奧古斯特·羅丹

Barbedienne Editeurs, Paris (sold: July 15, 1902)

Private Collection, United States

Sale: Sotheby’s, New York, May 4, 2005, lot 102

Robert Bowman Gallery, London (acquired at the above sale)

Acquired from the above by the present owner

Rainer Maria Rilke, Auguste Rodin, London, 1917, illustration of another cast pl. 6

Georges Grappe, Catalogue du Musée Rodin, Paris, 1927, nos. 91-92, p. 47, illustration of the marble version no. 91

Georges Grappe, Catalogue du Musée Rodin, Paris, 1944, no. 71, illustration of the larger marble version

Georges Grappe, Le Musée Rodin, Paris, 1947, illustration of the marble version pl. 71

Cécile Goldscheider, Rodin, sa vie, son oeuvre, son héritage, Paris, 1962, illustration of the marble version p. 49

Albert Edward Elsen, Rodin (exhibition catalogue), The Museum of Modern Art, New York, 1963, illustration of the larger bronze version p. 63

Bernard Champigneuelle, Rodin, London, 1967, nos. 78-79, illustration of the marble version pp. 162-163

Robert Descharnes & Jean-François Chabrun, Auguste Rodin, Lausanne, 1967, illustration of the larger marble version p. 131

Ionel Jianou & Cécile Goldscheider, Rodin, Paris, 1967, illustration of the marble version pls. 54-55

Ludwig Goldscheider, Rodin Sculptures, London, 1970, no. 49, illustration of the marble version p. 121

John L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, illustration of the marble version p. 77

Jacques de Caso & Patricia B. Sanders, Rodin's Sculpture (exhibition catalogue), The Fine Arts Museum of San Francisco, San Francisco, 1977, illustrations of another cast pp. 148 & 150

Albert Edward Elsen, In Rodin's Studio, A Photographic Record of Sculpture in the Making, Ithaca, 1980, illustration of the marble on the cover

Hélène Pinet, Rodin, sculpteur et les photographes de son temps, Paris, 1985, no. 34, illustration of the marble p. 46

Nicole Barbier, Marbres de Rodin: Collection de Musée Rodin, Paris, 1987, no. 79, illustration of the marble version p. 185

Frederic V. Grunfeld, Rodin, A Biography, New York, 1987, pp. 187-190, 221-222, 260, 262, 275-276, 281-282, 342, 373-374, 400, 457 and 577

Pierre Kjellberg, Les bronzes du XIXe siècle, Paris, 1987, illustration of another cast p. 585

David Finn & Marie Busco, Rodin and his Contemporaries: The Iris & B. Gerald Cantor Collection, New York, 1991, illustrations of another cast pp. 60-61

Albert Edward Elsen, Rodin's Art, The Rodin Collection of the Iris & B. Gerald Cantor Centre  for the Visual Arts at Stanford university, New York, 2003, no. 49, illustrations of another cast pp. 214-215

Antoinette Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, vol. I, Paris, 2007, illustration of another cast p. 160

Excellent condition. Rich dark brown patina.
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.

Le Baiser was originally conceived for the left side of Rodin's monumental project La Porte de l'Enfer, but was never included as Rodin felt the work lacked the tragic mood it required. Instead he chose to exhibit the sculpture separately at the Galerie Georges Petit and the Exposition Générale des Beaux-Arts in Brussels, and it quickly became one of Rodin's signature works. The French government commissioned a marble version in 1888, and after the work was exhibited in the Paris Salon that same year to rave reviews, the Barbedienne foundry cast bronze editions in four different sizes between 1898 and 1918.

Le Baiser portrays the ill-fated lovers, Paolo and Francesca, who were murdered by Francesca's husband and Paolo's brother, Vanni Malatesta. Banished to hell for their adulterous passion, the two lovers were doomed to spend eternity in an embrace. Among the love stories in Dante's La Divina Commedia, this forbidden liaison, so reminiscent of courtly love, had the greatest resonance for a late nineteenth century audience.