Victorian Artists' Autograph Replicas: Auras, Aesthetics, Patronage and the Art Market, 1st Edition (Hardback) book cover

Victorian Artists' Autograph Replicas

Auras, Aesthetics, Patronage and the Art Market, 1st Edition

Edited by Julie F. Codell


344 pages | 59 B/W Illus.

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Hardback: 9780367145828
pub: 2020-05-18
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This book is a wide-ranging exploration of the production of Victorian art autograph replicas, a painting’s subsequent versions created by the same artist who painted the first version. Autograph replicas were considered originals, not copies, and were highly valued by collectors in Britain, America, Japan, Australia, and South Africa. Motivated by complex combinations of aesthetic and commercial interests, replicas generated a global, and especially transatlantic, market between the 1870s and the 1940s and almost all collected replicas were eventually donated to US public museums, giving replicas authority in matters of public taste and museums’ modern cultural roles. This book will be of interest to scholars in art history, museum studies, and economic history.


"At a time when the advantages of digital over analogue continue to be debated, Julie Codell has assembled an engaging group of scholarly essays that explore the ramifications of reproduction and replication on Victorian notions of originality."

Elizabeth A Pergam, Sotheby’s Institute of Art, New York

Table of Contents

I. Introduction

1. Nineteenth-Century British Artists' Autograph Replicas: Auras, Aesthetics, Copyright and Economics - Julie Codell

II Autograph Replicas: Location as Meaning

2. The American Replica: The Politics and Status of the Artist's Autograph Replica in the Gilded Age - Jo Briggs

3. "Mere dead copies"? Frank Holl’s Newgate and the Lives of Painted Replicas - Andrea Korda

III. A Case Study: Albert Moore

4. Albert Moore: Themes and Variations - Richard Green

5. Repetition, Aestheticism and Copyright Law in the Art Practice of Albert Moore - Robyn Asleson

IV. Replicas and Artists’ Agency

6. Patrons' Desire: Dante Gabriel Rossetti’s Prolific Replicas - Julie Codell

7. Ford Madox Brown, Cultural Experience and the Promise of the Replica - Colin Trodd

8. William Powell Frith’s Double Life:  An Artist Coping with a Changing Market - Sally Woodcock

V. Multiple Motivations

9. The Uncertain Status of William Holman Hunt’s Oil Replicas - Judith Bronkhurst

10. G. F. Watts’s Other Hope (1891): Anatomy of a Version - Barbara Bryant

11. Richard Dadd's Doubles - Nicholas Tromans

12. "Splendid Architectural Paintings": The Replicas of David Roberts - Krystyna Matyjaszkiewicz and Briony Llewellyn

VI. Creativity, Reputation and the Market

13. From Replica to Original: Abraham Solomon and the Market for Modern-Life Subjects - Pamela Fletcher

14. Is He Repeating Himself? Creative, Aesthetic and Commercial Dialogue in the Replicas of John Frederick Lewis - Briony Llewellyn

15. Celebrated Variations on a Theme: The Replicas of Edward Coley Burne-Jones - Fiona Mann

16. Elizabeth Thompson Butler: A Gendered Story of Replication? - Dorothy Nott

17. Creating and Meeting Demand: James Tissot's London Replicas - Krystyna Matyjaszkiewicz

About the Editor

Julie F. Codell is Professor, Art History at Arizona State University, and affiliate faculty in English, the Asian Research Center, and Film and Media Studies.

About the Series

British Art: Histories and Interpretations since 1700

This series exists to publish new and rigorous scholarship of the highest quality on British and Irish art after 1700. Proposals will offer new bodies of research or new interpretations, ideally both, and should demonstrate a clear awareness of the proposed volume's contribution to current and wider art-historical debates. We define British art broadly to mean art made in the British Isles or by British artists, and particularly welcome proposals which address the topic from international or comparative cultural perspectives. We also welcome proposals for intellectually ambitious studies concerning more localised areas, issues and themes within British and Irish art during this period. Above all, we encourage proposals for books on British and Irish art which transcend the descriptive in order to offer a broader methodological and/or historiographical contribution to the discipline of art history.

Learn more…

Subject Categories

BISAC Subject Codes/Headings:
ART / Collections, Catalogs, Exhibitions / General
ART / History / General
ART / European
ART / Techniques / Painting
ART / Business Aspects
BUSINESS & ECONOMICS / Economic History
BUSINESS & ECONOMICS / Museum Administration & Museology
HISTORY / Europe / Great Britain