Auguste Rodin

Jean Limet, Paris (probably acquired from the artist between 1902-1917)
Private Collection (by descent from the above and sold: Lombrail-Teucquam, Paris, November 21, 2003, lot 52)
Sale: Christie's, New York, May 5, 2004, lot 247
Acquired at the above sale

Georges Grappe, Catalogue du Musée Rodin, Paris, 1927, nos. 110-115, illustration of the complete monumental plaster version p. 52
Georges Grappe, Catalogue du Musée Rodin, Paris, 1944, no. 167c, illustration of the plaster p. 60
Bernard Champigneulle, Rodin, London, 1967, no. 21, illustration of the complete monumental version pp. 69-102
Robert Descharnes & Jean-François Chabrun, Auguste Rodin, Lausanne, 1967, illustration of the complete monumental bronze version p. 114
Ionel Jianou & Cécile Goldscheider, Rodin, Paris, 1967, illustration of the complete monumental bronze version pl. 41
Ludwig Goldscheider, Rodin Sculptures, London, 1970, illustration of another cast pl.39; illustration of the monumental plaster version pl. 38
John L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, no. 67-69-13, illustration of another cast p. 390
Albert Elsen, Rodin's Art, The Rodin Collection of the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, New York, 2003, no. 30, illustration of the monumental version pp. 137-38
Antoinette Le Normand-Romain, The Bronzes of Rodin, Catalogue of the Works in the Musée Rodin, vol. 1, Paris, 2007, illustration of another cast p. 237

Rich, variegated patina ranging from brown to green with blueish highlights in the folds of the robe. A few spots of accretion in the front of the robe below figure's left shoulder. Surface is crisp and lively. Work is in excellent condition.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

In 1884 Rodin was approached by the mayor of Calais to create a monument to the celebrated burghers of that city who in 1347 offered themselves as hostages to England's King Edward II in exchange for lifting an eleven month siege which had nearly devastated the city. The king agreed, provided the burghers presented themselves wearing sackcloth and carrying the keys to the city. At the request of King Edwards' wife, Queen Philippa, their lives were spared. Pierre de Wiessant was the fourth Burgher to volunteer his life, immediately after his brother Jacques de Wiessant. The present work is the final, clothed version of Pierre de Wiessant who appears in the famed monument with the five other burghers (see fig. 1).

This example is an extremely rare lifetime cast, originally owned by the artist's celebrated patineur, Jean-François Limet (see fig. 2). Limet's talent was unparalleled and he was known for exceptionally high standards in every detail of the casts he finished, at times even reworking foundry imperfections himself. Rodin used Limet almost exclusively from 1890 on, relying on him to give his bronzes their uniquely brilliant patinas. Rodin was so reliant on Limet's finishing that he continued to send Limet his casts even after the patinator moved his studio 100 kilometers north of Paris to the Bay of Somme.

The work bears a beautifully modulated patina applied by Limet, which when closely examined reveals a breathtaking combination of blue and purple hues within its subtle surface. This rare finish lends an extra dimension to the already palpable gravitas of the subject. Pierre de Wiessant personifies this moment of condemnation perhaps better than any of the other five men. His uncertainty is physically palpable, his right leg twists behind him in hesitation as he takes his first step towards self-sacrifice. This uncertainty is also inherent as the raised arm can be simultaneously interpreted as acceptance of his fate or accusatory pointing. According to Antoinette Le Normand-Romain, "Whilst Jean d'Aire is the image of invincible resolution, Pierre de Wissant offers the image of suffering in the extreme. His body, bent, like a taut bow, vibrates with pain, his hands, opening like flowers, sing out. The faces of these two Burghers give an extremely strong image of the feelings that animate the characters" (Antoinette Le Normand-Romain & Annette Haudiquet, Rodin: The Burghers of Calais, Paris, 2001, p. 52).

Fig. 1: Auguste Rodin, The Burghers of Calais, 1889, plaster cast, Musée Rodin, Paris

Fig. 2: Jean-François Limet and his son in their workshop circa 1920-30