Print From Circa Early 20th Century His Reward Appraisal

Sentimental genre images of children with dogs were among the most popular subjects reproduced as prints around 1895–1930. “His Reward” is a title that appears across several publishers and processes in that era, typically after well-loved late Victorian and Edwardian painters. If you have a print labeled “His Reward,” this guide will help you identify what you own, date it, understand its market, and care for it.

What “His Reward” Might Be

“His Reward” is not a single, unique print. Multiple images carry that title or a close variant (“The Reward,” “Well Earned Reward,” etc.), often depicting a child giving a treat to a patient dog. Common origins include:

• After Arthur J. Elsley (1860–1952): British painter known for children-and-pets scenes. Many of his pictures were issued as photogravures, collotypes, and chromolithographs, with printed signature “Arthur J. Elsley” in the image.
• After Frederick Morgan (1847–1927): Another prolific genre painter whose sentimental scenes were widely reproduced; titles were sometimes altered by publishers for marketing.
• Other calendar and magazine art: American firms like Brown & Bigelow and European publishers issued unsigned or generically credited scenes; religious or moralizing prints also used “His Reward” as a caption.

Because the title spans multiple images and editions, a careful look at process, publisher, and inscriptions is essential to appraise accurately.

Step-by-Step Identification

1. Confirm it is a print, not a painting

• Raking light: Paintings on canvas show textured brushstrokes and impasto. Prints on paper are flat; any “texture” is printed.
• Under magnification: Offset-halftones reveal a regular dot or rosette pattern; chromolithographs show layered, dot-free color and crayon-like edges; photogravures display a warm, fine grain (aquatint-like) rather than discrete dots.
• Substrate: Original paintings will be on canvas or board; most early 20th-century reproductions are on wove paper or thin card, sometimes mounted to board.

2. Identify the printing process

• Chromolithograph (c. 1890–1910, sometimes later): Multiple color stones; no plate mark; slight color misregistration at edges; saturated, “poster-like” colors.
• Photogravure (c. 1895–1925): Intaglio process with plate mark (an impressed rectangle around the image); rich sepia or warm black; granular tone in mid-values; often issued with a printed mount or tissue guard.
• Collotype (c. 1890–1915): Continuous tone on matte paper; very fine reticulation when magnified; no halftone dots or plate mark; frequently credited to firms like The Berlin Photographic Co.
• Offset/halftone (c. 1915 onward): Visible screen dots; commonly found in calendars, magazine premiums, and later reprints.

3. Read all inscriptions

• Artist credit: “From the painting by Arthur J. Elsley,” “After Frederick Morgan,” etc. A printed (in-plate) signature is not a hand-signed autograph.
• Publisher/imprint line: Look along the lower margin for a credit line such as “Published by…” with addresses in London, New York, or Paris. Names to watch for include The Berlin Photographic Co., Raphael Tuck & Sons, Pears, Hildesheimer & Faulkner, or American calendar houses. Exact text varies; transcribe it.
• Copyright and series info: Dates may be embedded in a Roman or Arabic copyright year, registration number, or series title (e.g., “Photogravure No. 312”).
• Blindstamps: Look for a dry embossed stamp in a lower corner (e.g., a circular publisher’s seal). Photogravures and fine collotypes often carry one.

4. Measure image and sheet

• Typical large-format decorative prints run image sizes around 14–20 inches on the long side, with a larger sheet; calendar tops are smaller or printed on thin card.
• Record both image size (inside the plate mark or image border) and sheet size. Trimming reduces value.

5. Examine the frame and mount

• Period frames: Oak, walnut, or gilt gesso frames with wavy “seed” glass suggest late 19th–early 20th century. However, frames are often swapped.
• Backing: Wood panel, old nails, and browned paper liners indicate age but not authenticity alone. Check for brittle, acidic mounts and old hinging tapes.

6. Condition assessment

• Note foxing (brown spotty mold stains), mat burn (brown line where old mat opened), toning, water stains, tears, cockling, abrasions, and fading. UV exposure can mute chromolithograph colors; photogravures can scuff in the dark tones.

Document your findings with photos of the front, inscriptions, plate mark (if any), edges, and the frame/back.

Dating and Editions

Dating is rarely exact without the imprint line, but these clues help:

• Copyright line: A clear “Copyright 1903” places the image at least that early. Some publishers reissued plates for years after.
• Process window: Photogravure and collotype decorative prints peaked c. 1895–1915. Chromolithographs for domestic interiors were common c. 1885–1910; offset-halftones become more likely after c. 1915.
• Publisher lifespan: If you can identify the named publisher’s operating address (e.g., a specific street number used only during certain years), you can bracket the date. Many firms adjusted addresses over time; match what you see on your piece.
• Paper and print quality: Thick, deckle-edged wove papers suggest better-quality gravures/collotypes; thin wood-pulp card points to later, cheaper reproduction.
• Edition statements: Fine photogravures sometimes note “Signed artist proofs,” “Remarque,” or edition sizes. Mass-market decorative prints typically lack numbered editions.

Note on signatures: Most “His Reward” prints are signed-in-plate with the artist’s facsimile signature printed as part of the image. Hand-signed prints in pencil by the original painter are uncommon for these popular genre scenes and command higher prices only when verifiably original.

