Painter, Collage Artist, Sculptor, Photographer, b. 1925 - d. 2008
American artist. Milton Ernst Rauschenberg was born on October 22, 1925, in Port Arthur, Texas. He studied at the Kansas City Art Institute (1946–7), the Académie Julien, Paris (1947), and with Josef Albers and John Cage at Black Mountain College, North Carolina (1948–50).
Traveling widely, he was based in New York City from 1950, where he and Jasper Johns paved the way for pop art of the 1960s. He worked with the Merce Cunningham Dance Company, New York, as costume and stage designer (1955–64).
An imaginative and eclectic artist, he used a mix of sculpture and paint in works he called ‘combines’, as seen in The Bed (1955). From the late 1950s he incorporated sound and motors in his work, such as Broadcast (1959), and silk-screen transfers, as in Flush (1964).
Throughout the 1980s and 1990s, he experimented with collage and new ways to transfer photographs. In 1997 the Solomon R Guggenheim Museum, New York City, staged a major exhibition of his works, showcasing the breadth and beauty of his work and its influence over the second half of the century.
Pop artist Robert Rauschenberg died on May 12, 2008 in Lee County, Florida.
America: The Next Century is an offset color lithograph based on Robert Rauschenberg's original lithograph 'Deposit' commissioned by Mobil Oil Corporation for the American Revolution Bicentennial Administration. Artist: Robert Rauschenberg (American, 1925-2008) Issued: 1976 Dimensions: 24"L x 35"H Country of Origin: United States
Original offset monochrome lithograph poster on wove paper with silver borders created by American artist Robert Rauschenberg for the 40th anniversary of Aperture Magazine in 1992. Features one of Rauschenberg's iconic Combines with a juxtaposition and interrelation of photographs from Horse Silk (Night Sights Series). Artist: Robert Rauschenberg (American, 1925-2008) Issued: 1992 Dimensions: 25"L x 30"H Country of Origin: United States
RAUSCHENBERG, ROBERT (1925-2008), ‘Tramp’, 1974, Colour aquatint etching and embossed print partly collaged/handmade paper, signed, dated and numbered 65/300 in pencil lower right, drystamp ‘UNTITLED PRESS’ lower left. Dry stamp ‘UNTITLED PRESS’, HxW: sheet approx. 78.5x56 cm (87x64 cm with frame). Traces of age and creasing, browned and stained. With glazed frame.
Robert Rauschenberg Untitled (from the Peace Portfolio I) 1970 offset lithograph in colors 26 h x 21 w in (66 x 53 cm) Signed, dated and numbered to lower right 'Rauschenberg 128/175 70'. This work is number 128 from the edition of 175 published by the Academic and Professional Action Committee for a Responsible Congress, New York. This work will ship from Lambertville, New Jersey.
Robert Rauschenberg Local Quarry One 1968 offset lithograph in colors image: 33.25 h x 24.875 w in (84 x 63 cm) sheet: 34.625 h x 26 w in (88 x 66 cm) This work is from the edition of 850 co-printed and co-published by Quarry, Local One/Amalgamated Lithographers of America and Color Lithographers Service, Inc., New York. This work will ship from Lambertville, New Jersey.
Robert Rauschenberg Edward Kennedy Campaign 1994 offset lithograph in colors 28.5 h x 20.25 w in (72 x 51 cm) Signed and numbered to lower edge 'Rauschenberg 35/100'. This work is number 35 from the edition of 100 published by the Senator Edward M. Kennedy Campaign, Washington, D.C. This work will ship from Chicago, Illinois.
Robert Rauschenberg Horsefeathers Thirteen-VIII (from the Horsefeathers Thirteen Series) 1972 offset lithograph in colors with paper collage, embossing and varnish on handmade Jeff Goodman handmade buff image: 18 h x 15 w in (46 x 38 cm) sheet: 24 h x 17.75 w in (61 x 45 cm) Signed, dated and numbered to lower edge 'Rauschenberg 16/79 72' with printer's blindstamps. This work is number 16 from the edition of 79 printed by Gemini G.E.L., Los Angeles. Literature: Gemini 728 This work will ship from Los Angeles, California.
