After Paul De Longpre Painting

Roses drenched in dew, delicately shaded petals, and near-botanical precision have made Paul de Longpré (1855–1911) a perennial favorite with collectors. Yet the market is crowded with “after Paul de Longpré” paintings—works created in imitation of his florals, often copied from period prints. Distinguishing these from original watercolors and period chromolithographs is essential for accurate appraisal, conservation decisions, and fair market value.

This guide explains what “after” means in cataloging, how to recognize de Longpré’s authentic media and hallmarks, how to tell prints from paintings, what drives value, and how to approach buying or selling with confidence.

What “After Paul de Longpré” Means

In auction and appraisal terminology, “after [artist]” indicates that a work is based on or inspired by a known composition by that artist but was not created by them. It is not the same as:

• By: executed by the artist’s own hand.
• Attributed to: probably by the artist, with some uncertainty.
• Circle of: by someone closely associated with the artist’s milieu, usually during the artist’s lifetime.
• School of: from the artist’s broader region or tradition, possibly later.
• In the manner of: stylistically similar, often much later.

For Paul de Longpré, “after” most often describes:

• Later oil or acrylic copies of his famous rose compositions (he primarily painted in watercolor).
• Decorative paintings or plaques based on widely circulated prints.
• Porcelain and decorative objects using transfer images or hand-colored designs derived from his works.

“After” does not automatically mean worthless. Quality, date, medium, and decorative appeal can still attract buyers—but values differ markedly from originals.

Hallmarks of De Longpré’s Florals

Before identifying a piece as “after,” it helps to understand what genuine de Longpré works look like.

• Medium: He is best known for watercolor on paper. His technique features transparent washes, subtle layering, and exquisite control of highlights to suggest translucency and dew. Oils by de Longpré are not typical; an oil painting “by” him warrants extra scrutiny.

• Subjects: Roses dominate—often identified varieties such as American Beauty or La France. He also painted peonies, lilacs, and mixed bouquets. Common motifs include:

  • Tightly clustered blooms with open flowers, buds, and leaves presented against a light or neutral ground.
  • Arrangements on marble or stone ledges, sometimes with a few fallen petals.
  • Occasional butterflies, bees, or dew drops rendered with precision.

• Composition and color: Balanced, symmetrical groupings with gradations from creamy whites to blush pinks and deep reds. Naturalistic modeling, not overly stylized.

• Signature: Typically “Paul de Longpré” or “P. de Longpré,” with the “de” lowercased and the accent sometimes omitted in American contexts. The signature on original watercolors sits integrally within the watercolor medium—edges feather into the paper, not atop a varnish layer. Reproduced signatures in prints show dot or lithographic grain under magnification.

• Period reproductions: From the 1890s–1910s, de Longpré’s images were widely issued as chromolithographs, photomechanical prints, calendars, and postcards. Lower margins often carry titles and copyright lines; large-format chromolithographs were framed for parlor display and remain collectible.

Knowing these traits helps you evaluate whether a piece aligns with documented practice or is likely a later homage.

Telling Originals, Prints, and Copies Apart

Use a loupe, raking light, and careful observation. The following checks help differentiate original watercolors, period prints, and later “after” paintings.

• Support and surface

  • Watercolor originals: Laid on watercolor paper, sometimes mounted to board. Look for the texture of paper fibers, pooling where washes settled, and slight granulation of pigments. No varnish; surface is matte, and colors are translucent.
  • Oil/acrylic copies: Paint sits on a primed canvas or panel, often with visible brush texture, impasto, or a varnish. An oil “by Paul de Longpré” is atypical—treat as suspect until proven otherwise.
  • Prints: Smooth surface. Under magnification, chromolithographs show layered lithographic grain and stippling; halftone prints show a regular dot pattern; photogravures display a fine, reticulated tone. The image lacks raised paint texture.

• Edges and margins

  • Watercolor: May show pencil borders, deckled edges, or slight cockling from moisture. If framed, there might be a hand-titled caption below the image (less common than printed titles).
  • Prints: Often have a margin with printed title, artist name, and copyright/publisher line. Trimming into the image or loss of the margin reduces value.

• Signature and inscriptions

  • Painted signature: On a watercolor, the signature integrates with the pigment and paper texture. On an oil copy, a “Paul de Longpré” signature often sits atop varnish or oil paint and can look newer than the rest of the surface.
  • Printed signature: Under magnification, the signature resolves into tone/grain rather than individual bristle strokes. Many period prints include a facsimile signature as part of the image.

• Back and mounting

  • Watercolor: Backing board may show age toning, old hinges, or period framers’ labels. Beware of modern foam-core or fresh mats around a supposedly 1900 work unless provenance supports conservation reframing.
  • Prints: Paper thickness varies; chromolithographs are often on heavier stock. Publisher blindstamps or embossed seals may appear near margins.

• Iconography match

  • Compare the composition to known de Longpré prints. If your painting matches a popular print exactly—identical flower placement and petal highlights—chances are it’s a copy “after” rather than an original variation.

• Ultraviolet (UV) light

  • Modern optical brighteners in paper fluoresce under UV, suggesting later paper for a piece claimed to be c. 1900. Retouching and overpainting can also fluoresce differently.

If still uncertain, a qualified paper conservator or appraiser with a microscope can confirm print processes and medium.

Value Factors and the Current Market

Pricing for de Longpré-related works varies widely by medium, size, condition, and provenance.

• Original watercolors

  • Range: Low thousands to mid-five figures for exceptional, large compositions with roses. Smaller sheets or secondary florals bring less.
  • Drivers: Size, richness of composition (multiple varieties, insects), condition (minimal fading), documented provenance, and period frames.

