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CHAPTER XI.—THE PRICE OF THE PICTORIAL POSTER; AND CONCLUDING NOTE
It is obviously impossible to state accurately the price of the artistic poster, insomuch as fluctuations take place almost daily, and, moreover, the numerous dealers vary in their quotations in an extraordinary degree. Under these circumstances, the present chapter is written as a matter of current record, rather than with the idea that it will be of any permanent value for purposes of reference. It may be stated at the outset, that in dealing with the value of the poster, rarity has in the first place to be taken into consideration; and thus it happens that, while delightfully artistic designs are comparatively inexpensive, posters which are quite unattractive from the point of view of art are often very costly. The prices which follow are for the most part taken from the catalogues of M. Edmond Sagot of Paris, and Mr. Bella of London, the latter of whom, by the organization of exhibitions and in other ways, has rendered 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.
For the "Oeuvres Choisis" bill, together with that designed to advertise an illustrated edition of Balzac's "Philosophie de la Vie Conjugale," something over a hundred francs is asked, while less important works can be obtained for five-and-twenty or thirty francs. It goes without saying that the smallest tear or other injury, however neatly and skilfully repaired, heavily discounts the value of works by Gavarni and the men of his time; but even slightly damaged examples are eagerly sought for, as it is almost impossible to obtain perfect ones. Of the productions of Edouard de Beaumont, two of the rarest are the "Nains Célèbres," already mentioned, and the "Diable Amoureux." For an exceptionally fine proof of the former, as much as a hundred francs has been asked, while the latter, which is very rare, commands about sixty francs. Sums scarcely less formidable are given for the better posters of Grandville, and fifty francs for a good Tony Johannot is not by any means an exceptional price, although unimportant specimens of his work may be picked up in Paris for a few sous. The excursions of Gustave Doré into the art of the poster were very few. His most important work was perhaps the "Légende du Juif Errant," a fine proof of which realizes sixty francs or more. Posters by Vivant Beaucé, Castelli, Cham, Victor Coindre, Charles Devrits, H. Emy, A. Farcy, and others of the same period, for the most part command sums comparatively small; the best productions of Bertall, Calame, Monnier, and C. Nanteuil, on the other hand, are only a little less expensive than those of Gavarni and the more distinguished designers of his time.