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date: 30 June 2022

Rodin, Auguste, for René François Augustefree

Rodin, Auguste, for René François Augustefree

Updated in this version

updated and revised 02 October 2012

French, 19th – 20th century, male.

Born 12 November 1840 , in Paris; died 17 November 1917 , in Meudon (Hauts-de-Seine).

Sculptor, watercolourist, painter (wash), draughtsman. Figures, nudes. Busts, statues, groups, monuments.

Symbolism.

Auguste Rodin, after photograph by Alvin Langdon Coburn, colour-tone engraving, 167×116 mm (Frick Art Reference Library Archives)

Auguste, for René François Auguste RODIN: signature or monogram

Auguste, for René François Auguste RODIN: signature or monogram

Gertrude Käsebier: Auguste Rodin, photograph, 330×245 mm, c. 1906 (Library of Congress Prints and Photographs Division)

Auguste, for René François Auguste RODIN: signature or monogram

Auguste, for René François Auguste RODIN: signature or monogram

Auguste, for René François Auguste RODIN: stamp of sale

Auguste, for René François Auguste RODIN: signature or monogram

Auguste, for René François Auguste RODIN: signature or monogram

Auguste, for René François Auguste RODIN: signature or monogram

Auguste Rodin was born on the Rue de l’Arbalète, in the 5th Arrondissement of Paris. His father came from Normandy and his mother from Lorraine. His father was a salaried clerk in the police force. As a child, Rodin loved drawing, and as soon as he was 14 years old and had completed his early education at a boarding school in Beauvais run by an uncle, his parents, far from thwarting his aspirations, enrolled him at the École Impériale de Dessin. This school was located on the Rue de l’École de Médecine and was known as the ‘Petite École’ - as opposed to the ‘Grande École’ (the École des Beaux-Arts). The Petite École was run by Lecocq de Boisbaudran. Here, Rodin met some of the artists who would go on to define this period, including James McNeill Whistler, Henri Fantin-Latour, and Alphonse Legros, and was lucky enough to have a few lessons with Jean-Baptiste Carpeaux, who taught modelling there. The teaching at the Petite École was thoroughly steeped in the artistic methods of the 18th century, and this had a powerful influence on Rodin - not only on his spirit, which remained emotionally attached to this period, but also on his technique, in which both the art of relief and a love of soft forms would predominate. He took to art with an extraordinary determination, painting, modelling, and, above all, drawing - not only at the École but also in the Louvre, the Bibliothèque, the Museum d’Histoire Naturelle (where he was given some guidance by Antoine-Louis Barye), the horse market, the gardens, and the streets, nurturing a passion for nature and reality. However, although he applied three consecutive times to the École des Beaux-Arts when he was about 18, he was not admitted. His conception of art was already at odds with the aesthetics and methods then current in academic tradition.

Rodin realized that he would never succeed via this route. Furthermore, since his parents were not well off, he had to go out and earn a living straightaway. He found employment with an ornamental artist, but throughout the time he was producing vast quantities of decorative motifs, he never lost sight of his objective of succeeding as a sculptor. The great skill that he acquired there earned him entry into the studio of Albert-Ernest Carrier-Belleuse, where countless models for bronzes, busts, and fantasy figures were made and still reproduced many years later. He also rough-hewed marble for various sculptors and developed ideas for all kinds of jewellery, deepening his knowledge of every aspect of sculpture. In 1862, he was grief stricken by the death of his sister and took refuge with the monks at Très-St-Sacrement, who convinced him to return to his vocation. In 1863, while he was living there, he sculpted a Bust of the Father Superior St Pierre-Julien Aymard. In 1864, he met Rose Beuret, who would become his lifetime companion.

He returned to Carrier-Belleuse from 1864 to 1870 and resumed his ornamental work; one of his commissions was for the Hôtel de la Païva on the Champs-Élysées. In 1864, he had presented the Salon with the mask of the Man with the Broken Nose, whose prototypes from Antiquity he had studied, but it was refused. After the Franco-Prussian War of 1870, he was persuaded to move to Belgium by a friend, the Belgian sculptor Antoine van Rasbourg, who had been awarded a commission for various works for public buildings there. Rodin stayed in Belgium for five years and, with his friend, built a monument in Antwerp in memory of a burgomaster, some caryatids for the Palais de la Bourse, and some friezes for the Palais des Académies in Brussels. In spite of this work, his financial situation remained precarious, and when he returned to Paris, he could not afford to cast the works he was modelling; most were destroyed, including a Bacchante and a statue in Gothic tradition. Nevertheless, the 1870 work Bust of Mignon, which was modelled on Beuret, survived, and its grace shows the influence of Carpeaux.

In 1876, he made his first trip to Italy. He came back profoundly influenced by Donatello and especially Michelangelo. The following year he went on his first tour of France, visiting cathedrals and major Gothic monuments, the latter of which he would continue to study for the rest of his life. One of his earliest surviving works is Man Waking up to Nature, the plaster version of which was exhibited at the Salon of 1877 under the title of L’Âge d’airain ( The Age of Bronze). So perfect was its anatomical precision that Rodin was immediately accused of having made a cast from life. The incident was discussed in the press at length. Rodin attempted to defend himself, and the Directorate of Fine Arts had to intervene, ordering the administration’s inspectors to conduct an inquiry. A group of artists, including Paul Dubois, Henri Chapu, Carrier-Belleuse, Eugène Delaplanche, and Alexandre Falguière, wrote an official letter to the minister to confirm the authenticity of Rodin’s work from nature and guarantee his future as a great sculptor. During this time, he was involved in the preparatory work for the 1878 Exposition Universelle, notably the works in the Palais du Trocadéro. He also took part in the competition for the Commemorative Monument to the Défense Nationale with a maquette entitled Defence or Call to Arms, which did not even make the initial shortlist of 50 works chosen by the jury. At the Salon of 1880, he presented the bronze version of The Age of Bronze and a plaster model of a St John the Baptist Preaching, with both relief work and chiselling, which received only a third class medal but would later be purchased by the French state.

Around 1880, when he was nearly 40 years old, in order to support himself and his family, he entered the Sèvres Porcelain Manufactory, where he produced numerous decorations for ceramic vases. Although he had still received little success as a sculptor, the Directorate of Fine Art gave him first one, then two studios in the Dépôt des Marbres, where he was able to work comfortably. In 1880, the Directorate commissioned a major work from him: a door for the planned museum of decorative arts (which was never built) and would become known as The Gates of Hell. Once he more or less had the material means that his creativity required, and was permanently installed in his studios, Rodin began to build up an enormous body of work. In 1900 at the Exposition Universelle in Paris, he held a solo exhibition in a pavilion on the Place de l’Alma. This finally earned him the recognition of an immense international public and, thereafter, fame and fortune.

