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Auguste Rodin (1840-1917)
EUROPEAN SCULPTURE FROM THE HARRY W. AND MARY MARGARET ANDERSON COLLECTIONThe Anderson Collection stands as one of America’s most legendary assemblages of Post-War and Contemporary art, a peerless collection demonstrating over half a century of scholarship and dedication by Harry ‘Hunk’ and Mary ‘Moo’ Anderson. Inspired by a single visit to the Louvre Museum in the 1960s, the collection has come to encompass the very best in creative expression, providing a stimulating intellectual outlet for not just the Anderson family, but the countless students, scholars, and museum-goers who have benefitted from the Andersons’ profound generosity. Passionate and genuine, the Andersons have always valued the growth and vitality of their collection above any desire for renown or celebrity. “[The Andersons’] lack of formality,” writes Hilarie M. Sheets, “is just part of the disarming charm that has won the couple close relationships with artists, dealers and academics.” Hunk Anderson put it his own way: “Big ‘A’ for art, little ‘a’ for Anderson.” Yet in building one of the world’s finest collections of American art, the couple have solidified their place as connoisseurs of the highest caliber, living a self-described “journey to the new” that continues to this day. THE SAGA WAY Hunk and Moo Anderson met as students in the late 1940s, when Mr. Anderson, an Army veteran, enrolled at Hobart College under the G.I. Bill. Although government funding took care of necessities, the outgoing Anderson decided, alongside friends Bill Laughlin and William Scandling, to pursue outside ventures to cover rising “social costs.” In 1948, the men assumed the operation of the flailing Hobart College dining hall, instituting an inventive method of selling advance meal tickets that would become an industry standard in later years. Shortly thereafter, the group took over dining operations at neighboring William Smith College. After Anderson graduated with a degree in History and Economics in 1949, he and his partners named their company Saga Corporation, after the Native American village of Kanadasaga that had previously occupied the area around Hobart College.Saga expanded throughout the 1950s, opening new operations at institutions such as Kalamazoo College. In 1962, the company relocated its national headquarters to Menlo Park, California, laying the groundwork for Hunk and Moo Andersons’ lifelong love of California art, culture, and philanthropy. Saga went public in the late 1960s, and by 1973 the company was serving more than 400 million meals a year across university dining halls, hospitals, retirement communities, and restaurant chains. By the time Saga Corporation was sold in 1986, it had revolutionized food service nationwide, having spearheaded state-of-the-art IT and management technologies. The ‘Saga Way,’ a set of corporate principles modeled on the Golden Rule, also earned Saga the distinction of being named one of America’s top 100 companies for employees. By instilling his signature approachability and thoughtfulness throughout the firm, Hunk Anderson built the kind of success of which he could be proud. A COLLECTION’S GENESIS When the Andersons’ collection became too large to keep at home, many works were installed in the offices, hallways, and meeting rooms of the Saga Corporation. From Thiebaud paintings of pies to Diebenkorn etchings and a complete set of Rauschenberg’s Stoned Moon series, art was an integral aspect of the employee experience. Yet the extraordinary collection for which the Andersons are celebrated was, in truth, born by chance, during a fortuitous 1964 trip to Europe. In Paris, what was meant to be a half-day visit to the Louvre Museum became an unexpected two-day dialogue with fine art. “Something came over us in the Louvre,” Hunk Anderson later recalled. “We felt for the first time the beauty and excitement of the world of art and had to be a part of it.”Upon their return from Paris, the Andersons discussed putting together a collection of world-class art. They agreed to acquire a few Impressionist and Post-Impressionist works. Among their first purchases were pictures by Monet, Pissarro, Renoir, Picasso, and others. The Andersons quickly realized, however, the difficulty in obtaining a choice collection of nineteenth century European art. As “the best of the best” was already held in museums and other private collections, the couple shifted their focus to the Early Modernists, German Expressionists, and