Journal articles: 'Original copies'

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Orgel, Stephen. "Original copies." Word & Image 19, no. 1-2 (January 2003): 115–32. http://dx.doi.org/10.1080/02666286.2003.10406227.

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Docherty, Linda J. "Original Copies." American Art 22, no. 2 (June 2008): 85–97. http://dx.doi.org/10.1086/591171.

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Groom, Nick. "Original copies; counterfeit forgeries." Critical Quarterly 43, no. 2 (July 2001): 6–18. http://dx.doi.org/10.1111/1467-8705.00351.

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Ireland, Susan. "Monique Larue's Copies Conformes: An Original Copy." Quebec Studies 15 (October 1992): 21–30. http://dx.doi.org/10.3828/qs.15.1.21.

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Christensen, Hans Dam. "The Art of Copying: Five strategies for Transforming Originals in the Art Museum." Culture Unbound 9, no. 1 (September 4, 2017): 85–107. http://dx.doi.org/10.3384/cu.2000.1525.179185.

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This article discusses copies within the field of art museums by way of mapping strategies for copy practices. This mapping leans heavily towards parts of the wri-tings of Jacques Derrida (1930–2004). Against the backdrop of this theoretical premise, the article distinguishes five main strategies. Firstly, the copies which of-ten are considered to be typical museum copies, characterize the strategy for the disseminating relation between original and copy, that is, reproductions, magnets, etc. This strategy implies how copy practices are closely integrated into museum practices in general. Secondly, the supplementing relation between original and copy will be introduced. This strategy frames, for example, artists’ citations of other works and forgeries. Both show that copy practices often lead to new originals, in principle, ad infinitum. Thirdly, this leads to the strategy for the displacing relation between original and copy which encompasses, for example, artistic reworkings of other artists’ originals and conservatorial restorations. This approach partly ex-cludes the copy and partly displaces the original, while still, unavoidably, referring to the latter. In general, this strategy signifies the latent instability of the origi-nal. Fourthly, the strategy for the informational relation between original and copy will be discussed as it has a vital function in terms of talking about museum originals and copies. This is the strategy which grants the original artifacts their status as museum objects. An informational copy is just as unique as an original object of art, and at the same time, it defines the original and is itself defined by this opposition. Lastly, the strategy for the imagined relation between original and copy follows. This strategy is dependent upon several of the previous approaches, and, in addition, handles signs that exist without explicit originals, as the strategy covers copies referring to originals which have disappeared, been destroyed, not seen yet, etc.; that is, this strategy produces images of originals not least by way of the disseminating relation between original and copy from the first strategy.

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Eriksen, Anne. "Copies, Concepts and Time." Culture Unbound 9, no. 1 (September 4, 2017): 6–22. http://dx.doi.org/10.3384/cu.2000.1525.17916.

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Copies are defined by their relation to an original. The understanding and evaluation of this relationship has been changing over time. A main argument of this article is that originals and copies are phenomena with no "natural" or essential meaning outside of their specific historical settings. The idea to be explored is how changing historicity regimes have transformed notions of originals and copies over time and how these differences also are reflected in the intrinsically temporal relation between the two concepts. The discussion will be framed by two theory sets. The first is Alexander Nagel and Christopher Woods investigation of two kinds of temporality that vied for dominance in works of art in the late Middle Ages and the Renaissance. The second is Walter Benjamins discussion of artwork in the "age of mechanical reproduction", i.e. the twentieth century. The second half of the article seeks to add to the historical complexity described by both theory sets by introducing a concept of tradition and discussing the early modern ideals of exemplarity, emulation and copiousness.

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Minost, Martin. "Bianca Bosker, Original Copies: Architectural Mimicry in Contemporary China." China Perspectives 2013, no. 4 (December 1, 2013): 83–84. http://dx.doi.org/10.4000/chinaperspectives.6337.

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Balsom, Erika. "Original Copies: How Film and Video Became Art Objects." Cinema Journal 53, no. 1 (2013): 97–118. http://dx.doi.org/10.1353/cj.2013.0054.

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Keith, Jonathan M., Peter Adams, Darryn Bryant, Keith R. Mitchelson, Duncan A. E. Cochran, and Gita H. Lala. "Inferring an Original Sequence from Erroneous Copies: Two Approaches." Asia-Pacific Biotech News 07, no. 03 (February 3, 2003): 107–14. http://dx.doi.org/10.1142/s0219030303000284.

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This paper considers the problem of inferring an original sequence from a number of erroneous copies. The problem arises in DNA sequencing, particularly in the context of emerging technologies that provide high throughput or other advantages at the cost of an increased number of errors. We describe and compare two approaches that have recently been developed by the authors. The first approach searches for a sequence known as a Steiner string; the second searches for the most probable original sequence with respect to a simple Bayesian model of sequencing errors. We present the results of extensive tests in which erroneous copies of real DNA sequences were simulated and the algorithms were used to infer the original sequences. The results are used to compare the two approaches to each other and to a third, more conventional, approach based on multiple sequence alignment. We find that the Bayesian approach is superior to the Steiner approach, which in turn is superior to the alignment approach. The two new algorithms can also be used to construct multiple sequence alignments. We show that the two methods produce alignments of approximately equal quality, and conclude that the Steiner approach is better for this purpose because it is faster. Both methods produce better alignments than a well-known multiple sequence alignment package, for the cases tested.

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Pichugina, Olga K., and Denis V. Ilitchev. "“THE MADONNA WITH A VEIL” BY RAPHAEL SANTI. ORIGINAL. COPIES. IMITATIONS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 172–83. http://dx.doi.org/10.17223/22220836/40/14.

