FERNANDINA BEACH, FLORIDA.- Gary Arseneau, from Fernandina Beach, Florida, wrote to us about the news story “Auguste Rodin Sculpture Stolen in Argentina” ArtDAily published on June 1, 2003. We would like to present the complete letter to our readers:

Dear Editors:

     I am an artist/printmaker of original lithographs, gallery owner and author of the two books 2000 "The Monument to Victor Hugo Deception" and 2001 "The marketing and profit of "inauthentic" and "counterfeit" Degas Bronzes."  I am writing to you with serious questions and comments concerning the "Auguste Rodin Sculpture Stolen in Argentina" article published on your website June 1, 2003.

     First, from prior news accounts May 30, 2003 Reuters’ "Rodin Sculpture Stolen in Argentina" article, the "Hand of God" was a "6.3 inch high sculpture." Furthermore the article stated: "the robbery came amid a deep economic crisis in Argentina that has sent crime soaring. Statues and monuments have been stripped of bronze plaques across the capital by thieves who recycle the metal as scrap." This certainly implies this "Hand of God" was a "bronze" though this is not clearly stated.

    In addition the photograph of a "Hand of God" marble on your website with your article further creates confusion in the mind of the reader as to whether the "Rodin" stolen from this Argentina museum was in bronze or marble.

    Then dramatically in this article the "Hands of Rodin: A Tribute to B. Gerald Cantor" exhibit was suddenly injected into the conversation about this stolen "Rodin." How is the stolen "Rodin" related in anyway to prior 1997 "Rodin" exhibit in the Philadelphia Museum of Art?

     On page 123 of my 2000 "The Monument to Victor Hugo Deception" book, I document the deception in the Iris and B. Gerald Cantor Foundation’s "Hand of Rodin: A Tribute to B. Gerald Cantor" exhibit the following:

     "The Cantor Foundation’s “Hands of Rodin” exhibition at the Brigham Young University’s Museum of Art contained at least twenty-seven fake “Rodin bronzes’, not by the hands of Auguste Rodin who died in 1917, out of fifty-five Cantor Foundation promoted “Auguste Rodin bronzes”. These fakes, non-disclosed as reproductions, were posthumously reproduced by the the Alexis Rudier Foundry after 1925, Georges Rudier Foundry after 1952, Susse Foundry between 1964 to 1978, the Godard Foundry after 1969 and the Coubertin Foundry after 1973.

   "In this exhibit, thirteen possible Auguste Rodin lifetime casts (bronzes) are listed as “unknown foundry” and all but one of these “Rodin bronzes” by an “unknown foundry” have either a “A Rodin” or “Rodin” inscribed on the bronze. The majority of signatures on Auguste Rodin’s lifetime casts were traced by the foundries from a sample supplied by Auguste Rodin, this type of scholarship and disclosure would not necessarily dismiss these as potential fakes.

   "Also, there are thirteen possible Auguste Rodin lifetime casts (bronzes) listed (or that can be documented) with the Alexis Rudier as the foundry. Published historical documentation notes that the majority of “Rodin bronzes” cast by the Alexis Rudier Foundry were reproduced after Auguste Rodin’s death in 1917 even though the foundry was in business from 1902 to 1952. So without this type of full disclosure and historical documentation, should we give the Cantor Foundation and this exhibit the benefit of the doubt on these thirteen “Rodin bronzes” listed with the Alexis Rudier Foundry and thirteen “unknown” foundries as being possible Auguste Rodin lifetime casts?"

     Now let’s compare a Art Daily’s "1886" date listed for an Auguste Rodin "Kiss" and with the "1886" date  given to the Cantor Foundation’s "Kiss" bronze listed in the "Hands of Rodin" exhibit     In this June 1, 2003 Art Daily article, it dates Auguste Rodin’s "Kiss" with the "1886" date.

     In the Cantor Foundation’s "Hand of Rodin" exhibit, the exhibition checklist lists an Auguste Rodin "Kiss" bronze. The checklist description, in part, list it as: "Foundry: Alexis Rudier" and "Original plaster version executed in 1886; this bronze cast at a later date."

     Unfortunately, since the "Barbedienne" foundry had contractual rights to cast all "Kiss" bronzes till 1919 (page 289, "1981 Rodin Rediscovered", Monique Laurent, former Musee Rodin curator), the Alexis Rudier (foundry) cast bronze of the "Kiss" would in fact be at least after 1919 or therefore, at best, a posthumous cast/reproduction.

     Why is this so important?

     Art is created by artists. Reproductions are copies of original art done by someone other than the artist. The public doesn’t go to museums expecting to see reproductions and they don’t go to the museum gift shop expecting to see originals. So when that distinction is blurred for whatever reason, serious ethical and legal questions come into play and the potential consequences they may incur.

     In conclusion, is the Argentina museum’s stolen "Rodin" a lifetime cast or a posthumous reproduction?

     Thank you for taking the time to read my email. If you have any additional questions or comments please write, email or call. I look forward to hearing from you.

Sincerely,

Gary Arseneau