Early American Modernists, obtaining pictures by artists such as Hartley, Luks, Rodin, O’Keeffe, Prendergast, and Sargent. It was not until Moo Anderson took another trip–this time to New York, in 1968–that the couple’s collection began to turn in a particular direction. With Mrs. Anderson’s New York purchase of Diebenkorn’s bound portfolio 41 Etchings, Drypoints, the couple’s fascination with American Contemporary art solidified. “[The Diebenkorn works] changed the focus of our collecting,” Hunk Anderson recalled, “from the early Impressionist period to Post-World War II American art.” FOCUS ON THE BEST In turning to the art of their own time, Hunk and Moo Anderson found a wealth of groundbreaking, informed work, often by living artists. Elements that initially drew the couple to Impressionist and Modern art–visual experimentation, dynamic handling of paint, and an embrace of the ‘new’–were also present in the work emanating from American artists’ studios. The couple delved into the Contemporary scene: “We went to the library,” Hunk Anderson said, “we got catalogues, we saw shows.” Moo Anderson built an impressive art library, allowing the couple to peruse countless volumes and identify the work they admired. Their proximity to the intellectual resources at Stanford University was an additional boon: there, Mrs. Anderson studied under celebrated art historian Albert Elsen, who Mr. Anderson described as “very, very instrumental” in encouraging the couple to achieve greater focus.With the assistance of gallerists such as Robert Elkon, Edith Halpert, Martha Jackson, David McKee, and Gene Thaw, the Andersons’ collection rapidly expanded. “Once you find their taste is the same as yours,” Moo Anderson said of the dealers, “you keep going back to them.” The collectors sought out the best examples in periods and styles including Abstract Expressionism, Color Field Painting, Post-Minimalism, Pop, Bay Area Figurative art, and Contemporary abstract painting. In addition to leading artists such as Rothko, Gottlieb, Still, Pollock, Frankenthaler, and de Kooning, the Andersons acquired the work of California figures such as David Park, Jay DeFeo, Wayne Thiebaud, and Nathan Oliveira. “Balancing New York School artists with their West Coast contemporaries,” Sheets writes, “appealed to the Andersons as it reflected their own move from New York.” The full range of art forms at play affords the Anderson Collection a nuanced, ‘layered’ aesthetic that remains rare amongst even the finest assemblages. It was “quality, quality, quality” that guided Hunk and Moo Anderson: each acquisition was required to showcase the highest levels of ingenuity and craftsmanship. “We are very much self-taught,” Hunk Anderson mused, “but passions cannot be denied.”The Andersons believed that art should be a family affair, and their daughter Mary Patricia–affectionately known as ‘Putter’–grew up surrounded by the best in Contemporary art and culture. At the Andersons’ residence in Northern California–built in 1969 with the display of fine art in mind–the couple’s works hung in a striking picture of visual and intellectual delight. After art historian Barbara Rose visited the family’s home, she was stunned to find that “each room had a masterpiece in it.... Nothing in the house was meant to distract from the art, and each work was treated with the kind of respect that serious art deserves.”Above all, the Anderson Collection always remained fully integrated into daily life, a source of inspiration and conversation for the entire family. Pollock’s masterful Lucifer hung over Putter’s bed, with works by Albers and Reinhardt nearby. The collectors’ 1957 Giacometti bronze Standing Figure even earned its own nickname: “Skinny.” “Exposure to creative talents opened my eyes to new and different perspectives,” Putter Pence remarked, echoing the role that much of the collection would come to play in the public sphere. At exhibitions and art fairs, Hunk, Moo, and Putter would take mental notes on their top three ‘picks’ for potential acquisition, opening a family dialogue that brought the collection an affinity-based coherence. Putter Pence would go on to become a respected art adviser and dealer in her own right, opening a gallery in Santa Monica while introducing her parents to the work of young American Contemporary artists.INSPIRING GENEROSITY Like other great collectors, Hunk and Moo Anderson strongly believe that they are merely “custodians” of a body of work that belongs to the world. To this end, they have devoted their