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.

    part I|19 pages


    chapter 1|17 pages

    Victorian Artists’ Autograph Replicas

    Auras, Aesthetics, Copyright, and Economics
    ByJulie F. Codell

    part II|31 pages

    Autograph Replicas

    chapter 2|15 pages

    The American Replica

    The Politics and Status of Artists’ Autograph Replicas in the Gilded Age
    ByJo Briggs

    chapter 3|14 pages

    “Mere Dead Copies”?

    Frank Holl’s Newgate and the Lives of Painted Replicas
    ByAndrea Korda

    part III|24 pages

    A Case Study

    chapter 4|9 pages

    Albert Moore

    Themes and Variations
    ByRichard Green

    part IV|46 pages

    Replicas and Artists’ Agency

    chapter 6|15 pages

    Patrons’ Desire

    Dante Gabriel Rossetti’s Prolific Replicas
    ByJulie F. Codell

    chapter 8|15 pages

    William Powell Frith’s Double Life

    An Artist Coping with a Changing Market
    BySally Woodcock

    part V|57 pages

    Multiple Motivations

    chapter 9|13 pages

    The Uncertain Status of William Holman Hunt’s Oil Replicas

    ByJudith Bronkhurst

    chapter 10|15 pages

    G. F. Watts’s Other Hope (1891)

    Anatomy of a Version
    ByBarbara Bryant

    chapter 11|14 pages

    Dadd’s Doubles

    ByNicholas Tromans

    chapter 12|13 pages

    “Splendid Architectural Paintings”

    The Replicas of David Roberts
    ByKrystyna Matyjaszkiewicz, Briony Llewellyn

    part VI|72 pages

    Creativity, Reputation, and the Market

    chapter 13|12 pages

    From Replica to Original

    Abraham Solomon and the Market for Modern-Life Subjects
    ByPamela Fletcher

    chapter 14|16 pages

    Is He Repeating Himself?

    Creative, Aesthetic, and Commercial Dialogue in the Replicas of John Frederick Lewis
    ByBriony Llewellyn

    chapter 15|14 pages

    Celebrated Variations on a Theme

    The Replicas of Edward Coley Burne-Jones
    ByFiona Mann

    chapter 16|15 pages

    Elizabeth Thompson Butler

    A Gendered Story of Replication?
    ByDorothy Nott

    chapter 17|13 pages

    Creating and Meeting Demand

    James Tissot’s London Replicas
    ByKrystyna Matyjaszkiewicz