Bust of Clytie (Sunflowers) unfinished
This is probably the most loved of all my busts. She comes with such a sad story and explains why sunflowers turn their head and follow the sun each day. 
The bust is 5cm high
Made of resin
The Original bronze bust is held at the Watts Museum - Surrey, UK.
 
Description taken from the Watts Website:
"George Frederic Watts was fascinated by the mythological tale of Clytie and returned time and again to the theme between the late 1860s and 1880s, executing it in a diverse range of media from bronze, marble and terracotta to chalk and oil on canvas.
You can see the beautiful bronze version on display in our gallery. The bronze was gifted to us by Lilian Chapman, the artist's adopted daughter.
G F Watts, Clytie, c. 1865-69, bronze
Watts Gallery Trust
Clytie — whose story is recounted in the Roman poet Ovid's Metamorphoses — was a water nymph who was in love with the sun-god Apollo and would gaze longingly at him as he drove his chariot across the sky from east to west.
After ten days of moving only her head to follow his daily course, Clytie awoke to find herself transformed into a sunflower, with her limbs rooted to the ground and leaves enfolding her body, condemning her to a lifetime of turning her blossom-covered face towards the sun.
George chose to depict Clytie's moment of transformation from flesh to flower, as fronds begin to creep up her torso. He adds an element of dynamism to the work through the well-defined torsion of her body.
Interestingly, George used several different models for the piece. The muscles were studied from an Italian male model, Angelo Colorossi and the coiled hair from a current sitter, Louise Lowther. The contorted shoulders came from Edward Burne-Jones's wife, Georgiana, with her infant squirming in her arms. For the form and face, Watts used his housemaid — and favourite model — Mary 'Long Mary' Bartley."
https://www.wattsgallery.org.uk/blog/object-in-focus-clytie
 
Made from resin
 
Sold individually
 
Dimensions
Height   cm 
 
NOTES
Resin Items
All resin items come unfinished (unless stated otherwise) and will require a small amount of "cleaning" - this will involve removing any printing support nodules using a sharp knife and or snips and also sanding sections to a smooth finish. This is very easy to do and takes minutes.
Always prime the resin item after any assembly. The primer will help to stick the paint to the surface. Once primed you can proceed with any paint finish you prefer from gilding to aged paint finishing. 
 
Pewter Items
As with all my  designs the pieces will require a little cleaning using a file and/or sandpaper. The metal is very soft so this is a simple and satifying part of the build process. 
I tend to use superglue (Hafixx being my favoured choice) with a super glue activator to speed things up. 
 
To paint the item I strongly recommend a metal primer. Spray primers are the easiest and just a light coat with give the paint something to 'key' with......then the choice is yours. I use all types of paints from acrylics to cellulose spray paints. All have their own merits and so I choose according to the finish I wish to create. 
After applying my coats of paint I will always add an aging layer of raw umber acrylic (water it down and then paint and wipe off to leave the dark paint in the recesses). Aging can be very rewarding and there are many options for this. One little recommendation is to use rotten stone/pumice stone powder to add what I like to describe as "dust" to the piece. It is a powder and will always be a powder unless mixed with a binder such as glue. The powder is a soft grey and if it is brished on then off it will leave a slight dusting in the recesses of the design. 
A final flourish of splatter (very subtle brown/grey applied with by splattering the paint from a bristled brush such as a toothbrush) adds a little more interest.