Lisa, Jane, Evonne and Enrico spent two days in the conservation labs (located in the 1909 Dutch-styled brick structures built to house the first cars of the Hollenzollern) studying the Bust of Richelieu (one of two casts of this work). While we would have loved to have spent time in the Sanssouci galleries, we were very fortunate that our very generous hosts the curator Dr. Silke Kiesant, objects conservator Martin Engel and conservation scientist Jens Bartoll were willing to deinstall the Bust of Richelieu so that we would have unfettered access to the object. This was particularly welcome news for Enrico who was photographing his first bust for the Bernini’s Bronzes project.  

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With our study of the Sanssouci bust we have studied both casts of this work (there is a marble version at the Louvre which we intend to scan) and thus we have completed our first group of multiples. Even before we arrived the lovely staff had sent some photographs with key views of the work so we knew that the casting technique of this work was very close to the NGV (Melbourne) version we had already studied. While we encountered some differences in the wax intermodel (notably in the Maltese Cross hanging from the large ribbon worn by members of the Ordre du Saint-Esprit, the two versions are remarkably close, both in their limited changes to the wax overall and in their casting technique. We could see much more of the modeling and finishing of this cast because it did not have the heavy patina present on the NGV version.  

 

Another key insight that speaks to our question about signature foundry techniques is the observation that both busts were cast separately from their bases and are connected with a sleeve join that is executed remarkably similarly in both busts. It is rare that we have the sense that two works were cast in close succession. These two are an example.