Market Value and What Drives It

Values for early 20th-century decorative prints are driven by subject desirability, process and quality, size, publisher, and above all condition. Broad, realistic ranges for “His Reward” prints (as of recent market norms) are:

• Large photogravure or collotype after Elsley or Morgan, clean sheet, light toning, no major defects, in a period frame: roughly $150–400.
• Chromolithograph in strong color, untrimmed margins, minimal foxing: roughly $120–300; muted/faded examples $60–150.
• Offset-halftone calendar or magazine premium prints: $30–120 depending on size, image appeal, and condition; small calendar tops $20–60.
• Postcards or cabinet-card size versions: commonly $5–25 each unless unusually scarce.
• Hand-signed or limited-issue gravures (documented): potentially $300–800+, but these are far less common for this subject.

Premium factors:

• Crisp impression with full margins and intact plate mark (for photogravures).
• Provenance, publisher blindstamp, and identifiable early issue rather than later reprint.
• Period frame with original glass and label, if in excellent condition.

Discount factors:

• Trimming into the plate mark or title line.
• Heavy foxing, water staining, tears across the image, acidic mat burn.
• Later reprint on thin, glossy paper with halftone dots.
• Overcleaning or bleaching that leaves a chalky, washed-out look.

Markets vary regionally: UK and Commonwealth collectors may pay a bit more for Elsley/Morgan subjects; American buyers for calendar art are strong but condition sensitive.

Common Pitfalls and Authentication Tips

• Plate signature vs. hand signature: A printed signature is not an autograph and does not confer the premium of a hand-signed print.
• “Original” confusion: These are reproductions after oil paintings. An “original print” in printmaking terms would be an etching or similar created by the artist as a print, which is not typical for these subjects.
• Reframing risks: Removing a print from an old frame can reveal trimmed margins, hidden tears, or tape stains. Proceed cautiously, preferably with a conservator.
• Misidentification of process: Halftone dots mean a mechanical reproduction, not a lithograph. A visible impressed plate mark is a strong indicator of photogravure, not chromolithography.
• Title variations: Don’t assume every “Reward” title references the same image. Verify artist/publisher lines and compare details of the composition.

Conservation and Presentation

• Surface cleaning: Light dusting with a soft brush is usually safe; avoid erasers or moisture. Do not attempt stain removal at home.
• Professional conservation: A paper conservator can address foxing, stains, and deacidification; costs can exceed the value on lower-end examples, so get an estimate first.
• Archival housing: Use acid-free mats and backing (100% cotton rag or buffered boards) and UV-filtering glazing. Hinge with Japanese tissue and wheat starch paste.
• Display: Keep out of direct sunlight and away from heat sources or damp walls. Maintain a stable environment to reduce cockling and fading.

Selling, Insurance, and Documentation

• Documentation: Record high-resolution images, full measurements, inscriptions, and condition notes. Keep any labels, receipts, or frame shop tags.
• Where to sell: Local antiques dealers, regional auctions, or online marketplaces. For better pieces (clean photogravures in period frames), a specialist print dealer or auction may achieve stronger prices.
• Insurance: Insure at replacement value (retail to re-acquire), which will be higher than auction realizations. Provide your insurer with photos and a brief description referencing process, publisher, and condition.

Collector’s Practical Checklist

• Identify process: plate mark and granular tone (photogravure), layered color with no dots (chromolithograph), or halftone dots (offset).
• Read the imprint: note artist credit, publisher, copyright/registration, and any blindstamp.
• Measure image and sheet; check for trimming into margins or plate mark.
• Assess condition: foxing, mat burn, tears, stains, fading, cockling.
• Note framing: period frame and old glass can help desirability but do not prove authenticity.
• Photograph details: front, inscriptions, plate mark, corners, and back.
• Set expectations: Many examples are decorative; top value requires strong condition and quality.

Short FAQ

Q: How can I tell if my “His Reward” is early 20th century and not a later reprint? A: Check for a plate mark (photogravure), a period publisher’s imprint, heavier wove paper with a matte surface, and absence of halftone dots. Later reprints often show halftone screens, glossy or very thin paper, and modern fonts without period addresses.

Q: Does a printed signature make it more valuable? A: A plate or facsimile signature is standard and does not add much value by itself. A genuine hand-signed pencil signature by the original painter is rare for these and would need supporting documentation.

Q: My print is badly foxed. Should I have it cleaned? A: Foxing can often be reduced by a professional paper conservator, but costs may exceed the print’s value. Obtain a written estimate first and weigh conservation for sentimental or high-quality examples.

Q: What is the difference between chromolithograph and photogravure in value? A: High-quality photogravures and collotypes often command slightly more than mass-market chromolithographs, especially with strong impressions and full margins. However, subject, size, and condition can outweigh process.

Q: Is the original frame important? A: A period frame in good condition can enhance appeal and retail value, but severe frame damage or non-archival materials can harm the print. Value the artwork first; the frame is a secondary bonus unless exceptional.

With a systematic look at process, inscriptions, condition, and context, you can confidently identify and appraise an early 20th-century “His Reward” print and understand where it sits in today’s market.