Since Barye's death and the great increase in the prices of his work, many devices have been used to sell objects bearing his name, but not properly his work. For example, he produced for the city of Marseilles some objects in stone (designed for the columns of the gateway), which were never done in bronze; since his death these have been reduced in size and produced in bronze as his work. Works of the younger Barye signed by the great name are also confused with those of the father. Further still, to the confusion of inexperienced collectors, the bronzes of Méne, Fratin, and Cain, all artists of importance, but hardly increasing fame, have had the signatures erased and that of Barye substituted. It is therefore inadvisable to attempt at this date the collection of Barye's bronzes without special knowledge or advice. The great collections of early and fine proofs have been made. At the sale of his effects after his death the models with the right of reproduction were sold, and in many instances these modern proofs are on the market bearing the name of Barye, with no indication of their modernity. Some of these are so cleverly done that great knowledge is required to detect them, and if they were sold for a moderate price, would be desirable possessions. Certain dealers frankly sell a modern reproduction as modern and at an appropriate price, but I know of one only, M. Barbédienne, who puts a plaque with his initials on each piece produced by him.
During Barye's lifetime he had, however, in his employ, a man named Henri, who possessed his confidence to a full degree. A few pieces are found with the initial of this man, showing that they were done under his supervision and not that of Barye, but whether before or after the death of the latter is not yet determined.