Elizabeth I (7 September 1533 – 24 March 1603) reigned as Queen of England and Queen of Ireland from 17 November 1558 until her death. Often referred to as The Virgin Queen, Elizabeth was the sixth and final monarch of the Tudor period. While certainly not without her own problems and controversies, subsequent to the short reigns of Elizabeth's brother and sister, her forty-five years on the throne provided precious stability for the realm and assisted in fashioning a sense of national identity.
Ademola 22’s 200 019 Elizabeth I (1533 – 1603) is a 200mm scale resin bust sculpted by Roman Rux with him also having done the box-art. The figure represents Queen Elizabeth I of England during the latter stages of her life. The sculptor does not appear to have based the sculpt on anyone single artwork, but appears to have used various artworks of the regent as a source.
What’s in the box?
Bust 200 019 Elizabeth I (1533 – 1603), cast in a light grey coloured resin, comes in a kit form consisting of the following six (6) parts:Head and upper chest;
Two pearl earrings; and
Circular base plinth.
The kit is packaged in an impressive black cardboard box with a glossy box-art photo attached to the front. With the exception of the base plinth, which lies loose in the box, all the parts are packed in a zip-lock bag. The box contents are wrapped in copious amounts of bubble wrap to further prevent damage to the parts.
Overall, the bust is well sculpted by Roman Rux, which is complimented by crisp and exceptional casting.
The head is very nicely sculpted. The sculptor appears to have captured the likeness of Her Majesty quite convincingly, seemly having used various artworks of the regent as a source. There is a lot of detail to be appreciated on this part, from the fine curls of hair to the various items of jewellery to the fine lace detail on the front of the bodice. Perhaps the most impressive items of detail are those worn in her hair, such as the jewelled clips and the bejewelled chain circlet worn intertwined amongst her short curls.
The casting is exceptionally clean, with only a slight seam line on the rear of the neck due a misalignment of the mould at this point. This is, however, perhaps a moot point since this area will actually be covered by the collar once the bust is assembled. The head features a large T-shaped casting block at the bottom of the part.
While the sculpting and casting quality of the entire figure is excellent, the most impressive single piece has got to be the large period collar. The photographs of the piece speak for themselves, although probably do not do it justice. Not only is the piece well detailed and textured, but it is extremely well cast. Once again a large T-shaped casting block supports the part. This will carefully need to be removed lest one damage that fine detail.
The torso is equally well detailed, and like the other two parts extremely cleanly and crisply cast. The detail and drapery of the period gown has been captured with great conviction by the sculptor. As mentioned, the casting is exceptionally clean with only a small casting line underneath the right arm. Once again: a moot point. Other than this irrelevant blemish, there is not a casting line or air pocket to be found. A heavy casting block is placed at the bottom front of the torso.
The final three pieces, being the two pearl earrings and the base plinth, are as well sculpted and cast as the other parts. The plinth featured a few minute holes as result of air pockets. These are not serious, however, and will probably simply be filled when the figure is primed.
The fitment of this figure is excellent: all the parts merely slide into place with barely a joint visible. In fact, due to the hard resin it was more difficult to remove the casting blocks.
Due to the hard resin Ademola 22 use, the casting blocks were quite tough to remove. Due to their placement on the collar and torso I was reluctant to use a razor saw, and perhaps mistakenly elected to do it the hard way: using a chisel blade. It worked easily enough on the collar, with only having to clean a bit off the inner collar with a number 11 blade later. The torso casting block proved more difficult to remove with the chisel blade but it eventually yielded.
The T-shaped casting block was a bit easier to remove. This was done by repeatedly scoring the block until it gave way.
Fitment was an absolute pleasure. The head slotted easily and snugly onto the torso. The modeller will want to slide the chest area into place first; the neck will then simply fall into place. The collar is easily seated as well, and three locator slots are provided to assist with placement. The plinth slides easily into a hole provided in the underside of the torso.
Ademola 22’s 200 019 Elizabeth I (1533 – 1603) is without a doubt a high quality product. With these being the nineteenth 200mm bust in their range they certainly are not the new kids on the block, and with this sort of quality sculpting, casting and fitment I think we will see many more great things from this company.
ReferenceWikipedia: Elizabeth I of England