A Pair Of Pedestal Busts After Buese Signed Circa Early 20th Century

A matched pair of pedestal busts signed “Buese,” dated or attributed to the early 20th century, sits at the intersection of academic taste, Art Nouveau grace, and the vibrant reproduction market that flourished in Europe between 1890 and the 1930s. For appraisers and collectors, these sets can be rewarding studies: they embody technical casting choices, workshop practices, and shifting taste, while presenting real questions about authorship and value. This guide clarifies how to identify, date, and appraise such a pair—what “after Buese” means, how to read the signatures and foundry marks, and what condition and materials reveal about quality and value.

What “After Buese” Really Means

In the sculpture market, the term “after” signals that the work was made based on a design by a named artist, not necessarily by the artist’s own hand. On Continental bronzes and composite busts, you may encounter inscriptions like “d’après” (French for “after”) or catalog descriptions using “after” when the signature appears but the piece is taken to be a later cast or derivation.

Key points about “after Buese”:

• It indicates a work executed following Buese’s model or in Buese’s manner, not an original studio piece unless corroborated by foundry documentation or period provenance.
• Early 20th-century examples may still be period casts, produced within a decade or two of the original model’s popularity, often by commercial foundries.
• Pairs were commonly sold by retailers as decorative ensembles—allegorical maidens, complementary seasons, or male/female companions—sometimes adapted from a single successful model.

A complicating factor is legibility. The cursive or cast signature can be read in multiple ways. Collectors and dealers report confusion between:

• Buese / Buse / Büse
• Bessi (Italian sculptor Giuseppe Bessi) misread as Buese
• Böse / Boese (German surnames)
• “Susse” (as in Susse Frères, a Parisian foundry) misread as Buese when seen on bases

Because the market includes genuine signatures, foundry marks, and misreadings, do not cement the attribution to “Buese” without corroborating details.

Signatures, Marks, and Workshop Clues

A rigorous examination begins with the inscription and any foundry or retailer marks. Use raking light and high-resolution photos.

Where to look:

• On the back or side of the bust’s truncation (the flat cut where the torso ends)
• On the shoulder or drapery folds
• Around the collar of the pedestal/socle
• Underside of the base for pencil inscriptions, inventory numbers, chalked dealer marks, or paper labels

What you might find:

• Incised or raised signature: “Buese,” “F. Buese,” or a monogram. Raised signatures indicate the inscription was in the original model; incised signatures can be later additions but are also legitimate.
• “D’APRES” or “APRES” preceding the name, indicating a reproduction after an earlier artist.
• Foundry marks: Pressed or cast stamps such as “Fonderie …,” “Susse Frères,” “Thiebaut Frères,” “G. & Cie,” or Italian workshops from Volterra for alabaster. A recognized foundry elevates confidence and value.
• Edition or model numbers: Often seen on commercial bronzes and spelter works; pairs sometimes show the same model number with L/R designations.
• Patination notes or cold-paint remnants, referenced on the underside by restorers.

Corroboration is key: confirm whether the letterforms match known exemplars of the attributed sculptor. Pay attention to the shape of the capital B, the U (sometimes V-like in serifed fonts), and any umlaut marks over “u” if present.

Materials and Construction: Bronze, Spelter, Alabaster, and Marble

Material dictates much of the object’s value and its conservation needs. Early 20th-century busts were produced in:

• Bronze: The premium choice, cast by lost-wax or sand-cast methods. Look for crisp undercuts, fine hair and lace detail, and subtle planes in the face. Weight is high relative to size, and the patina is integral, ranging from chocolate brown to greenish-brown or black. Seams are minimal and expertly chased.
• Spelter (zinc alloy, sometimes called régule): Lighter than bronze and more brittle, usually with a bronze-tone paint or chemical patina. Seams and mold lines are more visible, and details are slightly softer. A small file test (performed by a conservator) or the appearance of a silvery/grey fracture color in chips signals spelter. Many decorative pairs were made in spelter to meet middle-class demand.
• Alabaster and alabaster/marble composite: Popular in Italy (Volterra) and France, often with painted or stained accents for lips, brows, and eyes. Paired busts of maidens with veils or classical drapery frequently appear in this medium. Bases may be Siena, Portoro, or Griotte marble, with turned pedestals. Alabaster is softer and susceptible to edge chips, veining, and translucency variations.
• Plaster or composition: Chalk or resin-based mixtures, sometimes with faux bronze finish. These can be very convincing and are lighter than bronze; look under the base for clues like plaster texture, wooden plugs, or felt concealing poured edges.

