Auguste Rodin

Private Collection, France (acquired between 1960-1970)

Georges Grappe, Catalogue du Musée Rodin, Paris, 1927, no. 148, illustration of the marble p. 59
Albert E. Elsen, Rodin, New York, 1963, illustration of a larger cast p. 63
Ionel Jianou & Cécile Goldscheider, Rodin, Paris, 1967, illustrations of the marble pls. 54 & 55
Robert Descharnes & Jean-François Chabrun, Auguste Rodin, Paris, 1967, illustration of the marble p. 131
John L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, illustration of the marble p. 77

Dark bronze patina. Apart from some patina wear to the head and hand of the male'figure and a few further spots to the base, this work is in very good 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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Le Baiser is one of the most celebrated images of love in 19th century Western art, but was in fact based on a story warning of the perils of adulterous love. The figures represent the star-crossed lovers Paolo and Francesca from Dante's Inferno, who were murdered by Francesca's husband and Paolo's brother, Vanni Malatesta, and doomed to spend all eternity in an embrace. Paolo and Francesca's unfortunate liaison was intended as a cautionary tale, but the sensuality of Rodin's work seems to run counter to the intended moral, leaving the viewer to wonder if being locked in an eternal kiss was really such a terrible fate for two young lovers.

The work was originally intended for the left side of Rodin's monumental project, The Gates of Hell, but was never included as Rodin felt the work lacked the tragic mood required. Instead he chose to exhibit the sculpture separately at the Galerie Georges Petit and the Exposition Generale des Beaux-Arts in Brussels, and the work quickly became one of Rodin's signature works. The French government commissioned a marble version in 1888, and after the work was exhibited at the Paris Salon in 1888 to rave reviews, the Barbedienne foundry cast bronze editions in four different sized between 1898 and 1908. Le Baiser became one of Rodin's most iconic works and helped cement his place in the artistic firmament of 19th century Paris. As Albert E. Elsen points out, 'In The Kiss, which could have been made in 1881, Rodin was still trying to show the official art world that he could compete with the best of the Prix de Rome winners. In fact, he not only outdid them in the sincerity of the lovers' expressions of mutual awareness and love, he even revived an old gesture of sexual appropriation by having the more assertive Francesca sling her leg over the hesitant Paolo' (Albert E. Elsen, The Gates of Hell by Auguste Rodin, Stanford, 1985, p. 78).