Meanwhile, Corot was the painter the most copied during the second half of the 19th Century. Some 30,000 works attributed to Corot have notably been said to be circulating on the art market since 1880.
Many faked Corot appeared in 1928 during an exhibition in London. These came from the collection of a certain Dr Jusseaume who reportedly owned over 2400 paintings by this artist.
During his lifetime Corot did in fact nothing to prevent certain artists from copying his works. Worse, he did not hesitate to sign many copies, which he judged interesting or just to please copyists.
In 1862, Frédéric Grobon inaugurated an agency specialising in the production of copies after Corot. These were produced by some good artists such as Jean Aubert, Amaury-Duval, Bida, Cabanel, Comte Calix, Dargent or Harpignies.
Other imitators of Corot were Dutilleux, Charles Desavary, André Julien Prévost, Désiré Trouillebert, Chintreuil, Victor Dupré, Alexandre Defaux, A. Anastasi,
Ch. Lambinet, Adolphe Appian, Lavieille, F. Français, Madame Pecqueur,
A. Bénouville, Norblin de la Gourdaine, Ravier, Caruelle d'Aligny, A. Fontanesi,
V. Vignon, E. J Dumax, Prosper Marilhat, Poirot, Meszoly, Vernon, Latouche,
J. Desbrosses, Damoye, Léon Fleury, Lessieux, Lapito, Delaberge, Lanoue, Comairax, E. Brandon, Hawkins, Richaume, Berthe Morisot, Daubigny, Jules Cognet or Harrison.
Géricault, an excellent painter of horses, was copied by Jean Gigoux, Philippe Ledieu, Wolmar, Michalowski or Luna.
C.F Daubigny was imitated by Pierre Herpin and his son Karl Daubigny while
C. Troyon and A.L Barye were also the targets of forgers.
Before becoming a major painter of the School of Barbizon, Narcisse Diaz imitated Corregio. He was in turn much copied by P. Vernon, Gourdon, A. M Longuet or Victor Vincelet.