Editing Auguste Rodin (section)

===United States===
[[File:75 - Musée Rodin - Ève au rocher, grand modèle – Auguste Rodin.jpg|thumb|upright|''[[Eve (Rodin)|Ève au rocher]]'', 1881 – c. 1899 bronze, [[Tuileries Garden|Jardin des Tuileries]], Paris]]

While Rodin was beginning to be accepted in France by the time of ''The Burghers of Calais'', he had not yet conquered the American market. Because of his technique and the frankness of some of his work, he did not have an easy time selling his work to American industrialists. However, he came to know [[Sarah Tyson Hallowell]] (1846–1924), a curator from Chicago who visited Paris to arrange exhibitions at the large Interstate Expositions of the 1870s and 1880s. Hallowell was not only a curator but an adviser and a facilitator who was trusted by a number of prominent American collectors to suggest works for their collections, the most prominent of these being the Chicago hotelier [[Potter Palmer]] and his wife, [[Bertha Palmer]] (1849–1918).<ref>{{Cite web |last=Muzdakis |first=Madeleine |date=4 June 2023 |title=Who Was Auguste Rodin? Get To Know the Famous Sculptor of 'The Thinker' |url=https://mymodernmet.com/auguste-rodin-sculptor/ |access-date=1 July 2023 |website=My Modern Met |language=en |archive-date=23 March 2023 |archive-url=https://web.archive.org/web/20230323045606/https://mymodernmet.com/auguste-rodin-sculptor/ |url-status=live }}</ref><ref>{{Cite web |title=Rodin in the United States: Confronting the Modern |url=https://www.clarkart.edu/About/Press-Room/Press-Room-Archives/2022-Archives/Rodin-in-the-United-States-Confronting-the-Modern |access-date=1 July 2023 |website=Clark Art Institute |archive-date=18 November 2022 |archive-url=https://web.archive.org/web/20221118203759/https://www.clarkart.edu/About/Press-Room/Press-Room-Archives/2022-Archives/Rodin-in-the-United-States-Confronting-the-Modern |url-status=live }}</ref>

The next opportunity for Rodin in America was the 1893 [[World's Columbian Exposition|Chicago World's Fair]].<ref>The Indefatigable Miss Hallowell, p. 6</ref> Hallowell wanted to help promote Rodin's work and he suggested a solo exhibition, which she wrote him was ''beaucoup moins beau que l'original'' but impossible, outside the rules. Instead, she suggested he send a number of works for her loan exhibition of French art from American collections and she told him she would list them as being part of an American collection.<ref>''Rodin: The Shape of Genius'', p. 399</ref> Rodin sent Hallowell three works, ''Cupid and Psyche'', ''Sphinx'' and ''[[Andromeda (Rodin)|Andromeda]]''. All nudes, these works provoked great controversy and were ultimately hidden behind a drape with special permission given for viewers to see them.<ref name="The Documented Image, Page 97">The Documented Image, p. 97</ref>

''Bust of Dalou'' and ''Burgher of Calais'' were on display in the official French pavilion at the fair and so between the works that were on display and those that were not, he was noticed. However, the works he gave Hallowell to sell found no takers, but she soon brought the controversial Quaker-born financier [[Charles Yerkes]] (1837–1905) into the fold and he purchased two large marbles for his Chicago manse;<ref name="The Documented Image, Page 97"/> Yerkes was likely the first American to own a Rodin sculpture.<ref>Franch, John (2006). ''Robber Baron: The Life of Charles Tyson Yerkes.'' Urbana: University of Illinois Press; p. 209.</ref>

Other collectors soon followed including the tastemaking Potter Palmers of Chicago and [[Isabella Stewart Gardner]] (1840–1924) of Boston, all arranged by Sarah Hallowell. In appreciation for her efforts at unlocking the American market, Rodin eventually presented Hallowell with a bronze, a marble and a terra cotta. When Hallowell moved to Paris in 1893, she and Rodin continued their warm friendship and correspondence, which lasted to the end of the sculptor's life.<ref>Extensive correspondence in Musee Rodin</ref> After Hallowell's death, her niece, the painter [[Harriet Hallowell]], inherited the Rodins <!-- _?___ --> and after her death, the American heirs could not manage to match their value in order to export them, so they became the property of the French state.<ref>The indefatigable Miss Hallowell, p. 8</ref>