a poet than Tony Johannot, he stated "His original pen-and-ink drawings are exquisite in finesse, liveliness, and well rendered, and will gain in value year after year. We can ape Grandville, but will not equal it again." Honoré de Balzac expressed ambivalent views of Grandville. He was an enthusiastic supporter and collector of Grandville's early print series, and the two worked together at La Caricature in the early 1830's, where Balzac worked as a as an editor, and caricatures were an integral part of the newspaper. However in the 1840s, when publishers begin including illustrations in books, Balzac became more critical. He believed illustrations competed with the written word, distorted and diluted the text, and were undermining the market for novels, perhaps with some justification. Balzac contributed chapters to Grandville's Scènes de la vie privée et publique des animaux (1842) which was one of the bestsellers of the 1840s, selling 25,000 copies, while Balzac's first edition novels of the period were only selling 1,200 - 3,000 copies. Charles Baudelaire, friend and champion of Honoré Daumier, was not a fan of Grandville. It seems odd that the author of Les Fleurs du mal (The Flowers of Evil), with poems such as Spleen, and the great admirer and translator of Edgar Allan Poe, felt frightened by the images of Grandville. Today his criticisms read like an underhanded complement. There are superficial people whom Grandville amuses, but as for me, he frightens me. When I enter into Grandville’s work, I feel a certain discomfort, like in an apartment where disorder is systematically organized, where bizarre cornices rest on the floor, where paintings seem distorted by an optic lens, where objects are deformed by being shoved together at odd angles, where furniture has its feet in the air, and where drawers push in instead of pulling out. Charles Baudelaire (1857) His style and humour had a marked influence on John Tenniel and various other Punch-cartoonists. The art historian H. W. Janson noted Grandville's imagery anticipated various aspects of dada, surrealism, and pop art. Janson speculated if Marcel Duchamp's Tu m (1918) could have been inspired by Grandville's View of the Paris Salon, from Un autre monde, both of which involve subjects from the two dimensional surface of a painting emerging from the canvas into the real three dimensional space of the viewer. Janson asserted that Grandville's illustration The Finger of God, also from Un