In many periods the later "repetitions" were often produced by the workshop of the master, with varying degrees of supervision and direct attention from him. This was especially the case with official portraits of monarchs and politicians, which in the Early Modern period were often ordered in large numbers of versions from the court artist as diplomatic gifts. Sometimes "reduced versions" that are considerably smaller than the prime one are made. Especially in the case of 19th-century repetitions, the term autograph replica is used of repetitions by the original artist.Codell, Julie F., "Introduction" in Victorian Artists' Autograph Replicas: Auras, Aesthetics, Patronage and the Art Market, 2020, Routledge, , 9780429628078, google books This was true of 17th century Rome, where artists such as Orazio Gentileschi and Bernardo Strozzi routinely made replicas, and others such as Guercino and Guido Reni sometimes did,Christiansen (2001), 20-27 as of Victorian London, where artists such as William Powell Frith often painted one or more replica versions of their successes.  In Frith's case the replicas were painted many years after his first versions, when his newer work was achieving less success. The French painter Charles Landelle recorded no fewer than 32 versions of his Femme Fellah, an Orientalist hit at the Paris Salon of 1866.Harding, 9 Pieces of sculpture made by casting processes that allow the original model to be reproduced several times are rather different; though the first in an edition (today often kept by the artist) has some added prestige, it is expected that a number of versions will be made. Especially in the 19th century, carved marble sculptures were very often made mechanically using pointing machines following a clay or plaster modello by the artist, and further versions were produced as commissions came in. References Christiansen, Keith, "Caravaggio and "L'esempio davanti del naturale"", The Art Bulletin, Vol. 68, No. 3 (Sep., 1986), pp. 421-445, JSTOR Christiansen, Keith, in "The Art of Orazio Gentileschi" in Gentileschi, eds. Keith Christiansen and Judith Walker Mann, 2001, Metropolitan Museum of Art (exhibition catalogue for Museo Di Palazzo Venezia (Rome) Metropolitan Museum of Art (New York), St. Louis Art Museum), , 9781588390066  , google books Dunkerton Jill, and Roy, Ashok, "The Altered Background of Raphael's 'Portrait of Pope Julius II' in the National Gallery", 2004, The Burlington Magazine, Vol. 146, No. 1220, Raphael (Nov., 2004), pp. 757–759, JSTOR Gould, Cecil, The Sixteenth Century Italian Schools, 1975, National Gallery Catalogues, London, Harding, James. Artistes pompiers: French academic art in the 19th century. New York: Rizzoli, 1979. Millar, Oliver, letter headed "The Van Dyck Catalogue", The Burlington Magazine, Vol. 146, No. 1217, Architecture (Aug., 2004), p. 553, JSTOR Turner, Nicholas, Federico Barocci, 2000, Vilo
In many periods the later "repetitions" were often produced by the workshop of the master, with varying degrees of supervision and direct attention from him. This was especially the case with official portraits of monarchs and politicians, which in the Early Modern period were often ordered in large numbers of versions from the court artist as diplomatic gifts. Sometimes "reduced versions" that are considerably smaller than the prime one are made. Especially in the case of 19th-century repetitions, the term autograph replica is used of repetitions by the original artist.Codell, "Introduction" This was true of 17th century Rome, where artists such as Orazio Gentileschi and Bernardo Strozzi routinely made replicas, and others such as Guercino and Guido Reni sometimes did,Christiansen (2001), 20-27 as of Victorian London, where artists such as William Powell Frith often painted one or more replica versions of their successes. Codell, throughout In Frith's case the replicas were painted many years after his first versions, when his newer work was achieving less success. The French painter Charles Landelle recorded no fewer than 32 versions of his Femme Fellah, an Orientalist hit at the Paris Salon of 1866.Harding, 9 Pieces of sculpture made by casting processes that allow the original model to be reproduced several times are rather different; though the first in an edition (today often kept by the artist) has some added prestige, it is expected that a number of versions will be made. Especially in the 19th century, carved marble sculptures were very often made mechanically using pointing machines following a clay or plaster modello by the artist, and further versions were produced as commissions came in. References Christiansen, Keith, "Caravaggio and "L'esempio davanti del naturale"", The Art Bulletin, Vol. 68, No. 3 (Sep., 1986), pp. 421-445, JSTOR Christiansen, Keith, in "The Art of Orazio Gentileschi" in Gentileschi, eds. Keith Christiansen and Judith Walker Mann, 2001, Metropolitan Museum of Art (exhibition catalogue for Museo Di Palazzo Venezia (Rome) Metropolitan Museum of Art (New York), St. Louis Art Museum), , 9781588390066 , google books Codell, Julie F. (ed), Victorian Artists' Autograph Replicas: Auras, Aesthetics, Patronage and the Art Market, 2020, Routledge, , 9780429628078 , google books Dunkerton Jill, and Roy, Ashok, "The Altered Background of Raphael's 'Portrait of Pope Julius II' in the National Gallery", 2004, The Burlington Magazine, Vol. 146, No. 1220, Raphael (Nov., 2004), pp. 757–759, JSTOR Gould, Cecil, The Sixteenth Century Italian Schools, 1975, National Gallery Catalogues, London, Harding, James. Artistes pompiers: French academic art in the 19th century. New York: Rizzoli, 1979. Millar, Oliver, letter headed "The Van Dyck Catalogue", The Burlington Magazine, Vol. 146, No. 1217, Architecture (Aug., 2004), p. 553, JSTOR Turner, Nicholas, Federico Barocci, 2000, Vilo
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in Victorian Artists' Autograph Replicas: Auras, Aesthetics, Patronage and the Art Market, 2020, Routledge, , 9780429628078, google books
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Codell, throughout
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, google books Codell, Julie F. (ed), Victorian Artists' Autograph Replicas: Auras, Aesthetics, Patronage and the Art Market, 2020, Routledge, , 9780429628078