In the two studios that had been assigned to him in the Dépôt des Marbres, one at 182 Rue de l’Université, Rodin worked for years on The Gates of Hell. He had decided upon the substantial dimensions of about 21 x 13 feet (635 x 400 cm); he had also decided to base the subject matter on Dante’s Divine Comedy, with a large number of small figures so that he could never again be accused of making a cast from life. Two tall relief panels represent the key episodes in the Divine Comedy and contain more than 180 figures. A third relief forms a lintel at the top of the doors, at the center of which is the figure of Dante; he is seated, unhappily contemplating humanity writhing in the torments of punishment at his feet. This is considered to be a version of the Dante who, isolated, taken out of context, enlarged, and placed in front of the Panthéon, is better known as The Thinker. Surrounding the reliefs is an elaborate frame, surmounted by three Shades. The Gates of Hell is the largest of Rodin’s monumental works and the largest sculpture of the Symbolist period. For this work, Rodin employed all the techniques of the trade - low relief, high relief, and sculpture in the round - which give the work a diversity that does not compromise its homogeneity. During the long conceptual phase, and diverted by other aspirations, Rodin perhaps regretted the decorative bias of the piece and abandoned it. The work was never finished, although he returned to it throughout his life, reworking some of the figures, changing them around, and removing others to exhibit at the Salon. However, it was shown at the 1900 Exposition Universelle, then, after Rodin’s death, cast in bronze and permanently installed at the Musée Rodin.

Meanwhile, from 1879 to 1883, he sculpted a large Bust of Bellona and exhibited two life-sized figures at the Salon: The Creation of Man and Adam (perhaps in memory of the Sistine Chapel), which have since been destroyed, along with Eve, the bronze version of which was shown at the Salon in 1889. He followed these up with busts of W. E. Henley, Jean-Paul Laurens, Carrier-Belleuse, and the engraver Alphonse Legros. A few milestones of the rest of his vast body of work include: bronze Bust of Victor Hugo (1884); The Man with the Snake (1885); Bust of Henri Becque (1886), which was later erected at the end of the Avenue de Villiers; the model for The Kiss (1886), the enlarged marble version of which was purchased by the French state; the first sketch for the Monument to Victor Hugo (1886); Head of St John after the Decapitation (1887), inspired by the Italian Renaissance; the model for the Monument to Claudio Vicunha, President of the Republic of Chile (1888), whose energetic figure dominates a pedestal representing a Victorious Apollo, a monument that now stands in a square in Buenos Aires; the Bust of Mrs Morlo Vicunha (1888), one of his most moving female portraits; the bronze Bust of Dalou (1889); and the Statue of Bastien-Lepage (1889).

In 1889, Rodin also produced the first life-sized plaster group of the Burghers of Calais, a monument commissioned in 1885 by the town of Calais that was supposed to have been ready to be delivered to the town in 1886. Made of bronze, it was eventually erected in Calais in 1895. It commemorates the sacrifice of several citizens who volunteered to be taken prisoner by English forces in order to spare the city from siege in 1347. At first the patrons objected to Rodin’s treatment of the subject but eventually accepted the monument. However, Rodin objected to the high base on which it was placed and its location. Subsequently, replicas have been placed at ground level as Rodin wished, by the Thames in London, on a promenade in Copenhagen, and elsewhere. Pedestrians walking past the statue are often taken by surprise and turn back to look at this group of men in shirtsleeves, subtly linked by their hands, feet, and shirts. The figures seem to be walking among the crowd, and the overall lines of their bodies and the general rhythms of the group - at least as much as the expressions on their faces - communicate tragic emotion. Rodin shows them walking to their execution, each of them in turn expressing serenity, fear, courage, and faith. As with many of his other sculptures, Rodin made them as nude figures and then covered them with shirts, which reveal their shapes, attitudes, and movements. In these various respects, the Burghers of Calais prefigure the fundamental innovations in Rodin’s work that would result in his Balzac of 1898 - the movement of the bodies, the eternal dynamism, and the insertion of the work into the surrounding space and the space into the work.

From 1889 to 1896, thanks to commissions and public interest, Rodin’s output grew to staggering proportions. Works from this period include: the Portrait of Lady R., in silver; The Thought, a marble sculpture depicting Camille Claudel; The Old Courtesan, in bronze; The Earth, a large study of a female torso; Pain; the Bust of Rochefort and the Bust of Puvis de Chavannes; the Monument to Claude Lorrain, erected in Nancy (not without new difficulties with the commissioning authority); Venus and Adonis Dying; Triumphant Young Girl; Orpheus and Euridyce; Cupid and Psyche; The Illusion; and Daughter of Icarus. In 1892, when his Monument to Sarmiento, President of the Republic of Argentina was unveiled, it caused a riot.

In 1896, a work commissioned for the Panthéon came out of his studio: the plaster group entitled Monument to Victor Hugo. Rodin had audaciously portrayed him nude, causing a scandal in official circles and beyond. Gustave Larroumet, the undersecretary of the Directorate of Fine Arts, found himself obliged to make the decision to send it to the Luxembourg Gardens; in 1909, it was eventually placed in the garden of the Palais Royal on an extraordinary base composed of pieces of marble designed by Rodin, which was completely destroyed when it was moved again in 1939. The scandal did not stop the Directorate’s undersecretary from commissioning a second clothed monument for the Panthéon.

In 1898, Rodin caused another scandal with the Balzac commissioned by the Société des Gens de Lettres, which was to be placed in a Paris square. He exhibited it at the Salon de la Société Nationale des Beaux-Arts, but it caused such a storm of controversy that Rodin withdrew the work from the Salon. The finished Balzac was preceded by more than 25 studies for the head and about 20 for the body. Besides the scandal of a bourgeoisie offended by anything new, more enlightened critics caused controversy by associating Rodin with Medardo Rosso. Rodin admired Rosso enormously and had previously exchanged a bronze Torso for Rosso’s Woman Laughing (1891). Unfortunately, the two artists fell out over a quarrel about Balzac, probably stoked by others, regarding which of them had first introduced the Impressionist vision into sculpture. Born in 1840, Rodin was the exact contemporary of the Impressionists. Although his work cannot be described as Impressionist, he too was sensitive to the fragility of appearances, and numerous examples in his statues, wash drawings, and other drawings show his keenness to express movement and to prolong the form over the passage of time, which he himself clearly analysed with reference to the Monument in Memory of Maréchal Ney by François Rude.

