Friday, February 15, 2008

Rodin A Magnificent Obsession FRAUD, the Iris & B. Gerald Cantor Foundation's touring road show of 54 non-disclosed FAKES

Updated: December 14, 2016

Note: All footnotes are [FN ].























Monumental Head of Balzac, 1897, Musee Rodin cast 9/12 in 1980, Bronze, 20 x 17 1/2 x 16in.
www.cantorfoundation.org/Rodin/Gallery/rvg45.html


The Iris and B. Gerald Cantor Foundation's so-called Rodin: A Magnificent Obsession exhibition of “60 bronzes”[FN 1] contains at best a half-a-dozen or so non-disclosed -reproductions[FN 2]- with fifty-four of them being absolute outright fakes.[FN 3]

These fifty-four non-disclosed fakes, misrepresented as “sculpture,”[FN 4] were posthumously forged between 1919 and 1995, up to seventy-eight years after Auguste Rodin’s death in 1917.

By definition, rule of law and laws of nature, the dead don't sculpt.

An example of one of these non-disclosed fakes is the above Monumental Head of Balzac. In the Iris and B. Gerald Cantor Foundation’s 2001 Rodin A Magnificent Obsession catalogue, it is also listed as “cast 9/12 in 1980” and “Signed and numbered A. Rodin.”[FN 5]

Since, Auguste Rodin died in 1917, some sixty-three years earlier, how’d he do that?

Therefore, in the interest of full and honest disclosure, this monograph will document that in violation of Auguste Rodin’s 1916 Will[FN 6], a corrupt Musee Rodin: 1) does not reproduce in bronze from Auguste Rodin’s original plasters, 2) posthumously applies counterfeit “Rodin” or “A. Rodin” signatures to their second-generation-removed -fakes-, 3) does not limit editions to twelve as promoted, 4) has allowed the Iris and B. Gerald Cantor Foundation to pick the color/patina of a bronze they in turn promote as an original Auguste Rodin and 5) falsely attributes life-casts and altered work to Auguste Rodin.



TABLE OF CONTENTS
INTRODUCTION
BRIEF SUMMARY - WHY ARE THESE 54 RODINS FAKE?
THE TRUE CHRONOLOGY OF FIFTY-FOUR FAKES

1. NOT FROM RODIN’S ORIGINAL PLASTERS
2. COUNTERFEIT SIGNATURES
3. EDITIONS NOT LIMITED TO TWELVE
4. CANTOR FOUNDATION -PICKS- THE COLOR
5. LIFE-CAST FALSELY ATTRIBUTED TO RODIN
6. MUSEE RODIN GIVEN REPRODUCTION RIGHTS
7. CORRUPT MUSEE RODIN
8. AMERICA IS NOT A FRENCH PROVINCE
9. CANTOR FOUNDATION’S AVARICE
10. 25 MILLION REASONS TO DEFRAUD
11. CONNOISSEURSHIP
12. ACADEMIC DISHONESTY
13. CONCLUSION

PRINCIPALS
FOOTNOTES
WEBSITE
ADDENDUM (Exhibition venues)



BRIEF SUMMARY - WHY ARE THESE 54 RODINS FAKE?











1. NOT FROM RODIN’S ORIGINAL PLASTERS
The Musee Rodin admits they do not reproduce from
Rodin’s original plaster but plaster reproductions, making
them second-generation-removed -fakes-.





2. COUNTERFEIT SIGNATURES
The Musee Rodin posthumously applies counterfeit
“A Rodin” or “Rodin” signatures to these second-
generation-removed -fakes-.


















3. EDITIONS NOT LIMITED TO TWELVE
The Musee Rodin doesn’t always limit their editions
to twelve as mandated by French decrees.










4. CANTOR FOUNDATION -PICKS- THE COLOR
The Musee Rodin allows wealthy benefactors such as
the Cantors to picked the color {patina} of a bronze that
they in turn promote as an Auguste Rodin.








5. LIFE-CAST FALSELY ATTRIBUTED TO RODIN
The Musee Rodin violates Auguste Rodin’s legacy by
attributing to him a life-cast of his hand posthumously
altered. The very thing he denied doing, -casting from life-,
is falsely attributed to him as if it makes no difference.
























Call To Arms, 1879, date of cast unknown, Bronze, 44 1/2 x 22 1/2 x 15 in., Iris and B. Gerald Cantor Foundation. www.cantorfoun dation.org/Rodin/ Gallery/rvg15.html

NOTE: On page 192 in the Cantor Foundation's published 2001 Rodin, A Magnificent Obsession catalogue, this Call to Arms, is listed with "1879" date and cast by the Alexis Rudier foundry. The Alexis Rudier foundry went into business in 1902.



THE TRUE CHRONOLOGY OF FIFTY-FOUR FAKES

The Rodin: A Magnificent Obsession: Sculpture from the Iris and B. Gerald Cantor Foundation exhibition has only nine potential lifetime reproduction/casts. The other fifty-four non-disclosed fakes in the exhibit were posthumously reproduced after Auguste Rodin’s death in 1917. Fifty-two of those fifty-four non-disclosed fakes were reproduced/cast between 1955 and 1995.

The documentation for the enclosed was, in part, acquired from a prior Iris and B. Gerald Cantor Foundation’s exhibition checklist for their Rodin: A Magnificent Obsession exhibition and the Iris and B. Gerald Cantor Foundation’s published 2001 Rodin A Magnificent Obsession catalogue.

These nine non-disclosed reproductions and fifty-four posthumous fakes are listed separately below in numerical order (mine), chronologically (mine), title, “cast” dates when listed, foundries and their dates (when necessary) and the Iris and B. Gerald Cantor Foundation’s numbering system: “CCID #.”

1881 to 1910
1. Metamorphosis of Ovid c. 1886, Persinka, CCID #1192
2. Walking Man 1900-10, CCID #1060

1902 to 1952
3. Fugitive Love 1881, {1902 to 1952}, Alexis Rudier, CCID #1305
4. Call to Arms  (The Spirit of War )1879, {1902 to 1952}, Alexis Rudier, CCID #1546
5. Age of Bronze (REDUCTION)1876, reduction c. 1903-04, date of cast unknown, Alexis Rudier, CCID #1484
6. Romeo and Juliette 1902, cast before Rodin’s death in 1917, Alexis Rudier foundry, CCID #1484
7. Pierre de Wiessant, (REDUCTION)1884-95 {1902-1952}, Alexis Rudier foundry, CCID #1715
8. The Thinker (REDUCTION) 1880, reduction made before Rodin’s death in 1917, Alexis Rudier, CCID #1499
9. Gustave Mahler 1909, Cast at a later date, Alexis Rudier, CCID #1444

Auguste Rodin died in 1917.

