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.
Table of Contents
1. Artists' Autograph Replicas: Auras, Aesthetics, Copyright, and Economics - Julie F. 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 F. 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. Dadd's Doubles - Nicholas Tromans
12. "Splendid Architectural Paintings": The Replicas of David Roberts - Krystyna Matyjaszkiewicz with 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
Julie F. Codell is Professor of Art History at Arizona State University, and affiliate faculty in the Asian Research Center, and Film and Media Studies.
"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