Painting Information
Year: 1864
Medium: Oil
Height(in): 34
Place: London
Owner Information
Name:
Location:
Number:
Profession:
Painting Name Painting Image Replica Id Owner # Owner Name Owner City Owner Image Owner Profession

WELCOME TO THE REPLICA PROJECT

The purpose of this project is to explore the role of 19th-century autograph replicas in global aesthetics, networks and markets through an initial case study of the many autograph replicas produced by Dante Gabriel Rossetti who made a living from these replicas after refusing to exhibit his work after the 1850s. Autograph replicas were multiple versions made by the same artist who produced the first version and often commissioned by patrons or dealers working to promote these artists. They were highly valued and extremely popular with collectors, dealers and museums, all of which considered replicas by the artist’s hand to be originals, not copies.


This site provides multiple views of the spatial, temporal, artistic, and economic dimensions of the Rossetti Replica Dataset. In addition to searchable provenances and owners, there are functions (see the sidebar at left) that allow users to see and compare replicas and their trajectories over time and geography. We have organized these capabilities into 7 sections of the project: Narratives, Trajectory Comparisons, Image Comparisons, Collection Browser, Histograms, Transaction Network, and Transaction Chord Diagrams, each of which offers different ways of assessing the information about global market transactions of autograph replicas. The site also includes a selected bibliography of relevant scholarship.


Below you will see links to (1) a brief explanation of the background and intentions of this project and (2) methods and instructions helping you navigate the 7 sites within this project, (3) a bibliography and list of resources used and (4) a Help link.

A HISTORY OF 19th-C. AUTOGRAPH REPLICAS:


Replication in the nineteenth century, called a "culture of replication" (Orvell 39), affected all aspects of nineteenth-century Victorian life—literature, art, manufacturing, science and media (Codell and Hughes). In the nineteenth century, most artists defined the replica as a subsequent version (not identical copy) of their earlier work. Unlike copies or imitations, autograph replicas were an editorial intervention by the artist or a patron commissioning a replica, much like variations on musical themes. Patrons often requested changes in the painting subject’s size, medium or content. Sometimes artists created replicas to rethink a subject by experimenting with changes and versions. Popular in the nineteenth century and now reconsidered within the postmodernist fascination with appropriation and repetition, the autograph replica challenges notions of originality, authenticity, the nature of creativity, and the ontology of the artwork itself. This project takes up art historian David Freedberg's suggestion: "copies and transformations remains one of the great tasks of the history of images" (121); replicas were such "transformations.”


Replicas were propelled by both commercial and creative motives and had a special market niche; subsequent versions often cost more than first versions. Artists argued that subsequent replicas reflected their increased skill and were thus "value-added." Replicas’ dissemination patterns were global, being much sought after by American collectors well into the 20th and 21st centuries, and bought by collectors in Japan, Australia, and South Africa as well. Autograph replicas can reveal changing tastes, nations’ cultural narratives, and the ways in which economic and aesthetic values mutually inflect each other.

The Replica Project site addresses some fundamental art history questions and recent scholar attention to art market studies and to studies of collecting: what is the relationship between an image and its popularity, trajectory, and consumption over time as tastes, markets and collecting patterns change? How active were patrons in commissioning replicas? What was the effect of replica production, a nearly industrial production in Britain and France, on notions of originality, authenticity and creativity?


Replicas were not new in the 19th century, and major artists since the Renaissance produced them, though often replica and copy were considered synonymous. Renaissance copies were produced often by workshop assistants with additional touches by the master. In the 18th century in France and Britain, artists produced versions, replicas, usually for patrons. But these were limited in number, just a few, 1 or 2, and limited in range, most staying within the country of origin. In the 19th century many French and British artists produced versions of an initial painting, and these versions, called replicas by British artists and repetitions by French artists, were produced in larger numbers, sometimes up to 9 or 10 versions of the same subject, and had a global market. As these artists' celebrity traveled around the world through the press in most cases, collectors sought or even commissioned replicas of their works, since replicas were originals created by the artists themselves, and not copies. Dealers also requested artists repeat subjects or create variations on their more popular artworks. The production of replicas was influenced by a wide global art trade on a larger scale than in previous centuries, especially the expansion of the transatlantic art market, by patterns of industrial production, and by the ambitions of new industrialist and mercantilist collectors in Europe and in the US.


Indeed, the production of autograph replicas was a culture industry in England and in France produced by Vincent Van Gogh, J. A. D. Ingres, D. G. Rossetti, Eugène Delacroix, Paul Delaroche, Camille Corot, Edgar Degas, Jean-Léon Gérôme, Jean-François Millet, Gustave Courbet, Edward Burne-Jones, William Merritt Chase, Paul Cézanne, and Claude Monet, among many others, most of whom gained celebrity status in their lifetimes for themselves and market demands for their replicas. Our case study is the British artist Dante Gabriel Rossetti (1828-1882) who made a living from the production of commissioned replicas and whose replicas were much sought-after around the world. Rossetti stopped exhibiting his art in public after the 1850s, yet he became a celebrity, a star in the art world despite relying on replicas to make a living, an indication of the popularity and demand for such works.


