Page - 65 - in Die Repräsentation der Habsburg-Lothringischen Dynastie in Musik, visuellen Medien und Architektur - 1618–1918

Habsburg Portraiture Face-to-Face with the French Revolution 65 late 1793 after portraits by Mül- ler-Deym created using the same casting method.8 These would be complemented in 1796 by two fur- ther portraits of the same ‘material provenance’, depicting the military luminaries, the Count of Cler- fayt and the Prince of Waldeck.9 All of these prints shared a broad compositional structure – portrait roundel mounted on a fictive ar- chitectural ledge inscribed in Latin – both with Adam’s prints of Franz and Marie Therese from 1794, and with various prints he made after small-scale wax portraits by Leon- hard Posch largely from the early 1790s.10 Adam’s prints of Franz and Marie Therese are both a part of this loose series, and, as portraits of the Emperor and Empress (their portrait roundels crowned, unlike the others, with the imperial eagle) necessarily distinct from it. This surely also reflected a diverse audience comprised both of those customers seeking ‘one-off’ portraits, and serial collectors seeking to build up a comprehensive printed ‘who’s who’ gallery. Müller-Deym was a somewhat enigmatic figure who enjoyed renown in 1790s Vienna as a producer of plaster casts of faces from life and death, many in turn trans- formed into wax portraits.11 The wax likenesses of his more famous clients were also exhibited alongside paintings, casts of antique statuary, automata and other curiosi- ties in the Müllersches Kunstkabinett, which had its premises variously at the Kohl- markt, Graben, Stock-am-Eisen-Platz and ultimately at the Rotenturmtor. Müller- Deym and Posch appear to have been colleagues of some description, although the precise extent and arrangements of their collaboration is unclear.12 Posch by and large worked on small-scale wax relief portraits13, while Müller-Deym’s focus was on life- size figures in the round, which could upon first glance be mistaken for their sitters. Figure 3: Jakob Adam (printmaker) after Josef Müller (modeller and sculptor in wax), Dagobert Graf Wurmser, 1793.