the border (not affecting the image itself). There are also some tape repairs on the reverse (not visible from the front). Overall very good condition and very presentable. This is an ORIGINAL 1917 - 1918 period World War One Vintage poster. NOT a reproduction or print. Insured USPS delivery in the U. S. 

A rare U. S. Marine recruitment poster showing Marines with their guns drawn in a landing party. Another similar version of this image has photographic images surrounding the poster on the left and right. The artwork image of the Marines in this version is larger; but the overall paper size is smaller. Excellent condition. This original poster is part of the Library of Congress collection.

MARINE CORPS RECRUITING POSTERS OF THE GREAT WAR
It was an unusual morning on the steps of the New York City Public Library that first day of August 1918. The World War was at its height and American patriotism had reached a peak as well. Recruiting posters and posters to encourage people to buy war bonds seemed to be everywhere. Tables set up on street corners to recruit men for the service were common.

Even the steps of the library had been the site of other war-related rallies, but this Thursday in 1918 was unique. The commotion that began at 9 o'clock that morning was beginning to build. A platoon of Marines could be seen above the heads of the crowd -- dressed in field uniforms with traditional high collars, new steel helmets and rifles with fixed bayonets. At the center of the activity was a man in an artist's smock working on a stepladder as he painted his canvas. The stepladder was required because the canvas was larger than the artist or his subject-8 feet tall and 5 feet wide. His model stood on a pedestal a few yards away, where the crowd would have a good view. The model’s jaw was thrust forward in anger and he was frozen in the act of pulling off his suit jacket, ready for a fight.

The throng of spectators thickened as singer Al Jolson arrived and performed a new song titled after the same recruiting slogan that could now be seen on the canvas. Guest speakers and various officials appeared, too, as the day wore on, all to draw attention to the artist at work and the war effort in general. The scene was completed when a motion picture camera set up to capture the day on film. All expertly organized by James Montgomery Flagg to publicize his rendition of "Tell That To The Marines!" one of his most popular wartime recruiting posters.

Since the turn of the 20th century, America used famous artists, slogans and various psychological appeals to find recruits for military service. The Marines, historically an all-volunteer service, had been the most adept at using the poster as a successful recruiting tool. As the country edged towards war, many of these artist volunteered their services to the Marine Corps’ recruiting effort

As early as 1915, a volunteer group of artists was formed in New York under the direction of a small patriotic-minded council. The War Department had organized the group to produce posters to recruit men for service as the buildup for war heightened. The council matched requests from the War Department's Division of Pictorial Publicity with available artists.

Once a preliminary sketch was complete, it was sent from New York back to Washington, D.C., for final approval. For the Marine Corps, these requests for artwork originated at the U.S. Marine Corps Publicity Bureau, now established in Washington. Artists who provided artwork included such established artists as James Montgomery Flagg, Howard Chandler Christy and J. C. Leyendecker.

James Montgomery Flagg was perhaps the most famous of the poster artists. As one of the country's most flamboyant artists, he had established himself first as an advertising artist for Cream of Wheat in the late 180Os. By World War I, he was already the nation's foremost illustrator. During the war, he produced at least 46 posters, three of which were for the Marine Corps. His most recognizable work was for the U.S. Army. More than 4 million of his Uncle Sam "I Want You" posters were produced by the War Department during World War I. Another 400,000 were reprinted for use in World War II. Even as recently as the mid-1970s, the Army reproduced the poster for peacetime recruiting. The poster became synonymous with Flagg and with recruiting.

For the Marine Corps, Flagg not only created posters, but publicity events to help with war bond drives and recruiting. His most extravagant effort was "Tell That To The Marines!" He used an actor to pose for the work and later staged a repainting of the poster before a live crowd on the steps of the New York City Library. A man of no small ego, Flagg seemed particularly pleased with the event and gives it special attention in his autobiography:

"Another wartime innovation for which I was responsible involved the phrase 'tell that to the Marines!' It implied that the Marines are so gullible that they would believe anything. My poster of that title made it a fighting battle cry. I repainted the poster on a huge canvas on the steps of the Library with my model posing, and a platoon of Marines with bayonets marching about. Gus Edwards and Al Jolson both wrote songs using my title, and at different times each sang their version on the Library steps, yanking their coats off at the finale, as the man in my poster did."