Tell-tale signs on the pedestal:

• Period pedestals are usually stone or heavy-lacquered wood, attached with a threaded rod and a nut. Later replacements may be mismatched marble or lightweight onyx with modern hardware.
• Symmetry matters: For pairs, matching socle profiles, veining, and finish are desirable and signal original pairing.

Style, Subject, and Dating

Contextual style helps refine the date:

• Late 19th to early 20th century tastes blend Academic Neoclassicism with Art Nouveau naturalism. Expect lyrical hair, idealized profiles, delicate drapery, and classical themes (Seasons, Muses, “Flora,” “Diana,” “Rebecca,” “Fiora,” allegorical maidens).
• Pairing strategies included complementary poses: one figure turned slightly left, the other right; or mirrored drapery. The pedestal heights may be equal or tiered for visual balance.
• Typical sizes: Bust height (excluding pedestal) 25–45 cm (10–18 inches). With pedestal, 35–65 cm (14–26 inches) is common.

Dating cues:

• Spelter pairs with cold-painted details and ornate socles are often 1900–1925.
• Bronze pairs with refined, even patination and Parisian or Viennese foundry marks can range 1890–1914 and later interwar if the model remained popular.
• Alabaster/stone pairs peaked 1890–1920 in Italy and France.

Assessing Condition and Integrity

Appraisers weigh originality and condition heavily, especially with pairs. Examine both pieces individually and as a unit.

Common issues:

• Bronze: Patina abrasion on noses, chins, and shoulders; small dents; heat-ring discoloration on bases; past over-polishing that reveals raw metal. Avoid abrasive cleaning—patina is part of the value.
• Spelter: Flaking or lifting of bronzed paint; seam cracks; missing tips of floral elements; amateur re-gluing or filler. Professional inpainting and stabilization is possible but affects value.
• Alabaster/stone: Chips along drapery edges and pedestal rims; yellowing from nicotine or oil; glued breaks, often visible as linear opacity. Avoid water-based cleaning; consult a stone conservator.
• Pairing issues: One bust cleaned or repatinated differently from its mate; non-matching replacement pedestals; a rightward gaze paired with another rightward gaze (suggesting later assembly rather than original pairing).

Originality checklist for hardware:

• Old iron or brass rod with hand-cut threads and aged nut/washer on both pieces
• Period felt with oxidation on tacks (if present)
• Even wear patterns on base undersides

Market Value and What Drives It

Value hinges on material, authorship confidence, foundry marks, scale, condition, and desirability of the subject. The “pair premium” is real: matched pairs command more than the sum of two singles.

General value ranges for early 20th-century pairs attributed “after Buese” (indicative, not quotes):

• Spelter with bronzed patina, 35–50 cm overall: typically mid hundreds; exceptional large, crisp pairs can reach low four figures.
• Bronze with recognized foundry mark and strong detail, 40–60 cm: low to mid four figures, higher for iconic subjects or documented provenance.
• Alabaster on marble pedestals, well-matched classical maidens, 35–55 cm: low to mid four figures depending on condition and workshop (Italian examples with refined carving do better).
• Composite/plaster: generally lower, unless tied to a notable publisher or exceptional scale/finish.