The triumph of his exhibition in the Place de l’Alma in 1900, which erased any traces of the controversy surrounding Balzac, did not deter him from continuing to work. He had never stopped drawing but, in this final period, he drew even more than he sculpted, ultimately producing a total of several thousand drawings and watercolours. He had studied drypoint and etching techniques with Legros in London but took on little illustration work: between 1885 and 1895, he provided some of the illustrations for The Complete Works of Victor Hugo; in 1899, he produced the frontispiece for Le Jardin des Supplices ( The Torture Garden) by Octave Mirbeau; in 1902, he created some of the illustrations for Five Poems ( Cinq Poèmes) by Ambroise Victor Hugo; in 1902, he made the original lithographs, published by Vollard, for Octave Mirbeau’s The Torture Garden; in 1910, his wash drawings were reproduced as phototypes for Poèmes d’Humilis ( Poems of Humilis) by Germain Nouveau; in 1918, after his death, his pen drawings for Twenty-seven Poems from Les Fleurs du Mal by Charles Baudelaire were reproduced as phototypes; in 1935, his drawings were engraved on wood by J.-L. Perrichon for Ovid’s Elegies; in 1955, Paul Baudier engraved his drawings on wood for Dante’s Inferno; and La Tentation de Saint Antoine ( The Temptation of St Antony) by Gustave Flaubert, has also been cited, but with no reference, date, or publisher.

Rodin was also still producing sculptures, including: The Kiss, a large marble group; a sketch for the Monument to Work; Benediction, a delicate group; the large bronze figure of Eve; a portrait of the sculptor Alexandre Falguière; The Earth and the Moon; and Psyche Carrying Her Lamp. In 1902, he produced 13 works, including The Temptation of St Antony, The Hand of God, and The Sculptor and His Muse. In 1904, he produced Romeo and Juliet, Portrait of Mrs S. (an extremely elegant marble sculpture), and a Portrait of George Wyndham, an English statesman. In 1905, there were 11 works, including Bust of Gustave Geffroy, Bust of Miss E.F., and also an ensemble with an overtly decorative intention, making it exceptional in Rodin’s work - the series of high reliefs entitled The Seasons, commissioned to decorate a villa in Évian. Inspired by the serenity of Greek statuary, the series consists of three pediments that form overdoors, representing young women stretched out asleep beneath bunches of flowers or tumbling masses of fruit, and two white stone bowls, representing children playing and jostling among the corn and ripe vine branches. In these high reliefs, which are comparable to groups, Rodin was particularly successful in his division of light across the whole work and the reciprocal integration of the forms, whose contours progressively melt into their own shadows and the shadows cast by the other figures. Other groups and busts were to follow, including the Bust of Marcelin Berthelot, the Bust of Georges Clémenceau in (approximately 1911), and the Bust of E. Clementel.

During the time of sculptors like Carrier-Belleuse, Denys Puech, and Falguière, Rodin confided: ‘I do not think it necessary to linger over polishing the toes and locks of hair; these are details of no interest to me. They would compromise the general idea and overall direction of my work.’ For the rest of his career, beyond the external appearance of the theme, it was the fleeting emotion experienced in a moment that the artist wished to preserve and re-create by translating it into three-dimensional equivalents. In some respects Rodin’s work is a final echo of Romanticism, but above all it heralds modern sculpture in that it favours expression over realism and sculptural sense over narrative imitation.

Group Exhibitions

1877, 1880, 1889, Salon, Paris

1877, Cercle Artistique, Brussels

1898, Salon de la Société Nationale des Beaux-Arts, Paris

2001, From Rodin to Baselitz: The Torso in Modern Sculpture (Von Rodin bis Baselitz. Der Torso in der Skulptur der Moderne), Staatsgalerie, Stuttgart

2007, Seduced: Art and Sex from Antiquity to Now, Barbican Art Gallery, London

2008, Traces of the Sacred (Traces du Sacré), Centre Pompidou, Paris (an exhibition exploring the relationship between art and spirituality from the 19th century to the present day)

Solo Exhibitions

1900, Place de l’Alma, Paris

1981, Rodin Rediscovered, National Gallery of Art, Washington, DC

1986, Hayward Gallery, London

2002, Victor Hugo as Seen by Rodin (Victor Hugo Vu par Rodin), Musée des Beaux-Arts et d’Archéologie, Besançon, and at Victor Hugo’s house in Paris

2006, Éros, Rodin et Picasso, Fondation Beyeler, Bâle

2006, Figures of Eros, Drawings and Watercolours 1890-1917 (Les Figures d’Eros, dessins et aquarelles 1890-1917), Musée Rodin, Paris

2006–2007, Royal Academy of Arts, London, and Kunsthaus, Zurich

2007, Rodin and the Japanese Dream (Rodin, le rêve Japonais), Musée Rodin, Paris

2007, Auguste Rodin, The Kiss, the Couples (Auguste Rodin, Der kuss die paare), Museum Folkwang, Essen

2007–2008, Rodin et la photographie, Musée Rodin, Paris

2009, Erotic Rodin (Rodin Érotique), Fondation Pierre Gianadda, Martigny

2010, Palazzo Leoneda Perego, Legnano

2010–2011, Rodin and Vienna, Belvedere, Vienna

2011–2012, Rodin and America, Cantor Center, Stanford University, Stanford (CA)

Museum and Gallery Holdings

Algiers (Mus. National des Beaux-Arts): Meditation (bronze)

Amiens (Mus. de Picardie): Puvis de Chavannes (marble bust); Children’s Games (marble)

Baltimore, MD (MA)

Berlin (Gemäldegal.): The Sculptor Dalou; The Sculptor Falguière; Man and His Thought; The Age of Bronze; The Thinker

Béziers (MBA): The Thinker (plaster); Man with the Broken Nose (plaster); Bust of Falguière (plaster)

Bremen (Kunsthalle): The Age of Bronze; St John the Baptist; Bust of Dalou; Three Burghers of Calais

Brussels (MBA): Caryatid (stone); The Thinker (bronze); Eugène Guillaume (bronze); Burgher of Calais (bronze); The Painter Alphonse Legros (bronze)

Bucharest (Muz. National de Arta al României): Spring

Cambrai (MBA): Bust of Victor Hugo

Düsseldorf (Kunstsammlung Nordrhein-Westfalen): The Age of Bronze (bronze); The Last Sigh (marble)

Edinburgh (Scottish National Portrait Gallery): William Ernest Henley (bronze)

Geneva (MAH): Muse; The Poet; Man with the Broken Nose

Helsinki (Valtion Taidemus.): Satyrs; Danaides; Group (subject taken from Dante’s Inferno); Bust of Balzac

La Roche-sur-Yon (Mus. municipal): Mignon

Lausanne (Cantonal MFA): The Thinker (c. 1880-1888, bronze); Bust of Victor Hugo (c. 1883, bronze); The Kiss (1886, bronze)

Lyons (MBA): Puvis de Chavannes

Melbourne (Fine Arts Mus.): M.-P. Laurens; Minerva without Her Helmet

Montreal (MAC): Burgher of Calais: Jean d’Aire (1890, cast in 1966, bronze)

Moulins (Mus. Anne de Beaujeu): Portrait of Henri Becque (three)

Nantes (MBA): Shade (plaster)