Ultimately, we would like to expand this to include several more of Rossetti’s works, as well as replicas by many other Victorian artists who produced them and perhaps ultimately to include French artists' replicas, a subject already examined by several scholars. We would like to examine and compare robust replica markets, art production and consumption among these artists and ultimately to be able to describe and assess the global market for 19th-century autograph replicas, a market that began in 1870 and continues to the present day.



METHODS AND INSTRUCTIONS:


The Replica Project maps transactional networks of artists, dealers, patrons and collectors to examine replicas' prolificity, demand and provenance Each replica within a set has a replica ID, such as 101_02, or 125_03, etc. A replica set is the entire number of versions of a single subject/title. Works considered include paintings in oil, pastel, chalk and watercolor. Sketches were not included as these had a limited market and would have meant adding a great deal of information and an overwhelming number of transactions beyond the scope of the project.


The site provides searchable provenances of owners and allows users to see and compare maps of the trajectories of replicas within a replica set. Maps show the movement of the pictures over time and geography. The 7 sections are Narratives: Replicas, Owners, Locations: Trajectory Comparisons, Image Comparisons; Image Comparisons: Collection Browser; Histograms, Transaction Network, Transaction Chord Flow Diagrams. Each section offers different ways of viewing information. The site also includes a selected bibliography of relevant scholarship and sources of information and images.


The project has tracked 18 of Rossetti’s most popular and well-known works and contains up-to-date information available from Virginia Surtees’ 1972 catalogue raisonné of Rossetti’s drawing and prints, the Rossetti Archive Online, museum websites and websites of auction houses, including Sotheby’s, Christie’s and several smaller houses, from Blouin Art Sales Index and from archivists, curators, and gallery owners listed in the Bibliography and Sources section of this site. Provenance information will continue to change as works from private collections periodically appear on auction sites, an indication of the sustained popularity of Rossetti’s many replicas. This site’s list of owners and provenance information will be updated as needed.


NOTE: Owner numbers: Every owner has a number indicating that owner's place in the trajectory; e.g., 3 means that person or museum was the 3rd owner of the replica. The first owner is the first person to purchase the work from, or be given, the painting by the artist.


INSTRUCTIONS FOR EACH PAGE OF THE PROJECT—these are in the order we recommend users follow in reading and interacting with these pages:


  • “Narratives" tab contains maps of the trajectories of each replica along with images of owners, of each replica and brief information about each owner. Some of the replicas' trajectories were transcontinental; others stayed in Britain either in London or in provincial museums. In most cases the first version stayed in London. The slideshow arrows on the lower right panel can be used to move chronologically from one owner to another. Each replica also has an ID number: 123_04, means the 4th version of that subject. The 123 number is the number assigned the subject and is based on early numbers of all of Rossetti's replicas and is retained here as we plan to include more replicas as we extend this project. The maps can be enlarged by moving the mouse zoom and can be moved left to right by dragging. There is a dropdown menu of painting titles on the top of the page.


  • “Trajectory Comparisons" shows multiple maps to compare different trajectories and locations for each replica of each set that traveled within Britain or abroad. Users can zoom on the individual maps. There is a dropdown menu of painting titles on the upper right. We used Leaflet.js to create a thumbnail map visualization for every replica of a painting for each set of replicas. For private owners whose identity remains unknown we located them off shore for now; updated checks on auction house online sites, Sotheby's or Christie's, occasionally turn up the sale of a privately owned work and list its price, but not always its new owner's name, profession or location. As we find out these things, we will adjust new owners' professions, locations and prices and add images to our project.


  • “Image Comparisons" offers a gallery of the replicas of each set by painting title so users can compare and contrast all replicas of a single subject. This is a manual visual comparison. We added meta-information including replica ID number, year, medium, height (in.), final location, final owner. To build this, we used plain Javascript and Bootstrap.


  • "Collection Browser" Filters for searches include titles, replica IDs, owners, owners' professions, owners' locations, and a number indicating the chronology of the replicas, e.g., 123_04, means the 4th version of that subject. When a title and ID are selected, the other options related to that selection appear automatically. When the user returns to the Collection Browser, previous choices are removed by selecting ADVANCE FILTERS which returns users to the search menu; then users must click the RESET to clear the previous choices and then click APPLY to search again. Other uses include searching among the owners or among the professions, to find all lawyers who owned replicas, for example, or all the replicas owned by Frederick Leyland, for example. To search for an owner or painting, the user can put whatever is known of the owner’s name (first or last name) or the painting’s title in the box at the top of the lefthand column, the Select column, and that owner’s full name or the painting’s full title will appear and can be selected for the righthand column, the Selected column. To remove any item in the righthand Selected column, simply click on that item. Once a user selects a painting, all the versions, IDs, owners, locations and professions will be available in the various Select columns.

    For Example


  • "Histogram" allows users to explore statistical information about different replicas. Each vertical displays the number of replicas in a replica set (defined by sharing a subject). The legend is color coded for locations or total count of replicas in each set. If users click on a legend, it will remove/add that color/location to compare other locations.