1919 or later
1. The Kiss, 1886, cast at a later date by Alexis Rudier, CCID #1689
2. Crying Lion, 1881, Date of Cast Unknown, Issued by the Musee Rodin after 1919, CCID #14700

1955 to 1957 or later
3. The Benedictions, 1955, Georges Rudier, CCID #1386
4. The Cathedral, 1955 , Georges Rudier, CCID #1386
5. Head of Sorrow, 1956, Georges Rudier CCID #1467
6. Eve (REDUCTION), cast at a later date, Georges Rudier, {after 1957}, CCID #1500
7. Paolo and Francesca, 1889, Georges Rudier, {after 1957), CCID #658
8. Monumental Head of Jean d'Aire, date of cast unknown, Georges Rudier , {after 1957}, CCID #15800
9. Dance Movement 'D', date of cast unknown, George Rudier, {after 1957}, CCID #1499
10. Flying Figure (G.. M.), date of cast unknown, Georges Rudier, {after 1957}, CCID #1302
11. Right Hand, Fingers Close Together, Slightly Bent, date of cast unknown, Georges Rudier, {after 1957}, CCID #1489

1962 to 1969
12. Saint John The Baptist Preaching (REDUCTION) , 1962, Georges Rudier, CCID #1560
13. Study for Balzac 'B', 1963, CCID #1476
14. Tragic Head, 1963, Georges Rudier, CCID #1472
15. Pas de Deux 'B', 1965, Georges Rudier, CCID #1559
16. Female Torso (THE MARTYR), 1966, Georges Rudier, CCID #1617
17. Large Clenched Left Hand, 1966, CCID #2120
18. Monumental Head of Pierre de Wiessant, date of cast unknown, Godard foundry, {after 1969}, CCID #775
19. Bust of Young Balzac, date of cast unknown, Godard foundry {after 1969}, CCID #1579
20. General Lynch, Maquette of, 1886, Godard foundry {after 1969}, CCID #1567
21. Mask of Hanako Type 'D', date of cast unknown, Godard foundry {after 1969}, CCID #4140
22. Large Left Hand of a Pianist, 1969, Georges Rudier, CCID #1488

1970 to 1979
23. HAND, LEFT, LARGE CLENCHED WITH FIGURE , 1970, Godard, CCID #2240
24. Jean d'Aire, Second Maquette, 1971, Susse, CCID #16100
25. Balzac, Naked with Folded Arms ("C"), 1972, Georges Rudier, CCID #16800
26. Illusion's Received by the Earth (The Fallen Angel), n.d, Coubertin foundry {after 1973}, CCID #1341
27. Balzac 'F' Athlete, 1974, Georges Rudier, CCID #1555
28. Jean d'Aire, Nude (Reduction) , 1976 , Georges Rudier, CCID #1554
29. Adam with Pillar, 1978, Georges Rudier, CCID #1485
30. Eve with Pillar, 1978, Georges Rudier, CCID #1486
31. Mask of the Man with Broken Nose, 1978, Coubertin, CCID #1605
32. Falling Man, 1979 , Cast no. 8, CCID #1606
33. The Prayer, 1979, Godard, CCID 1553

1980 to 1988
34. Monumental Head of Balzac, 1980, Georges Rudier, CCID #1301
35. Bust of Jean Baptiste Rodin, 1981, Godard, CCID #1139
36. The Three Shades, 1981, Coubertin, CCID #1492
37. Idyell of Ixelles, 1981, Coubertin, CCID #1682
38. Balzac in Dominican Robe, 1981, Georges Rudier, CCID # 1491
39. Jean de Fiennes, Vetu (G.M.) , 1983, Coubertin, CCID #1330
40. Maquette for the Monument to Whistler, 1983, Godard, CCID #1983
41. Sorrow, 1983, Coubertin, CCID #1356
42. The Creator  (Bas Relief), 1984, Coubertin, CCID #1568
43. Small Torso of the Falling Man, 1984, Godard, CCID #1571
44. Claude Lorrain (P.M.), 1985, CCID #1570
45. Narcisse, 1985, Godard, CCID #1402
46. Monumental Torso of the Walking Man, 1986, Godard, CCID #1410
47. Burghers of Calais, 1st Maquette, date of cast unknown, Godard foundry [1987], CCID #1450
48. Toilette of Venus and Andromede, 1987. CCID #1510
49. Ten Step Lost Wax Casting process of Sorrow, 1987, Coubertin, CCID #31436
50. Caryatid with Stone (G.M.), 1988, Coubertin, CCID #1563
51. Monumental Head of Saint John the Baptist, 1988, Godard, CCID #1451

1991 to 1995
52. Gates of Hell, 3rd Maquette, 1991, Godard, CCID #1511
53. Whistler's Muse, 1991, Coubertin, CCID #1627
54. Final Head of Eustache de St. Pierre, 1995, Godard CCID #1685


























Assemblage of two figures of Eve and the Crouching Woman circa 1905-1907 98,5 x 55 x 36,5 cm S.184 Photo: E. &P> Hesmerg www.musee- rodin.fr/ welcome.htm

1. NOT FROM RODIN’S ORIGINAL PLASTERS
On the Musee Rodin's website, Musee Rodin curator Antoinette Le Normaid-Romain wrote: “Consequently, whenever it is decided to release a new ‘subject,’ a copy is first made from the old mould which can be sent without risk to the foundry where it undergoes the necessary preparations for casting. It is coated with an unmoulding agent, usually in a dark colour, and cut, before being cast again. This practice not only ensures absolute fidelity to the original but also preserves the old plasters which are obviously more valuable since they were made during the lifetime of Rodin.”[FN 7]

Therefore, the Musee Rodin is directly violating Auguste Rodin’s 1916 Will, which gave upon his death the State of France the “right of reproduction to objects given by him.”[FN 8]

Auguste Rodin’s 1916 Will is further documented in Chapter 6 of this monograph.

By definition, a -reproduction- is a copy of an original work of art done by someone other than the artist. Therefore, any bronzes reproduced from these plaster reproductions would not be reproductions of an original work of art as required by the definition of reproduction but copies of copies. As a result these second-generation removed three-dimensional objects in bronze would be “something that is not what it purports to be” which is, once again, one legal definition of -fake-.

In other words, by the Musee Rodin avoiding sending the hypothetical original plasters to the foundry, they have willingly given up the authentic original surface details made by the working fingers of Auguste Rodin himself or that Auguste Rodin approved through his collaboration with his “sculpteur reproducteur habituel”[FN 9] Henri Lebosse. Each time the surface of one of these subjects is approximated by the necessary crude handling of the materials used in the reproduction processes, there is visible change. The resulting pieces may be interesting to look at, but it is an absurdity to pretend they are just the way Rodin would have wanted and intended for them to appear.