efforts to showcasing the collection via private tours of their home, as well as through extraordinary bequests to museums and cultural institutions. As Moo Anderson has stated, “To enjoy art, I feel you must share it.” Following the donation of Johns’ Land’s End and Rauschenberg’s Collection to the San Francisco Museum of Modern Art, the Andersons gifted a grouping of Pop Art masterpieces to the museum in the early 1990s, including works from the 1960s by Roy Lichtenstein, Claes Oldenburg, Jim Dine, and Andy Warhol. At the turn of the millennium, the Andersons donated to SFMOMA seven important pictures by Frank Stella, including Zambezi (1959), from the artist’s groundbreaking series of black paintings. In 2000, the museum was the site of Celebrating Modern Art: The Anderson Collection, a retrospective of Hunk and Moo Anderson’s life in collecting and the largest exhibition in the institution’s history. “Probably no private collection,” wrote San Francisco Chronicle critic Kenneth Baker, “illustrates the course of American art since World War II better than that of... Harry W. and Mary Margaret Anderson.” In 1996, the Fine Arts Museums of San Francisco became the recipient of nearly 700 master prints from the Anderson Collection, while institutions such as the Oakland Museum and the San Jose Museum of Modern Art also benefitted from the Andersons’ largesse. In 2011, the Andersons made headlines when they donated some 121 masterworks–anchored in the work of the New York School–to Stanford University. It is one of the most significant donations of fine art in American history, with star names such as Pollock, Rothko, Still, Kline, Thiebaud, Diebenkorn, Frankenthaler, and Celmins represented in a new permanent building housing the Anderson Collection. “It’s good to study art in books,” Hunk Anderson said of the Stanford bequest, “but something happens in the presence of the original–it affects the brain, taste, feelings, and more.”While the Stanford bequest has spurred the Andersons to see their home in a new way–“We will miss them,” Moo Anderson said of the pictures–the collectors have in more recent years embraced the work of younger, emerging artists. They continue to collect, and in recent years have become even more focused on art “made in America.” Unflagging in their dedication to cultural patronage, the Andersons’ charitable foundation also supports the visual arts in the Bay Area and the Western United States through its collection-sharing program, and provides support services to enhance creative initiatives across the nation. For the many scholars and curators who have been fortunate enough to study and interact with the Anderson Collection, the opportunity to share that experience with fledgling art historians at SFMOMA, the Fine Arts Museums of San Francisco, and Stanford is a truly remarkable gift. “It keeps us motivated,” Hunk Anderson said of the bequests. “It keeps us interested. It’s one of our hopes and desires that this is going to do the same for other people who are going to be able to see this collection.... I think it has had a direct influence over our relationships, as well as our longevity.” The depth and quality of the Anderson Collection is a testament to not only Hunk and Moo Anderson’s curatorial vision, but to the power of art in changing lives. A visit to the Louvre sparked an unexpected and heartfelt journey in collecting, the results of which are still celebrated across the United States and beyond. “Each painting has been an event in our lives,” Hunk Anderson remembered, “and luckily they’ve always been happy events.” Indeed, the spirit and joy of Hunk and Moo Anderson lives on in each work within the Anderson Collection, a tangible legacy that continues to inspire.EUROPEAN SCULPTURE FROM THE HARRY W. AND MARY MARGARET ANDERSON COLLECTION
Auguste Rodin (1840-1917)

Figure de l’homme qui marche, moyen modèle

Details
Auguste Rodin (1840-1917)
Figure de l’homme qui marche, moyen modèle
signed 'A. Rodin' (on the top of the base); inscribed with foundry mark '.Georges Rudier. .Fondeur. Paris.' (on the side of the base); inscribed and dated'.© by Musée Rodin. 1962.' (on the back of the base); with raised signature 'A. Rodin' (on the underside)
bronze with dark brown and green patina
Height: 33 1/8 in. (84.2 cm.)
Conceived in 1899-1900 and cast in October 1962
Provenance
Musée Rodin, Paris.
Charles Slatkin Galleries, New York (acquired from the above, December 1964).
Feingarten Galleries, Los Angeles.
Acquired from the above by the present owners, 1981.