Paris (Mus. d’Orsay): Victor Hugo (marble); Crouching Woman (bronze); Alphonse Legros; Fugit Amor (bronze); St John the Baptist (bronze); Man with the Broken Nose (bronze); Faun and Nymph (bronze); The Sculptor Eugène Guillaume (bronze); Jules Dalou (bronze); Puvis de Chavannes (bronze); Gustave Geffroy (bronze); The Age of Bronze (bronze); Henri Rochefort; Mask of a Woman; Danaides; Crouching Woman; Eve; Torso of a Young Woman; Head of St John the Baptist; Sadda Yacco; Woman (two busts); Gustav Mahler; English Gentleman; Faun and Nymph; M. Rejan; Victor Hugo; Pain; Jean-Paul Laurens; Falguière; The Thought; Berthelot; Mrs Hunter; George Wyndham; Caryatid; Guillaume; The Duke de Rohan; The Kiss (two works); The Old Courtesan; The Hand of God; Bellona; Winter (1890, marble statuette)

Paris (Mus. Rodin): Maternal Affection (terracotta); Venus and Cupid (terracotta); Spring; The Two Caryatids of St-Gilles (plaster); The Three Caryatids of the Boulevard Anspach (plaster); Dosia (terracotta); Suzon (plaster); J.B. Willems (plaster); Paul de Vigne (plaster); Idyll of Ixelles (plaster); Amor (plaster); The Age of Bronze (bronze); Lorraine (plaster); The Walking Man (plaster); Danielli (plaster); St John the Baptist Preaching (plaster, decorative mascarons); Defence (gilded bronze); Young Girl Eavesdropping (plaster); Bellona (terracotta); Adam or the First Man (bronze); Gates of Hell (three plasters); The Thinker (plaster); The Thinker (bronze); The Three Shades (plasters); The Three Shades (bronzes); Small Head with Hair in the 1880 Style (bronze); Mask of a Woman (bronze); Crying Lion (bronze); Fallen Caryatid Carrying Her Stone (two bronzes); Eve (bronze); Eve with a Rock (marble and bronze); Lazare Carnot (plaster); Alphonse Legros (bronze); Jean-Paul Laurens (bronze); Children Kissing (marble); Despairing Adolescent (plaster); Ugolino (two bronzes); Head of Pain (bronze); Torso of Adèle (plaster); Small Man with the Broken Nose (plaster); Damned Women (plaster and bronze); Falling Man (plaster); Male Torso (plaster); Crouching Woman (bronze); Lust (plaster); I Am Beautiful (plaster); Carrier-Belleuse (plaster); Three Female Fauns (plaster); The Three Virtues (plaster); Small Standing Torso (bronze); Fallen Caryatid Carrying an Urn (gilded bronze); Dalou (plaster and bronze); Huguette (bronze); Victor Hugo (bronze); Seated Old Man (plaster); Henri Becque (terracotta); The Earth (bronze); General Margueritte (plaster); Mademoiselle Claudel (bronze); Rochefort (plaster); Kneeling Female Faun (plaster); Standing Female Faun (plaster); Madame Alfred Roll (marble); W.E. Henley (plaster); Eternal Spring (bronze); Antonin Proust (plaster); Madame Vienna (marble); Study for ‘Eustache de St-Pierre’ (bronze); Study for a Burgher of Calais (bronze); Adam and Eve (marble); Cupid Bearing Sails; Eve and the Snake (marble); She Who Was the Helmet-maker’s Beautiful Wife (bronze); Small Shade No. 1 (plaster); Small Shade No. 2 (plaster); Meditation (two bronzes); Tragic Muse (marble); Young Mother (bronze); Cupid Passing (plaster); Young Mother at the Cave (plaster); Psyche (plaster); Spirit Taking Flight (plaster); Stepping over the Stream (plaster); Zoubaloff Female Faun (plaster); Winged Spirit Falling (plaster); Danaid (marble); Falling Movement (plaster); Damned Woman Struck Down (bronze); Andromeda (bronze); Small Head of a Damned Woman (bronze); Closed Eyes (bronze); Damned Woman (bronze); Iris Waking a Nymph (bronze); The Martyr (bronze); Small Head of the Martyr (plaster and bronze); The Little Martyr (plaster); Small Head with Upturned Nose (bronze); The Metamorphoses of Ovid (plaster and bronze); Psyche (marble); Small Torso Reclining (bronze); Daphnis and Lycenios (bronze); Cupid and Psyche (plaster); Sphinx (bronze); Old Supplicant (plaster); Toilet of Venus (bronze); Minotaur (bronze); Children with a Lizard (bronze); Victor Hugo (small bronze bust); General Lynch (plaster); Invocation (plaster); The Thought (marble); The Kiss (marble); The Burghers of Calais (plaster); Dewantin (plaster); Study for ‘Fugit Amor’ (plaster); Fugit Amor (marble); Avarice and Lust (plaster); The Wave (marble); Decapitated Head of St John the Baptist (bronze); Fatigue (bronze); Perseus and Medusa (bronze); Bastien-Lepage (plaster); Pain No. 2 (bronze); Paolo and Francesca (two plasters); Flying Figure (plaster); Sirens (plaster and bronze); Mrs Russell (wax original); The Ascendancy (plaster and marble); The Ascendancy No. 2 (plaster); Sin (two plasters); Little Girl (two plasters); Female Faun and Satyr (bronze); Zoubaloff Bather (plaster); Small Head of a Man (plaster); Torso of a Little Girl (bronze); The Death of the Poet (plaster); Polyphemus and Acis (bronze); Polyphemus No. 1 (plaster); Polyphemus (bronze); Polyphemus No. 2 (plaster); Mercury Standing (plaster); Study of a Half-closed Hand (bronze); Reclining Nymph (plaster); Tympan from the Gates of Hell (plaster); The Antony Roux Idyll (bronze); Kneeling Man (plaster); Prodigal Child (bronze); Awakening (plaster); Affection in Vain (bronze); Head of a Man Laughing (bronze); St George (plaster); Aphrodite (plaster); Orpheus and the Maenads (marble); The Shell and the Pearl (marble); Woman Crying (marble); Nymph Crying (plaster); Woman Crying (plaster); Danaid Weighed Down (bronze); Pain No. 1 (plaster); Poverty (plastiline); Study for the Seated Woman (plaster); Man and His Thought (plaster); Death of Adonis (bronze); Resurrection of Adonis (plaster); The Claude Lorrain Monument (bronze); Claude Lorrain (plaster); Octave Mirbeau (terracotta); Roger Marx (terracotta); The Temptation of St Antony (plaster); Pygmalion and Galatea (plaster); Bastien-Lepage (plaster medallion); Sleep (marble); Succubus (bronze); The Dream (plaster); Ariadne (marble); Female Centaur (marble); The Eternal Idol (plaster and bronze); The Despairing (plaster); Study of a Woman (bronze); Despair (two plasters and two bronzes); Madame Auguste Rodin (marble and bronze); Shade Combing Her Hair (plaster); Little Water Fairy (marble); Brother and Sister (bronze); Iris, Messenger of the Gods (bronze); Head of Iris (bronze); Flying Figure (bronze); Puvis de Chavannes (bronze); César Franck (plaster); Convalescent (marble); Farewell (plaster); Orpheus (bronze); Séverine (plaster); Study for the Head of Balzac (bronze); Studies for Balzac (two bronzes); Victor Hugo (bronze); Paolo and Francesca on the Clouds (marble); Triumphant Youth (plaster); Spirit Giving Thanks (plaster); Blessings (bronze); Christ and Mary Magdalene (plaster); Apollo Crushing Python the Snake (plaster); The Witch (plaster); Octave Mirbeau (plaster); The Illusions Received by the Earth (plaster); Head of a Bishop (lost-wax); Sketch for Balzac (bronze); Study of a Nude (plaster); Poet and Cupid (plaster); Obsession (marble); Minerva with Her Helmet (two plasters); Pallas at the Parthenon (marble); Victor Hugo Standing (plaster); Victor Hugo (bronze); Rochefort (bronze); Balzac (plaster); Falguière (plaster and bronze); The Hand of God or The Creation (marble); Ecclesiastes (plaster); Head of a Funerary Spirit (bronze); The Spirit of Eternal Rest (plaster); The Earth and the Moon (plaster); Faun with a Bow (bronze); The Group with No Name (plaster); Arthur Jérôme Eddy (bronze); Madame F... (two marbles); The Storm (marble); Pan and Nymph (marble); Study for Baudelaire (plaster); Youth (plaster); Psyche Carrying Her Lamp (plaster); Death of Alcestes (plaster); The Bad Spirits (plaster and bronze); The Confidence (plaster); The Good Spirit (plaster); The Sparrowhawk and the Dove (2 marbles); Small Study of a Head (terracotta); Triton and Nereid on a Dolphin; The First Funerals (stone); The Spring (marble); The Poet and the Siren (marble); Romeo and Juliet (bronze); Constellation (marble and bronze); Final Vision (plaster); The English Doctor (marble); Madame Nostolz (bronze); Mrs Simpson (plaster); Aesculapius (bronze); The Athlete (bronze); Exhortation (bronze); George Wyndham (bronze); Eugène Guillaume (bronze); Mrs Polter Palmer (marble); Two Muses for the Whistler Monument; Small Head of the Muse (terracotta); Autumn (low relief); Study for France (plaster); France (bronze); Psyche Transported by the Chimera (marble); Baron Paul d’Estournelles de Constant (bronze); The Poet and the Muse (plaster); Paolo Malatesta and Francesca da Rimini (marble); Psyche and Cupid (marble); The Creation of Woman (marble); Gustave Geffroy (bronze); Miss Eve Fairfax (two marbles and terracotta); Georges Becq (stone bust); Zephyrus and Psyche (marble); Aurora and Tithonus (marble); Bernard Shaw (marble and terracotta); Mrs Hunter (plaster and bronze); Lord Howard de Walden (bronze); Fish-woman (marble); Marcellin Berthelot (two bronzes); Madame de Noailles (plaster); Georges Leygues (plaster); Madame N. de Gouloubeff (bronze); Study of a Slav Woman (marble); Before the Sea (plaster); Flowers in a Vase (marble); Day and Night (marble); Henri Becque (plaster); Madame Élisséieff (bronze); Pulitzer (plaster); Hanatro (bronze and terracotta); Stendhal (plaster); Ariadne (marble); Mother and Her Dying Daughter (marble); Duchess de Choiseul (marble, bronze, and terracotta); W. de Kay (plaster and marble); Lady Warwick (marble); The Cathedral (stone); Study of Hands (marble); Renée Vivien (terracotta and bronze); Torso of a Young Woman (bronze); Prayer (plaster); Barbey d’Aurevilly (original wax and plaster); M. Harrimann (terracotta, marble, and bronze); Gustav Mahler (terracotta and bronze); Thomas Ryan (bronze); Duke de Rohan (terracotta and bronze); Hugo Monument for the Palais Royal (marble); Women Entwined (marble); Transport and Rapture (marble); Bacchantes (marble); Nymphs Playing (marble); Nymphs Embracing (marble); Bacchantes Entwined (bronze); Oceanids (marble and bronze); The Fall of the Angels (plaster); Puvis de Chavannes (two marbles); Mozart (marble); The Secret (marble); Hand Coming out of the Tomb (marble); Victor Hugo (marble); Female Figure, Waist-length (bronze); Clémenceau (bronze); Study of Movement (plaster); Bacchus and the Wine Tank (marble); Lady Sackville-West (plaster); Cathedrals; Dante (plaster); Spirit of Eternal Rest (marble); Lady Sackville-West (marble); Benedict XV (bronze); Étienne Clémentel (two bronzes); The Defence of Verdun (plaster); Horse (painting)