2.
COUNTERFEIT SIGNATURES

The Musee Rodin counterfeits either an “A Rodin” or “Rodin” signature to their second-generation removed fakes they posthumously reproduce in bronze. This fraud is confirmed in Tasende Gallery’s published 1999 Sculptures from the Musee Rodin, Paris catalogue. On page 47, it states: “All work cast under commission by the Musee Rodin includes the following mandatory inscriptions - Rodin’s signature.”[FN 10]

The above so-called “A Rodin” signatures for the titled Martyr[FN 11] clearly exposes the Musee Rodin’s capacity for fraud.

STAMPED WITH THE ARTIST’S SIGNATURE
The former Musee Rodin curator Monique Laurent documents on page 22 of her 1991 RODIN catalogue that during Auguste Rodin’s lifetime, Auguste Rodin supplied a "sample of his signature"[FN 12] to the foundries for them to copy and stamp onto the bronzes they cast for him. Upon Auguste Rodin’s death in 1917, the right to stamp his signature died with him.

WHAT IS A SIGNATURE?
On page 1386 in the Seventh Edition of Black’s Law Dictionary, -signature is defined as: “a person’s name or mark written by that person or at the person’s direction.”[FN 13]

WHAT IS COUNTERFEIT?
On page 354 in the Seventh Edition of Black’s Law Dictionary, -counterfeit- is defined as: “to forge, copy, or imitate (something) without a right to do so and with the purpose of deceiving or defrauding.”[FN 14]

Would the posthumous application of a counterfeit “Rodin’s signature” to posthumously reproduced objects be done with “the purpose of deceiving or defrauding?”



















3. EDITIONS NOT LIMITED TO TWELVE
On page 121 in Philadelphia Museum of Art’s published 1976 Sculpture of Auguste Rodin catalogue, there are -eighteen- 79 inch high The Thinkers listed and one of them is listed as: “Cast no. 10/12” and owned by “Beverly Hills, Cantor Fitzgerald Art Foundation.”[FN 15]

This is the same Iris and B. Gerald Cantor Foundation that, on their 2007 website, states: “In 1956 French law limited production to twelve casts of each model. - This law was reestablished and strictly imposed in 1981.”[FN 16] 

If the facts contradict the Iris and B. Gerald Cantor Foundation’s promotion that any of the so-called Rodins are “limit production of twelve casts,” can we truly count on anything they state?















"The last stage in the casting process: patination." (Page 34, 1998 Sculpture Review)

4. CANTOR FOUNDATION -PICKS- THE COLOR
In 1996, the Musee Rodin allowed the Iris and B. Gerald Cantor Foundation to pick the color of Auguste Rodin’s Monument to Victor Hugo being reproduced in bronze.

This is confirmed in the Fall 1998 Sculpture Review trade magazine published “Casting of the Monument” article by the Coubertin founders Frederic Colombier and Jean Dubo. On page 34 of this article, the founders wrote: “THE PATINATION. The last stage is patination. It is the most delicate and essential as it brings out the full richness of the metal. After presentation of samples, the Musee Rodin and the Cantor Foundation approve the color to be achieved.[FN 17] 

This is additionally confirmed in Iris and B. Gerald Cantor Foundation’s published 1998 Rodin’s Monument to Victor Hugo catalogue. On page 10 of the “Forward,” the Iris and B. Gerald Cantor Foundation Executive Director Rachael Blackburn states: “Ruth Butler, professor emerita at the University of Massachusetts in Boston, who wrote the introduction to this catalogue, offered her insightful guidance and worked closely with Mrs. Cantor, the Musee Rodin, and the foundry to determine the delicate nuances of the monument’s patina.”[FN 18] 

In September 21, 1999 telephone conversation with the Musee Rodin Board of Directors member Ruth Butler, she informed me that Iris Cantor had asked her to observe the casting and patina of Auguste Rodin’s Monument to Victor Hugo bronze that the Iris and B. Gerald Cantor Foundation was purchasing from the Musee Rodin. When asked whether there was any historical research that would document what Auguste Rodin might had selected as the patina for this bronze, Ruth Butler answered: “it would be up to the foundry.”[FN 19] 

Finally, when asked whether the Coubertin foundry, which went into business in 1963 some forty-six years after Auguste Rodin’s death, had asked for her approval of the patina, Ruth Butler answered: “Well.”[FN 20] 
















www.cantorfoundation.org/Rodin/Gallery/rvg65.html

5. LIFE-CAST FALSELY ATTRIBUTED TO RODIN
The Iris and B. Gerald Cantor Foundation’s so-called Hand of Rodin Holding Torso is a life-cast combined with a plaster cast and posthumously reproduced in bronze by the Georges Rudier foundry in 1968 with a counterfeit “A Rodin” signature applied.

This life-cast is confirmed, on page 210 of the Musee Rodin’s published 2004 RODIN catalogue by the Musee Rodin curator Ralphael Masson and archivist Veronique Mattiussi, the authors wrote: “Shortly before Rodin’s death, {Musee du Luxembourg curator & future Musee Rodin director} Benedite asked that a studio assistant make a cast of the sculptor’s hand.”[FN 21] 

Additionally, the counterfeiting of his signature, is backhandedly confirmed in the Philadelphia Museum of Art’s published 1976 Sculpture of Auguste Rodin catalogue by John Tancock. On page 637, the author wrote: “This composite work, made from a life cast and an original work - {was} not signed or inscribed.”[FN 22] 

So, the moment Auguste Rodin dies, the very thing he denied his whole life doing, casting from life, is now credited to him by the Musee Rodin and others like the Iris and B. Gerald Cantor Foundation, as if it makes no damn difference.

And to think the Iris and B. Gerald Cantor Foundation’s “Mission Statement” states they “focuses on the art of Auguste Rodin.”[FN 23] 









Auguste Rodin's 1917 funeral.

6. MUSEE RODIN GIVEN REPRODUCTION RIGHTS
In Auguste Rodin’s 1916 Will, in part, stated: “notwithstanding the transfer of artistic ownership authorized to the State of M. Rodin, the latter expressly reserves for himself the enjoyment, during his life, of the reproduction rights of those objects given by him.”[FN 24] 

In other words, the State of France, upon Auguste Rodin's death, would own the right to reproduce his work.

