An After Young Hare Appraisal
The subject of a “Young Hare” after Albrecht Dürer appears constantly in appraisal submissions, auction catalogs, and private collections. Dürer’s original watercolor and bodycolor study—dated 1502 and preserved at the Albertina in Vienna—has never circulated on the open market. What you encounter, therefore, is almost always a work “after” Dürer: a later copy, reproduction print, or decorative object borrowing the image.
This guide explains what “after Dürer” means in practice, how to distinguish the main categories of pieces you’ll see, which features matter most for valuation, and what practical steps you can take to authenticate and appraise your example with confidence.
What “After Dürer: Young Hare” Usually Means
In art-market language, “after” denotes a work made in the style of, derived from, or reproducing a composition by another artist. Expect the following broad types:
Hand-drawn copies: Watercolors, gouaches, or graphite-and-wash studies based on Dürer’s composition. These range from 17th–19th century academic exercises by students and amateurs to highly finished 19th-century cabinet watercolors intended for sale. Quality, age, and authorship vary widely.
Reproductive prints:
- Chromolithographs (mid-late 19th century): Multi-stone color lithographs that emulate watercolor tones remarkably well.
- Collotypes (late 19th–early 20th century): Photomechanical prints with continuous tone and a fine reticulated surface; often issued by museums and reputable publishers.
- Photogravures/heliogravures (late 19th–early 20th century): Intaglio prints with subtle tonal richness and a plate mark.
- Offset/lithographic halftones (20th century): Mass-market reproductions using CMYK dot patterns.
- Inkjet/giclée (late 20th–21st century): Digital prints on coated paper or cotton rag; sometimes marketed as “fine art prints.”
Decorative arts and transfers: Porcelain plaques and plates, needlework patterns, woven tapestries, pyrographs, reverse paintings on glass, and later decals applied to diverse surfaces.
You may encounter inscriptions signaling derivation: “after Dürer,” “nach Dürer” (German), “d’après Dürer” (French). Keep in mind that a printed inscription alone doesn’t confer age or value; it identifies the relationship to the original.
Technique Identification: How the Image Was Made
Accurate identification of the medium is the single most important appraisal step. Work methodically with a loupe (10x), raking light, and, if available, a UV lamp.
Hand watercolor/gouache:
- Look for brushstrokes that pool at the end of a stroke, slight overlaps of washes, and areas where pigment sits on sizing.
- Under magnification, color areas are continuous; you’ll see pigment granulation, not dots.
- Edges may show graphite underdrawing or corrections with bodycolor.
- Paper tends to be laid (with chain and wire lines) in earlier copies or wove paper from late 18th century onward.
Chromolithograph:
- Built from many stones; colors look “plate-flat” but dotless.
- Under magnification, you’ll see fine, grainy lithographic textures rather than rosette halftone dots.
- Registration may show minute color misalignments at edges of the hare’s whiskers and fur highlights.
- Often issued on wove paper; margins sometimes carry a printed title or publisher credit.
Collotype:
- Continuous tonal range with a very fine, even reticulation (a microscopic crackle pattern) visible under magnification.
- No relief of ink and typically no intaglio plate mark.
- High fidelity to mid-tones makes collotypes especially convincing for watercolor subjects.
Photogravure/heliogravure:
- Intaglio process; should show a plate mark from the copper plate and a slight plate tone.
- Under magnification, a honeycomb or aquatint-like grain can be seen, with genuine ink lay-down in recessed areas.
- Paper is usually high-quality wove; margins generous; sometimes numbered or stamped.
Offset halftone:
- CMYK dot pattern forming rosettes; sharply visible with a loupe.
- Even sheen across color areas; paper can be coated or poster-like.
- Common from mid-20th century forward.
Inkjet/giclée:
- Under magnification you’ll see discrete microdroplets or spray patterns at color transitions.
- Modern rag papers often fluoresce under UV due to optical brightening agents (OBAs), a post-1950s hallmark.
Decorative transfers:
- Porcelain glazes with transfers show surface glare and curvature; decals can appear slightly raised at edges.
- Stitch-based reproductions exhibit textile structure and thread direction in lieu of painterly brushwork.
Note on signatures: The original bears Dürer’s “AD” monogram with the date 1502 on the sheet; many reproductions include a facsimile of this mark. Determine whether the monogram is handwritten (with ink and pressure variation) or mechanically printed.
Measurements, Margins, Inscriptions, and Paper Evidence
Comparing sizes and margins helps separate period copies from later reproductions.
Format and size:
- The original image area is approximately 25 × 22.6 cm. Many reproductions crop differently, invert margin proportions, or scale the image.
- A hand watercolor closely matching this scale isn’t proof of age but is consistent with a conscientious copyist; wildly different sizes suggest decorative reinterpretation.
Captions and credits:
- Period chromolithographs and collotypes often carry a small letterpress or lithographed caption below the image, typically citing Dürer, the museum, and sometimes the publisher.
- Museum-licensed facsimiles may bear blind stamps (embossed seals) identifying the institution or printer. Note typeface, spelling conventions, and whether the stamp style matches known period forms.
Plate marks:
- Genuine photogravures show a clean, impressed plate mark. Beware pseudo-plate-marks embossed into paper to mimic intaglio.
Paper:
- Laid paper with visible chain/wire lines and a watermark can indicate an earlier date for hand copies or certain photomechanical processes. Wove paper appears from the late 18th century onward.
- Watermarks (when present) can be diagnostic. Record their position, design, and orientation.
Mounts and frames:
- Period mounts may show beveled, hand-cut windows and old adhesives. However, many works have been re-matted, so framing alone is not a reliable dating method.