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The article is devoted to the history of the existence and technique of the original, copies and imitations of the Madonna with the Raphael Madonna del velo, one of the most popular objects of copying in the European pictorial culture of the 16th – 17th centuries. The history of the original Raphael is closely connected with the medieval icon of Madonna del Popolo, revered as the hand-made work of the apostle Luke and the lifetime portrait of the Mother of God. The glory of the medieval original in the eyes of contemporaries was projected onto the picture of Raphael, giving it the status of an actual interpretation of the ancient shrine. This explains the special interest in its copying. During the 16th century, the original Raphael, now stored in the Conde Museum in Chantilly, France, was updated, radically changing the plot of the work. In the XVII century, imitations of Raphael's paintings were often distributed, often created by large masters. The article deals with the methods of copying, typical for artistic practice of the 16th century. As a rule, the painting, which came out of the walls of the workshops of famous artists, was the product of the collective work of the master – the owner of the workshop, apprentices and pupils. The finished composite composition created by the master was previously performed in the form of a cardboard-priporokh, the so-called spolvero, with which it was transferred to a picturesque base. The cardboards were carefully preserved, donated and handed down by inheritance. Traces of spolvero are found in the original Madonna del velo. Currently in the scientific literature there are references to more than one hundred copies of the Madonna with a veil. Some of them are considered works of the 16th century. The most famous copies are kept in the Louvre, the Center of P. Getty, the collection of D.P. Morgan and Del Drago. The Louvre copy of the painting is considered the closest to the original. In all of these works, the drawing of the part of the composition related to the initial version of the original is relatively accurately reproduced. The figure of Josef, which appeared later, is reproduced in different versions with significant variation in the position and proportions of the head and hand drawing. It can be assumed that the compositions of early copies were created either directly from Rafael’s cardboard. Or usеd copies from it. The figure of Josef may have been directly copied from the original or created from cardboard, in which the drowing was of simplified schematic nature. Two-figured copy of the painting, displaced from panel to canvas by one of the Russian school of restoration A.F. Mitrokhin in 1827, kept in the Urals in the Art Museum of Yeraterinburg.

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Camerota, Michele, Franco Giudice, and Salvatore Ricciardo. "The reappearance of Galileo's original Letter to Benedetto Castelli." Notes and Records: the Royal Society Journal of the History of Science 73, no. 1 (October 24, 2018): 11–28. http://dx.doi.org/10.1098/rsnr.2018.0053.

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This article describes an important manuscript discovered recently in the Royal Society archives, and presents evidence that it is the holograph of Galileo's Letter to Benedetto Castelli of 21 December 1613. It was in this letter that Galileo first set out his ideas on the relation between science and religion, and defended Copernican astronomy from charges of being contrary to the Holy Scriptures. The text of the Letter has hitherto been known only through manuscript copies, namely the 12 used by Antonio Favaro in his critical edition of 1895. Despite his magisterial work, Favaro did not manage to locate Galileo's autograph and was forced to rely exclusively on copies. The Letter to Castelli preserved at the Royal Society is of remarkable interest. By comparison with the other extant manuscript copies by different hands, its wording seems to be theologically more daring and compromising. The discovery of this autograph is therefore one of the most important in Galilean studies in recent decades, shedding new light on his intricate relations with the Roman Catholic Church in these years.

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Tietzel, Manfred. ",,Money for Nothing“? Die Preisbildung von Originalkunstwerken und Kopien." Perspektiven der Wirtschaftspolitik 2, no. 1 (February 2001): 15–29. http://dx.doi.org/10.1111/1468-2516.00029.

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Abstract Quite a few economists hold the opinion that exorbitant prices paid for original works of art reflect an irrational cult made of unique pieces created by renowned artists; (close to) perfect copies would yield comparable benefits at a substantially lower price. The article gives reasons for the rationality of this seemingly irrational behavior and, among other things, explains the price difference between originals and their copies on a microeconomic basis.

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Bigliardi, Victoria. "The Reincarnation of the Aura." International Journal of Semiotics and Visual Rhetoric 1, no. 1 (January 2017): 72–80. http://dx.doi.org/10.4018/ijsvr.2017010108.

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In 1935, Walter Benjamin introduced the aura as the abstract conceptualization of uniqueness, authenticity, and singularity that encompasses an original art object. With the advent of technological reproducibility, Benjamin posits that the aura of an object deteriorates when the original is reproduced through the manufacture of copies. Employing this concept of the aura, I outline the proliferation of plaster casts of sculptures in 18th- and 19th-century Europe, placing contextual emphasis on the cultural and prestige value of originals and copies. Theories of authenticity in both art history and material culture are used to examine the nature of the aura and to consider how the aura transforms when an original object is lost from the material record. Through an object biography of a 15th-century sculpture by Francesco Laurana, I propose that the aura does not disappear upon the loss of the original, but is reincarnated in the authentic reproduction.

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Shalem, Avinoam. "On Original and “Originals”: The “Copy” of the Tashkent Qurʾān Codex in the Rare Collection Books at the Butler Library." Philological Encounters 5, no. 3-4 (September 2, 2020): 282–307. http://dx.doi.org/10.1163/24519197-bja10009.

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Abstract In 1905, Dr. S. Pissareff from St. Petersburg was involved in the production of 50 copies of an earlier Qurʾān codex. The original, namely the Qurʾān codex first discovered to western gaze around the mid 19th century, held in the Khoja Akhrar mosque in Samarqand, is a large-sized Qurʾānic manuscript written in Kufic on parchment with hardly any use of punctuation or vowel marks. This codex has been traditionally regarded as the muṣḥaf of ʿUthmān b. ʿAffān, the third caliph (murdered in 656), and was said to have been brought from Iraq by Timur. This essay presents the ‘Pissareff copy’ kept at the Rare Book and Manuscript Library at Columbia University, discusses its specific status as residing in the grey zone between reproduction and copy, and aims at setting it in the larger context of ‘copies’ of Qurʾān codices.

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Motte, Warren. "Original Copies in Georges Perec and Andy Warhol by Priya Wadhera." L'Esprit Créateur 59, no. 1 (2019): 155. http://dx.doi.org/10.1353/esp.2019.0011.