Factors that push value upward:

• Documented foundry (e.g., Parisian or Viennese stamp), retailer label, or early catalog reference
• Untouched, even patina on bronze; original cold paint on spelter; crisp carving and minimal yellowing on alabaster
• Strong subject pairing and exceptional symmetry
• Size above 50 cm overall, with architecturally substantial pedestals

Factors that cap value:

• Unconvincing signature with no corroboration
• Mismatched or modern pedestals
• Overcleaned bronze or heavily repainted spelter
• Significant chips or stained alabaster, obvious repaired breaks

Quick Appraisal Checklist

• Verify the inscription: Photograph the signature under raking light; note whether it is cast (raised) or hand-incised.
• Hunt for marks: Check base rims and undersides for foundry stamps, model numbers, and retailer labels on both busts.
• Identify the material: Bronze vs spelter vs alabaster—assess weight, seam quality, fracture color, and surface detail.
• Confirm the pair: Ensure mirrored orientation, matching pedestals, consistent patina/cutting, and compatible hardware.
• Measure and record: Height of bust and pedestal separately; overall height; base diameter; weight; any discrepancies between the two.
• Condition log: Note patina wear, chips, cracks, repaint, repairs, hardware replacements, and differences between the pair.
• Compare stylistically: Align drapery, hair treatment, and facial modeling with known early 20th-century Continental models.
• Assign date range: Use material, style, and marks to bracket the pair to a likely 1890–1930 window.
• Value context: Place the pair within appropriate comparables for medium, size, mark, and subject.

Handling, Care, and Conservation Tips

• Bronze/spelter: Dust with a soft brush. For grime, use a barely damp microfiber cloth followed by immediate drying; avoid solvents and metal polishes. Leave patina intact.
• Alabaster/stone: Dry dust only. Avoid water and detergents; they can cloud or stain the surface. For soiling, consult a stone conservator.
• Hardware: If the bust wobbles on the pedestal, do not overtighten aged rods; add inert felt pads to stabilize and protect surfaces.
• Display: Keep away from direct sunlight and high humidity. Alabaster is particularly light-sensitive and can yellow with UV exposure.

Avoiding Attribution Pitfalls

• Read twice, compare thrice: Gather multiple images of the signature and compare letterforms with established examples of any candidate sculptor or foundry.
• Don’t ignore the foundry: A strong foundry mark can outweigh uncertainties in a signature reading and strengthen an “after” attribution.
• Context matters: If the signature suggests a well-known artist but the quality is inconsistent, consider a later commercial cast or misread inscription.
• Be cautious with repatination: Freshly colored surfaces that obscure texture can mask repaired spelter or bronze.

Frequently Asked Questions

Q: Does “after Buese” make the pair less valuable than an original? A: Generally, yes. “After” indicates a work based on the artist’s model rather than executed by the artist or their studio. That said, early, high-quality foundry casts and well-carved stone versions can still be desirable and valuable, especially as matched pairs.

Q: How can I tell bronze from spelter without damaging the surface? A: Weight and detail are primary clues: bronze is heavier with crisper undercuts. Examine chips or discreet underside areas—bronze shows golden-brown metal, while spelter looks greyish-silvery. A professional can use non-invasive tools like XRF to confirm the alloy composition.

Q: The pedestals don’t match—does that matter? A: Yes. Original matching pedestals are part of the pair’s integrity and visual balance. Mismatched or obvious replacements reduce desirability and value. If possible, source period-appropriate replacements, but disclose the change in any appraisal.

Q: The signature is faint and could read “Buese” or “Bessi.” What should I do? A: Document the inscription with raking light and macro photos, then compare with verified signature exemplars for both names. Assess the style and material: alabaster maidens on Volterra marble bases often align with Italian workshops associated with Bessi. Corroborating a foundry or retailer label can tip the balance.

Q: Should I clean and restore before appraisal or sale? A: Light, reversible cleaning is fine; avoid aggressive treatment. For bronze, do not polish. For alabaster, avoid water. Significant restoration should be done by a qualified conservator and fully documented; in some cases, it’s better to present the piece as-found.

By methodically reading the marks, confirming material and pairing, and aligning style with the early 20th-century commercial sculpture trade, you can confidently evaluate a pair of pedestal busts “after Buese.” Even when authorship remains cautious, the right combination of quality, condition, and symmetry will position the pair well within today’s appraisal and collecting landscape.