Robert Rauschenberg Untitled VI (from the Surface series, from the Currents suite) 1970 screenprint on Aqua B 844 image: 35 h x 35 w in (89 x 89 cm) sheet: 40 h x 40 w in (102 x 102 cm) Signed, dated and numbered to lower right 'Rauschenberg AP 70'. This work is an artist's proof apart from the edition of 100 printed by Styria Studio, Glendale and co-published by Dayton's Gallery 12, Minneapolis and Castelli Graphics, New York. Provenance: Walker Art Center, Minneapolis | Private Collection Exhibited: American Tableaux: Selections from the Collection of Walker Art Center, 10 November 2001 - 13 January 2005, Walker Art Center, Minneapolis This work will ship from Lambertville, New Jersey.
Robert Rauschenberg Pre-Morocco (from the Eight by Eight to Celebrate the Temporary Contemporary portfolio) 1983 lithograph in colors on BFK Rives 42 h x 29.75 w in (107 x 76 cm) This work is from Eight by Eight to Celebrate the Temporary Contemporary, a portfolio of prints by eight artists produced to help raise funds for the Museum of Contemporary Art, Los Angeles (MOCA). Signed, dated and numbered to lower left '137/250 Rauschenberg 83'. This work is number 137 from the edition of 250 printed by Universal Limited Art Editions, West Islip, NY and published by the Museum of Contemporary Art, Los Angeles. This work will ship from Lambertville, New Jersey.
1977 PRESIDENTIAL INAUGURATION Color lithograph, 1977, signed and inscribed PP II, a printer's proof aside from the numbered edition of 100, in pencil, from Inaugural Impressions, Democratic National Committee, published by the Democratic National Committee, for the Inauguration of President Jimmy Carter, Washington, D.C., the full sheet, unframed. Sheet 30 3/4 x 21 1/2 inches; 781 x 546 mm.
Robert Rauschenberg (American 1925-2008), Exhibition for Jewish Museum Show, 1963 Universal Limited Art Editions, New York, Offset lithograph, Edition of 3000 Property from the Estate of Alice Denney
Robert Rauschenberg (American 1925-2008), Centennial Certificate, Metropolitan Museum of Art Color Poster, Copyright 1970 Telamon Editions Limited, West Islip, New York, Property from the Estate of Alice Denney
Rilievo e intaglio su tessuto con aggiunta di matite elettromagnetiche IBM e righello di legno, cm. 102,5x104. Firma e data al centro della composizione. Pezzo unico. L'opera è registrata presso la Robert Rauschenberg Foundation con n. 74. E017. Certificato di autenticità e provenienza DJT Fine Art, New York; certificato di autenticità e provenienza Jim Kempner Fine Art, New York; certificato della Robert Rauschenberg Foundation. Provenienza: Collezione privata, Milano; Galleria Agnellini Arte Moderna, Brescia; Galleria Mucciaccia, Roma. Esposizioni: 1978, Graphicstudio U.S.F.: An Experiment in Art and Education, 13 maggio - 16 luglio, The Brooklyn Museum of Art, Brooklyn, Usa; 1995, Robert Rauschenberg: Two Decades at GraphicStudio, 11 settembre - 1 dicembre, GraphicStudio, Institute for Research in Art, University of South Florida, Tampa, USA; 2008, Robert Rauschenberg, 17 aprile - 15 giugno, Galleria Mucciaccia, Roma (ripr. in cat. pp. 43, 47; 2015, Robert Rauschenberg, 16 maggio - 31 ottobre, Galleria Agnellini Arte Moderna, Brescia (ripr. in cat. p. 36); 2016-2017, From Modern to Now: Masterworks from the Kasser Mochary Art Foundation, 27 agosto - 9 luglio, Tucson Museum of Art, Tucson, USA; 2018-2019, Remember to React: 60 Years of Colecting, 9 settembre - 30 giugno, NSU Art Museum, Fort Lauderdale, USA; 2019-2020, Robert Rauschenberg 1965 - 1980, 6 luglio - 26 gennaio, Vancouver Art Gallery, Vancouver, Canada; 2024, Offset Robert Rauschenberg at USF GraphicStudio, 9 gennaio - 2 marzo, Contemporary Art Museum, University of South Florida, Tampa, USA. Bibliografia: 1992, Image and Word in the Print of Robert Rauschenberg, 1951 - 1981, M. Lesly Smithe, Ph. D. University of Texas, Austin, p. 104. . 1974
Robert Rauschenberg (American, 1925-2008) Autobiography Offset lithographs on three panels, 1968, from an edition of 2000 Signed and dated RR 68 in graphite, l.r. of center panel Property from the Estate of Alice Denney Exhibited: American Prints: 1950-1974, The Baltimore Museum of Art, Baltimore, MD, September 24-November 10, 1974, Loan no. 6884a Note: This is the first work of fine art to be printed on a billboard press. According to the Robert Rauschenberg Foundation, this work is a summation "that brings together the life and work of the then forty-three-year-old artist" and includes directly autobiographical elements such as x-rays of the artist's body and childhood photos which intermingle with places of importance and found images.