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Zakharov, Sergey V. "On the Question of the Original Version and Copies of the “Kutuzov” Icon." Study of Religion, no. 4 (2019): 113–20. http://dx.doi.org/10.22250/2072-8662.2019.4.113-120.

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The article deals with the question about creation of the original version and copies of the socalled “Kutuzov” icon. The name “Kutuzov” was given to an icon of the Smolensk Mother of God (Theotokos of Smolensk), ordered in 1813 by the residents of Smolensk as a gift to the commander M.I. Kutuzov. The article shows the history of each of the four currently existing copies of icons – Smolensk (Smolensk State Museum-Reserve), Gomel (Gomel Palace and Park Ensemble), Moscow (State Historical Museum) and St. Petersburg (Hermitage) ones on the basis of periodicals and research literature. The article also considers which of the copies cannot be original ones. In addition, there are artistic features of the “Kutuzov” icon, which characterize it as one of the objects of the picturesque heritage of the early 19th century. The article provides a detailed description of the structural elements of the “Kutuzov” icon, its connection with the Hodegetria of Smolensk. As a result, the author comes to the conclusion that there are five known copies of the icon, three of which are almost identical. The author notes the impossibility of a definite answer to the question of the location of the original “Kutuzov” icon and supposes the need for further study of this issue

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Bautista, Francisco, and Filipe Alves Moreira. "Para a tradição textual da Crónica de 1344: dois manuscritos da versão original." Zeitschrift für romanische Philologie 137, no. 1 (March 1, 2021): 183–216. http://dx.doi.org/10.1515/zrp-2021-0006.

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Abstract The Crónica Geral de Espanha de 1344 is one of the most important historical works of the Iberian Middle Ages, but it presents also a complex and lacunar manuscript tradition. This work presents two new manuscripts of this chronicle, tracing its history and establishing its place in the manuscript tradition. The text of the Crónica de 1344 copied in these two manuscripts, although fragmentary, is of great importance, since it covers the final part of the chronicle, precisely the least well known. The analysis of its text and the comparison with the other manuscripts of the chronicle and its sources reveals that these new testimonies contain a copy of the original version, of which, until now, no copies were known.

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Labrot, Gérard. "Éloge de la copie Le marché napolitain (1614-1764)." Annales. Histoire, Sciences Sociales 59, no. 1 (January 2004): 5–35. http://dx.doi.org/10.1017/s0395264900002146.

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RésuméSix cent vingt-neuf copies de tableaux distribuées entre cent quatre collections échelonnées de 1614 à 1764 illustrent la vigueur d’un marché diversifié. Genre aux fonctions complexes, différentes selon les milieux, la copie peut en effet compléter une collection lacunaire, y remplacer un original inaccessible ou trop coûteux, et devenir, lorsqu’elle reproduit une grande oeuvre du passé, un instrument efficace de distinction sociale. Multipliant les copies de peintres locaux bons ou médiocres qu’assurent des professionnels de la reproduction, le marché napolitain enrôle également, en particulier pour sa « branche exportation », de grands peintres tels que Luca Giordano et Paolo De Matteis, pour lesquels ce produit rentable allie les avantages de l’art et de l’industrie.

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Flohr Sørensen, Tim. "Original copies: seriality, similarity and the simulacrum in the Early Bronze Age." Danish Journal of Archaeology 1, no. 1 (June 2012): 45–61. http://dx.doi.org/10.1080/21662282.2012.750446.

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Buršić, Edvin, and Hrvoje Stančić. "Creation of Authentic Digital Copies in the Form of Original by the Process of Digitization." Moderna arhivistika 2, no. 2 (May 1, 2019): 214–27. http://dx.doi.org/10.54356/ma/2019/ebrj7550.

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In order to secure the usability of records over the retention period, the archives conduct digital preservation actions which may entail conversion, migration and other procedures. When using digitization for creating copies in the form of originals, the archives should consider the trustworthiness of the process - the involved professionals, equipment, software, and procedures. These are the critical points in the process of converting physical originals into digitized originals having legal validity. The authors discuss the authenticity of records converted from physical to digital form. They argue that a digitized record is a copy in the form of an original if it meets the requirements of completeness, reliability of the process, integrity and availability. The authors define 53 requirements to be met in the process of digitization.

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Bubalo, Djordje. "A prolusion on the history of the text of Dusan’s Code." Zbornik radova Vizantoloskog instituta, no. 50-2 (2013): 725–40. http://dx.doi.org/10.2298/zrvi1350725b.

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Based on the analysis of the manuscript tradition behind Dusan?s legislation, this prolusion offers arguments in favor of including legal texts copied with Dusan?s Code into a textological examination which aims to reconstruct the history of the Code?s text (the genealogy of its manuscripts) and its original recension. The analysis also includes manuscripts belonging to the so-called incomplete Dusan?s legislation, which contains copies of the accompanying texts without Dusan?s Code itself.

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BULGAKOV, R. M., and M. N. FARKHSHATOV. "RECIRCULATION OF THE DIGITIZED DOCUMENTS IN THE ARABIC LETTERS IN THE INSTITUTE OF HISTORY, LANGUAGE AND LITERATURE UFRC RAS." Izvestia Ufimskogo Nauchnogo Tsentra RAN, no. 2 (June 2022): 102–8. http://dx.doi.org/10.31040/2222-8349-2022-0-2-102-108.

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Currently, an increasing number of digitized arabic-alphabet documents are being introduced into scientific circulation. This requires an understanding of their relationship to physical primary sources, an analysis of the advantages and disadvantages of the original text for orientalists, its electronic image and an analog copy. The preliminary study of the document at the place of its permanent storage continues with its thorough research, translation, commenting and preparation for publication in the specialist’s office, where he works not with the original document’s primary circulation, but with its copy - the subject of secondary circulation. The words document, original, copy and some others are not synonyms in their terminological meaning and therefore need to differentiate their use. The article uses the authors own and other Ufa researcher’s publications, based on the originals of Arabic alphabet documents or their digital copies, as well as containing facsimiles of some unique ones. One should see the difference between the original document, its electronic form and its external existence in the form of an analog copy. Having cited successful examples of the analysis, translation and publication of Arabicalphabet documents and the production of their electronic images, the authors, based on their own experience, list both the advantages and disadvantages of various types of work with analog copies of documents.

