The Sculpture

This sculpture, depicting both Siegfried & Roy alongside one of their tigers, measures over 15 feet tall and weighs about 3,600 pounds. It is primarily made of fiberglass, with an angle iron inner structure, and is ornamented by illuminated faux-quartz crystals made from acrylic.

Originally, these crystals were fabricated in a variety of colors, including dark red, purple, and standard clear. After the overall sculpture was repainted from its original white finish to its current bronze color in the mid-to-late 1990s, the crystals were altered to evoke the yellow-orange color and brilliant clarity of a citrine quartz crystal. These crystals were incorporated into a rock mound flanking both sides of the main Siegfried & Roy sculpture, seemingly growing out of the rock itself. Each crystal is unique in size and shape, with the smaller crystals measuring around 6 to 8 inches and the larger crystals measuring around 18-24 inches long.

The crystals are internally illuminated. Originally, this effect was achieved via incandescent lightbulb, which resulted in some of the burn marks present on the ends of many of the crystals. The sculpture originally featured internal electrical components, such as a cooling fan and ventilation system to regulate temperature and keep the electrical components from overheating. Today, these crystals are illuminated via LED (Light-Emitting Diode) “puck” lights, which typically last longer than incandescent lightbulbs and emit less heat.

This restoration project also included a new coating of bronze paint, as well as fiberglass patching over damaged areas, and the construction of two teeth for the tiger, which were meticulously reconstructed based on historic photographs. During the repainting process of the Siegfried & Roy sculpture, staff from The Neon Museum and Hartlauer Signs referenced colors from a Matthews Paint Colors book to select three color options that closely matched the original color of the sculpture. These colors ranged from a light copper tone to a bronze and copper umber. Additionally, reference photographs of the sculpture indicate that the paint would have originally featured elements of glitter and a layer of varnish, providing added volume and shine.

Three color samples were selected and individual 6×6 inch paint samples were created for review and approval. Some samples had the varnish layer added and others did not, to properly assess what the base color would have looked like. These samples were rigorously compared to historic photographs and videos and were visually assessed using a colorimeter and by taking detailed gloss readings. The sample that was ultimately selected most closely matched the color readings taken from one of the portions of the sculpture that was least affected by sun damage and fading: the inner mouth of the lion.