Literature
R.M. Rilke, Auguste Rodin, Berlin, 1907, p. 84.
G. Grappe, Catalogue du Musée Rodin, Paris, 1927, vol. I, p. 29, no. 15 (another cast illustrated).
J. Cladel, Rodin: Sa vie glorieuse et inconnue, Paris, 1936, pp. 132-133 and 275.
A. Leslie, Rodin: Immortal Peasant, New York, 1937, p. 304.
G. Grappe, Catalogue du Muse´e Rodin, Paris, 1938, pp. 16-17 (another cast illustrated).
V. Frisch and J.T. Shipley, Rodin: A Biography, New York, 1939, pp. 58, 114, 127, 199, 311, 372 and 423-423 (another cast illustrated, fig. 32).
G. Grappe, Catalogue du Muse´e Rodin, Paris, 1944, pp. 16-17 (another cast illustrated).
J. Cladel, Rodin, Paris, 1948, pp. xvi and xix.
E. Herriot, Rodin, Zürich, 1949, pp. 78-79 (larger cast illustrated).
M. Aubert, Rodin Sculptures, Paris, 1952, pp. 14-15 (another cast illustrated).
C. Goldscheider, Rodin, Paris, 1962, p. 56 (another cast illustrated).
A.E. Elsen, Rodin, New York, 1963, pp. 27, 29, 31-33 and 181 (another cast illustrated, p. 28; larger cast illustrated, p. 30).
A. Bowness, Modern Sculpture, London, 1965, p. 12 (another cast illustrated, p. 15).
D. Sutton, Triumphant Satyr: The World of Auguste Rodin, London, 1966, pp. 41, 69 and 94.
B. Champigneulle, Rodin, Paris, 1967, pp. 57-59 (another cast illustrated).
I. Jianou and C. Goldscheider, Rodin, Paris, 1967, p. 87 (plaster version illustrated, pl. 10).
A.E. Elsen and H. Moore, "Rodin's Walking Man as Seen by Henry Moore" in Studio International, July-August 1967, no. 174, pp. 26-31.
R. Descharnes and J.-F. Chabrun, Auguste Rodin, Paris, 1967, p. 213 (larger cast illustrated; plaster version illustrated, p. 55).
A.E. Elsen, "The Sculpture of Matisse, Part I" in Artforum, September 1968, vol. 7, pp. 22-26 (another cast illustrated).
W. Tucker, The Language of Sculpture, London, 1974, pp. 144-145 (another cast illustrated).
J.L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, p. 365, no. 65-1 (another cast illustrated).
Y. Taillandier, Rodin, New York, 1978, p. 6 (another cast illustrated).
R. Butler, ed., Rodin in Perspective, Englewood Cliffs, New Jersey, 1980, pp. 28, 30, 149, 162, 170, 189 and 190-191.
A.E. Elsen, In Rodin's Studio: A Photographic Record of Sculpture in the Making, Ithaca, 1980, p. 187, nos. 132-134 (larger casts illustrated in situ, pls. 132-134).
A.E. Elsen, Purposes of Art, 4th Edition, New York, 1981, p. 345 (another cast illustrated).
H. Pinet, Rodin: Sculpteur et les photographes de son temps, Paris, 1985, p. 48, no. 36 (larger cast illustrated).
M. Laurent, Rodin, Paris, 1988, p. 33 (another cast illustrated).
C. Goldscheider, Rodin: Vie et oeuvre, catalogue raisonné de l'oeuvre sculpté, 1840-1886, Lausanne and Paris, 1989, vol. I, p. 130, no. 103a (larger cast illustrated, p. 131).
D. Jarrassé, Rodin, la passion du mouvement, Paris, 1993, pp. 48-49 (other versions illustrated).
K. Baker, "The Hunk and Moo Show" in Town & Country, October 2000, p. 133 (illustrated in color).
S. Staggs, "All in Two Places" in ANG Newspapers, 20 October 2000, Preview Section, p. 19.
A. Wallach, "A Collection That Could Fill In a Museum's Gaps" in The New York Times, 12 November 2000, p. 42.
A.E. Elsen, Rodin's Art, New York, 2003, pp. 546-555, no. 174 (other versions illustrated, pp. 546 and 548-550).