RUTH BUTLER AND REPRODUCTION RIGHTS
These specific details of Auguste Rodin’s Will are additional confirmed on page 504 of the Iris and B. Gerald Cantor Foundation assisted published 1993 Rodin, Shape of Genius biography by Ruth Butler. In part, the author wrote: “a draft of an act of donation was drawn up and signed in Meudon on April 1, 1916, in the presence of Clementel, Valention (representing the Ministere des Beaux-Arts), and Antole de Monzie, the lawyer and deputy who had helped prepare the deed. The document included a number of safeguards for Rodin: at the Hotel Biron--thenceforth to be called the Musee Rodin--he was to be in charge of personnel. He would have the right to use the building until the end of his life, and the state would install heat. All reproduction rights to his art would remain with Rodin during his lifetime.”[FN 25] 

FORMER DIRECTOR OF THE MUSEUM OF FRANCE JEAN CHATELAIN
These two perspectives are clearly perpetuated on page 279 in the National Gallery of Art’s published 1981 Rodin Rediscovered catalogue in the “An Original in Sculpture” essay by the professor at the University of Paris and former director of the Museums of France Jean Chatelain. In part, the professor wrote: “When the twelfth copy of ‘The Burghers of Calais’ is cast, the same plaster model will be used as was used the first time in 1894, but of course different craftsmen will carry out the casting.”[FN 26] 

As documented in Chapter 1 of this monograph, the Musee Rodin violates Auguste Rodin’s 1916 Will and does not use Auguste Rodin’s original plasters i.e., “objects given by him” for casting in bronze.











7.
CORRUPT MUSEE RODIN

The moment of Rodin’s death in 1917, like vultures waiting to pick his bones, his former collaborators and those administratively entrusted to protect his legacy, begin subverting it.

FIRST MUSEE RODIN DIRECTOR ALTERED RODIN'S WORK
A prime example of this subversion can be found in Albert Elsen’s 1985 Gates of Hell by Auguste Rodin book. On page 148, the author wrote: “As events after Rodin’s death were to prove, Benedite did overstep his authority on certain occasions. In the matter of the final assembly of the doorway, Judith Cladel, who was dismissed by Benedite as a curator at the Musee Rodin, wrote during the years 1933-36 that workmen told her in 1917 that Benedite edited their efforts on at least one occasion in a way they felt Rodin would not have approved: “Some of Rodin’s scandalized assistants who cast his plasters made it known to me that, charged with the reassembly of The Gates of Hell, they received orders to place certain figures in different arrangement than that which the artist wanted, because “that would be better.”[FN 27] 

Additionally, one of those “occasions,” is noted in Albert Elsen’s Footnote 17 on page 253 in his book, where the author wrote: “In 1921, during the course of a trial on charges brought by the State against a founder who was casting Rodin’s work without authorization, it was shown that Benedite had authorized the enlargement of Rodin’s La Defense after the artist’s death.”[FN 28] 

HENRI LEBOSSE, SCULPTEUR REPRODUCTEUR HABITUEL & BETRAYER
On page 253, in Albert Elsen’s “Rodin’s ‘Perfect Collaborator,’ Henri Lebosse” essay in the National Gallery of Art’s 1981 Rodin Rediscovered exhibition catalogue, the author wrote: “From the mid-1890’s until his death, Rodin entrusted most if not all of his important enlargements and reductions to this dedicated and today unknown technician who referred to himself as Rodin’s ‘sculpteur reproducteur habituel.’”[FN 29] 

Unfortunately, Henri Lebosse became one of Auguste Rodin’s biggest betrayers. Albert Elsen documents on page 256 of his essay that after August Rodin’s death in 1917, the Musee Rodin Director Benedite directed Henri Lebosse to increase the original scale of the sculpture “The Defense” four times. Albert Elsen wrote: “Tragically for Rodin’s “perfect collaborator,” the Verdun enlargement became part of a 1920 scandal involving fake works, marble carvers who continued to turn out sculpture signed with Rodin’s name, and unauthorized bronze casts by the Barbedienne foundry.”[FN 30] 

The Musee Rodin’s inauspicious beginnings after Auguste Rodin’s death in 1917 has not changed much in ninety years as documented by the current Musee Rodin’s deceptive application of counterfeit “A Rodin” signatures to second-generation removed bronze fakes in editions not always limited to twelve.


8. AMERICA IS NOT A FRENCH PROVINCE
There are quite a few in the museum and academic industry[FN 31] who will defend and have defended the misrepresentation of reproductions, much less posthumous reproductions, as “works of visual art” i.e., -sculptures- by making blanket statements that these reproduced objects are originals in exhibits in American museums because they adhere to current “French Law” or that nineteenth-century standards are applicable.

Well, United States of America, much less any sovereign nation other than France, is not a French province and this is the twentieth-first century.

U.S. COPYRIGHT LAW - WHAT IS A SCULPTURE?
Under U.S. Copyright Law 101. Definitions, a “work of visual art” i.e., -sculpture- is defined as: “multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author.”[FN 32] 

In other words, since the 54 non-disclosed fakes in this Rodin: A Magnificent Obsession exhibit were reproduced between 1919 and 1995 some two to seventy-eight years after Auguste Rodin’s death in 1917, it should be overtly obvious Auguste Rodin could not have “consecutively numbered” anything, much less applied his “signature.”

U.S. COPYRIGHT LAW - WHAT IS A REPRODUCTION?
Additionally, under U.S. Copyright Law 101. Definitions, a -derivative work- is defined as: “a work based upon one or more preexisting works, such as {an} art reproduction.”[FN 33] 

Furthermore, under U.S. Copyright 106A, it states the “Rights of Attribution - shall not apply to any reproduction.”[FN 34] 

In other words, under U.S. Copyright Law, reproductions cannot be -attributed- to a living artist, much less a dead one.

FRENCH DECREE - FULL DISCLOSURE OF REPRODUCTIONS
The March 3, 1981 French decree no. 81.255, Article 9, in part, states: “All facsimiles, casts of casts, copies, or other reproductions of an original work of art as set out in Article 71 of Appendix III of the General Code of Taxes, executed after the date of effectiveness of the present decree, must carry in a visible and indelible manner the notation ‘Reproduction’.”[FN 35] 

So, whether it is U.S. Copyright Law or a French decree, reproductions are -reproductions-.










Auguste Rodin, Gates of Hell, 3rd Maquette, 1880, Musee Rodin cast 1/8 in 1991, Bronze,Cast: 1/8 Foundry: Godard,Patina: X, Dimensions: 43 5/8 x 29 1/16 x 11 3/4 in., CC ID# 1511,Iris and B. Gerald Collection, Insurance $250,000
www.cantorfoundation.org






Auguste Rodin, The Kiss,  c. 1881-82, Bronze,Cast: X Foundry: Barbedienne, Patina: brown with gold highlights,Dimensions: 10 x 6 1/4 x 5 7/8 in., CC ID# 1711, Iris and B. Gerald Cantor Center for Visual Arts at Stanford University, gift of Iris and B. Gerald Cantor Foundation, Insurance $50,000
www.stanford.edu

SOURCE: Iris and B. Gerald Cantor Foundation’s exhibition and insurance checklists.