Philadelphia (Rodin Mus.): large collection of casts, models and drawings

Phoenix, AZ (AM): The Kiss (Le Baiser) (1880-1882, bronze)

Rotterdam: Eve

St-Brieuc: The Gates of Hell

Stockholm: Victor Hugo; Bellona

Vannes: Victor Hugo (plaster)

Auction Records

Paris, 28 March 1919: Standing Nude (watercolour) FRF 610

Paris, 2-4 June 1920: Study for the Man with the Snake (wash) FRF 2,000; Research for the Abduction (pen) FRF 4,800

Paris, 27 May 1926: Female Nudes (pencil and wash) FRF 2,000

Paris, 15-17 June 1927: Cupid and Psyche (watercolour) FRF 8,100

Paris, 20 April 1929: The Embrace (watercolour) FRF 8,050

Paris, 22 Nov 1930: Male Nude Mounting a Horse (Indian ink wash heightened with gouache) FRF 15,000; Group of Women and Children Entwined (pen drawing, heightened with sepia and gouache) FRF 15,000

Paris, 24 May 1933: Study for ‘The Thinker’, FRF 2,280; Balzac (dark-patinated bronze, one of three casts taken from the original by Rudier) FRF 11,000

Paris, 15 March 1935: St John the Baptist Preaching (drawing) FRF 25,000

Paris, 1 June 1938: Eve (patinated bronze cast by Rudier) FRF 27,000

Paris, 4 March 1943: Nude from the Back (graphite and watercolour) FRF 30,100

Paris, 20 June 1947: Study of a Nude (watercolour) FRF 20,000; Seated Nude (watercolour) FRF 22,800

Paris, 4 July 1949: Nude from the Back (watercolour) FRF 32,500

Paris, 28 Nov 1949: Nude from the Back, Hair Tied (watercolour) FRF 120,000

Paris, 19 Dec 1949: Nude Seated, Legs Crossed (watercolour) FRF 55,000

Stuttgart, 18 Oct 1950: Nude Kneeling (watercolour) DEM 770

Paris, 27 April 1951: Nude Standing (watercolour) FRF 32,500; Cambodian Dancer (watercolour) FRF 29,000

Paris, 28 May 1951: Studies for the Divine Comedy (1885, two pen drawings, heightened with gouache) FRF 103,000