"Tanya's Veil (Whale)." 1992. Lithograph. Edition of 500. Signed below image and in plate, editioned on bottom left. 11 x 8 1/2"; 18 3/4 x 13 3/4" (overall). Framed.
Robert Rauschenberg (American, 1925–2008) Roan (from Pages and Fuses), 1974 handmade paper, pigment, and screenprinted tissue laminated to paper pulp signed, dated, and numbered 27/36 in pencil, verso 19 x 25 inches. This lot is located in Philadelphia. Joseph Zellis Tust
"Perspective" by Robert Rauschenberg, 2005 Unsigned Offset Lithograph. Paper size is 36 x 22.75 inches, with an image size of 36 x 22.75 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated B: Very Good Condition, with signs of handling or age. Additional details: The poster titled Perspective created for Robert Rauschenberg’s 2005 exhibition at the Paul + Lulu Hilliard Art Museum likely reflects the artist’s exploration of varying viewpoints and interpretations. Rauschenberg’s work often engages with themes of perception, context, and the interplay between different visual and conceptual elements. The title suggests a focus on how perspective can alter our understanding of art and reality, emphasizing the idea that meaning can shift based on the viewer's point of view. This aligns with Rauschenberg’s practice of using mixed media to challenge traditional artistic boundaries and provoke thought.
"New York Philharmonic 150th Anniversary" by Robert Rauschenberg, 1992 Unsigned Offset Lithograph. Paper size is 38.5 x 30.25 inches, with an image size of 38.5 x 30.25 inches. The Offset Lithograph is from an edition size of 800 and is not framed. The condition was rated A: Mint. Additional details: This original poster by Robert Rauschenberg was created for the Lincoln Center New York Philharmonic's 150th Anniversary on December 7, 1992. Printed by ULAE, it is part of an edition of 800 on textured matte cotton cover stock. The poster is plate-signed by the artist and features the printer’s imprint: Lincoln Center/List Art Posters, 1992.
"Gluts" by Robert Rauschenberg, 1986 Unsigned Offset Lithograph. Paper size is 22.5 x 28.5 inches, with an image size of 22.5 x 28.5 inches. The Offset Lithograph is from an edition size of 500 and is not framed. The condition was rated A: Mint. Additional details: This original offset lithograph poster for Robert Rauschenberg's 1986 "Gluts" exhibition at Leo Castelli Gallery in New York highlights the artist's experimental approach, printed on transparent paper. Referenced as number 34 in the Prestel Rauschenberg Posters book, "Gluts" features works using discarded materials to critique consumerism and waste, embodying the era's focus on excess and detritus.
"Centennial Celebration" by Robert Rauschenberg, 1998 Unsigned Offset Lithograph. Paper size is 34.5 x 26 inches, with an image size of 34.5 x 26 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A-: Near Mint, very light signs of handling. Additional details: Robert Rauschenberg's connection to Port Arthur, Texas, is deeply rooted in his personal history. Born in Port Arthur in 1925, Rauschenberg's early life in this coastal city was significant in shaping his artistic sensibilities. The Centennial Celebration Poster from the 2005 exhibit at the Museum of the Gulf Coast, which highlights a huge crocodile found in the Port Arthur area, likely reflects the local heritage and the artist's ties to his hometown. The choice of the crocodile, a notable local symbol, serves as a tribute to Rauschenberg’s origins and his impact on the region.
"Canyon" by Robert Rauschenberg, 2005 Unsigned Offset Lithograph. Paper size is 40 x 30 inches, with an image size of 40 x 30 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A-: Near Mint, very light signs of handling. Additional details: The title "Canyon" for Robert Rauschenberg's exhibition poster refers to a significant work by the artist from his Combine series. Created in 1959, Canyon is one of Rauschenberg's most renowned pieces, incorporating a mix of found objects and materials, including a taxidermied eagle, which challenges conventional boundaries between painting and sculpture. In the context of the 2005 retrospective at the Metropolitan Museum of Art, "Canyon" symbolizes Rauschenberg's innovative approach to art and his exploration of new dimensions in visual expression.