9. CANTOR FOUNDATION’S AVARICE
Iris and B. Gerald Cantor Foundation is driven by money, not scholarship. This is made clear by their own words.

RODIN 101: DOCENT MANUEL
In the Iris and B. Gerald Cantor Foundation’s published “RODIN 101: DOCENT MANUEL,” it asks the following question: “Is there more ‘value’ ascribed to works made by one foundry than by another?”[FN 36]  The answer given is: “In terms of monetary ‘value’ and interest to a collector or institution, there is a higher ‘value’ put on works produced during Rodin’s lifetime. All authorized casts made by any foundry are considered ‘originals.’ However, casts that were made before Rodin’s death in 1917 are often appraised for higher amounts and fetch larger sums at auctions.”[FN 37] 

POSTHUMOUS REPRODUCTION $200,000 MORE THAN A LIFETIME CAST
Yet, as documented above, the Iris and B. Gerald Cantor Foundation have an insured value of $250,000 for Gates of Hell, 3rd Maquette reproduced in 1991, $200,000 more than a potential lifetime cast of The Kiss insured for $50,000?

Should an extra large -fake- done in the last 15 years be valued five times more in insurance value than a potential lifetime cast done with the consent of the artist himself?

Doesn’t that directly contradict the Iris and B. Gerald Cantor Foundation’s written assertions in their RODIN 101: DOCENT MANUEL that “casts that were made before Rodin’s death in 1917 are often appraised for higher amounts and fetch larger sums at auctions?”[FN 38]

Where did the Iris and B. Gerald Cantor Foundation ever get this nonsense that reproductions are -original-?

FRENCH DECREE - ORIGINAL EDITIONS IN BRONZE
This is in all probability answered by a French decree titled: “Article 1 of a joint decree by the Ministries of Culture and Finance, issued on 5 September 1978,” which regulates the internal administration of the Musee Rodin. In part, it states: “The reproduction of works of Rodin and the editions sold by the Musee Rodin consists of; -Original editions in bronze. These are executed from models in terra cotta or in plaster realized by Rodin.”[FN 39]

In this 1978 French decree, the term “original” is used as an adjective to describe and separate the Musee Rodin’s posthumous “editions” of reproductions in bronze of Auguste Rodin’s terra cotta or plasters from others who legally may posthumously reproduce in bronze any of Auguste Rodin’s work that is in the public domain.

IRIS & B. GERALD CANTOR FOUNDATION’S AGENDA
The Iris and B. Gerald Cantor Foundation’s agenda of passing off their posthumous non-disclosed reproductions and second-generation-removed fakes as Auguste Rodin -originals- i.e., -sculptures- is, in part, detailed on the MUSEUM-L Archives website.

This website allows those in the museum industry to post messages. The Iris and B. Gerald Cantor Foundation’s Coordinator of Museum Program posted on August 9, 2006 under the “Subject” subtitle the following: “Rodin Exhibition Available.” In part, it states: “The Iris and B. Gerald Cantor Foundation organizes and circulates traveling exhibitions of Rodin sculpture. - There is no curatorial fee. Host museums are responsible for the costs of insurance and incoming shipping from the previous venue, as well as all typical installation and other local expenses.”[FN 40]

In other words, the Iris and B. Gerald Cantor Foundation generates revenue by renting their so-called “Rodin sculptures” to museums and as a result their posthumous non-disclosed reproductions and second-generation-removed fakes are given the rubber-stamped air of authenticity that a museum inherently bestows which perception-wise leads to increased values which leads to future windfalls such as: 1) large tax-write offs for donations and/or 2) outright sales.










AUGUSTE RODIN,
The Thinker, modeled 1880, reduced in 1903. Bronze,
14-3/4 x 7-7/8 x 11-3/8 in.
Iris and B. Gerald Cantor Foundation, promised gift to the North Carolina Museum of Art.
www.wag.mb.ca/htmlfiles/
WHATSON/EXIBITION/Rodin.asp

10. 25 MILLION REASONS TO DEFRAUD
On November 9, 2005 the North Carolina Museum of Art announced in their Press Release{23} that the Iris and B. Gerald Cantor Foundation will donate “the gift of 23 works of art, including 22 bronze sculptures by Rodin.”[FN 41] The News Observer newspaper, in Raleigh, North Carolina, published in a November 9, 2005 “Museum plans major Rodin center” article by Craig Jarvis that the “Museum director Larry Wheeler estimates the value of the gift at $25 million.[FN 42]

This so-called “gift” was the successful catalyst for gaining the funding from the State of North Carolina for the North Carolina Museum of Art’s expansion for "new galleries, which will be part of a planned $75-million expansion initiative slated for completion in 2008. As part of the expansion, the Museum will establish a Rodin study center and name a Rodin gallery and adjacent garden in honor of the Iris and B. Gerald Cantor Foundation.”[FN 43]

Unfortunately, if the North Carolina Museum of Art had established a “Rodin study center” before they accepted this so-called “gift,” the museum would have discovered there are absolutely no “works of art” i.e., “sculptures” in this Iris and B. Gerald Cantor Foundation’s donation. A minimum of scholarship and connoisseurship would have disclosed this Iris and B. Gerald Cantor Foundation donation is, at best, nothing more than -reproductions-, not sculptures. Even that generous supposition is corrupted because seventeen of these so-called “Rodins” were actually posthumously reproduced with counterfeit “A Rodin” signatures applied between 1919 to 1987, two to seventy years after August Rodin’s death in 1917.

How’d he do that?

On page 434 of the Seventh Edition of Black’s Law Dictionary, -defraud- is defined as: “To cause injury or loss to (a person) by deceit.”[FN 44] Would the acquisition of over $100 million dollars of taxpayers money, to expand a museum to house a collection of non-disclosed reproductions and fakes misrepresented as sculptures, “cause injury or loss to {persons} by deceit?”


11. CONNOISSEURSHIP
Independently documenting the definitions of key terms is an effective way to truly document the facts behind the misrepresentation of -reproductions- as “visual works of art” i.e., -sculptures-.

