RODIN

THE

HAND COLLECTION
RODIN
THE

HAND COLLECTION
Cover: The Hand of Shade
13” h x 6” w x 8” d with out the base
Base size 5.75” x 5.75” x 1.25”

ORIGINAL RODIN STUDIO PLASTER

Dr. Parker is the past president of two public companies (NASDAQ), a former
professor of psychology and past owner of many galleries in the United States and
Europe. He is the chairman of the International Sculpture Institute.  Ron is happily
married to an artist, Yvonne, with whom he lives in Pennsylvania and Florida.
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 THE RODIN
HAND COLLECTION Ronald K. Parker, Ph.D.
MAISON DE RODIN
Maison de Rodin is the publisher of The
Rodin Hand Collection. Maison de Rodin
was established by a French art lover,Valere
Lamblot, to locate authentic plasters
of Rodin’s sculptures and cast them in
limited edition bronzes. The authenticity
of the plasters has been certified by
Comite Rodin ( Jerome Le Blay) and the
fine art bronzes are each accompanied
by Certificates of Authenticity signed by
Alan Beausire, the archivist of the Rodin
Museum. Additionally, the plaster’s
authenticity has been certified by Francois
Privat, a legal expert who has been utilized
by the Rodin Museum and other national
museums in France.
INTERNATIONAL SCULPTURE
INSTITUTE
Making The Rodin Hand Collection
available to collectors is the exclusive
responsibility of the International
Sculpture Institute (ISI). This entity
was created to facilitate the worldwide
distribution of Rodin sculptures which
form the twenty-six piece Maison de
Rodin Collection. The founders of the
ISI are art collectors who previously
owned numerous galleries in America
and Europe.
THE RODIN
HAND COLLECTION
Not since Michelangelo has there been
a sculptor so skilled, so innovative and so
revered as August Rodin (1840-1917).
According to Albert Elsen, “Rodin’s
greatest gift to modern sculptors was his
partial figures….” These works were the
most dramatic demonstrations of the
difference between a traditional concept
of a finished sculpture and the new
model of artistic completeness. “After
1900 to exhibit a torso by itself was to
signal that the sculpture was a modern
artist” (Elsen).
Rodin always believed that he could
make the human hand as expressive
as the face. “No previous sculptor is
known to have made as many studies of
the hand, considering them not only in
connection with arms but self sufficient
as works of art to be exhibited and sold”
as such (Elsen p. 583).
The Rodin Hand Collection presents
six fine art bronze sculptures in various
sizes and shapes. Each image is cast in
a limited edition of only eighty-eight.
The time-consuming and costly lost wax
casting process is used to make each of
these sculptures.
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 RODIN’S HAND
HOLDING TORSO
6 ” h x 10” w x 4” d
.25

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A HANDS OF
s a final testimony to the importance of
the creating hand, Rodin accepted, shortly
before his death, that his hand be cast
holding a small seated female torso devoid PIERRE WISSANT
of head, arms and legs below the thighs. LEFT HAND (facing page)
Rodin frequently carried this torso in his pocket. He 10.5” h x 7.75” w x 5”d with out the base.
was often seen touching it and enjoying its tactile Base size 5.75” x 5.75” x 1.25”
qualities. As a small sample of Rodin’s work, his
associates were awed at the powerful expression that RIGHT HAND
could come from a small fragment representing the 12” h x 7” w x 7.25” d with out the base.
female nude. Base size 5.75” x 5.75” x 1.25”

The composition is evocative of the artist examining

an object from all sides, capturing all the effects of
light playing on the surface and thinking about how
he could still alter it.
How blessed we are today that eighty-eight collectors
will be able to own a life casting of the actual hand of
the genius that created some of the most important
sculptures in the world.

“Here is a torso...broken and incomplete.

It is so true to life, however, that one does
not need the missing parts for it to be alive.”
Ronald K. Parker
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 RIGHT HAND OF
PIERRE WISSANT
12” h x 7” w x 7.25” d with out the base.
Base size 5.75” x 5.75” x 1.25”

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While Rodin’s hands were always faithful to the details of the
anatomy, the Wissant hands seem to be more than anatomically LEFT HAND OF
correct. These hands have a lyrical expressiveness, a spiritual
quality of transcending mere form, and an aesthetic beauty beyond
PIERRE WISSANT
compare. 10.5” h x 7.75” w x 5” d with out the base.
Base size 5.75” x 5.75” x 1.25”
The Maison de Rodin has chosen to offer the Wissant hands in
two versions---horizontal or mounted on bases. In looking at the
hands horizontally, the long, elegant hands of a pianist come to
mind: hands frozen while playing a beautiful composition (Indeed,
one perfect placement for these hands in your home is on the
piano.)
Mounted on striated marble bases, one is able to turn each hand
to enjoy its visual/sculptural strengths from multiple viewing
perspectives. It is also exciting to move one hand in relationship
to the other. Many joint compositions are possible and the “dance”
of the pairing of the hands is endless.
To really enjoy these pieces, place them as the centerpiece of your
formal dining room table for a pure visual delight. At a dinner
party, your good taste will be showcased and the quality of the
conversation is always elevated, at some point, to art.

