ART & DESIGN

Photos: Full House


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.

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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.

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Photographer: Adrian Gaut

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

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Photographer: Adrian Gaut

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

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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.

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Photographer: Adrian Gaut

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

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

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Back view of Rodin’s Walking Man.

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

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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.

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Puryear’s Lever (#4), 1989.

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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.

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

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Puryear’s Dumb Luck, in the studio.

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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.