WHAT IS CONNOISSEURSHIP?
In Paul Duro & Michael Greenhalgh’s published Essential Art History, -connoisseurship- is defined as: “that of the art expert able to distinguish between the authentic and non-authentic, for example between an original and a copy.”[FN 45]

WHAT IS MEANT BY REPRESENTATION?
On page 1303 of the Seventh Edition of Black’s Law Dictionary, -representation- is defined as: “A presentation of fact - either by words or by conduct - made to induce someone to act, esp to enter into a contract.”[FN 46]

WHAT IS A CONTRACT?
On page 381 of the Seventh Edition of Black’s Law Dictionary, -contract- is defined as: “An agreement between two or more parties creating obligations that are enforceable or otherwise recognizable at law.”[FN 47]

WHAT IS A SCULPTURE?
On page 372 in Ralph Mayer’s HarperCollins Dictionary of Art Terms & Techniques, -sculpture- is defined as: “The creation of three dimensional forms by carving, modeling or assembly. In carving, the sculptor removes unwanted material.... In modeling on the other hand, the sculptor creates a form by building it up...”[FN 48]

WHAT IS A SCULPTOR?
This is answered in the J. Paul Getty Trust’s website. Under their Getty Vocabulary Program the term “sculptor” is defined as: “Artists who specialize in creating images and forms that are carried out primarily in three dimensions, generally in the media of stone, wood, or metal.”[FN 49] 

U.S. COPYRIGHT LAW - WORK OF VISUAL ART
As noted earlier, under U.S. Copyright Law 101. Definitions, a “work of visual art” i.e., -sculpture- is defined as: “multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author.”[FN 50]

U.S. COPYRIGHT LAW - RIGHTS OF ATTRIBUTION
Additionally, as noted earlier, under U.S. Copyright Law 106A. Rights of Attribution - “shall not apply to any reproduction.”[FN 51]

WHAT IS A REPRODUCTION?
On page 350 in Ralph Mayer’s HarperCollins Dictionary of Art Terms & Techniques, -reproduction- is defined as: “A general term for any copy, likeness, or counterpart of an original work of art or of a photograph, done in the same medium as the original or in another, and done by someone other than the creator of the original.”[FN 52]

Since Auguste Rodin died in 1917, obviously anything posthumously reproduced would be, at best by definition and under U.S. Copyright Law, a -reproduction-.

WHAT IS MEANT BY DISCLOSURE?
On page 476 of the Seventh Edition of Black’s Law Dictionary, -disclosure- is defined as: “The act or process of making known something that was previously unknown.”[FN 53]

WHAT IS THE DEFINITION OF CAST?
On page 70 of Ralph Mayer’s 1999 HarperCollins Dictionary of Art Terms & Techniques, -cast- is defined as: “to reproduce an object, such as a piece of sculpture, by means of a MOLD.”[FN 54]

For anyone to make a -representation-, that objects in their collection or exhibit, are -sculptures- then at the end make the -disclosure- that they were -cast- i.e., reproduced, as if these concepts were interchangeable, would be a -non-sequitur-.

WHAT IS A NON-SEQUITUR?
On page 1080 of the Seventh Edition of Black’s Law Dictionary, -non-sequitur- is defined as: “An inference or conclusion that does not logically follow from the premises.”[FN 55]

In other words, by definition and under U.S. Copyright Law, you cannot call a reproduction a “visual work of art” i.e., sculpture, much less attribute that reproduction to that artist whether they are alive or dead. Without full and honest disclosure to reproductions as reproductions by all museums, how can the consumer give informed consent before they chose to attend an exhibit whether they pay admission or not?

WHAT IS (INFORMED) CONSENT?
On page 300 of the Seventh Edition of Black’s Law Dictionary, -consent- is defined as: “Agreement, approval or permission as to some act or purpose, esp. given voluntarily by a competent person.”[FN 56]

WHAT IS FRAUD?
On page 670 of the Seventh Edition of Black’s Law Dictionary, -fraud- is defined as: “a knowing misrepresentation of the truth or concealment of a material fact to induce another to act to his or her detriment.”[FN 57]

So, would a museum’s misrepresentation of posthumous second-generation removed fakes as “sculptures,” for monetary considerations, be committing “a knowing misrepresentation of the truth or concealment of a material fact to induce another to act to his or her detriment?”


12. ACADEMIC DISHONESTY
One of the prior venues, from April 6 to July 29, 2007for this so-called Rodin, A Magnificent Obsession, Sculpture from the Iris and B. Gerald Cantor Foundation exhibition, was at the Art Gallery of Greater Victoria in Victoria, Canada.

On the Art Gallery of Greater Victoria’s website, under the title “About the Art Gallery of Greater Victoria,” it stated: “The Art Gallery's Mandate/Purpose as outlined in our Constitution is: to establish, and preserve collections of the arts and crafts which are held in trust for the benefit of current and future generations; and to display these collections; to create a receptive field for artists and their work; to provide, in addition to the primary emphasis on the collection and presentation of the visual arts, public programs such as lecture, recitals of artistic, musical and other works of cultural merit; and to provide and manage facilities for the appreciation and study of the visual arts.”[FN 58]

Despite the rhetoric, in the acceptance and display of the Iris and B. Gerald Cantor Foundation's Rodin, A Magnificent Obsession exhibition, the Art Gallery of Greater Victoria participated in the misrepresentation of non-disclosed reproductions and second-generation-removed -fakes- as “sculpture.”[FN 59]

Is that an acceptable academic standard to set for “current and future generations,” much less students?

This question was addressed by the University of Victoria’s “Policy on Academic Integrity.” This policy, in part, states: “Academic integrity requires commitment to the values of honesty, trust, fairness, respect, and responsibility. It is expected that students, faculty members and staff at the University of Victoria, as members of an intellectual community, will adhere to these ethical values in all activities related to learning, teaching, research and service. Any action that contravenes this standard, including misrepresentation, falsification or deception, undermines the intention and worth of scholarly work and violates the fundamental academic rights of members of our community. The following policies and procedures are designed to ensure that the University’s standards are upheld in a fair and transparent fashion.”[FN 60]

The University of Victoria’s penalties for violations of their “Policy on Academic Integrity” includes but not limited to: “Any instance of any of the violations described above committed by a student who has already committed one offence, especially if either of the offences merited the assignment of a grade of F for the course, should result in the student’s being placed on disciplinary probation. - If a student on disciplinary probation commits another offence, this should result in the student’s permanent suspension.”[FN 61]

In other words, should the Art Gallery of Greater Victoria, a cultural institution, be held to a lesser standard than any student, much less University of Victoria students?
















13.
CONCLUSION

What needs to be accomplished is the full and honest disclosure of all reproductions as reproductions by all museums, auction houses and art dealers. If the Iris and B. Gerald Cantor Foundation and all participating museums will give full and honest disclosure for all reproductions as: -reproductions- it would allow museum patrons to give informed consent on whether they wish to attend an exhibit of reproductions, much less pay the price of admission

But if these objects are not reproductions by definition, direct copies of the artist’s original artwork, but second-generation-removed (or more) -fakes- with or without posthumously applied counterfeit signatures, then serious consequences of law may come into play for those who chose to misrepresent these -fakes- for profit.