In several of his works, Flagg used actual Marines as his models. In 1918, he painted "First In The Fight -- Always Faithful -- Be a U.S. Marine," using the captain who was in charge of the Corps' Publicity Bureau. At the start of the Second World War, Flagg was again active, producing two more posters for the Marines and several more for the war effort as a whole.

J. C. Leyendecker was an illustrator and advertising artist who came to America from Germany as a young boy. Before volunteering his talent for the production of recruiting posters, he had been successful as a cover illustrator for magazines such as Scribners and the Saturday Evening Post. Leyendecker had studied in Paris before the turn of the century and had won the prestigious Century Poster Competition in 1896. As an advertising illustrator, he became best known for his Arrow Shirt Collar and Chesterfield Cigarettes ads. His square-jawed "character," known as the Arrow shirt man, was the hallmark of his work-a character he continued to use in his posters.

Charles B. Falls was another early illustrator, recognized by some as the first true poster artist in America. He was chiefly responsible for transferring the European concept of the poster into an American style. The poster in its American form was meant to sell a product, and Falls applied this talent to the Marine Corps recruiting posters he painted in World War I. Shadowed style and rounded lettering, similar to the traditional French artists, were Falls' trademarks on his posters, such as 'This Device On A Man's Hat Or Helmet Means U.S. Marines."

One of Falls' most striking illustrations was of a Marine going "over the top" out of the trenches. Using the same background, it was paired with various slogans such as "Enlist Today," "Always First" and "EEE-YAH-YIP." Another of Falls' works featuring a Marine bulldog chasing a frightened German dachshund helped establish the new nickname of Devildogs that Marines had earned during the battle of Belleau Wood. The poster is titled "Teufelhunden (German nickname for U.S. Marine) Devildog Recruiting Station."

Falls had a special dedication to the Marines. As an established artist, he gave up many hours to serve as the Publicity Bureau's voluntary art editor during the war. Falls even went so far as to claim in publications that he would "give his undershirt to the U.S. Marine Corps."

Howard Chandler Christy was yet another artist for the Publicity Bureau who was established as a successful illustrator for books and magazines. What made Christy's work unique was his use of a female model, usually dressed in a military uniform, as the central figure in his artwork. In "If You Want To Fight, Join The U. S. Marines," his "Christy girl," as she became known, was dressed in a Marine's dress blue blouse.



Christy's technique made his work some of the most recognizable and also some of the most reproduced. His poster for the Navy, "Gee I Wish I Were A Man, I'd Join The U.S. Navy," became especially popular. Interestingly enough, Christy later married the teenage girl who modeled for these works.

A sincerely patriotic man, Christy also produced posters for war bonds and rationing. Christy was still producing art for the Marine Corps in 1920, when he painted one of the first posters, "Fly With The U.S. Marines," aimed specifically at recruiting Marines into the aviation field. He volunteered his services again in World War II and produced several pieces of art, including a poster for the U.S. Army Air Corps.

Sidney H. Riesenberg was perhaps the most prolific producer of Marine Corps recruiting posters. His earliest works for the Corps were in 1913. During the war, he painted numerous posters of Marines in various action scenes such as amphibious landings and raising the flag over hostile territory. Included on almost all of his works were the two most popular Marine recruiting slogans of the war: "First To Fight" and "Soldiers of the Sea."

Walking John
Riesenberg's most lasting contribution was a poster known to Marine Corps recruiters as "the walking John." This poster-a Marine sergeant in dress blues, walking his post with his rifle shouldered, and a battleship in the background-was used in various forms from 1917 until 1939. Like other artists, Riesenberg also pitched in to help paint posters for the home-front war bond drives and conservation of materials.

During World War I, posters were also produced by Leon A. Shafer. A cover artist for Literary Digest before joining the Publicity Bureau, he painted at least two liberty loan posters as well as recruiting posters. John A. Coughlin painted a noteworthy version of a Marine going "over the top" with a Lewis machine gun in hand, proclaiming "First In France-U.S. Marines." Artist Adolph Treidler provided the Corps with "Another Notch, Chateau Thierry," playing on the Marine's victory at that site.

The World War I period literally produced hundreds of recruiting posters for the services. Committees were formed, contests were held and art students volunteered, all making poster production in the United States higher than anywhere else in the world during the war. The effort, by the time the war reached its end, had helped the Marine Corps exceed all goals set for new enlistments. It also stocked the recruiter's shelves with artwork for the lean years between the wars that were to follow. It provided experience for artists and for new techniques of production. Early photomontage-type posters were seen, as well as collages of photos and illustrations intermingled on the same sheet.

