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and Wallbrook, London. This firm operated the process from 1850 to about 1870, or nearly 20 years, thus carrying on for 10 years after Baxter had retired. It is this firm's reproductions, after Baxter's blocks came into their hands, that one to-day finds so many people passing off as Baxter's works; but a careful study of the chapter on the " Harmony of Colouring," and the acquisition of a few genuine Baxter Prints, will soon make the Collector wary, and enable him to "spot" the many imper- fections in their reproductions, such as coarseness of colouring, absence of blocks to tint the cheeks and lips in portraiture, etc. This firm also published many prints from their own designs, and the set of 32 Ovals is to-day considerably rising in value. Here, again, Le Blond's blocks were not destroyed, but they were sold in 1888 to Mr. Frederick Mockler, who again disposed of them in 1894; an d as soon as the necessary demand for their work by the collector has sprung up, one sees them being reproduced and sold as Le Blond's work. A very glaring instance of this is to be found in what was, at one time, a very scarce Oval " Blowing Bubbles "; but, as one very well-known collector said to me, when one hears now of so many being described as " Mint from the Press," one is inclined to be suspicious, if not even amused ! In the " Inland Printer " (Chicago) of February, 1909, an interest- ing account of the operation of Baxter's Process by Abraham Le Blond is given in a letter to the Editor by Robert E. Le Blond, the son of Robert Le Blond, who left the firm of Le Blond & Co. and emigrated to America in 1856. I give a few interesting extracts: HOW "OIL PRINTS" WERE MADE. I worked in the office of Le Blond & Co., 24 Budge Row, London, who were licensees of Baxter; this was in 1854 an d 1855. The firm of Le