Paris, 20 May 1953: Leda (watercolour) FRF 112,000

Paris, 7 March 1955: Two Women Entwined (graphite) FRF 155,000

London, 22 June 1955: Study for the Bust of Balzac (bronze) GBP 130

Bern, 7 Nov 1958: Out of the Bath (watercolour) CHF 1,270

Paris, 1 Dec 1959: Effect of Light (watercolour) FRF 205,000

London, 11 April 1962: Eve (bronze) GBP 1,500

New York, 11 Dec 1963: Venus Victorious, on a Classical Pedestal with a Low Relief Representing The Judgement of Paris (patinated bronze) USD 9,750

London, 29 April 1964: Christ and Mary Magdelene (marble) GBP 12,500

New York, 23 March 1966: Balzac (bronze) USD 70,000

New York, 5 April 1967: The Thinker (bronze) USD 40,000

London, 7 July 1971: The Age of Bronze (bronze) GBP 16,000

Paris, 13 April 1973: Icarus Wounded (watercolour) FRF 15,000

New York, 2 May 1974: Balzac (1893, black-patinated bronze, cast by Rudier) USD 30,000

Paris, 27 Nov 1974: Brother and Sister (patinated bronze) FRF 40,000

Paris, 12 April 1976: Nude Woman with Red Hair (watercolour, 11 × 7½ ins/27 × 19 cm) FRF 3,400

London, 29 June 1976: Eve (1899-1900, white marble, h. 31½ ins/80 cm) GBP 36,000

London, 30 March 1977: Seated Woman (pencil and watercolour, 12¾ × 9¾ ins/32.3 × 25 cm) GBP 1,500

Paris, 9 June 1977: Seated Nude (watercolour and pencil, 9 × 8¼ ins/22 × 21 cm) FRF 8,000

New York, 19 Oct 1977: The Kiss (1886, grey-patinated bronze, h. 34 ins/86.4 cm) USD 80,000

Paris, 8 March 1979: Henri Becque (1885, etching and drypoint) FRF 12,500

Bern, 22 June 1979: Figure of a Young Dancer, Right-facing (c. 1900, watercolour/pencil outlines, 12¾ × 9¾ ins/32.5 × 24.9 cm) CHF 9,500

Monte Carlo, 25 Nov 1979: Mother and Child Kneeling (c. 1880, Indian ink and gouache, irregularly shaped, 3¾ × 6 ins/9.5 × 15.5 cm) FRF 65,000; Jean d’Aire: Nude for the Burghers of Calais Monument (c. 1886, bronze, h. 80 ins/203 cm) FRF 1,050,000

New York, 22 May 1982: Eve (1881, brown-patinated bronze, h. 68 ins/173 cm) USD 210,000

New York, 18 May 1983: Spring (c. 1878, charcoal/grey paper, 18¼ × 11¾ ins/46.5 × 30 cm) USD 8,500

London, 30 June 1983: Victor Hugo: Three-quarter View (1885, drypoint, 9 × 7 ins/22.6 × 17.7 cm) GBP 1, 700

New York, 15 May 1984: Adam (1880, green-paintated bronze, h. 76 ins/193 cm) USD 350,000

New York, 31 May 1984: Study of a Nude (watercolour, gouache, and pencil/mounted paper/card, 12½ × 11¼ ins/32 × 28.5 cm) USD 12,000

New York, 14 May 1985: Bad Spirits (marble, h. 26¾ ins/68 cm) USD 190,000

Milan, 11 June 1985: Nude Dancer (c. 1876, watercolour, 19¼ × 14½ ins/49 × 37 cm) ITL 7,500,000

Hamburg, 10 June 1986: Reclining Nude Viewed from Behind (c. 1900, pencil drawing with watercolour, 9 × 11¼ ins/22 × 28.6 cm) DEM 34,000

Paris, 26 June 1986: Eternal Spring (patinated bronze, h. 25½ ins/65 cm) FRF 825,000

New York, 18 Nov 1986: The Thinker (c. 1880-1881, dark-green-patinated bronze, h. 27 ins/68.5 cm) USD 400,000

Paris, 20 Nov 1987: Eve (patinated bronze with green tones, h. ¾ ins/1.73 cm) FRF 4,600,000; Eve (patinated bronze with green tones, h. 68 ins/173 cm) FRF 4,600,000

La Varenne-St-Hilaire, 6 Dec 1987: The Young Mother (patinated bronze) FRF 470,000

Paris, 21-22 Dec 1987: The Age of Bronze (brown-black-patinated bronze, h. 25½ ins/64.5 cm) FRF 400,000

Calais, 28 Feb 1988: Eustache de St-Pierre (brown-patinated bronze, 18 ins/45.5 cm) FRF 100,000

Paris, 21 March 1988: Jean d’Aire, Nude: Study for ‘The Burghers of Calais’ (c. 1885, bronze, h. 41 ins/104 cm) FRF 1,000,000

London, 30 March 1988: Gustav Mahler (bronze) GBP 19,800

New York, 12 May 1988: Woman and Siren (watercolour and pencil/buff-coloured paper, 12½ × 9½ ins/31.8 × 24.1 cm) USD 35,200; Right Hand (brown-patinated bronze, h. 3½ ins/8.9 cm) USD 5,500; Large Right Hand (dark-green-patinated bronze, h. 12½ ins/32 cm) USD 27,500; The Sirens (brown-patinated bronze, h. 17¼ ins/43.8 cm) USD 41,800

Paris, 8 June 1988: Torso of a Man (patinated bronze, h. appro × . 11 ins/27 cm) FRF 85,000

Paris, 15 June 1988: Fugit Amor (plaster, l. 19 ins/48 cm) FRF 31,000

Paris, 22 June 1988: Zoubaloff Bather (1888, bronze) FRF 330,000; The Thinker (1880, patinated bronze, h. 26¾ ins/68 cm) FRF 1,950,000

Paris, 24 June 1988: The Little Bather or Crouching Bather (brown-patinated bronze, h. 8¼ ins/21 cm) FRF 72,000; Caryatid with Her Stone (1880-1881, brown-patinated bronze) FRF 350,000

London, 28 June 1988: The Old Tree (bronze sculpture, h. 15½ ins/39.3 cm) GBP 33,000

London, 29 June 1988: Portrait of Monsieur Haquette (bronze, h. 17 ins/43 cm) GBP 17,600; The Thinker (bronze, h. 14¾ ins/37.5 cm) GBP 60,500

Paris, 3 Oct 1988: Danaid (1885, brown-patinated bronze, 9½ × 18 × 12¼ ins/24 × 46 × 31 cm) FRF 501,000

New York, 6 Oct 1988: Head of Balzac (bronze, h. 11¾ ins/30 cm) USD 19,800

London, 21 Oct 1988: Cupid (pencil and watercolour, 17¾ × 14¼ ins/45 × 36.5 cm) GBP 6,050

Paris, 18 Nov 1988: The Death of Adonis (marble, 12½ × 24½ × 15 ins/32 × 62 × 38 cm) FRF 3,500,000