A. Le Normand-Romain, The Bronzes of Rodin: Catalogue of Works in the Musée Rodin, Paris, 2007, vol. II, pp. 421-422, no. S.495 (another cast illustrated).
Exhibited
San Francisco Museum of Modern Art, Celebrating Modern Art: The Anderson Collection, October 2000-January 2001, pp. 264 and 383, no. 247 (illustrated in color, p. 265, pl. 148; illustrated in color in situ, p. 29, fig. 15).

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Brooke Lampley
Brooke Lampley

Lot Essay

This work will be included in the forthcoming Auguste Rodin catalogue critique de l'oeuvre sculpté currently being prepared by the Comité Auguste Rodin at Galerie Brame et Lorenceau under the direction of Jérôme Le Blay under the archive number 2015-4725B.

Rodin created L’homme qui marche–“in my opinion,” he later declared, “one of my best things”–around 1899 by combining a torso and a pair of legs that he had modeled two decades earlier in connection with his statue of Saint John the Baptist, a succès de scandale at the 1880 Salon. Rodin had re-discovered the clay torso, by then cracked and fissured like an ancient statue, in his studio in 1887 and had cast it in bronze as an autonomous sculpture, powerfully expressive in its fragmentary form. Now, he mounted the torso atop the forked legs, the juncture of the two pieces representing the very fulcrum of the body in motion. Stripping away all anecdote and rhetoric, Rodin achieved an expression of pure movement–the powerful forward stride of a seeker, a striver, a prophet, a visionary. “Absence of a head eliminated specific identity and psychological or emotional display, and being without arms as well, the figure totally lacked the means of traditional expression,” Albert Elsen has written. “The Walking Man strode into the twentieth century like a newborn” (op. cit., 2003, p. 553).
The idea for L’homme qui marche had come to Rodin when an Italian laborer named César Pignatelli arrived at his studio in 1878 to offer his services as a model. “The peasant undressed, mounted the model stand as if he had never posed; he planted himself head up, torso straight, at the same time supported on his two legs, open like a compass,” Rodin recalled. “The movement was so right, so determined, and so true that I cried: ‘But it’s a walking man!’” Although it represented a bold violation of academic tradition to balance a figure on both legs, with the torso above the void, Rodin was undeterred. “I promised myself then to model it with all my might, and to come close to nature, which is to say, to truth. It was thus that I made The Walking Man and John the Baptist” (ibid., p. 546).
By the time that Rodin modeled L’homme qui marche, he had been pondering his statue of Saint John for over twenty years and had clarified his ideas about the pose. Whereas the earlier figure is shown in perfect front view, the torso of L’homme qui marche leans forward and swivels slightly to the left, heightening the impression of motion. Rodin elongated the trailing leg and raised the rear section of the base so that it appeared from behind that the figure was still pushing off the ground. From the side, however, he suggested that the weight had already been transferred, thickening and tensing the muscles of the right thigh and flattening out those of the left. “The sculptor obliges the spectator to follow the development of an act through one figure,” Rodin explained. “He makes visible the passage of one pose into the other; he indicates how imperceptibly the first glides into the second” (ibid., pp. 547-549).
Rodin first exhibited L’homme qui marche on a two-meter column at his 1900 retrospective at the Pavilion d’Alma, and he selected the figure for prominent display at a banquet held in 1903 when he was awarded the Légion d’Honneur. In 1907, he displayed a colossal enlargement of the figure at the Salon, where it made an enormous impact; recognizing the extent of its significance, he went on to show the sculpture at more than twenty international exhibitions before World War I. From Matisse’s Serf to Boccioni’s Unique Forms of Continuity in Space to Giacometti’s Homme qui marche, many of the century’s pioneering sculptural experiments would be unthinkable without the powerfully modern precedent of Rodin’s great striding figure.

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