Victorian Artists' Autograph Replicas

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.

I. Introduction

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