An Original Painting By Lester G Hornby American 1882 1956

Lester G. Hornby is celebrated for atmospheric scenes of Paris, Brittany, and New England harbors, and for his powerful images related to World War I. He was one of the standouts of the American Etching Revival, yet he also produced oils, watercolors, gouaches, and drawings. Because his name is strongly associated with prints, owners and appraisers often ask a key question: is my work an original painting by Hornby, or is it one of his many prints? This guide explains how to tell, what to look for in signatures and subject matter, common condition issues, and what drives value in today’s market.

Who Was Lester G. Hornby (1882–1956)?

• American artist known primarily for etching and drypoint, active in the early to mid-20th century.
• Trained in New England and Paris; spent extended periods in France and worked in New England art colonies.
• Subjects include Parisian street scenes and nocturnes, Breton and Norman villages, war-related views from World War I, and New England waterfronts such as Gloucester and Rockport.
• Media:
  • Prints: etching, drypoint, aquatint (often in moody tonal palettes).
  • Painted work: oil on canvas or panel; watercolor and gouache on paper.
  • Drawings: charcoal and conte, especially for war and night scenes.

While his printmaking brought him broad recognition, Hornby’s painted works convey the same strong draftsmanship, tonal contrasts, and atmospheric light seen in his best etchings—qualities collectors actively seek.

Painting or Print? Identification Guide

Because Hornby’s prints are common and sometimes hand-colored, it is easy to mistake a print for a painting. Use the checks below in combination, not in isolation.

• Support and edge clues

  • Paintings: Typically on canvas, linen, or prepared panel/board; watercolors and gouaches on heavier art papers. Canvas weave or panel grain is visible at the edges or under magnification.
  • Prints: On paper sheets (wove or laid). Look for a platemark—a rectangular impression around the image—typical of etchings and aquatints. The sheet may show a deckled (feathered) edge if untrimmed.

• Surface under raking light

  • Oil paintings: Show texture and impasto; brushwork creates peaks, ridges, and directional strokes.
  • Gouache: Matte, velvety surface with opaque passages; may show slight burnishing from framing contact.
  • Watercolor: Staining and translucent washes; paper texture (tooth) is visible; pooling at edges of washes can appear.
  • Prints: The ink lies flat within the paper fibers. Under magnification, etched lines are incised-looking and slightly fuzzy at the edges (ink pressed into paper). Photomechanical reproductions show uniform halftone dots—these are not originals.

• Margins and inscriptions

  • Prints by Hornby often carry a pencil signature in the lower margin, beneath the image, and sometimes a title or notation such as “imp.” (short for impressit), indicating he printed the plate himself.
  • Paintings and watercolors are usually signed within the image area and lack the wide blank margins typical of prints.

• Plate tone and plate wear (for prints)

  • Plate tone: A slight veil of ink left on the plate can produce soft, gray areas—seen in many original etchings.
  • Plate wear: Later pulls might show weaker lines; this does not apply to paintings.

• Color and layering

  • Hand-colored etchings: Color sits on top of printed lines, often within boundaries; color lacks the varied layering or blending typical of painting.
  • Oils and gouache: Show layered, intermingled application; glazes or scumbles are visible under magnification.

• Back-of-support clues

  • Canvas/board: Tacking edges, stretcher bars, or panel edges; old labels or notations on the reverse.
  • Paper: Watermarks (e.g., on quality rag papers), hinge remnants from framing, and potential dealer or exhibition labels on the frame backing rather than on the work itself.

If any single test is inconclusive, weigh them together. When in doubt, a qualified conservator or appraiser can assess the medium conclusively.

What to Look For: Signatures, Subjects, and Supports

• Signature forms

  • Painted works and drawings: Often “Lester G. Hornby” or “L. G. Hornby” in the lower right or lower left; occasionally with a date. The hand shows confidence, with legible printing or cursive.
  • Prints: A plate signature (etched into the plate) may appear within the image; an original pencil signature usually sits in the lower margin. Not every impression is signed; some were initialed, and some later or studio impressions may be unsigned.
  • “imp.” notation sometimes appears after his pencil signature on prints, indicating self-printed impressions.

• Typical subjects favored by buyers

  • Paris: Night streets with gas lamps, narrow passages, bridges, and café scenes; monumental architecture rendered in dramatic chiaroscuro.
  • Brittany and Normandy: Stone villages, market squares, harbors, and fishermen.
  • New England: Gloucester and Rockport waterfronts, fishing vessels, wharves; winter street scenes.
  • War-related views: Trenches, billets, military encampments, and towns near the Western Front; more common as drawings and prints, but painted versions exist.

• Composition and palette

  • Tonal emphasis: Strong darks against mid-tones; restrained, often earthy palette in oils, with grays, umbers, and muted blues.
  • Draftsman’s scaffolding: Clear, confident drawing underpins forms; architecture and rigging lines are crisp.
  • Nocturnes: Subtle glows from windows or lamps punctuate broad shadow masses.

