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Richard Artschwager b. 1923 Untitled (Interior) acrylic on celotex in artist's frame 62 by 47 in. 157.5 by 119.4 cm. Executed in 1973. Provenance Leo Castelli Gallery, New York (LC#207) Roger Davidson, Toronto Lee Hoffman Gallery, Bloomfield Hills, Michigan The Saatchi Collection, London Sotheby's, New York, April, 1991 lot 32 Acquired by the present owner from the above Exhibited New York, Leo Castelli Gallery, Artschwager: Recent Paintings, November - December 1973 Buffalo, Albright-Knox Art Gallery; Philadelphia, Institute of Contemporary Art; La Jolla Museum of Contemporary Art; Houston, Museum of Contemporary Art, Richard Art-schwager's Theme(s), July 1979 - March 1980, p. 77, illustrated New York, Whitney Museum of American Art; San Francisco Museum of Modern Art; Los Angeles, Museum of Contemporary Art; Paris, Musee National d'Art Moderne, Centre Georges Pompidou, Richard Artschwager, January 1988 - January 1989, cat. no. 73, p. 114, illustrated (New York catalogue) and p. 79, illustrated (Paris catalogue) Literature Jean-Christophe Ammann, et. al., Art of Our Time, The Saatchi Collection: Vol. 2, London, 1984, pl. 13, illustrated in color Richard Artschwager trained as a painter under the tutelage of the Cubist-inspired artist, Amedee Ozenfant in Paris at the end of the 1940s with the assistance of the G.I. Bill. During the 1950s he stayed in New Mexico, and there he painted the landscape and figures. He treated the figures anonymously, using them as ciphers for his compositions, rather than attempting to create a sense of the sitter's personality. His desire for an objective handling, of both subject and object, was compounded by a chance encounter with a discarded photograph in a trash can in 1961. Artschwager salvaged the image, gridded it up and then transposed and enlarged it onto canvas. The subject was of no importance; what carried weight for the artist was the act of transposition, the anonymity of the found 'subject' and the technique he used in t