Robert Rauschenberg (1925-2008) Signed Exhibition Poster. Exhibition Poster for the Gallery of Fine Art at Edison, Ft Myers, Florida, March 10 - April 16, 2000 | Hand signed by the Artist in red pencil in the lower right corner | Matted and framed under glass | Approx. Size: 31" W x 40" H | Transcribed at poster's bottom: EDISON COMMUNITY COLLEGE GALLERY OF FINE ART / FT MYERS, FL / RAUSCHENBERG MAR 10 - APR16 Y2K | Provenance: Fort Myers, Florida Private Collection.
'Echo When', 1978, Lithograph on paper. Signed and dated by artist lower right in pencil. Universal Limited Art Editions, West Islip, NY embossed seal lower right. Signed and numbered '9/41' by poet lower left in pencil. Property from a New Rochelle, NY estate. Dimensions: Sight size: 27.125" h x 19.75" w. Frame: 32" h x 24.50" w.
COW CHOW Color screenprint and collage with stitched plastic, 1977, on smooth wove paper, signed and numbered 73/100 in pencil, from Chow Bags, published by Styria Studio, Inc., New York, the full sheet, framed. Sheet 47 3/4 x 35 5/8 inches; 1213 x 905 mm. Frame 48 3/4 x 36 3/4 inches; 1238 x 933 mm..
GOAT CHOW Color screenprint and collage with stitched plastic, 1977, on smooth wove paper, signed and inscribed Chang Inc in pencil (aside from the edition 100, 6 printer's proofs and 20 artist's proofs), from Chow Bags, published by Styria Studio, Inc., New York, the full sheet, framed. Sheet 47 3/4 x 35 5/8 inches; 1213 x 905 mm. Frame 48 3/4 x 36 3/4 inches; 1238 x 933 mm.
RABBIT CHOW Color screenprint with stitched plastic, 1977, on smooth wove paper, signed and inscribed Change Inc in pencil (aside from the edition 100, 6 printer's proofs and 20 artist's proofs), from Chow Bags, published by Styria Studio, Inc., New York, the full sheet, framed. Sheet 47 3/4 x 35 5/8 inches; 1213 x 905 mm. Frame 48 3/4 x 36 3/4 inches; 1238 x 933 mm. Hinged in three places at top sheet edge verso to back mat (back mat affixed to a plastic sheet), some foxing and other discoloration (including offsetting at bottom), framed with acrylic.
Original exhibition catalogue, poster and linen cover for Robert Rauschenberg 1978 Vancouver Art Gallery exhibition entitled Works from Captiva. Bag dimensions: 15.50"L x 13.50"H x 0.50"W. Artist: After Robert Rauschenberg (American, 1925-2008) Issued: 1978 Dimensions: See Description Country of Origin: United States
Milton Ernest 'Robert' Rauschenberg (American, 1925-2008). 'Equal Justice Under Law' - 1976, color lithograph, screenprint and embossing on cream wove paper, edition 20/125, signed, numbered and dated 'Rauschenberg, '76' to LR, blindstamped 'Styria Studio' (N.Y.) to LL. Publisher 'Transworld Art, N.Y.'. Framed. Provenance: The Private Collection of Peter Conlon, Atlanta, GA. Approximate dimensions: sheet h. 30.25", w. 22.625"; frame h.44.25", w. 36.25", d.1.75".
