In the Paris Salon of 1773, the French sculptor Clodion exhibited 'Le fleuve du Rhin séparant les eaux. Esquisse en terrecuite...' (the River Rhine dividing its waters. terracotta study'). This statuette fits the detailed description given in the Salon catalogue and is thought to be the work he exhibited.

Two other versions are known, both signed and dated 1765 and now in the USA (Kimbell Art Museum, Fort Worth, Texas and Fine Art Museum, San Francisco). It has been proposed (by Anne Poulet) that Clodion may have been dissatisfied with these earlier versions and re-worked the subject, producing the V&A statuette while in Rome, perhaps at the end of 1765 or in 1766, before exhibiting it at the Salon a few years later. Incidentally, Clodion exhibited a more finished plaster statuette of the River Scamandre at the same Salon, with both hands outstretched but the figure leaning against the urn, so he was obviously attracted to this theme and dramatic treatment.

Clodion is more usually associated with very fine, finished terracottas, of which the V&A has good examples. However, in this unusual and vibrant terracotta there is evidence all over the surface of the clay being worked both by hand and with tools. We do not know of any large-scale work for which this might have been the model. However, it shows that Clodion must have studied monumental works by others, including the celebrated Antique Laöcoon in Rome and also the work of Bernini (particularly the personifications of Rivers in the Piazza Navona, Rome). It is interesting to note that Charles Natoire, Director of the French Academy in Rome when Clodion was there, owned a terracotta described as an initial study by Bernini for this famous work, as well as three terracottas by Clodion.