After the war, with the Publicity Bureau still intact, the recruiting effort began to become a more and more streamlined business. Wartime themes like "first to fight" were replaced by different lures for peacetime volunteers. The Marines had learned from their experience before the war that "travel, adventure and education" were dominant themes that would attract the type of youth they sought.

The recruiting poster, as an alliance of art and psychological appeal, involved some of the best illustrators in the country and created some of the most lasting images associated with patriotic America.

During World War I, the impact of the poster as a means of communication was greater than at any other time during history. The ability of posters to inspire, inform, and persuade combined with vibrant design trends in many of the participating countries to produce thousands of interesting visual works. As a valuable historical research resource, the posters provide multiple points of view for understanding this global conflict. As artistic works, the posters range in style from graphically vibrant works by well-known designers to anonymous broadsides (predominantly text).

The Library of Congress Prints & Photographs Division has extensive holdings of World War I era posters. Available online are approximately 1,900 posters created between 1914 and 1920. Most relate directly to the war, but some German posters date from the post-war period and illustrate events such as the rise of Bolshevism and Communism, the 1919 General Assembly election and various plebiscites.

This collection's international representation is among the strongest in any public institution. (For other major holdings, see the Related Resources page.) The majority of the posters were printed in the United States. Posters from Australia, Austria, Belgium, Canada, Germany, Great Britain, Italy, the Netherlands, and Russia are included as well. The Library acquired these posters through gift, purchase, and exchange or transfer from other government institutions, and continues to add to the collection.

World War I and the Role of the Poster
World War I began as a conflict between the Alllies (France, the United Kingdom, and Russia) and the Central Powers (Germany and Austria-Hungary). The assassination of Archduke Francis Ferdinand, the heir to the throne of Austria-Hungary and his wife Sophie ignited the war in 1914. Italy joined the Allies in 1915, followed by the United States in 1917. A ceasefire was declared at 11 AM on November 11, 1918.

The poster was a major tool for broad dissemination of information during the war. Countries on both sides of the conflict distributed posters widely to garner support, urge action, and boost morale. During World War II, a larger quantity of posters were printed, but they were no longer the primary source of information. By that time, posters shared their audience with radio and film.

Even with its late entry into the war, the United States produced more posters than any other country. Taken as a whole, the imagery in American posters is more positive than the relatively somber appearance of the German posters.

Poster Themes
The posters in the Prints and Photographs Division deal primarily with recruitment, finance, and home front issues. Although produced in different countries, many designs use symbols and messages that share a common purpose. (To explore the full array of topics and symbols supplied as index terms on individual poster descriptions, see the Subject/Format browse list.)

Enlistment and Recruitment Posters
Many posters asked men to do their duty and join the military forces. In the early years of the war, Great Britain issued a large number of recruitment posters. Prior to May of 1916, when conscription was introduced, the British army was all-volunteer. Compelling posters were an important tool in encouraging as many mean as possible to enlist. Four rarely seen posters printed in Jamaica and addressed to the men of the Bahamas illustrate the point that this war involved many parts of the world beyond the actual battlegrounds [ view Bahamas recruitment posters].

Women, who weren't being recruited for the military, were also asked to do their part. They could serve through relief organizations such as the YWCA or the Red Cross, or through government jobs. The Women's Land Army was originally a British civilian organization formed to increase agricultural production by having women work the land for farmers who were serving in the military. A Women's Land Army was also assembled in the United States.

Vincent Aderene, artist. Columbia calls--Enlist now for U.S. Army
Vincent Aderene, artist. Columbia calls--Enlist now for U.S. Army.

View selected enlistment posters

View selected women's recruitment and relief agency posters

Posters for War Bonds and Funds
In countries where conscription was the norm (France, Germany, Austria), recruitment was not such a pressing need, and most posters were aimed at raising money to finance the war. Those who did not enlist were asked to do their part by purchasing bonds or subscribing to war loans. Many finance posters use numismatic imagery to illustrate their point. Coins transform into bullets, crush the enemy, or become shields in the war effort.

Alfred Offner, artist. Zeichnet 8 Kriegsanleihe

Alfred Offner, artist. Zeichnet 8 Kriegsanleihe.