  • “Transaction Network" is interactive. Users can zoom to enlarge or reduce the network. Nodes for museums and non-commercial galleries were marked by blue; auction houses, commercial galleries and dealers by red; and individual collectors by yellow. Owners involved in multiple transaction have a larger node size. Users can filter out the nodes to focus on one set of owners. Users can also hover on a node to see the owner's names and that owner's transactions. Users can pick a title from the dropdown menu on the upper right to find a particular replica's transactions and by hovering over the nodes, the owner's names will appear for that set of transactions.

The slide with dates is also interactive. Years can be moved and to focus on a snapshot of a single year, users can overlap the sliders to find one year. When checking a date or span of year, users will see owners and transactions for the replica selected or for the "all" selection for all the replicas. In some years there is only the owner without a transaction; to find more complete transactions, users should explore a range of years.


Some owners owned multiple versions of several replicas and crossed or combined more than one owner network with their ownerships. This idea prompted us to look into a transactional system of the paintings. We decided to build a Network graph using D3.js. To construct this visualization, we formalized some parameters. With this slider, a user could view which owner was more active in which time period. With that in mind, we used D3.js and Jquery to build an excellent view of a transactional network. Another feature we added to this visualization was the projection feature on particular paintings and a specific replica of a painting. Once a painting or replica ID is selected, the network will display only the network for that painting or replica. With this feature, a user can look at a specific transactional network of a painting.


  • "Transaction Chord Flow Diagrams" complement the Transaction Network; in the Transaction Network the quantity of transactions per person or institution is indicated by node size. In the Transaction Chord Flow Diagrams, which are separated by time periods, we can see who has been relatively most active in transactions in a given period of time. It is helpful to compare the same of years in the Transaction Network and the Transaction Chord Flow Diagrams.


These chord flow diagrams help visualize the traffic of replicas among owners. We have broken the data down into several ranges of years. Each diagram for each range of years has chords anchored along the circumference or curved outer edge. The anchors of the chords are color-coded to match the category of recipient owner: auction house/dealer (red), museums/permanent galleries (blue), individual collectors (yellow). The size of each bundle of chords anchored together indicates the relative number of transactions by that owner. Clockwise the chords first designate dealers/auction houses in red, then museums in blue, then individual owners in yellow.


The chords comprise of anchor points and ribbons which are strands that link owners to one another within and across the circle, going from the seller or source of the transaction to the buyer/recipient of the replica being transmitted. Users can hover over a ribbon to see a sentence briefly describing the transaction. Some of the ribbons are thin or very close together, so when you move your mouse to hover over a ribbon, be careful about which ribbon you are hovering over; we have added a highlighting effect to help users see the ribbon they are looking for and to help users navigate the diagram.


Ribbons are colored to match the recipient; the cords are colored to match the seller. By comparing diagrams with one another, users can observe tendencies in the overall volume and variety of those who dealt with the replicas we have on record. For example, in several diagrams, if we inspect Charles Fairfax Murray’s chords and ribbons, we can observe how much he dominated the market of both primary and secondary sales of Rossetti's replicas and the kinds of owners to whom he usually sold replicas. As you browse along the edge, you can consider what kind of entity received the replica and what kind of entity sold or transmitted the replica.





BIBLIOGRAPHY AND RESOURCES:


I have discovered a plethora of information on the owners of Rossetti's works, information that exists nowhere else. I have found this after much googling online resources that included newspaper clippings, Wikipedia, auction house provenance, the Rossettiarchives.org which provides names but which is out of date, Virginia Surtees' catalog raisonné that is also out of date. I have also used Blouin Art sales Index, Redford, and Reitlinger. I have had help from curators and archivists who provided information about Rossetti’s works in their collections and about owners who donated or collected these works.


A useful online research source for converting historical prices is Measuring Worth, https://www.measuringworth.com/datasets/exchangeglobal/ My data is a compilation of catalogues, Victorian writings, archival research (Fogg, Delaware, Walters, Smithsonian Archives of American Art online or microfilm archival sources), online and hard copy catalogues from Sotheby's and Christie's, inquiries to archivists and librarians and to Peter Nahum who has been very helpful. For their tremendous help in tracking down owners and prices: Darragh O'Donoghue, Archive Curator, Tate Library & Archive; Duncan Walker, Curator, Russell-Cotes Art Gallery and Museum; Cristina Meisner, Research Associate II, Harry Ransom Center; Simon Toll of Sotheby's; Sarah Marden, Steward, and Michael Baxter, staff, Croft Castle; Masako Kawaguchi, National Museum of Western Art, Tokyo; Nadine Lees, Digital Media and Rights Officer, Birmingham Museums Trust; Calvin Brown, Associate Curator of Prints and Drawings, Princeton University Art Museum; Simona Dolari, Provenance Researcher, Archives, Christie's; Katherine Wodehouse, Print Room Supervisor, Ashmolean Museum; Anna Sander, Archivist and Curator of Manuscripts, Balliol College, Oxford; Duncan Walker, Curator, Russell-Cotes Art Gallery & Museum; Clare Keiller, Christie's.


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