Loie Fuller bills, in all of which the design is the same but the colouring different, is worth between thirty and forty shillings. These designs are among the most daring and characteristic specimens of Cheret's amazing colour, and as they only measure forty-nine by thirty-three inches, they are of manageable size, and should find their way into the portfolio of every collector. The set of unlettered decorative panels which were described in an earlier part of the book, is at present sold by all dealers for five pounds. It goes without saying that proofs before letters, or prints on special paper, of the posters of Cheret, or of nearly any other artist, are much more valuable than ordinary copies. Most of, the posters of other living French artists may still be procured for a few shillings, but it is extremely improbable that such a state of things will long continue to be the case. Already examples by men of the modern school, such as Toulouse-Lautrec, Anquetin, Bonnard, Steinlen, and Ibels, are in great demand, and collectors should use the present opportunity to procure a series of these curiously interesting designs before the prices rise. Even now, Lautrec's first attempt, "Le Pendu," has become _rarissime_, and is valued at something over a sovereign. What has happened in this case will doubtless happen in the case of "La Reine de Joie," "Jane Avril," and Lautrec's other posters. The designs of Grasset are rapidly taking their place by the side of those of Cheret in the estimation of collectors, with the result that several of them command large prices. Thus the "Librairie Romantique," which was offered in 1891 for three francs, was priced by the same dealer in November, 1894, at twenty. What is going on in the case of Cheret, Grasset, and Lautrec, is going on, though it may be somewhat less rapidly, in the case of those other artists who have assisted to make the French _affiche_ the charming and artistic thing it is.