View selected war bonds and funds posters

Posters Dealing with Food Issues
Food shortages were widespread in Europe during the war. Even before the United States entered the war, American relief organizations were shipping food overseas. On the home front, it was hoped that Americans would adjust their eating habits in such a way as to conserve food that could then be sent abroad. Americans were told to go meatless and wheatless and to eat more corn and fish. Americans were also encouraged to plant victory gardens and to can fruits and vegetables. In Great Britain, eggs were collected for the wounded to aid in their recovery. In France, the ComitŽ National de PrŽvoyance et d'Economies sponsored a poster competition among schoolchildren to design conservation posters.

R.G. Praill, artist. Enlisted for duration of the war. Help the national egg collection for the wounded

R.G. Praill, artist. Enlisted for duration of the war. Help the national egg collection for the wounded.
View selected food issues posters

National Symbols
Many of the posters rely on symbolism to illustrate their point. Uncle Sam appears quite frequently on posters as a symbol for the United States. On other posters, John Bull and Britannia represent the United Kingdom, while France is personified by Marianne. Posters produced by the Allies often depict Germany as a caricature called a "Hun" who was usually portrayed wearing a pickelhaube (spiked helmet), often covered in blood.

Whistler's mother, from the painting "Arrangement in Grey and Black," is used to represent all motherhood on one Canadian poster. Men are asked to join the Irish Canadian Rangers and "fight for her."

A. Robaude, artist. 2me Emprunt de la Defense Nationale

A. Robaude, artist. 2me Emprunt de la Defense Nationale.

View selected national symbols posters

The Poster Artists
(Note: Select the name of the artist to view posters he designed.)

Many well-known artists and illustrators contributed their work to the war effort. Even though the British posters were primarily the work of anonymous printers and lithographers, established artists such as Frank Brangwyn (1867-1956), John Hassall (1868-1948), and Gerald Spencer Pryse (1881-1956) designed posters as well.

In Germany, Lucian Bernhard (1883-1972) produced many posters notable for their typography. Ludwig Hohlwein (1874-1949), who worked for most of his life in Munich, was internationally recognized for his integration of text and image and his brilliant use of color. In addition to his posters for the war effort, he designed many travel and advertising posters. Some of his last works were posters he designed for the Nazi Party during World War II.

Abel Faivre (1867-1945), a well-known cartoonist, and Théophile Steinlen (1859-1923), whose cats and Parisian scenes are some of the most recognizable images of the Belle Époque, lent their skills to the war effort and produced posters of considerable emotional depth.

In the U.S., the Committee on Public Information's Division of Pictorial Publicity urged artists to contribute their work in support of the war effort, and hundreds of poster designs were produced. The Division of Pictorial Publicity accepted Joseph Pennell's design for the Fourth Liberty Loan Drive of 1918, for example, which showed New York City in flames. Although the likelihood of enemy attack was small (aircraft of the day could not cross the Atlantic Ocean), the visual argument made for a haunting poster printed in approximately two million copies. The Prints & Photographs Division is fortunate to have works that show different phases of the design process: the original watercolor sketch, a proof for the poster, and the poster that was distributed.

Howard Chandler Christy (1873-1952) put the Christy girl into wartime service for the Marines and the Navy, as did other poster creators.

James Montgomery Flagg (1870-1960) designed what has become probably the best-known war recruiting poster: "I Want You for U.S. Army" [view poster]. Said to be a self-portrait, this most recognized of all American posters is also one of the most imitated. Flagg had adapted his design from Alfred Leete's 1914 poster of Lord Kitchener. Posters employing a similar composition were used on both sides of the conflict [ view examples]. The American poster was altered slightly for use in World War II [view poster ]. Since then, this image of Uncle Sam has been modified and parodied countless times [ view examples of parodies].

Marine Corps Emblem and Seal
 
The history of the Marine Corps emblem is a story related to the history of the Corps itself. The emblem of today traces its roots to the designs and ornaments of early Continental Marines as well as British Royal Marines. The emblem took its present form in 1868. Before that time many devices, ornaments, and distinguishing marks followed one another as official marks of the Corps.

