Herringham liberated the conception of copying from the litany of appropriate feminine accomplishments to a professional practice that anticipated developments in the field of conservation studies. — Maria Alambrit1s


Right: Head of the Magdalene (Courtesy of Royal Holloway, University of London). Left: Herringham's King Bimbisāra, Queen, and Attendants seated within a palace pavilion Herringham, plate I.

Copyist works

Bibliography

Alambritis, Maria. [Review of] "Christiana Herringham: Artist, Campaigner, Collector" at Royal Holloway (14 January–8 March 2019). Interdisciplinary Studies in the Long Nineteenth-Century 3 June 2019. Web. 7 November 2019.

Bin Tahar, Omar. "Nizam's grandson seeks preservation of Ajanta Frescoes." Times of India. 10 November 2018. Web. 7 November 2019.

Herringham, Christiana J. The Book of the Art of Cennino Cennini: A Contemporary Practical Treatise on Quattrocento Painting, Translated from the Italian, with Notes on Mediaeval Art Methods. 1899. London: George Allen & Unwin, 2nd impression 1922. Internet Archive. Contributed by Brigham Young University. Web. 7 November 2019.

Herringham, Lady. Ajanta Frescoes. Delhi: Archaeological Survey of India, 1998. Internet Archive. Contributed by the Central Archaeological Library, New Delhi. Web. 7 November 2019.

"Lady Herringham." Times. 28 February 1929: 19. The Times Digital Archive. Web. 7 November 2019.

Lago, Mary. Christiana Herringham and the Edwardian Art Scene. Columbia: University of Missouri Press, 1996.

_____. "Herringham [née Powell], Christiana Jane, Lady Herringham (1852–1929), artist and copyist." Oxford Dictionary of National Biography. Online ed. Web. 7 Nov. 2019.


Created 7 November 2019