[7] Some of his wartime drawings are preserved at the British Museum in London (Wounded Soldiers in Granville Harbor, 1914[8]) and at the Archives du Calvados in Caen (l'attaque de Poilus, 1914[9]).

At the Paris Salon of 1920, Magnin compared and contrasted the works of father and son, suggesting that each influenced the other:Auguste Prevot-Valeri has singularly transformed his style since last year; it seems that his maturity is emancipating.

Today with his Troupeau, even more than with his Moutons dans les greaves, he is making a big noise, knowing only violent effects, heavy strokes, brutally struck color…it is only the process that differs; the skill remains the same…André Prevot-Valeri paints like his father in a heavy manner, but has a greater feeling of light…light constitutes the greatest attraction of his Paysage d'été, where the girl watches over her white geese in a fiery atmosphere.

[11]Prévot-Valéri won the Henri Zuber Prize a second time in 1920, the Prix de la Société des Paysagistes in 1921, and a silver medal at the Paris Salon of 1923.

[4][2] In 1926, he had a one-man exhibition at the Galerie Poissonnière in Paris; a reviewer wrote of his "exquisite sensitivity" and "joyous landscapes, in the middle of which one would like to live…While being modern, he remains humble before nature, and his inspiration comes only from a constant contact with it.

[13] In 1936, André Prévot-Valéri moved from Paris to the Cotentin Peninsula of Normandy, where he spent the last decades of his life painting pastoral scenes, seascapes, and images of the kelp harvests.