material assistance to English collectors. In fact;, to some extent, he has called the English collector into existence.
As an example of the price of the poster of which the interest is archaeological rather than artistic, one may instance a placard, dated the 20th of February, 1649, which deals with the opening and closing of the gates of Paris. Its only claim to be considered pictorial consists in the fact; that it is ornamented with a woodcut representing the arms of the city. Many similar productions were executed in relation to London and to other English towns. The price asked for it three or four years ago was thirty francs. Interesting from another point of view are the illustrated posters which have heralded new books, or new editions of books, by great writers. Three of these, relating to the works of Balzac, and including one with woodcuts by Meissonier and Tony Johannot, are valued at twelve francs.
It is time, however, to pass from pictorial posters, which are interesting on account of age or literary association, to those which derive their value from their qualities as works of art. In this class some of the highest prices are obtained by the French artists who, for the most part, were the contemporaries, or immediate successors, of Gavarni. The best posters of this master are extremely difficult to procure, and examples in a fine state realize large sums.
