The V&A’s reproduction of Bruggemann’s altarpiece bears a plaque boldly crediting Heinrich Sauermann—a master saddler, furniture maker, and museum director from Flensburg. Yet Sauermann was neither the creator of the original, the reproduction, nor its patron. How, then, does his name make it onto the plaque? Here, the signature emerges as a site of negotiation reflecting power structures within the casting atelier. It signifies legacy, not authorship. These dynamics unfold within George Jackson and Sons, the locus of study and extraction for these layered narratives. What emerges is a miscellany of casts; signatures archaeologically lifted and resituated on the plaster canvas.