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Ch'ng, Eugene. "The First Original Copy and the Role of Blockchain in the Reproduction of Cultural Heritage." PRESENCE: Virtual and Augmented Reality 27, no. 1 (March 2019): 151–62. http://dx.doi.org/10.1162/pres_a_00313.

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The First Original Copy refers to any first true 3D facsimile of a digitally reproduced physical object. The notion of a copy being the first and original implies that it is unique and therefore the approach used for managing rights and ownership influences its value. Whilst virtual goods traded within virtual worlds are subject to rules and policies, the production of digital objects in the real world does not have a mechanism from which rarity and uniqueness can be guaranteed. Digital copies are subject to further copying and thus, the value of even an exact copy can never be perceived to be equivalent to its original. Through what means can we imbue 3D reproductions of cultural objects with value that is at least asymptotic to their originals? There may be a candidate solution. Discussed in this article is a possible approach for resolving a long-term issue related to authenticity, ownership, perpetuity, and the quantitative tracking of value associated with 3D copies. Blockchains essentially bring the systemic management of virtual objects within virtual worlds into the real world. This forum article examines the candidate solution by answering the questions above, and discusses the issues associated with the concept of the First Original Copy.

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Dmitrus, Željka. "Database of Digitized Archives in the State Archives in Zagreb." Moderna arhivistika 2020, no. 1 (September 1, 2020): 114–19. http://dx.doi.org/10.54356/ma/2020/1/htvo7081.

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Due to the increasing number of digital copies of original archival documents in the State Archives in Zagreb, the question has arisen; how come we properly store and preserve the originals, while for digital copies, there is still no solution for organized storage and quick search. In anticipation of solving this problem at the national level, the State Archives in Zagreb approached the problem in their way. A database was designed to store digitized archival documents. Storage of digital archival documents is provided in a format that is intended for permanent preservation. Furthermore, each upload requires the input of appropriate metadata. Accurate and detailed metadata entry allows the search of the database, linking of keywords and content.

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Temčinas, Sergejus. "An Old Church Slavonic Tale about a Sinful Mother (Sinodik, Patericon, Synaxarion, Izmaragd) and Its Greek Original (BHG 1449d)." Slovene 6, no. 1 (2017): 504–17. http://dx.doi.org/10.31168/2305-6754.2017.6.1.21.

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The paper aims to identify the Greek original of an Old Church Slavonic tale included in the Old Russian Sinodik and known in manuscript copies from the 16th c. Previously, the tale was provisionally ascribed to the Latin tradition and thought to have reached the Old Russian literature via a Polish milieu. Recent attempts to identify its Greek original remained unsuccessful. The author argues that the tale is an Old Church Slavonic translation of the Byzantine text BHG 1449d, a spiritually beneficial writing ascribed to Paul of Monemvasia (second half of the 10th c.). The same translation is presented in East Slavonic manuscript copies of the Patericon, the Plain and Versed Synaxarion, and the Izmaragd. The earliest of the newly identified manuscript copies is dated to the first half of the 15th c. The article also contains an edition of the Old Church Slavonic translation (according to the manuscript copy in Moscow, Russian State Library, Collection of the Trinity Lavra of St. Sergius, No. 701, Patericon, 1469) in parallel with the Greek original according to the scholarly edition of the manuscript version contained in a Greek codex of the 14th c. (ca 1330).

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IZBASH, O. "Intellectual property in the digital space." INFORMATION AND LAW, no. 3(38) (September 28, 2021): 82–89. http://dx.doi.org/10.37750/2616-6798.2021.3(38).243810.

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The article examines the modern view of art in the digital space and the regulation of intellectual property in connection with this phenomenon. The author reveals the concept of blockchain and non-fungible token, their development and impact on the rights of creators. There are many challenges for digital artists today. One of them is that digital art objects can be easily copied as many times as you want. Yes, many will say that you can just save a picture and such saved copies would not differ from the original. But there is one nuance, or rather the opportunity provided by NFT – it’s the right to own the original version of the work. It is like having an original painting on display at the Louvre, and other reproductions and copies outside it will only promote and increase the value of this work, as it will become more recognizable. Therefore, NFT allows you to capture your intellectual property rights, which are confirmed in the blockchain. The use of NFT can be a new tool in the field of intellectual property management, creating new opportunities for the market and its participants, making it more convenient, because transactions with tokens are cheap, simple and faster than transactions with real objects to which they are tied. It is worth noting that the hype surrounding the use of NFT does not revolutionize art, computer games, or intellectual property itself, but it does offer significant new opportunities that deserve attention.

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Schultz, P. "Self-splitting Abelian groups." Bulletin of the Australian Mathematical Society 64, no. 1 (August 2001): 71–79. http://dx.doi.org/10.1017/s0004972700019699.

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G is reduced torsion-free A belian group such that for every direct sum ⊕G of copies of G, Ext(⊕G, ⊕G) = 0 if and only if G is a free module over a rank 1 ring. For every direct product ΠG of copies of G, Ext(ΠG,ΠG) = 0 if and only if G is cotorsion.This paper began as a Research Report of the Department of Mathematics of the University of Western Australia in 1988, and circulated among members of the Abelian group community. However, it was never submitted for publication. The results have been cited, widely, and since copies of the original research report are no longer available, the paper is presented here in its original form in Sections 1 to 5. In Section 6, I survey the progress that has been made in the topic since 1988.

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Schlüter, Lucy L. E. "'gedaen door N. de Vos, tot Antwerpen'. Lotgevallen van de portretten van Joris Vezelaer en Margaretha Boghe, voorouders van Constantijn Huygens, geschilderd door Joos van Cleve." Oud Holland - Quarterly for Dutch Art History 119, no. 4 (2006): 147–58. http://dx.doi.org/10.1163/187501706x00302.