Condition and Conservation: What Affects Value
Condition has an outsized effect on value, especially for paper objects.
Foxing and staining: Brown spots (foxing), generalized toning, and water stains reduce desirability. Light, even toning is acceptable; concentrated stains are penalized.
Mat burn and acidity: A dark line around the image indicates acidic matting; this can sometimes be reduced by a paper conservator.
Abrasion and losses: For hand watercolors, surface abrasion, over-cleaning, or retouching compromises value. For prints, scuffs or skinning in the image area matter more than in margins.
Fading: Light-sensitive pigments and some 19th-century inks fade. Compare protected areas under the mat to exposed zones.
Tears, folds, and trimming: Tears into the image, pronounced creases, or margins trimmed to the platemark decrease value. A full, untrimmed sheet is preferable.
Conservation history: Professional washing, deacidification, and stabilization can improve appearance but may also remove original mounts or inscriptions. Keep documentation.
Market Appraisal: Dating, Scarcity, and Value Bands
Because the original is not market-available, the “after Young Hare” segment trades on craft quality, process, date, and rarity. Broad value expectations (assuming honest, typical examples and mid-market venues):
19th-century chromolithographs (good publishers, strong color, clean margins): roughly $200–800. Exceptional impressions on deluxe mounts may exceed this, while stained or trimmed examples may be under $200.
Collotypes (museum-authorized or reputable publishers, crisp continuous tone): roughly $300–1,200 depending on size, state, and stamps.
Photogravures with plate mark (high-quality intaglio, full margins): roughly $400–1,500; premium for documented early issues.
Offset color posters and mid-20th-century halftones: typically $50–250, with size and condition the main drivers.
Modern giclée prints (open editions): typically $20–150 retail; limited editions on fine papers may reach a few hundred, but resale is modest.
Hand-drawn copies:
- Anonymous 18th–19th-century watercolors of competent quality: roughly $800–3,000.
- By a known artist or with outstanding naturalistic execution: $3,000–10,000+, particularly if provenance is documented and condition is excellent.
- Contemporary hand copies by skilled artists: highly variable ($200–1,500), with quality and audience dictating price.
Decorative art transfers:
- Porcelain plaques by recognized firms: roughly $400–3,000 depending on maker, scale, and condition.
- Needlework and textiles: $100–600, with craftsmanship and age key factors.
Provenance can move these bands considerably. Museum licenses, early publisher attributions, or inclusion in period portfolios signal higher quality. Conversely, over-cleaning, discoloration, and trimmed margins typically depress value.
How to Authenticate and Appraise: A Step-by-Step Approach
Identify the medium with a loupe and raking light. Decide: hand watercolor/gouache, chromolithograph, collotype, photogravure, offset halftone, inkjet, or decorative transfer.
Examine the surface for the telltale markers above: brushwork, reticulation, halftone rosettes, or intaglio plate mark with genuine ink bite.
Record measurements: image area, platemark (if present), and full sheet. Compare to common formats; note any cropping.
Inspect inscriptions: Is the “AD 1502” monogram printed or applied by hand? Are there publisher credits, titles, blind stamps, or edition notes? Transcribe them accurately.
Evaluate the paper: laid versus wove, thickness, color, and any watermarks. Note fluorescence under UV (OBAs suggest modern papers).
Assess condition systematically: list foxing, toning, mat burn, tears, restorations, fading. Photograph front and back without the frame if safe to do so.
Date the piece by triangulating process, paper, typography, and publishing style. For example, multi-stone chromolithography and collotype point to later 19th–early 20th century.
Place the piece into a market category (e.g., “late 19th-century chromolithograph, museum-stamped”) and consult recent comparable sales within that category, adjusting for condition, size, and presentation.
Weigh provenance: labels from galleries, museums, or publishers; collection stamps; receipts. Authenticating these can justify a higher estimate.
Prepare a reasoned valuation range, not a single figure, reflecting comparable results and the object’s specific attributes. Provide a short condition note alongside the value.
Practical Checklist
- Determine process: hand color, chromolitho, collotype, photogravure, offset, inkjet, or transfer.
- Check for plate mark (intaglio) versus pseudo-embossing.
- Magnify: look for brushwork, reticulation, or rosette dot patterns.
- Measure image, platemark, and full sheet; note cropping.
- Document inscriptions, publisher credits, and blind stamps.
- Inspect paper type; look for watermarks; test UV fluorescence.
- Record condition issues: foxing, toning, tears, mat burn, fading.
- Review provenance: labels, stamps, receipts, prior appraisals.
- Align with comparable sales from the same medium, date, and quality.
- State value as a range with a brief rationale and condition caveat.
FAQ
Q: Could I own the original Young Hare by Dürer? A: No. The original 1502 watercolor is held by the Albertina in Vienna and has not been on the market. Market examples are later works “after” the original.
Q: How do I quickly tell a modern print from a 19th-century chromolithograph? A: Use a loupe. Modern offset and inkjet show obvious rosette dots or microdroplets; chromolithographs show continuous, dotless color built from multiple stones and may have slight misregistration at edges.
Q: Does a facsimile “AD 1502” signature mean it’s valuable? A: Not by itself. Many reproductions include a printed monogram. Value depends more on process quality, date, condition, and provenance than on a facsimile signature.
Q: Should I remove a framed piece to check the paper? A: Only if you can do so safely. If the frame is sealed or the work appears fragile, let a conservator or specialist handle it to avoid damage.
Q: What increases value the most for “after Young Hare” pieces? A: Clear identification of a high-quality process (e.g., early collotype or photogravure with plate mark), excellent condition with full margins, authenticated publisher or museum stamps, and documented provenance. For hand copies, superior draftsmanship and a credible date or authorship are key.