Robert Rauschenberg (American, 1925-2008), Untitled (mailbox and tire), 1979, gelatin silver print, signed, dated and numbered 58/100 on lower margin, loose and unframed, 7"h x 7"w (image), 10"h x 8"w (sheet)
Robert Rauschenberg (American, 1925-2008), "Dancing for Life", offset lithographic on paper, pencil signed lower center, printed by Universal Limited Art Editions, Inc., for an AIDS benefit concert at the New York State Theatre, framed under plexiglass, 38.75"h x 22"w (sheet), 42"h x 25'w (frame)
Robert Rauschenberg (American, 1925-2008), "Rauschenberg: Photographs" portfolio of 12 gelatin silver prints, published by Sonnabend Editions, New York, each pen signed, dated and numbered 42/50, with title page and housed in a custom clamshell box, Christie's auction display placard laid in, 14"h x 13.5"w (sheet), 17.5"h x 17.5"w (box)
Robert Rauschenberg (American, 1925-2008), "Junction" (from Bones and Unions), rag-mud and rope, pen signed, dated and numbered "AP VII" (outside of the editor of 25), published by Gemini GEL, Los Angelos, 75"h x 70"w
Robert Rauschenberg 1925 Port Arthur/Texas - 2008 Captiva Island/Florida The Tramp. 1974 Signed, dated and numbered lower right. Printed and published by the artists own publishing house "United Press", Captiva Island, Florida (with the blind stamp and stamp verso). Coloured aquatint etching with embossed print and collaged photo auf firm, finely grained vellum. Blattgröße: 78.5 x 56.5 cm. Short tear on the upper left edge, slight creases in the lower edges, slightly browned on the edges. Werkverzeichnis: Nicht mehr bei Foster
"Bicycle, National Gallery" by Robert Rauschenberg, 1991 Unsigned Foil Print. Paper size is 26.5 x 39 inches, with an image size of 26.5 x 39 inches. The Foil Print is from an edition size of 5000 and is not framed. The condition was rated A: Mint. Additional details: The first edition exhibition poster created by Robert Rauschenberg for the National Gallery of Art is a striking example of his innovative artistry. Produced with foil on heavy paper and printed in 1991 by ULAE (Universal Limited Art Editions), this poster is part of an edition of 5000. Rauschenberg, renowned for his pioneering "combines" that integrate materials from diverse sources, is celebrated for pushing artistic boundaries. This poster serves as a compelling representation of Rauschenberg's distinctive approach, showcasing his ability to blend elements and challenge traditional artistic conventions. Its unique design and limited edition status contribute to its significance within Rauschenberg's body of work and the broader context of contemporary art.
Artist: Robert Rauschenberg, American (1925 - 2008), Title: Future Generations Tibet, Year: 1996, Medium: Color Offset Lithograph, Size: 42 x 26 in. (106.68 x 66.04 cm)
Artist: Robert Rauschenberg, American (1925 - 2008), Title: Winner, Year: 1968, Medium: Offset Lithograph, dedicated and dated in marker, Size: 23 x 22 in. (58.42 x 55.88 cm), Frame Size: 25 x 24 inches, Description: A composition resembling a collage, created by American Pop Artist Robert Rauschenberg. Multiple images of noteworthy American figures, such as the Kennedy family, are overlaid above a white and grey image of a city from above. In addition to the photos, stamps of trees and clocks were placed randomly across the surface. This lithograph is dedicated and dated in marker by the artist.
ROBERT RAUSCHENBERG (Port Arthur 1925–2008 Captiva Island) Jones Diner (Anagram). 1995. Plant colour transfer techique on paper. Signed and dated lower right: Rauschenberg 95. 115,8 × 76 cm. Provenance: - Artist's studio. - Gifted by the artist to Mickey Ruskin Fund for the Friends House in Rosehill. - Auction Sotheby’s, New York, 13.11.2002, lot 339. - Private collection, Switzerland, acquired at the above auction. Exhibited: Cologne 1998, Robert Rauschenberg Retrospektive, Museum Ludwig, 27.6.–11.10.1998, no. 465. Literature: Walter Hopps and Susanne Davidson: Robert Rauschenberg Retrospektive, Ostfildern 1998, p. 530 (with ill.). Online catalogue raisonné: www.rauschenbergfoundation.org/art/artwork/jones-diner-anagram Robert Rauschenberg is regarded as a key figure of post-war modernism. He studied at the Kansas City Art Institute, at the Académie Julian in Paris and later at Black Mountain College in North Carolina. There, he was particularly influenced by the colour field theory of the German painter and art theorist Josef Albers, as well as other role models such as the Fluxus artist Josef Beuys and the abstract expressionist Willem de Kooning. Rauschenberg is known for his experimental works, which blur the lines between painting, sculpture and collage. His sensational combinations of everyday objects, assemblages and collages using a variety of mediums, materials and colours and his experiments with