In 1776, the device consisted of a "foul anchor" of silver or pewter. The foul anchor still forms a part of the emblem today. (A foul anchor is an anchor which has one or more turns of the chain around it). Changes were made in 1798, 1821, and 1824. In 1834 it was prescribed that a brass eagle be worn on the hat, the eagle to measure 3 ½ inches from wingtip to wingtip.

 

The large "living" emblem (left) is actually composed of thousands of Marines as shown below. The photo was taken aboard MCRD Parris Island in 1919.

 

During the early years numerous distinguishing marks were prescribed, including "black cockades", "scarlet plumes," and "yellow bands and tassels." In 1859 the origin of the present color scheme for the officer's dress uniform ornaments appeared on an elaborate device of solid white metal and yellow metal. The design included a United States shield, half wreath, a bugle, and the letter "M."

In 1868, Brigadier General Commandant Jacob Zeilin appointed a board "to decide and report upon the various devices of cap ornaments of the Marine Corps." On 13 November 1868, the board turned in its report. It was approved by the Commandant four days later, and on 19 November 1868 was signed by the Secretary of the Navy.

The emblem recommended by this board consists of a globe (showing the Western Hemisphere) intersected by a foul anchor, and surmounted by a spread eagle. On the emblem itself, the device is topped by a ribbon inscribed with the Latin motto "Semper Fidelis" (Always Faithful). The uniform ornaments omit the motto ribbon.

The general design of the emblem was probably derived from the British Royal Marines' "Globe and Laurel." The globe on the U.S. Marine emblem signifies service in any part of the world. The eagle also indirectly signifies service worldwide, although this may not have been the intention of the designers in 1868. The eagle which they selected for the Marine emblem is a crested eagle, a type found all over the world. On the other hand, the eagle pictured on the great seal and the currency of the United States is the bald eagle, strictly a North American variety. The anchor, whose origin dates back to the founding of the Marine Corps in 1775, indicates the amphibious nature of Marines' duties.

 

On 22 June 1954, President Dwight D. Eisenhower signed an Executive Order, which approved the design of an official seal for the United States Marine Corps. The new seal had been designed at the request of the Commandant of the Marine Corps, Gen Lemuel C. Shepherd, Jr.

The new seal consisted of the traditional Marine Corps emblem in bronze; however, an American bald eagle replaced the crested eagle depicted on the 1868 emblem, and is depicted with wings displayed, standing upon the western hemisphere of the terrestrial globe, and holding in his beak a scroll inscribed with the Marine Corps motto "Semper Fidelis" (Ever Faithful) with the hemisphere superimposed on a foul anchor. The seal is displayed on a scarlet background encircled with a Navy blue band edged in a gold rope rim and inscribed "Department of the Navy, United States Marine Corps" in gold letters. Coincident with the approval of this seal by the President, the emblem centered on the seal was adopted in 1955 as the official Marine Corps Emblem.

Unlike the robust recruitment efforts of World War I and World War II, recruitment today is more focused on maintaining a standing military. As such there’s more emphasis on character, skill, and career development instead of a call to arms in response to a specific threat.

Air Force medical group commander fired after less than 4 months on the job
How Recruitment Posters Used Pay, Patriotism, And Sex Appeal To Bolster The Ranks

The most famous recruiting poster in U.S. history, it was created by James Montgomery Flagg, who used himself as the model for Uncle Sam. The poster was enormously popular and used extensively during World War I and World War II.Image via National Archives

Viral campaigns, Hollywood blockbusters, and massive television promos have all but replaced the recruitment poster. However, they remain an important part of the military’s history and offer insight into the social and cultural trends that the services once played off of to draw recruits.

While many military recruitment posters are iconic, such as James Montgomery Flagg’s “I Want You,” they weren’t always so on the nose.


Military recruitment posters were traditionally placed in very public spaces: post offices, town squares, city halls, and of course, in military recruitment centers. Prior to television, radio, and the internet, they were the cheapest way to get the government's message to the public.

Related: The 1970s Marine Corps commercial that will actually make you want to re-enlist »

“All of them are designed to send a message that the reader would understand quickly and that would pair this catchy wording with an equally catchy image,” explained Bruce Bustard, a senior curator at the National Archives, in an email to Task & Purpose. “They are the equivalent of the brief ads that come up on websites. They want to grab your attention.”


The National Archives boasts one of the largest collections of U.S. military posters, between 3,000 and 3,500, with the vast majority aimed at recruitment during World War I and II, explained Billy Wade, a senior archivist with the National Archives’ Still Pictures Branch.

