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.
Of posters by designers still living, those of Chéret have been most assiduously collected. It is probable that a complete set of his works does not exist; even one which is fairly representative, and includes some of his earlier and rarer affiches, is extremely valuable. In the Sagot catalogue of 1891, over five hundred and fifty posters by Chéret are described, and of these no less than eighty are priced at twenty francs or more. Since the publication of the catalogue, their value has steadily increased, and it is uncertain if many of them can now be procured at all. The collector of modest means need not, however, regret that the older and rarer examples of Chéret are beyond his reach, for the artist's more recent posters are the best that he has accomplished. For a comparatively small outlay, one may secure the flower of Chéret's work. Amongst the most valuable of his posters are two, of very large size, designed to advertise some Arabs who appeared with the Paris Hippodrome when it visited London in 1887. The price asked for