“Rodin’s hands were a gestural sign language that

caused him to give considerable thought to the exact
placement and expressiveness of each digit. Many of
his hands were made to be shown by themselves as
complete works of art. His well-made hands were
beautiful and expressive by themselves.”
Albert E. Elsen
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R
odin’s hands were either created
individually or taken directly from
another figure. One of the figures
in Rodin’s famous Burghers of
Calais was Pierre de Wissant. Rodin loved
these hands so much that he cast them in
bronze as finished works of art.

SMALL CLENCHED HAND

5 ” h x 4 ” w x 2 ” d with out the base. Base size 3” x 3” x 1 ”
.25 .25 .5 .25

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T
his sculpture is important psychologically
and physically.
As Rodin’s THINKER is the universal
symbol for reflective thinking, this sculpture
represents the universal plea for help. While there have
been many psychological interpretations of this piece,
the one that has been most enduring is that the Small
Clenched Hand represents a plea for HELP.
Over one billion people do not have their daily basic
needs met. Humanity cries daily for help for water, food
and shelter. So every time we see this symbol for HELP,
we are reminded of our duty to help those who are less
fortunate.
Physically, the importance of HELP as a sculpture is
that it embodies all that connoisseurs look for in a great
sculpture.
First, it has flow, energy and movement; second, it is
strong from multiple viewing perspectives (Rodin wrote
that “one can only understand my work if you examine
them from all possible angles.”); and, third, the quality of
the modeling is superb.
The modeling reveals a small hand (5.25” plus base) slightly
arched back with its fingers well spread out, notably the
thumb which stands apart from the palm. Truly, it is a
small masterpiece.

“There are among the works of Rodin

hands, single, small hands which, without
belonging to the body, are alive”
Rainer Maria Rilke
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 T
he shape of various
hands fascinated Rodin
and he modeled many
of them to study as
independent forms in space.  He
often experimented with different
hands on the same figure to
explore a wide range of expressive
possibilities.  This approach clearly
illustrates Rodin’s interest in
fragments. To him, the pure form
of a hand was not dependent on a
larger whole to convey meaning. 

MAIN DROITE (RIGHT HAND)

10” h x 5.5” w x 5.5” d with out the base.
Base size 5.75” x 5.75” x 1.25”

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Rodin’s  hands express a divine
simplicity of emotions.  They
pray and they bless. They plead and
they provide.  They caress and they
grasp.  He said, “An artist must apply
himself to giving as much expression to
a hand or a torso as to a face”. 
Viewing the Main Droite is a visual
pleasure.  It is relaxed as it gently
caresses the air, captured in mid-
flight.  While firmly anchored, it
reaches upward signaling freedom
and hope.  This hand is exquisitely
modeled, carefully balanced, and,
truly, a thing of beauty.   And, a thing
of beauty is a joy forever.

“Rodin’s hand études had parity with finished sculptures

because the well-made part was an artistic whole.”
Albert E. Elsen
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 THE HAND OF SHADE
13” h x 6” w x 8” d with out the base. Base size 5 ” x 5 ” x 1 ”
.75 .75 .25

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R
odin originally sculpted Shade as a variation on a theme
of Adam which was to be a part of his most famous
work of art—The Gates of Hell. Spending over 40 years
of his life sculpting this masterpiece, Rodin decided to
make the “crown” of the gates three identical Shades, posed in a
semi-circle. The Gates of Hell were never cast in bronze during
his lifetime.
The Three Shades (Les trios ombres) were also called The Three
Phantoms by Rodin as a reference to Dante’s Inferno.
The present hand in The Maison de Rodin Collection is the left hand
of the enlarged Shade completed sometime around 1903. The hand is
open with the forefinger lightly extended.
It was Rodin’s imagination that gave this sculpture the sensitive ar-
rangement of the wrist and the hand, the subtle movement of the fingers
and the perfect composition of the parts to the whole. Rodin, however,
left it to the viewer’s imagination to interpret what he/she saw.
The excellence of Rodin’s modeling “in the round” and the harmoni-
ous arrangement of the fingers makes this one of his most important
and expressive sculptures.
For full and complete enjoyment of this beautiful hand, study it care-
fully under different lighting conditions. The play of light and the
effects of light and shadow will have a transforming effect on the
sculpture. Indeed, you will see new things each time you visit The
Hand of Shade.

“Discoveries and the development of archeology in the

19th century had already instilled a strong liking in
art lovers and artists for ‘pieces’ or fragmented works.”
Alan Beausire
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 “The Rodin Hand Collection” is one
of the best conservative investments
available today. And, it is beautiful.”

Robert L. Wallstreet
Wealth Management Advisor
United Bank of Switzerland

Ronald K. Parker, Ph.D.

Chairman
International Sculpture Institute
205 Worth Avenue
Palm Beach, FL 33480
phone   561 804 9199
ronparker@ltis.net
internationalsculptureinstitute.com

Beausire, Alan RODIN: ETERNAL BEAUTY, Maison de Rodin Press, Paris, 2010
Elsen, Albert E. RODIN’S ART, Oxford University Press, 2003

Photography by Robert Farber Design by Géza Czavar © International Sculpture Institute 2010