While the world wars marked the medium’s heyday, recruitment posters were in circulation long before then. The earliest posters focused on financial compensation and practical benefits for those enlisting, but around the early 1900s and well into World War II, they began to tug more on heartstrings than pockets. By World War II, military service was so closely tied to patriotic duty, sex appeal, and a life of adventure, that they didn’t bother to mention financial compensation.

Check out these eight military recruitment posters from National Archives ranging from the 1800s all the way to World War II.

How Recruitment Posters Used Pay, Patriotism, And Sex Appeal To Bolster The Ranks

This broadside dates from the 1799 Quasi-War, an undeclared war between the United States and France that took place almost entirely at sea. Typically this style of poster, called a broadside, didn’t contain imagery, but this shows U.S. troops in uniform in an array of positions. Even as far back as 1799, the military knew they could draw recruits with a slick uniform.

How Recruitment Posters Used Pay, Patriotism, And Sex Appeal To Bolster The Ranks
The message here is pretty direct. Don’t get drafted. Enlist!

Circulated in 1862, this broadside from the Civil War addressed the pending draft in the Northern States.


“It suggests that in addition to the various bounties a recruit would get for joining the Navy, he would also avoid being drafted into the Army, which was, presumably much more dangerous,” explained Bustard.

To sweeten the pot, the poster boasts “$50,000 in prizes,” but just below that it explains that an undefined “large portion” of that money will be awarded to ships crews, but is mum on what the take home will actually be for individual sailors.

How Recruitment Posters Used Pay, Patriotism, And Sex Appeal To Bolster The Ranks
Another broadside from the Civil War, this was issued just after the Emancipation Proclamation in 1863.


Bustard explained that the poster offers “protection of colored troops,” which was meant to reassure African-American servicemen that if they were captured, the U.S. government would come to their aid.

“This was important because the Confederacy had announced that captured black troops would be treated as slaves and sold back into slavery,” explained Bustard.

How Recruitment Posters Used Pay, Patriotism, And Sex Appeal To Bolster The Ranks
This poster from 1912 was designed to appeal to young men seeking adventure and travel. If you’re strapped for cash, longing for excitement and you see an advert guaranteeing adventure, good pay, and not-so-subtly implying a trip to a tropical paradise, chances are you might think about signing up.


It’s a tried and true recruitment method. Don’t believe it? Check out this Marine Corps Recruitment commercial from the 1970s that uses a similar technique.

How Recruitment Posters Used Pay, Patriotism, And Sex Appeal To Bolster The Ranks
Incorporating the motto of the newly created Tank Corps, this World War I-era recruitment poster was designed to imply a sense of excitement for what was at the time, an entirely new form of warfare, Bustard explained.

How Recruitment Posters Used Pay, Patriotism, And Sex Appeal To Bolster The Ranks
Featuring a “Christy Girl” model, the brainchild of artist Howard Chandler Christy, this World War I poster ran from 1917-1918 and was aimed at getting young men to enlist in the Marines.


“For their time, dressing a woman in men's clothing was quite provocative and suggestive,” explained Bustard, who added that though the posters were quite popular, probably with young men, they were criticized as being “frivolous.”

How Recruitment Posters Used Pay, Patriotism, And Sex Appeal To Bolster The Ranks
Emblazoned with red, white, and blue, this is about as patriotic as you can get, not counting Uncle Sam. At the time, pilots were seen as sex symbols, akin to movie stars and sports heroes, explained Bustard, so it’s possible that this poster was trying to tap into that.

You know, something like “join the Air Corps, get a bomber jacket and all the babes.

How Recruitment Posters Used Pay, Patriotism, And Sex Appeal To Bolster The Ranks

This is pure machismo. The only way this poster could be more direct is if it led with the words: “Be a man and join the Navy.” 

At first glance, it's not entirely clear who this is targeting, whether it's aimed at getting men to join the Navy, or to prompt their wives and girlfriends to pressure them to serve. The poster was produced in 1942 during the U.S. military’s first full year in World War II and a time when things were not going well for the Allies.

“This poster reinforces the connection between masculine strength and power and the armed forces,” explained Bustard. “I get an impression of the overwhelming armed might of the U.S. Navy. Perhaps this was a necessary connection at a time when things were not going well for the U.S.”