Victorian Artists' Autograph Replicas: Auras, Aesthetics, Patronage and the Art Market

by Julie F. Codell (Editor)

Overview

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.

Product Details

ISBN-13:	9780367145828
Publisher:	Taylor & Francis
Publication date:	05/26/2020
Series:	British Art: Histories and Interpretations since 1700
Pages:	314
Product dimensions:	6.88(w) x 9.69(h) x (d)

About the Author

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.

Table of Contents

List of Illustrations viii

Acknowledgments x

Notes on Contributors xi

Part I Introduction 1

1 Victorian Artists' Autograph Replicas: Auras, Aesthetics, Copyright, and Economics Julie F. Codell 3

Part II Autograph Replicas: Location as Meaning 21

2 The American Replica: The Politics and Status of Artists' Autograph Replicas in the Gilded Age Jo Briggs 23

3 "Mere Dead Copies"? Frank Holl's Newgate and the Lives of Painted Replicas Andrea Korda 38

Part III A Case Study: Albert Moore 53

4 Albert Moore: Themes and Variations Richard Green 55

5 Repetition, Aestheticism, and Copyright Law in the Art Practice of Albert Moore Robyn Asleson 64

Part IV Replicas and Artists' Agency 77

6 Patrons' Desire: Dante Gabriel Rossetti's Prolific Replicas Julie F. Codell 79

7 Ford Madox Brown, Cultural Experience, and the Promise of the Replica Colin Trodd 94

8 William Powell Frith's Double Life: An Artist Coping with a Changing Market Sally Woodcock 108

Part V Multiple Motivations 123

9 The Uncertain Status of William Holman Hunt's Oil Replicas Judith Bronkhurst 125

10 G.F. Watts's Other Hope (1891): Anatomy of a Version Barbara Bryant 138

11 Dadd's Doubles Nicholas Tromans 153

12 "Splendid Architectural Paintings": The Replicas of David Roberts Krystyna Matyjaszkiewicz Briony Llewellyn 167

Part VI Creativity, Reputation, and the Market 181

13 From Replica to Original: Abraham Solomon and the Market for Modern-Life Subjects Pamela Fletcher 183

14 Is He Repeating Himself? Creative, Aesthetic, and Commercial Dialogue in the Replicas of John Frederick Lewis Briony Llewellyn 195

15 Celebrated Variations on a Theme: The Replicas of Edward Coley Burne-Jones Fiona Mann 211

16 Elizabeth Thompson Butler: A Gendered Story of Replication? Dorothy Nott 225

17 Creating and Meeting Demand: James Tissot's London Replicas Krystyna Matyjaszkiewicz 240

Appendix 253

Index 291

Editorial Reviews

"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

From the Publisher