Penelope Jackson - The Art of Copying Art

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Copying has existed simultaneously alongside the creation of authentic art since the earliest artists set to work. Copies have enjoyed a different status from authentic artworks and though often acknowledged, very rarely have they been considered collectively as a genre in their own right. My objective is to showcase the variety of examples, examine the motivations for making copies, and reflect on the reception of copies. Spoilt for choice, I chose examples that I have a personal connection with or ones that are considered both significant and topical. Copies fill voids in collections and are very much part of any art history. Readers will know of more examples of copies than discussed here and ultimately I hope they will interrogate them to ascertain a copys role, its quality and, lastly, if viewing a copy changes their experience and perception of an artwork.

I am grateful to the following people for their assistance during the course of my research and writing. Many others are cited within the text. Direct contact and assistance came from: Janet Abbott (Christchurch Art Gallery Te Puna o Waiwhet), Melissa Ashley, Erica Atkins (Olveston, Dunedin), Arik Bartelmus (Dahesh Museum of Art, New York), Anna Beazley (Auckland War Memorial Museum), Charlotte Bolland (National Portrait Gallery, London), Fiona Brown (Western Australia Museum, Perth), Alex Buck (Royal Collection Trust), Tracy Chevalier, Loren Culver (Norton Art Gallery, Los Angeles), Sarah Crouch (Nottingham Central Library), Jon Culverhouse (Burghley House, Stamford, England), Tim Carpenter (Defence Academy of the United Kingdom), Suzie Davies (Production Design, England), Ann Dinsdale (Bront Parsonage, England), Lynley Dodd, Louise Dunning (Nottingham City Museums and Galleries, England), Patricia Durdikova (Cheffins Fine Art, England), Anne Gerard-Austin (Art Gallery of New South Wales, Australia), Euan Gray (Dreambox, New Zealand), Andrew Gregg (The Elms, New Zealand), Sarah Hillary (Auckland Art Gallery Toi o Tmaki, New Zealand), Helen Hillyard (Dulwich Picture Gallery, London), Erica E. Hirshler (Museum of Fine Arts, Boston), Eileen Hudson (Nottingham City Museums and Galleries, England), Emma Jameson (Auckland Art Gallery Toi o Tmaki, New Zealand), Tim Jones (Christchurch Art Gallery Te Puna o Waiwhet, New Zealand), Isabelle Kent (University of Cambridge), Mary Kisler, Jacqueline Lee (National Library Board, Singapore), Shujuan Lim (National Gallery Singapore), Elizabeth Lorimer (Auckland War Memorial Museum), Andrew Loukes (Petworth House, West Sussex), Caroline McBride (Auckland Art Gallery Toi o Tmaki, New Zealand), Melinda McCurdy (The Huntington, California), Holly Macgregor (Sothebys, London), Reiner Maisch (Albrecht Drer House, Nuremberg), Sophie Matthiesson (Auckland Art Gallery Toi o Tmaki), Goh Yu Mei (National Library Singapore), Teo Hui Min (National Gallery Singapore), Emma Milnes (Zoological Society of London), Laura Noble (National Gallery Research Centre, London), Adam Partridge (Partridge Antiques, England), Andy Paterson (Sympathetic Ink Ltd), Peter Raissis (Art Gallery of New South Wales, Australia), Marion Richards (Art UK), Eric Riddler (Art Gallery of New South Wales, Australia), Neil Roberts, Luisella Romeo, Beckett Rozenthals (National Gallery of Victoria, Melbourne), Elisabetta Sacconi (Ufficio Turismo-Commune di Castelnuovo Magra, Italy), Alison Smith (National Portrait Gallery, London), Nicholas Smith (National Gallery, London), John Shaw (St Michaels Church, Remuera, Auckland, New Zealand), Ann Sylph (Zoological Society of London), Jennifer Taylor Moore (Sarjeant Gallery Te Whare o Rehua Whanganui, Whanganui, New Zealand), Letizia Treves (National Gallery, London), Rachel Turnbull (English Heritage, London), Todd van Hulzen (Todd van Hulzen Design), Stephen Whittle (The Atkinson, Southport, England), Susan Wilson, Jenny Wood (Central Library and Archives, Halifax, England) and Robin Woodward (University of Auckland, New Zealand).

With thanks to Creative New Zealand and the Michael King Writers Centre, Devonport, Auckland, New Zealand.

Thank you to the team at Palgrave Macmillan, Lina Aboujieb, Imogen Higgins, Poppy Hull and Emily Wood, for their ongoing interest, patience and editing.

A special thank you to New Zealand artist Heather Straka who kindly let me use an image of her exhibition, The Asian, for the cover.

Thank you to Noah Charney and Arthur Tompkins for their wonderful endorsements of my book. I couldnt have wished for better praise!

And last, but not least, thank you to my family who continue to encourage me in my pursuit of writing about art.

I have endeavoured to fairly represent the artists, dealers, galleries, museums, collectors, professionals, and others involved in matters written about in this book, and to seek permission where possible for use of sensitive content. In some cases, the person or organisation did not wish to engage in a dialogue or was deceased.

Currencies have been given in the country that the crime/event took place or in the currency where the media report was filed.

All measurements are given height before width.

Installation of Heather Strakas exhibition The Asian at Dunedin Public Art Gallery, New Zealand, in 2010. (Photo: Bill Nichol).