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AbstractBased on four letters dating from the period between December 1652 to January 1653, the article documents the vicissitudes of the portraits (and copies of them) of Joris Vezelaer and Margaretha Boghe. This couple, portrayed by Joos van Cleve in about 1518, were identified by Horst Gerson as the parents of Constantijn Huygens on his mother's side. Huygens, eager to obtain the original portraits or at least copies of them, makes enquiries from the art dealer Matthijs Musson in Antwerp and from the nephew (and niece) Buyex Alewyn, former guardians of the parental heritage in Deurne, but to his great surprise discovers copies which had been put on the market. Beatrix de Cusance, duchess of Lorraine, was so charmed by Huygens' enthusiasm for the ancestral portraits that she decided to buy them and present them to Constantijn. According to Buycx's letter of January 1653 the original portraits were sent to Vienna after the painter De Vos of Antwerp had made two sets of copies. Buycx, who owned one of these copies, consented to retrieve the original portraits from Vienna. This appeared to solve the problem of ancestral portraits, but no matter how grateful Huygens was to the Duchess of Lorraine, he was apparently not satisfied with mere copies. In a letter written fifteen years later (December 1667) it appears that Jacob Buycx had obtained further information about the location of the portraits, but had been unable to track them down after the sister of his wife, Helena Alewyn of Vienna, had received them. Buycx presumed an heir in Vienna, perhaps a Salicouffer, had them in his possession. From the Huygens collection of letters it appeared that there was another letter with information of the portrait panels. This letter, written in Dutch from Vienna (dated December 1, 1667) from an unknown writer to an unknown recipient indicates that a member of the Zollickhoffer family who had come down in the world may have sold the portraits. The letter also mentions the merchant Golddast of Vienna, who had been approached by someone in Holland to trace the "gentleman from Zuylichem" for a considerable amount of money. Unfortunately for Constantijn, however, the original portraits failed to return. One set of copies of the ancestors on both sides of the family remained until well into the eighteenth century - until 1786 - in the Huygens collection of family portraits, but to this day the whereabouts of neither of Margaretha Boghe's two copies have been traced.

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Germán-Ramírez, María Teresa. "Iconografía inédita de la Flora Mexicana, obra de Sessé y Mociño, en el Acervo Histórico del Herbario Nacional de México, MEXU." Botanical Sciences, no. 54 (April 25, 2017): 67. http://dx.doi.org/10.17129/botsci.1429.

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A history of the drawings and copies of the original drawings of the plants is presented based on the collections of Mociño and Sessé, kept from 1897 in the botany library of the Instituto de Biología, UNAM, part of the Instituto Médico Nacional. The copies were bound in 16 volumes and an index was prepared to facilitate consultation.

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Pascal, A. D. "On the handwritten tradition of the Slavic version of Matthew Blastares’s Syntagma in the principality of moldavia in the 15th–17th centuries." Rusin, no. 64 (2021): 38–51. http://dx.doi.org/10.17223/18572685/64/2.

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The article analyses the relationship of the copies of the Slavic version of Matthew Blastares’s Syntagma made in the 15th – 17th centuries in the Principality of Moldavia. The author studied haplographies (line omissions) in eight of the eleven surviving copies de visu and by photocopies to determine that, in addition to the monastery of Neamc, Suceava, and Romanesque metropolitans, there was another most important center for copying the Syntagma in the Principality of Moldavia of the 15th-17th centuries in the Putna Monastery, where three direct copies of each subsequent copy from the previous one were created, starting with the original Copy of 1472 (Bucharest, Library of the Academy of Romania, Nr. 131). These are the following manuscripts: Copy of 1474 (Moscow, Russian State Library, Fund 98, Nr. 742); Copy of the early 16th century (Moscow, Russian State Library, Fund 98, Nr. 65); Copy of the last quarter of the 16th century (Moscow, Russian State Library, Fund 178, Nr. 4293). The information about the number of Slavic copies of Matthew Blastares’s Syntagma in the Principality in the 15th – 17th centuries has been adjusted upwards, since some of the surviving copies can be traced back to their Slavic manuscript protographic originals, which have not yet been found in the world depositories or not survived to this day.

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Pozhidaeva, Anna V. "THE METHODS OF COPYING AND QUOTING FOR THE PRODUCTION OF WEST-EUROPEAN BOOK MINIATURES OF THE 9TH – 12TH CENTURIES. THE PROBLEMS OF CLASSIFICATION." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 1 (2022): 43–60. http://dx.doi.org/10.28995/2686-7249-2022-1-43-60.

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The issue of the original and copies in the Western Christian tradi- tion of manuscript illumination involved a complicated process including several attempts at classification which engendered several further problems, such as the authority of the original manuscript as a whole, estimating the kinds of de- composition (compositional core – décor etc) of copied images to more or less significant degree for purposes of quotation, building the compositional scheme of quotes from several more or less equal origins, splitting the quote to pieces of different level of cognizance and scale (from a group of figures to significant part of figure, a.k.a “module”. The method of “example books” or “motive books” query is a different question. In the article is represented the experience of classification of the Western Christian miniaturist’s work methods, verified in several aspects.

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Voit, Petr. "Albrecht Dürer and the Beginnings of Czech Illustration." Acta Musei Nationalis Pragae – Historia litterarum 64, no. 1-2 (2019): 45–55. http://dx.doi.org/10.2478/amnpsc-2019-0004.