Paris, 20 Nov 1988: Iris, Messenger of the Gods (1890, bronze, 16 × 17 × 18 ins/40.5 × 43 × 46 cm) FRF 920,000; Despair (1890, bronze, h. 11 ins/28 cm) FRF 220,000

Paris, 22 Nov 1988: Eternal Spring (brown-patinated bronze, h. 26¼ ins/66.5 cm) FRF 1,350,000

Paris, 24 Nov 1988: Triumphant Youth (1894, bronze, h. 21¼ ins/54 cm) FRF 300,000

London, 29 Nov 1988: The Thinker (bronze, h. 14¾ ins/37.5 cm) GBP 143,000

Paris, 16 Dec 1988: Succubus (1889, patinated plaster, h. 9 ins/23 cm) FRF 96,000

Paris, 30 Jan 1989: Head of Jean d’Aire (green-patinated bronze, h. 5½ ins/14 cm) FRF 40,000

New York, 16 Feb 1989: Three Female Fauns (bronze, h. 9½ ins/24.1 cm) USD 60,500

London, 22 Feb 1989: Zoubaloff Female Faun (1885, bronze, h. 6¾ ins/17.2 cm) GBP 25,300

Paris, 31 March 1989: The Kiss (1886, bronze, h. 33¾ ins/86 cm) FRF 4,250,000

London, 3 April 1989: The Thinker (bronze, h. 28¼ ins/71.5 cm) GBP 275,000

New York, 10 May 1989: The Three Shades (1880, bronze, h. 37¾ ins/95.9 cm) USD 407,000

Paris, 20 June 1989: Cupid and Psyche (1886, white marble, 9 × 27½ × 17¾ ins/23 × 70 × 45 cm) FRF 2,750,000

Paris, 22 June 1989: Monumental Head of Jean d’Aire (bronze) FRF 500,000

New York, 15 Nov 1989: The Thinker (brown-patinated bronze, h. 27 ins/68.5 cm) USD 907,500

Paris, 20 Nov 1989: Hand (green-patinated bronze, h. 10 ins/25.5 cm) FRF 95,000

Paris, 27 Nov 1989: The Age of Bronze (bronze, h. 71¼ ins/181 cm) FRF 3,500,000

Paris, 1 April 1990: Eternal Spring (1884, patinated bronze) FRF 1,000,000

London, 2 April 1990: Fugit Amor (marble, h. 34½ ins/87.6 cm) GBP 319,000

Paris, 4 May 1990: The Despairing Adolescent (plaster, H.11 ins/27 cm) FRF 110,000

Paris, 11 May 1990: Model in a Black Pinafore (watercolour, 17¼ × 11 ins/44 × 27 cm) FRF 210,000

New York, 17 May 1990: The Burghers of Calais (bronze, six large-format statues, h. between 79½ ins/202 cm and 87¼ ins/221.5 cm) USD 4,290,000

Paris, 16 June 1990: Dance Movement (1900, bronze, h. 12 ins/30.5 cm) FRF 280,000

Paris, 2 July 1990: The Thinker (1880, bronze, h. 28 ins/71 cm) FRF 1,600,000

London, 17 Oct 1990: Crying Lion (1881, marble, h. 11½ ins/29 cm, l. 12¾ ins/32.5 cm) GBP 17,600

New York, 13 Nov 1990: The Thinker (dark-brown-patinated bronze, h. 27½ ins/69.9 cm) USD 1,210,000

Paris, 5 Dec 1990: The Shade (bronze, h. 37½ ins/95 cm) FRF 950,000

New York, 15 Feb 1991: Four Titans (greenish-brown-patinated terracotta, respectively h. 12 ins/30.5 cm; 13 ins/33 cm; 11½ ins/29.2 cm; 11½ ins/29 cm) USD 60,500

Paris, 25 March 1991: The Age of Bronze (bronze, h. 25¼ ins/64 cm) FRF 390,000

New York, 8 May 1991: The Kiss (green-patinated bronze, h. 23¼ ins/59 cm) USD 132,000

London, 16 Oct 1991: Triumphant Youth (bronze, h. 20½ ins/52 cm) GBP 34,100

Montreal, 19 Nov 1991: Hand No. 30 (bronze, h. 4½ ins/11.5 cm) CAD 2,800

Paris, 28 Nov 1991: Pierre de Wiessant (bronze, h. 17¾ ins/45 cm) FRF 260,000

Copenhagen, 4 Dec 1991: Seated Female Nude (watercolour, 12½ × 9¾ ins/32 × 25 cm) DKK 54,000

New York, 25-26 Feb 1992: The Athlete (brown-patinated bronze, h. 15½ ins/39.4 cm) USD 170,500

New York, 13 May 1992: The Thinker (brown-patinated bronze, h. 28¼ ins/71.8 cm) USD 880,000

New York, 13-14 May 1992: Circle of Loves (gouache, pencil, and ink/paper, 7½ × 5½ ins/19.1 × 14 cm) USD 104,500

London, 1 July 1992: The Metamorphoses of Ovid (bronze, h. 12¾ ins/32.5 cm) GBP 55,000

New York, 11 Nov 1992: Eternal Spring (brown-patinated bronze, h. 26 ins/66 cm) USD 297,000

London, 1 Dec 1992: Eve (white marble, h. 30 ins/76 cm) GBP 429,000

Paris, 11 Dec 1992: The Age of Bronze (bronze, h. 25½ ins/64.5 cm) FRF 580,000

Paris, 24 Feb 1993: Bust of Bellona (1883, drypoint) FRF 7,500

Bordeaux, 24 Nov 1993: The Kiss (bronze, h. 23½ ins/60 cm) FRF 600,000

Paris, 29 Nov 1993: Cupid and Psyche (1900, bronze, 9 × 27¼ × 18 ins/23 × 69 × 46 cm) FRF 790,000

London, 30 Nov 1993: Portrait of Mrs Russell (plaster, h. 13½ ins/34 cm) GBP 19,550

Zurich, 3 Dec 1993: Seated Woman (watercolour and pencil, 11¾ × 9½ ins/30 × 24 cm) CHF 24,000

Lokeren, 4 Dec 1993: Suzon (1872, bronze, h. 15¾ ins/40 cm) BEF 300,000

Paris, 16 Dec 1993: The Prodigal Child (pen, Indian ink, and gouache, 6¼ × 4¾ ins/16 × 12 cm) FRF 170,000

Paris, 27 March 1994: Blessings (bronze, h. 35½ ins/90 cm) FRF 800,000

New York, 26 May 1994: The Vase of the Titans (terracotta, h. 14½ ins/36.8 cm) USD 107,000

New York, 8 Nov 1994: Eve (white marble, h. 30¾ ins/78.1 cm) USD 1,020,000

London, 29 Nov 1994: Eternal Spring (1884, marble, h. 15¾ ins/40 cm, l. 19¾ ins/50 cm) GBP 298,500