The reputations and legacy of living and past artists, present and future museum art patrons and the art-buying public deserve the re-establishment of the obvious; that the living presence and participation of the artist to once again be required, as it always should have been, to create the piece of art attributable to the artist if indeed it is attributed to them, much less purported to have been signed by them.


PRINCIPALS:
Judith Sobol
Director
Iris and B. Gerald Cantor Foundation
1801 Avenue of the Stars, Suite 435
Los Angeles, CA 90067
jsobol@ibgcf.org
(310) 277-4600


FOOTNOTES:
1. www.tourismvictoria.com/Content/EN/436.asp?id=4968&printable=yes&

2. Page 350 in Ralph Mayer’s Dictionary of Art Terms & Techniques, -reproduction- is defined as: “a general term for copy, likeness, or counterpart of an original work of art or of a photograph, done in the same medium as the original or in another, and done by someone other than the creator of the original.”

3. Page 617 of the Seventh Edition of Black’s Law Dictionary, the term -fake- is defined as: “Something that is not what it purports to be.”

4. www.tourismvictoria.com/Content/EN/436.asp?id+4968&printable=yes&

5. Page 180, RODIN, A Magnificent Obsession, ISBN 1 85894 143 1 hardback

6. Page 285 in the former Musee Rodin curator Monique Laurent’s “Observations on Rodin and His Founders” essay, published in the National Gallery of Art’s published 1981 Rodin Rediscovered catalogue. In part, as noted above, the former Musee Rodin curator Monique Laurent documents that the Auguste Rodin’s Will stated: “notwithstanding the transfer of artistic ownership authorized to the State of M. Rodin, the latter expressly reserves for himself the enjoyment during his life, of the reproduction rights of those objects given by him.”

7. HOW TO FIND THIS MUSEE RODIN QUOTE:
First, go to the www.musee-rodin.fr/welcome.htm website,
then under “Contents on the left column click on “Collections,”
once on new screen click on the “Meudon” button,
then scoll down new screen till you reach the photograph of
“Assemblage of two figures of Even and crouching women”
and then count fourteen lines down for the quote.

8. Page 285 in the former Musee Rodin curator Monique Laurent’s “Observations on Rodin and His Founders” essay, published in the National Gallery of Art’s published 1981 Rodin Rediscovered catalogue.

9. Page 249 of the 1981 Rodin Rediscovered, “sculpteur redproducteur” applied to Henri Lebosse is written about in Albert Elsen’s “Rodin’s ‘Perfect Collaborator,’ Henri Lebosse” essay.

10. Page 47, RODIN, Sculptures from the Musee Rodin Paris, Tasende Gallery, Library of Congress Catalog No: 99-072906, ISBN: 9655319-5-3

11. Ibid, page 28

12. Copyright © 1988 by Ste Nlle des Editions du Chene ISBN 0-8050-1252-4

13. © 1999 By West Group, ISBN: 0314022864 

14. Ibid

15. 1976 Sculpture of Auguste Rodin by John Tancock, ISBN 0-87923-157-2

16. www.cantorfoundation.org/ Rodin/Bronze/ rbrz.html

17. Fall 1998, Volume XLVII No. 2

18. RODIN, A Magnificent Obsession, ISBN 1 85894 143 1 hardback

19. Hard copy of this telephone conversation was OVERNIGHTED by U.S. Postal Service (Tracking No. EE43307188US) on September 23, 1999 to Ruth Butler 41 Holden Street Cambridge, MA 02138-2038

20. Ibid

21. © Editions Flammartion, Paris-Musee Rodin 2004 ISBN (Editions Flammarion): 2-0803-0445-3

22. Publisher: David R Godine Pub (July 1989), ISBN-10: 0879231572, ISBN-13: 978-0879231576

23. www.cantorfoundation.org

24. page 285 in the former Musee Rodin curator Monique Laurent’s “Observations on Rodin and His Founders” essay, published in the National Gallery of Art’s published 1981 Rodin Rediscovered catalogue.

25. Copyright © 1993 by Ruth Butler, ISBN 0-300-05400-0

26. National Gallery of Art published,  ISBN: 0-89468-001-3 (pbk)

27.  © 1985 by Albert E. Elsen ISBN 0-8047-1273-5, Published with the assistance of the Cantor Fitzgerald Foundation

28. Ibid

29. National Gallery of Art published,  ISBN: 0-89468-001-3 (pbk

30. Ibid

31.  In a April 2, 2004 Buffalo News “Letter to Editor” posted on their www.buffalonews.com/editorial/20040402/ 1020607.asp website the Albright_Knox Art Gallery’s Curator of Modern Art Kenneth Wayne, in part, wrote “All works in the Iris and B. Gerald Cantor Foundation Collection are unquestionably original Rodins, cast in bronze from the artist’s sculpted clay and plaster models. The bronze casts on view were created either during Rodin’s lifetime by his own hired craftsmen, or after his death.”

In a Globe and Mail’s published June 24, 2005 “Rodin’s cast of hundreds” article by Danelle Egan, Vancouver Art Gallery curator Ian Thom did admit that “the hand of Rodin did not touch these sculptures.” However, he added, “that’s not unusual because 19th-century sculptors hired technicians to finish the sculptures.”

32. www.copyright.gov/title17/92chap1.html#101 

33. Ibid

34.http://www.copyright.gov/title17/92chap1.html#106a 

35. Page 281, Jean Chatelain’s “Original in Sculpture,” 1981 Rodin Rediscovered ISBN 0-89468-001-3 (pbk)

36. www.cantorfoundation.org/PDFfiles/Rodin101.pdf

37. Ibid

38. www.cantorfoundation.org/PDFfiles/Rodin101.pdf

39. Page 281, Jean Chatelain’s “Original in Sculpture,” 1981 Rodin Rediscovered ISBN 0-89468-001-3 (pbk)

40. MUSEUM-L Archives 

41. “NORTH CAROLINA MUSEUM OF ART RECEIVES UNPRECEDENTED RODIN GIFT FROM THE IRIS AND B. GERALD CANTOR FOUNDATION”
www.ncartmuseum.org/pressroom/pressreleases/General%20Releases/Rodin%20gift.shtml

42. www.newsobserver.com/167/story/365653.html On November 9, 2005 the Raleigh, North Carolina located Newsobserver newspaper published the “Museum plans major Rodin center” article by Staff Writer Craig Jarvis (829-4576 or cjarvis@newsobserver.com). In part, the staff writer wrote: “Museum director Larry Wheeler estimates the value of the gift at $25 million. It is the largest present of art to the museum since it received 75 works from a foundation four years after it opened in 1956.”