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This article deals with printed graphic sheets, cycles and illustrations by Albrecht Dürer, which penetrated into book printing in the Czech language (Nuremberg) and in Bohemia (Prague, Litomyšl) through original printing blocks as well as copies in the first half of the 16th century. Dürer’s graphic sheets were distributed by the Nuremberg printers Hieronymus Höltzel (1509, 1511) and Friedrich Peypus (1534), the Litomyšl printing workshop working for the Unity of the Brethren (Unitas fratrum) in Litomyšl (1520), and the so-called Severin Workshop, connected to the Prague printing workshop of Pavel Severin of Kapí Hora (1529, 1539). Eleven works of religious character associated with Dürer have been discovered among Czech illustrations so far – they were made by means of seven original printing blocks and four copies, which is not so much. In this respect, Dürer was greatly surpassed by his Nuremberg successor, Erhard Schön. After Schön died in 1542, the printer Jan Günther received roughly one quarter of workshop printing blocks (approximately 340 pieces). Two years later, he moved them to Moravia, where they were coming to life in Prostějov, then in Olomouc and eventually in popular books, brochures and broadsides from Skalice until the end of the 19th century. Dürer’s printing blocks that functioned in the context of Czech book printing depict: [1a] the Nativity, [2c] the apocalyptic Woman Clothed with the Sun, and [5a–e] the Saints (James the Greater, Peter, John the Evangelist, John the Baptist and Judas Thaddaeus). The following subjects were copied: [2b] the apocalyptic Woman Clothed with the Sun, [3b] Christ in the Garden of Gethsemane, [4c] Two Angels (Geniuses), and [6b] the Holy Trinity. The woodcut copies are not exact replicas. The poor artistry and craftsmanship of the copyists, whose names are not known, led to the omission of details. The problem is that the copyists were not trying to present Dürer’s graphic art but needed a cheap and simple acquisition of the biblical scene required. More detailed information on the printing blocks and copies is available in the catalogue attached.

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Volkova, E. V. "Numerical Modeling of Polymerase Chain Reaction in the Convection Cell." Proceedings of the Mavlyutov Institute of Mechanics 7 (2010): 83–89. http://dx.doi.org/10.21662/uim2010.1.006.

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A polymerase chain reaction occurring under convection conditions is studied in a simplified Rayleigh-Benard cell. During the reaction, copies of the original DNA templates are created due to circulation of the flow between the cold and hot regions. The process of creating the DNA templates copies (DNA amplification) is described by evolution equations that determine concentrations for each of the components of the mixture.

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Ričkienė, A. "Flora Litvanica inchoata (1781–1782) by J. E. Gilibert: preliminary census of copies in European libraries." Archives of Natural History 40, no. 1 (April 2013): 119–24. http://dx.doi.org/10.3366/anh.2013.0141.

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Jean-Emmanuel Gilibert (1741–1814) was a French botanist, physician, and politician who lived in the Polish-Lithuanian Commonwealth between 1775 and 1783, where he organized studies on medicine and natural sciences. During this time, he collected local plants, and in 1781–1782, published a two-volume compendium: Flora Litvanica inchoata. One hundred copies of the first volume and an unknown number of the second volume were issued. In 1925, Polish botanist Slawiński noted five libraries holding copies of Flora Litvanica. The current census shows at least 18 European libraries holding original copies of the book.

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NELSON, E. CHARLES. "John White's Journal of a voyage to new South Wales (London 1790): bibliographic notes." Archives of Natural History 25, no. 1 (February 1998): 109–30. http://dx.doi.org/10.3366/anh.1998.25.1.109.

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Two issues of this handsome, illustrated, First Fleet book are described in detail. John White's Journal of a voyage to new South Wales has literal amendments in “A list of plates” and on p 215, and substantial textual alterations on pp 240, 255 and 256. Copies with new leaves tipped-in and with an entire gathering reprinted and replaced are reported. A simple classification of copies is not possible because of anomalies in the make-up of several copies. A copy with the title-page printed on watermarked paper dated 1798, 8 years after initial publication, is also reported. All the copies surveyed are listed and their states annotated, and a list of plates with the corresponding names of the artists who prepared the original templates is also appended.

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Deutsch, Helen. "The "Truest Copies" and the "Mean Original": Pope, Deformity, and the Poetics of Self-Exposure." Eighteenth-Century Studies 27, no. 1 (1993): 1. http://dx.doi.org/10.2307/2739275.

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Ningthoujam, Sanjit, Manash Pratim Dutta, Subhasish Banerjee, Chandan T. Bhunia, and Swarnendu K. Chakraborty. "PC-APC Schemes in Multipath Diversity System to Get Higher Throughput." International Journal of Electrical and Computer Engineering (IJECE) 7, no. 1 (February 1, 2017): 337. http://dx.doi.org/10.11591/ijece.v7i1.pp337-343.

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This paper is studied about a new protocol of Packet combining (PC) and Aggressive Packet Combining Scheme (APC) in multipath diversity system to get higher throughput. In the proposed protocol of PC and APC schemes, two and three copies of a packet are sent in two and three paths. If either of the copies is received without any erroneous then select the correct one and discard all other copies. Again if all copies are found as erroneous then combine the erroneous copies and perform XOR operation in case of PC and bit by bit majority logic in case of APC in order to get the original copy. The paper is implemented using Mat lab and found that new proposed protocols are getting higher throughput and probability of receiving successful packet at the receiver side. Thus, performance of error prone wireless network can be improved by applying either PC or APC in multipath diversity system.

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Syutkina, T. A., and R. M. Galeev. "Digital Copies for Anthropological Research: Virtual Models and Databases." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 1(52) (February 26, 2021): 105–17. http://dx.doi.org/10.20874/2071-0437-2021-52-1-10.