Paris, 13 June 1995: The Thinker (bronze, h. 28¼ ins/71.5 cm) FRF 1,900,000

Lokeren, 7 Oct 1995: Suzon (1872, bronze, h. 9¾ ins/25 cm, w. 5¾ ins/14.5 cm) BEF 220,000

New York, 8 Nov 1995: Psyche Looking at Cupid (1906, white marble, h. 30 ins/76.2 cm) USD 1,982,500

London, 27 Nov 1995: Eve (bronze, h. 29½ ins/75 cm) GBP 342,500

Zurich, 17-18 June 1996: The Kiss (bronze, h. 15¾ ins/40 cm) CHF 44,000

London, 24 June 1996: The Thinker (bronze, h. 28 ins/71 cm) GBP 496,500

New York, 9 Oct 1996: Possession (c. 1888, bronze, h. 9¼ ins/23.5 cm) USD 46,000

Paris, 14 Oct 1996: Despair (bronze, 11 × 9½ × 7 ins/27 × 24 × 18 cm) FRF 225,000

New York, 12 Nov 1996: Suzon (1873, marble, h. 15½ ins/39.4 cm) USD 189,500

New York, 14 Nov 1996: Male Torso (brown-and-green-patinated bronze, h. 12¼ ins/31 cm) USD 36,800; The Thinker (c. 1880, brown-and-green-patinated bronze, h. 14¾ ins/37.5 cm) USD 266,500

Paris, 21 Nov 1996: Bust of Bellona (1882-1885, drypoint, 5¾ × 4 ins/14.8 × 10 cm) FRF 10,000

London, 3-4 Dec 1996: The Thinker (c. 1888, black-patinated bronze, h. 14½ ins/37 cm cm) GBP 139,000; Jean d’Aire (1886, bronze, h. 18 ins/46 cm) GBP 34,500

New York, 14 May 1997: Eve (1880-1881, brown-patinated bronze, h. 29½ ins/75 cm) USD 497,500

New York, 15 May 1997: Eternal Spring (1884, black-patinated bronze, h. 20¼ ins/51.5 cm) USD 233,500

Paris, 16 June 1997: Eternal Spring (1884, brown-patinated bronze, h. 15¾ ins/40 cm) FRF 540,000; Faun at the Feet of a Young Woman Carrying a Child or Faun and Bacchante (modern bronze cast with medal patina, h. 11¼ ins/28.5 cm) FRF 75,000

Paris, 20 June 1997: Head of Pierre de Wiessant (1885-1886, brown-patinated plaster, 11¾ × 9 × 7¼ ins/30 × 23 × 18.5 cm) FRF 257,000

London, 23 June 1997: Sleep (1889-1890, white marble, 18 × 23½ × 23½ ins/46 × 60 × 60 cm) GBP 551,500

London, 25 June 1997: Eternal Spring (bronze, h. 15¾ ins/40 cm) GBP 56,500

New York, 13 Nov 1997: Eternal Spring (brown-patinated bronze, h. 26 ins/66 cm) USD 22,500

Paris, 23 Nov 1997: Caryatid with Her Stone (1881, brown-patinated bronze, 17¼ × 12½ × 11¾ ins/43.5 × 32 × 30 cm) FRF 383,000

Paris, 16 March 1998: Study of Seated Woman (patinated bronze, h. 19¾ ins/50 cm) FRF 420,000

New York, 12 May 1999: Great Shade (c. 1880, green-patinated bronze, h. 30 ins/76 cm, w. 39 ins/100 cm) USD 1,500,000

New York, 8 Nov 1999: Eve (c. 1880, brown-patinated bronze, h. 68 ins/173 cm) USD 4,400,000

New York, 8 May 2000: Eternal Spring, First State (brown-patinated bronze, h. 25 ins/63 cm) USD 1,600,000; The Kiss (brown-patinated bronze, h. 34 ins/86 cm) USD 2,500,000

New York, 8 May 2001: The Age of Bronze (brown-patinated bronze, h. 71 ins/186 cm) USD 1,600,000

New York, 7 Nov 2001: The Kiss (c. 1886, dark-brown-patinated bronze, h. 33 ins/89 cm) USD 2,200,000

New York, 7 May 2002: Waking of Adonis (c. 1904, marble, 19 × 32 × 17 ins/47 × 81 × 42 cm) USD 900,000

New York, 6 Nov 2002: Great Shade (1925-1927, green-patinated bronze, h. 76 ins/193 cm, w. 39 ins/100 cm) USD 1,950,000

London, 2 Feb 2004: The Thinker (green-patinated bronze, h. 28 ins/71 cm) GBP 500,000

London, 21 June 2004: Caryatid Carrying a Sphere (marble, h. 19 ins/47 cm) GBP 550,000

New York, 3 May 2005: Eve (1881, patinated bronze, 30 ins/76.2cm (height)) USD 2,100,000

Zurich, 24 June 2005: The Kiss (1885, brown-and-green-patinated bronze, h. 33 ins/83.8 cm) CHF 2,500,000

New York, 3 May 2006: Prodigal Child (1913, patinated bronze, h. 138 ins/250.5 cm) USD 2,600,000

New York, 8 Nov 2006: Andromede (1894, white marble, h. 13 ins/33 cm) USD 2,700,000

London, 19 June 2007: Iris (patinated bronze, h. 33 ins/83.8 cm) GBP 4,100,000

New York, 7 Nov 2007: The Thinker (c. 1880, patinated bronze, h. 28 ins/71.1 cm) USD 2,700,000

New York, 6 May 2008: Eve, Large Model without Rock (1881, brown-patinated bronze, h. 68¼ ins/173 cm) USD 18,969,000

Paris, 21 May 2008: Brother and Sister (c.1890, brown-and-red-patinated bronze, 15¼ ins/38.7 cm) EUR 928,250

New York, 5 May 2009: Danaïde, Large Model (1885, patinated plaster, h. 26 ins/66 cm) USD 1,370,500

New York, 3 Nov 2009: The Kiss (moyen modèle dit ‘taille de la porte’ (Modèle avec base simplifiée, average-size model with simplified base) (1880–1881, brown-patinated bronze, h. 34 ins/86.4 cm) USD 6,354,500

New York, 5 May 2010: The Thinker (Taille de la porte dit ‘moyen modèle’, average-sized model) (1880–1881, bronze, h. 28 ins/71.2 cm) USD 11,842,500

London, 23 June 2010: The Age of Bronze (1875–1877, cast 1902–1917, black-and-green-patinated bronze, h. 71 ins/180.5 cm) GBP 3,401,250

New York, 3 May 2011: The Thinker (c. 1880–1881, realised 1903, cast 1915–1917, bronze, h. 15 ins/37.8 cm) USD 4,002,500

Paris, 1 Dec 2011: The Age of Bronze (c. 1875–1914, black-and-green-patinated bronze, 71 ins/180.5 cm) EUR 4,657,000

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