44. © 1999 By West Group, ISBN: 0314022864

45. rubens.anu.edu.au/htdocs/teach/eah/ImageServe

46. © 1999 By West Group, ISBN: 0314022864

47. Ibid

48. Copyright © Bena Mayer, Executrix of the Estate of Ralph Mayer, 1991, ISBN: 0-06-461012-8 (pbk.) 

49. www.getty.edu

50. www.copyright.gov/title17/92chap1.html#101

51. http://www.copyright.gov/title17/92chap1.html#106a 

52. Copyright © Bena Mayer, Executrix of the Estate of Ralph Mayer, 1991, ISBN: 0-06-461012-8 (pbk.)

53. © 1999 By West Group, ISBN: 0314022864

54. Copyright © Bena Mayer, Executrix of the Estate of Ralph Mayer, 1991, ISBN: 0-06-461012-8 (pbk.)

55. © 1999 By West Group, ISBN: 0314022864

56. Ibid

57. Ibid

58. www.aggv.bc.ca/history.aspx

59. www.tourismvictoria.com/Content/EN/436.asp?id=4968&printable=yes&

60. web.uvic.ca/calendar2006/FACS/UnIn/UARe/PoAcI.html

61. web.uvic.ca/calendar2006/FACS/UnIn/UARe/PoAcI.html




ADDENDUM:
(NOTE: Exhibition venues, from September 1990 to August 1, 2009, for the originally titled: RODIN SCULPTURE FROM THE IRIS AND B. GERALD CANTOR COLLECTION.)

-Exhibition venues before August 1990 unknown-

*Miami Center for the Arts
September 1990 - December 1990?
Miami, Florida

-Exhibition venues from January 1991 to June 1994 unknown-

*Portland Museum of Art
July 2 - October, 1994
Portland, Maine

-Exhibition venues from November 1994 to May 1995 unknown-

*Knoxville Museum of Art
June 23 - August 16, 1995
Knoxville, Kentucky

*Albuquerque Museum of Art
October 1996 - January 7, 1997
Albuquerque, New Mexico

*Norton Museum of Art
January 20 - March 23, 1997
West Palm Beach, Florida

*Krannert Art Museum
April 15 - July 15, 1997
University of Illinois
at Urbana-Champaign

-Exhibition venues from August 1997 to February 1998 unknown-

*Nevada Museum of Art
March 8 - May 31, 1998
Reno, Nevada

*Speed Art Museum
December 8, 1998 - January 31, 1999
Louisville, Kentucky

*Palm Springs Desert Museum
February 17 - may 16, 1999
Palm Springs, California

*The Newark Museum
June 5 - August 15, 1999
Newark, New Jersey

*Nassau County Museum of Art
September 26, 1999 - January 2, 2000
Roslyn Harbor, New York

*Dayton Art Institute of Art
January 22 - March 26, 2000
Dayton, Ohio

*North Carolina Museum of Art
April 15 - August 2000
Raleigh, North Carolina

*Chrysler Museum of Art
September 21 - December 31, 2000
Norfolk, Virginia

*Fresno Art Museum
January 24 - April 29, 2001
Fresno, California

*Utah Museum of Fine Arts
May 20 - September 2, 2001
Salt Lake City, Utah


(NOTE: Titled changed to: RODIN: A MAGNIFICENT OBSESSION, SCULPTURE FROM THE IRIS AND B. GERALD CANTOR FOUNDATION. New name, Same exhibition.)

*Art Gallery of Western Australia
Perth, Australia
October 4 - December 5, 2001

*National Gallery of Australia
Canberra, Australia
December 14, 2001 - February 10, 2002

*McCelland Gallery
Langwarrin, Australia
March 9, 2002 - May 19, 2002

*Singapore Art Museum
Singapore
June 5 - August 25, 2002

*Ringling Museum of Art
Sarasota, Florida
Oct. 12, 2002 - Jan. 5, 2003

*Akron Art Museum
Akron, Ohio
Jan. 25 - May 18, 2003

*Baltimore Art Museum
Baltimore, Maryland
June 15 - August 31, 2003
(CANCELED ORIGINALLY LISTED 2/14/01)

*Sioux City Art Center
Sioux City, Iowa
June 7 - August 31, 2003

*University Art Museum
University of Louisiana at Lafayette
Sept. 20, 2003 - Jan. 4, 2004

*Philbrook Museum of Art
Tulsa, Oklahoma
Jan. 25 - March 24, 2004

*Albright-Knox Art Gallery
Buffalo, New York
April 17 - July 5, 2004

*Munson-Williams-Proctor Institute, Museum of Art
Utica, New York
July 17 - Oct. 4, 2004

*Glenbow Museum
Calgary, Alberta
October 30 - January 20, 2005

*Art Gallery of Nova Scotia
Halifax, Nova Scotia, Canada
February 26 - May 22, 2005

*Vancouver Art Gallery
Vancouver, British Columbia, Canada
June 18 - September 18, 2005

*Albany Institute of History and Art
Albany, New York
October 15, 2005 - January 1, 2006

*Wadsworth Atheneum Museum of Art
Hartford, Connecticut
January 28, 2006 - April 30, 2006

*Beaverbrook Art Gallery
Fredericton, New Brunswick, Canada
May 27 - Sept. 4, 2006

*Winnipeg Art Gallery
Winnipeg, Manitoba, Canada
Sept. 28, 2006 - January 1, 2007

*Art Gallery of Greater Victoria
Victoria, Canada
April 6 - July 29, 2007

*Benton Museum of Art
Umiversity of Connecticut
September 2006 - December 2007

*Mobile Museum of Art
Mobile, Alabama
January 25, 2008 - April 6, 2008

*Plains Art Museum
Fargo, North Dakota
April 17, 2008 - July 13, 2008

*Frist Center for the Visual Arts
Nashville, Tennessee
September 12, 2008 - January 4, 2009

*Louisiana State University Museum of Art
Baton Rouge, Louisiana
January 24, 2009 - April 19, 2009

*Washington Pavilion of Arts and Science
Sioux Falls, South Dakota
May 9, 2009 - August 1, 2009

1 Comments:

Blogger geemelle said...

I have not had time read the other pages here but I really loved reading this one. I think that Mr. Aresneau really nailed the coffin lid on the pretence of the originality of posthumous bronze castings.
I have been following the Rodin story for decades which lead to a wider interest in fakes and fakery.
I have a NotSorry.com popular web page on Rodin and have just added a link at the end back to this page.

3:47 PM, October 07, 2009  

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