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In the last two decades, a large number of anthropological papers have been focused on digital copies of pa-laeoanthropological materials rather than original skeletal remains. According to some foreign scholars, “virtual anthropology” has taken a shape of a separate field of anthropological science. One of the main advantages of “virtual anthropology” is the possibility to develop databases, datasets, digital collections and catalogues accessi-ble to the scientific community worldwide. Digitization of research objects facilitates organizational side of studies, provides access to wider data, expands the toolkit of available research methods, and also provides safety to the original materials. At the same time, the variability of types of virtual models along with the absence of generally accepted protocols complicate verification of morphometric and structures data. The main goal of this review pa-per is to structure the available information on virtual palaeoanthropological databases and the materials they contain. 3D-scanning technologies can be generally divided into surface scanning (including photogrammetry) and tomographic scanning. The first group of technologies provide 3D models of the shape of an object, accurate enough to be used in morphometric studies if resolution of the equipment is adequate for the size of the object and aims of the study. The second group is designed to scan the whole form of an object, which allows the ex-amination of its internal structures or tissues, small surface structures or dental material. Both methods have their strengths and weaknesses: while surface scans are cheaper and easier to obtain, CT scans provide information unavailable from the former technique. Assessment of qualitative and quantitative characteristics of digital copies depends on objectives of the study. The article provides an overview of 17 databases of virtual paleoanthro-pological models, which comprise either surface or CT scans, or both. These materials can be used in various fields of study, including human evolution, primatology, palaeoanthropology, palaeopathology, forensic science, human anatomy, as well as in teaching of these subjects. For each collection, approximate number of objects and terms of use have been specified.

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Wexler, Jason S., Philippe H. Trinh, Helene Berthet, Nawal Quennouz, Olivia du Roure, Herbert E. Huppert, Anke Linder, and Howard A. Stone. "Bending of elastic fibres in viscous flows: the influence of confinement – CORRIGENDUM." Journal of Fluid Mechanics 733 (September 26, 2013): 684. http://dx.doi.org/10.1017/jfm.2013.493.

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Rybak-Karkosz, Olivia. "Rodzaje odbitek występujących w grafice artystycznej w kontekście nieuczciwych zachowań uczestników rynku dzieł sztuki." Opuscula Musealia 28 (June 15, 2022): 77–89. http://dx.doi.org/10.4467/20843852.om.21.004.15505.

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Types of copies in artistic prints in the context of dishonest behaviour of art market participants The study analyses dishonest activities related to the types of copies of artistic prints, which are undertaken by participants of the art market. In the introduction, legal regulations concerning counterfeiting of artistic prints were discussed. Appropriate legal qualification of an act is important in the context of assigning criminal responsibility and the level of threat of punishment. As a rule, if an object is a historical monument within the meaning of the Act on the protection of historical monuments, the provisions of art. 109a are applied, which penalises counterfeiting or falsifying the historical monument in order to use it in the trade of historical monuments. Other cases are governed by art. 286 §1 of the Penal Code, which penalises fraud. However, not all actions undertaken by dishonest bidders and concerning the disposal of a plate or interference with the composition placed on it constitute forgery. Some of them constitute fraud, others, for example, deliberate lowering of the print run in order to artificially increase the demand for a given object. The article then lists the types of copies and briefly describes them. These include: copies made by the printmaker or a printmaking workshop working with the printmaker, copies with an original purpose other than commercial, posthumous copies, and copies from retouched plates, corrected or altered to some extent. The type of the copy is one of the factors determining the collector’s value of artistic prints. The last part of the study was devoted to state alteration, which is one of the ways of counterfeiting artistic prints. Condition alteration may be the effect of interference in the original plate or the copy itself. The final effect of the procedure is the change of the copy or the plate, which results in the adoption of a different state. Final conclusions are included at the end.

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Loveman, Emma, Vicky R. Copley, Jill Colquitt, David A. Scott, Andy Clegg, Jeremy Jones, Katherine MA O’Reilly, Sally Singh, Claudia Bausewein, and Athol Wells. "Corrigendum." Health Technology Assessment 17, no. 31 (March 2015): 279–80. http://dx.doi.org/10.3310/hta17310-c201311.

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SummaryA previous version of this report was published in July 2013. The report was corrected on page v in November 2013. For further information, or for copies of the original material, please contact Nihredit@soton.ac.uk.

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Currie, C. R. J. "TENANTS’ COPIES OF COURT ROLLS IN ENGLAND AND WALES BEFORE 1400." Archives: The Journal of the British Records Association 56, no. 1 (April 1, 2021): 1–21. http://dx.doi.org/10.3828/archives.2021.1.

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While much has been written about the early development of copyhold, and the presumed origins in the fourteenth century of the practice of making copies of court roll entries for tenants, original copies have not been systematically sought or investigated. This article uses research in 38 repositories to analyse 176 copies of seigneurial court rolls, of which full transcripts are published online elsewhere. It indicates their diverse physical and formal characteristics, the types of court that produced them, their distribution, their chronology and the tenurial aspects of the content. The distribution was far wider at an earlier date than previously believed; by 1400 it included at least three-quarters of English counties, with a more restricted distribution in Wales. Copies before 1400 were made for freeholders as well as customary tenants, but apparently seldom on the death of a tenant. They are found among other deeds in both family and institutional archives.

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Bayraktar, Nesrin. "On Ebū al-Fazl Mūsā bin Haci Huseyn Iznikī’s Translation of Tha‘labī’s Qiṣaṣ al-Anbiyā." IRAN and the CAUCASUS 17, no. 2 (2013): 171–88. http://dx.doi.org/10.1163/1573384x-20130204.

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This article focuses on Iznikī’s translation of Tha‘labī’s Qiṣaṣ al-Anbiyā’ as a valuable gateway to our understanding of features of Old Anatolian Turkish. Comprising of two volumes, the manuscript is incomplete, with a missing second volume. There are two extant copies (Yozgat and Şazeli) of the first volume of the manuscript. An examination of the two copies reveals that both copies contain characteristic morphological and phonetic features of 15th century Old Anatolian Turkish. The manuscript embodies informative information concerning lexical and morphological features of Turkish of the era as well as transitional forms of Turkish. Syntactically, however, the texts carries resemblance to Arabic syntax, attributable to Iznikī’s profound command of Arabic and Persian and the original language of Tha‘labī’s work.

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Porter, Glenn, and Robert Ebeyan. "Detection of second-generation images using an assessment criteria method." Journal of Criminological Research, Policy and Practice 1, no. 4 (December 7, 2015): 207–22. http://dx.doi.org/10.1108/jcrpp-08-2015-0042.

