RICHARD ARTSCHWAGER | The Gleaners

Mary Boone Gallery, New York
Acquired from the above by the present owner in November 1997

This work is in very good condition overall. There is evidence of handling and wear to the artist's frame, most notably at the center of the bottom edge, where some of the black pigment has rubbed off. Under very close inspection, there are three 1/8 inch brown spot accretions visible at the bottom edge 6 inches from the bottom right corner, and one 1/8 brown spot accretion 1 inch below the Celotex element at the left edge. Framed.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

"It is the vast intersection of thought and action, of looking and doing, of seeming and being; a place where enigma supersedes truth. And vice versa." Richard Armstrong in: Richard Artschwager, New York 1988, p. 45 The collection of Idamae B. and James H. Rich is imbued with an adventurous spirit and intuitive discernment befitting of its collectors. The Riches always pursued an independent course of collecting that did not follow fashions or trends but rather remained true to their instincts, with some thoughtful research and trusted advice along the way. Confident bidders in New York and London auction rooms, the Riches were equally as generous in sharing their love of art and their collection with their community. Their interest in Contemporary Art dated from their attendance at the first Carnegie International in the post-war years, and the Riches were devoted and enduring supporters of the Carnegie Museum and other philanthropic interests in the arts and education. Idamae earned her B.A. in Art History at the University of Pittsburgh and was a member of the Women’s Committee at the Carnegie. James was an Honorary Member of the Carnegie Museum of Art Board, and they both welcomed tours of their collection organized by the Museum. Together they donated acquisition funds, as well as the brilliant Delaware Crossing by Frank Stella, to the Museum. The Riches demonstrated a wonderful receptivity and openness to artists who were not conformists and who embodied the boldness of late 20th-century art. Each artist in their collection defied traditional norms – whether in genres or the materials and processes used – and the Riches matched the artists’ adventurous spirit with their intrepid choice of acquisitions. 
Sotheby’s is delighted to present this distinguished collection over a series of sales which began in London this past June and highlighted by a major painting by Albert Oehlen. Luscious color, figuration, avant-garde abstraction, and precision of line appear throughout the collection, culminating with the three works by Richard Artschwager that highlight this selection.  Represented here by a sculptural object, a painting and a charcoal drawing, Artschwager’s work is one of the great hybrid aesthetic practices of modern times. Objects like the rubberized hair Console, with its luminous acrylic green hues, have painterly attributes, while more figurative paintings such as The Gleaners, with its elaborately designed frame, have sculptural elements.  The 1987 charcoal drawing depicts two diners, seen from above and flattened into a two-dimensional plane which neatly conveys the porous boundary between abstraction and figuration that is a hallmark of 20^th century art.  The Riches acquired these three works from 1997-1999, a few years after Artschwager was included in the 1995 Carnegie International curated by Richard Armstrong. At that time, Artschwager was awarded the Carnegie Prize in Sculpture, and six works by the artist were acquired for the Museum in 1995/1996 through the Mr. and Mrs. James H. Rich Fund.
In summary, the dynamism of the collection is a profound reflection of the marvelous and intrepid couple who enjoyed collecting and living with art. It is an honor to present this collection to the art collecting community as a tribute to them.