• Period chromolithographs/photogravures

  • Range: Often $100–$600 for typical examples; larger, scarce prints in excellent condition with original margins and period frames can bring more, occasionally $800–$1,500 for sought-after pairs or notable titles.
  • Drivers: Size, printing method, crisp color retention, untrimmed margins, publisher marks, and decorative appeal.

• “After Paul de Longpré” paintings (oils/acrylics on canvas or board)

  • Range: Decorative value typically $75–$600 depending on age, skill, and size; early 20th-century studio copies in ornate period frames can exceed that. Contemporary copies trend lower.
  • Drivers: Execution quality, tasteful aging (not artificial distressing), no spurious signatures, and good frames.

• Decorative objects “after” de Longpré

  • Porcelain, plaques, and china decorated with rose transfers or hand painting in his style can attract collectors. Value depends on maker marks, quality of transfer/handwork, and condition.

• Frame value

  • Period gilt and composition frames c. 1895–1915 can add significant value, sometimes rivaling the print they hold. Frame condition and originality matter.

Market realities: Because de Longpré’s imagery was heavily reproduced, supply is abundant. High prices concentrate around pristine, large-format early prints, paired sets, compelling original watercolors, and exceptional decorative presentations.

Condition, Conservation, and Framing

Condition separates pedestrian examples from desirable ones.

• Common issues

  • Light fade: Pinks and yellows are fugitive; sun exposure desaturates petals.
  • Foxing and staining: Brown spots from humidity; mat burn from acidic mats; overall toning.
  • Handling damage: Tears, creases, or abrasions on prints; scuffs on frames; water damage on watercolors.

• Conservation

  • Watercolors: Do not attempt cleaning yourself. A paper conservator can reduce stains, wash the sheet when appropriate, and replace acidic mounts.
  • Prints: Gentle surface cleaning and deacidification can improve appearance and longevity; margin repairs are possible but should be disclosed.
  • Frames: Repair gesso loss and re-gilding professionally. Maintain original glass if intact, but consider UV-filtering glazing to protect the art.

• Proper presentation

  • Use acid-free mats and backing, hinging with Japanese tissue and starch paste for works on paper.
  • Employ UV-filtering glazing and avoid direct sunlight and high humidity.
  • For oils (copy works), avoid aggressive cleaning; consult a conservator for varnish issues.

Condition disclosures and professional work invoices support higher prices and buyer confidence.

Buying, Selling, and Documentation

Whether you’re acquiring or offering an “after Paul de Longpré” painting or a period print, documentation adds clarity and value.

• Provenance

  • Save prior sales receipts, auction listings, or family ownership notes.
  • Photograph labels, inscriptions, and frame verso.

• Cataloging language

  • Use accurate terms: “after Paul de Longpré,” “chromolithograph after a painting by de Longpré,” or “watercolor in the manner of de Longpré.”
  • Avoid implying authorship if uncertain; do not remove printed margins that identify the work.

• Appraisals

  • For insurance or donation, seek a written appraisal from a credentialed specialist in works on paper or decorative arts.
  • Provide dimensions (image and sheet), medium, condition, and detailed photos under normal and raking light.

• Selling venues

  • Regional auctions and dealer networks do well with attractive large prints in period frames and well-executed early copies. Online marketplaces suit lower-value examples but require clear photos and honest descriptions.

A transparent, accurate listing fosters trust and better outcomes for both buyer and seller.

Quick appraisal checklist

• Is the medium watercolor on paper (matte, translucent) or oil/acrylic on canvas (textured, possibly varnished)?
• Do margins show printed title/publisher data (suggesting a print), or is the image edge hand-painted?
• Does a loupe reveal lithographic grain/halftone dots (print) versus pigment granulation and brushwork (original painting)?
• Is the signature painted into the medium or mechanically reproduced as part of the print?
• Does the composition exactly duplicate a known print image (likely “after”)?
• Are there period frame labels, blindstamps, or provenance notes supporting date and origin?
• What is the overall condition—fading, foxing, mat burn, tears—and has any conservation been performed?
• Are you using accurate cataloging language: “after,” “in the manner of,” “chromolithograph after”?

FAQ

Q: What does “after Paul de Longpré” mean on a label? A: It means the work is based on de Longpré’s composition but not by him. It could be a later painting copying a print, a decorative object with his imagery, or a reproduction print.

Q: Did Paul de Longpré paint in oil? A: He is primarily known for watercolor florals. Oils attributed to him are atypical and should be viewed skeptically unless supported by strong provenance and expert opinion. Many oils “by de Longpré” on the market are copies by other hands.

Q: How can I tell if my piece is a print or an original watercolor? A: Use a 10x loupe. Prints show regular dot patterns (halftone) or lithographic grain; watercolors show paper fibers, subtle pooling, and no uniform dot structure. Signatures on prints are part of the printed image; on watercolors, the signature is painted into the paper.

Q: What is a typical value for a de Longpré-related piece? A: Original watercolors can sell from the low thousands to the mid-five figures depending on size and quality. Period chromolithographs commonly bring $100–$600, with special examples higher. Later “after” paintings usually have decorative value, often under $600, unless early and exceptionally executed.

Q: Will reframing increase value? A: Conservation framing protects and can enhance presentation, but replacing an original period frame may reduce historical appeal. If the frame is damaged beyond practical repair, a tasteful, archival replacement with documentation is appropriate.

With careful examination and accurate terminology, you can place an “after Paul de Longpré” painting in its proper context—and buy, sell, or conserve it with confidence.