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Purpose – The ability to distinguish between “original” and “copied” images has been a persistent forensic imaging difficulty and can be of some importance to certain criminal and civil investigations. The purpose of this paper is to introduce a novel assessment criteria method that incorporates visual and metadata-based information for the purpose of determining whether images are original or second-generation duplicates (copies made by rephotographing the original hardcopy). Design/methodology/approach – The study reflects difficulties raised from forensic cases and is modelled on fraud investigation that involved images sourced from camera phones. The method involved a new assessment-based criteria approach and the results were evaluated through their application to a sample set of second-generation images. Findings – The evaluation confirmed the validity of several theorised detection artefacts resulting in the articulation and presentation of 17 detection criteria considered useful for supporting image analysis. Originality/value – The result of this study is an expansion of the tools available to examiners for addressing complex image authentication problems. The criteria approach also assists with transparently communicating the details of the photo interpretation processes for review and scrutiny.

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Egmond, Florike, and Sachiko Kusukawa. "Circulation of images and graphic practices in Renaissance natural history: the example of Conrad Gessner." Gesnerus 73, no. 1 (November 6, 2016): 29–72. http://dx.doi.org/10.1163/22977953-07301003.

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Conrad Gessner’s Historia animalium is a compilation of information from a variety of sources: friends, correspondents, books, broadsides, drawings, as well as his own experience. The recent discovery of a cache of drawings at Amsterdam originally belonging to Gessner has added a new dimension for research into the role of images in Gessner’s study of nature. In this paper, we examine the drawings that were the basis of the images in the volume of fishes. We uncovered several cases where there were multiple copies of the same drawing of a fish (rather than multiple drawings of the same fish), which problematizes the notion of unique “original” copies and their copies. While we still know very little about the actual mechanism of, or people involved in, commissioning or generating copies of drawings, their very existence suggests that the images functioned as an important medium in the circulation of knowledge in the early modern period.

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Gomez, Y., E. Adams, and J. Hoogmartens. "Analysis of purity in 19 drug product tablets containing clopidogrel: 18 copies versus the original brand." Journal of Pharmaceutical and Biomedical Analysis 34, no. 2 (February 2004): 341–48. http://dx.doi.org/10.1016/s0731-7085(03)00533-8.

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Petrov, S. T. "Developing a valuation method for digital objects of cartographic heritage." Geodesy and Cartography 960, no. 6 (July 20, 2020): 29–34. http://dx.doi.org/10.22389/0016-7126-2020-960-6-29-34.

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The paper deals with the method of value assessment for objects of digital cartographic heritage. The method is based on the system of the original cartographic object transformation into various analog or digital forms and formats. The formula linking the assessment of digital cartographic objects with the evaluation of the original one, as well as its analog copies, is presented. The method involves а variety of evaluation criteria

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Sharpe, Tom. "William Smith's 1815 map, a delineation of the strata of England and Wales: Its production, distribution, variants and survival." Earth Sciences History 35, no. 1 (January 1, 2016): 47–61. http://dx.doi.org/10.17704/1944-6187-35.1.47.

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A new survey of surviving copies of William Smith's 1815 map, A Delineation of the Strata of England and Wales, with part of Scotland verifies the 1938 classification of the maps by Joan and Victor Eyles into five series but proposes that their unnumbered and unsigned Series V maps be divided into Series Va and Series Vb. The Series Va maps share characteristics with late Series IV maps while Series Vb maps appear to represent a possible second edition dating from the mid to late 1830s during which Smith was also working on a revised, but never issued, edition of his Memoir. While the paper for almost all copies of the main issue of Smith's map came from the Springfield Mill at Maidstone in Kent and is countermarked 1812, the copies of Series Vb maps examined are on paper made at Rye Mill near High Wycombe in Buckinghamshire in the 1830s. The new survey has confidently located about seventy surviving copies of Smith's map, and the likely location of at least thirty additional copies. It is suggested that perhaps as many as 130 to 150 copies of the map survive out of a probable original print-run of about 330 to 350.

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Epp, Eldon Jay. "The Multivalence of the Term “Original Text” in New Testament Textual Criticism." Harvard Theological Review 92, no. 3 (July 1999): 245–81. http://dx.doi.org/10.1017/s0017816000003394.

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One hundred and ninety-one years ago, in 1808, Johann Leonhard Hug's Introduction to the New Testament carried statements that, in part, may strike textual critics as being far ahead of their time. Hug laments the loss of all the original manuscripts of the New Testament writings “so important to the church” and wonders: “How shall we explain this singular fact?” Next, he observes that Paul and others employed secretaries, but Hug views the closing salutation, written in the author's own hand, as “sufficient to give them the value of originals.” Then, referring to the further role that scribes and correctors must have played after such a Christian writing had been dictated by its author, he says:Let us now suppose, as it is very natural to do, that the same librarius [copyist] who was employed to make this copy, made copies likewise for opulent individuals and other churches—and there was no original at all, or there were perhaps ten or more [originals] of which none could claim superiority.

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Ahmad, Al-Nashri Al-Hossain, and Ali Ahmad. "Generalized perimantanes diamondoid structure and their edge-based metric dimensions." AIMS Mathematics 7, no. 7 (2022): 11718–31. http://dx.doi.org/10.3934/math.2022653.

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<abstract><p>Due to its superlative physical qualities and its beauty, the diamond is a renowned structure. While the green-colored perimantanes diamondoid is one of a higher diamond structure. Motivated by the structure's applications and usage, we look into the edge-based metric parameters of this structure. In this draft, we have discussed edge metric dimension and their generalizations for the generalized perimantanes diamondoid structure and proved that each parameter depends on the copies of original or base perimantanes diamondoid structure and changes with the parameter $ {\lambda} $ or its number of copies.</p></abstract>

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Journal articles on the topic 'Original copies'

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