ART & DESIGN

Photos: Full House

by Pilar Viladas

Auguste Rodin Anderson Collection
Photographer: Adrian Gaut

What does a family with one of the most spectacular private collections of postwar American art do when they run out of space? Give some of it away.

1

Photographer: Adrian Gaut

In the front hall of the Andersons’ home, Auguste Rodin’s Walking Man, 1880–85; Jackson Pollock’s Lucifer, 1947, hangs to the right in the dining room; on the near wall is Morris Louis’s Pendulum, 1954.

2

Photographer: Adrian Gaut

Hunk, Moo, and Putter Anderson with Susan Rothenberg’s painting Patches, 1982, and Puryear’s sculpture Dumb Luck, 1990.

3

Photographer: Adrian Gaut

In the dining room, Clyfford Still’s 1947-Y, 1947.

4

Photographer: Adrian Gaut

Fletcher Benton’s Pendulum Sculpture, 1971, flanked by works on paper by Rodin, Elie Nadelman, and Marcel Duchamp in the front hall.

5

Photographer: Adrian Gaut

Sam Francis’s Red in Red, 1955, hangs above the fireplace under Alexander Calder’s Happy as Larry #1, 1949.

6

In the studio, Martin Puryear’s sculpture Sharp and Flat, 1987, in front of Terry Winters’s Dumb Compass, 1985.

7

Back view of Rodin’s Walking Man.

8

Pollock’s Lucifer, with Peter Alexander’s sculpture Untitled, 1971.

9

Sculptures by, from left, Max Ernst, Alberto Giacometti, and Saul Baizerman with Franz Kline’s Figure 8, 1952, and Mark Rothko’s Pink and White Over Red, 1957, in the background.

10

Puryear’s Lever (#4), 1989.

11

In the hallway, clockwise, from near left, Ellsworth Kelly’s Black Ripe, 1955, Philip Guston’s The Tale, 1961, Richard Diebenkorn’s Untitled, 1979, Motherwell’s Italian Summer, 1963, Agnes Martin’s Untitled #21, 1980.

12

Robert Motherwell’s Wall Painting No. IV, 1954, in the guest bedroom.

13

Puryear’s Dumb Luck, in the studio.

14

In the gallery are Still’s 1957-J No. 1, 1957, Rothko’s Untitled (Black on Gray), 1969, and Gabriel Kohn’s Heteroclitus, 1964–65, on the floor.