• Supports and preparation

  • Oils: Canvas or panel; period examples may show aged varnish. Priming layers often off-white or grayish.
  • Watercolor/gouache: Quality rag papers; edges can be deckled; artist-grade surfaces (wove or laid) are common.

• Labels and inscriptions

  • You may encounter exhibition, framer, or gallery labels on the backing; pencil titles or inventory numbers on stretcher bars or panel reverse. Such elements aid in building provenance but vary widely.

Market and Appraisal: Value Drivers and Ranges

Hornby’s market is bifurcated: prints are abundant and relatively affordable; distinctive paintings and strong watercolors are scarcer and can command significantly higher prices. Exact value depends on a confluence of factors.

• Medium

  • Oil paintings: Typically the most valuable, with larger, well-composed oils in sought-after subjects commanding premiums.
  • Watercolors and gouaches: Mid-market; the best examples (especially nocturnes or evocative harbor scenes) can rival smaller oils.
  • Prints: Generally more modest, though rare subjects, early states, or exceptional impressions can excel.

• Subject and period

  • Paris nocturnes and New England harbor scenes are perennial favorites.
  • War-related imagery can be desirable, particularly when compositionally resolved and in good condition.
  • Works that epitomize his tonal, atmospheric style outperform atypical subjects.

• Size and presence

  • Larger oils and watercolors with strong design and clear focal points tend to outpace smaller, sketch-like works.

• Condition

  • Paintings: Stable surfaces, intact varnish (or well-executed conservation), and minimal overpaint are valued. Heavy craquelure, flaking, or aggressive cleaning reduces value.
  • Works on paper: Full margins on prints, absence of foxing or mat burn, and unfaded inks/colors are key. Trimmed margins or stains diminish value.

• Provenance and exhibition history

  • Documented ownership chains, period exhibition labels, and mentions in catalogues or monographs support stronger results.

• Indicative ranges (not guarantees)

  • Oils: From the low thousands for smaller, routine subjects in average condition to mid–five figures for larger, signature works with compelling subjects and sound provenance.
  • Watercolors/gouaches: Often high hundreds to mid–four figures; top-tier examples can reach low five figures.
  • Original etchings and drypoints: Common impressions frequently trade in the low hundreds; scarcer subjects or superb impressions can achieve low to mid–four figures.

Auction outcomes vary by season and geography. Retail gallery prices may exceed auction levels due to curation, conservation, and warranty of authenticity.

Practical Checklist

• Identify the medium

  • Check for canvas/panel and brush texture (oil) or paper characteristics and wash edges (watercolor/gouache).
  • Look for a platemark or margin signature to rule in/out an etching.

• Inspect the surface under raking light

  • Seek impasto, layered paint, or, for prints, flat ink without brush ridges.

• Examine signatures and inscriptions

  • Location: in-image for paintings; in-margin for prints. Note any dates, titles, or “imp.” marks.

• Measure accurately

  • Record image size and overall size. For prints, note plate size and sheet size.

• Assess condition

  • Paintings: note craquelure, flaking, overcleaning, yellowed varnish.
  • Works on paper: check for foxing, mat burn, tears, stains, trimmed margins, or fading.

• Gather provenance

  • Photograph labels on the reverse, frame inscriptions, receipts, and exhibition mentions.

• Compare with documented examples

  • Use established museum, catalogue, or auction records as stylistic and signature benchmarks.

• Estimate value

  • Align medium, subject, size, and condition with recent comparable sales. Adjust for condition and provenance.

• Decide next steps

  • For high-value or uncertain cases, consult a specialist appraiser or conservator. Avoid cleaning or reframing until assessed.

FAQ

• Did Hornby paint as much as he printed?

  • No. He is best known for printmaking, and his etchings and drypoints are numerous. Painted works (oils, watercolors, gouaches) exist but are relatively scarcer, contributing to their higher value when quality is strong.

• What does “imp.” after his signature mean on a print?

  • It abbreviates the Latin “impressit,” indicating the artist printed the impression himself. Such impressions can be preferred, especially if printing quality is excellent, but value still hinges on subject, condition, and scarcity.

• How can I quickly tell a hand-colored etching from a watercolor?

  • Under magnification, you’ll see printed lines embedded in the paper with color sitting on top, often neatly within outlines, for the hand-colored print. A true watercolor shows continuous tonal transitions, bloom and back-run effects, and no underlying platemark.

• Are unsigned Hornby prints authentic?

  • They can be. Some impressions were not pencil-signed. Authentication then relies on the plate signature, paper, printing characteristics, and comparison to known states and editions. Value is typically lower than for pencil-signed impressions.

• Should I remove yellowed varnish or old matting myself?

  • No. Cleaning paintings or de-matting works on paper should be handled by qualified conservators. DIY interventions risk irreversible damage and value loss.

By applying the identification steps, documenting signatures and condition, and weighing market drivers carefully, you can confidently distinguish an original painting by Lester G. Hornby from his prints and arrive at a supported valuation range.