new overpainting techniques and his journeys into the worlds of theatre and photography made him one of the most versatile and innovative artists in the world. As a young artist, during a trip to Cuba in 1952, Rauschenberg discovered a technique to transfer printed images onto paper. Although the motifs in these early transfers are only faintly reproduced, the works heralded Rauschenberg's move away from the three-dimensional and towards a two-dimensional visual language. In 1958, Rauschenberg began to work intensively on the development of his special copying process, the so-called ‘transfer’ technique. He transferred printed material, mainly from popular magazines, onto paper by preparing the originals with a solvent, placing them face down on the paper and then running the flat side of a palette knife over the reverse side. The result is a mirror image consisting of hatchings created by rubbing. Photographs, comic drawings and reproductions of works of art are seamlessly integrated into the picture surface. This is supplemented with overpainting using graphite, gouache, watercolour and wax crayons. In 1993, Rauschenberg began to create colour prints of his photographs using an iris printer. These so-called iris prints are characterised by the fact that the colours remain on the surface of the emulsion instead of being absorbed by the paper. This results in high-resolution images with evenly nuanced colours. These prints also give the artist the opportunity to use vegetable dyes as printing colours. Only water is needed to transfer the images from one medium to another instead of chemical solvents. This allowed Rauschenberg to combine his artistic endeavours harmoniously with his commitment to environmental protection. Fittingly, the first series created using this technique is entitled ‘Waterworks’. His subsequent series of paintings entitled ‘Anagrams’ refers to the combinations of words that relate to the motifs depicted. Our work ‘Jones Diner’ from 1995 is inspired by a classic New York diner that can be recognised in the upper third of the picture - the famous diner in NoHo, Manhattan, just one block away from Robert Rauschenberg's flat at the time. The work combines various elements, such as flowers on the table, a roadblock, a snapshot of an everyday scene of people standing in a queue and a wall clock. These different subjects merge into one another due to the water-based nature of the printing technique. Although this iconic establishment on the corner of Great Jones Street and Lafayette Street closed in 2002 after more than 60 years, the work may still invite the viewer to embark on a search for traces of Robert Rauschenberg's oeuvre in Manhattan. ------------------------------------------------- ROBERT RAUSCHENBERG (Port Arthur 1925–2008 Captiva Island) Jones Diner (Anagram). 1995. Pflanzenfarben-Transfer auf Papier. Unten rechts signiert und datiert: Rauschenberg 95. 115,8 × 76 cm. Provenienz: - Künstlerstudio. - Schenkung des Künstlers an den Mickey Ruskin Fund für das Friends House in Rosehill. - Auktion Sotheby’s, New York, 13.11.2002, Los 339. - Privatsammlung Schweiz, an obiger Auktion erworben. Ausstellung: Köln 1998, Robert Rauschenberg Retrospektive, Museum Ludwig, 27.6.–11.10.1998, Nr. 465. Literatur: Walter Hopps und Susanne Davidson: Robert Rauschenberg Retrospektive, Ostfildern 1998, S. 530 (mit Abb.). Online-Werkverzeichnis: www.rauschenbergfoundation.org/art/artwork/jones-diner-anagram Robert Rauschenberg gilt als Schlüsselfigur der Nachkriegsmoderne. Er studiert am Kansas City Art Institute, an der Académie Julian in Paris und später am Black Mountain College in North Carolina. Dort prägt ihn vor allem die Farbfeldlehre des deutschen Malers und Kunsttheoretikers Josef Albers, sowie weitere Vorbilder wie der Fluxus-Künstler Josef Beuys und der abstrakte Expressionist Willem de Kooning. Rauschenberg ist bekannt für seine experimentellen Arbeiten, die sich zwischen Malerei, Skulptur und Collage bewegen. Seine aufsehenerregenden Kombinationen von Alltagsgegenständen, Assemblagen und Collagen von variierenden Medien, Materialien und Farben, seine Experimente mit neuen Überarbeitungstechniken und auch seine Reisen in die Welt des Theaters und der Fotografie haben ihn weltweit zu einem der vielseitigsten und innovativsten Künstler gemacht. Der junge Künstler entdeckt im Jahr 1952 während einer Reise nach Kuba die Übertragung gedruckter Bilder auf Papier. Obwohl in diesen frühen Transfers die Motive nur schwach reproduziert sind, künden die Werke doch bereits Rauschenbergs Abkehr von der dreidimensionalen und Hinwendung zu einer zweidimensionalen Bildsprache an. Im Jahr 1958 beginnt Rauschenberg, sich intensiv mit der Entwicklung seines speziellen Kopierverfahrens, der sogenannten "Transfer"-Technik, zu befassen. Dabei überträgt er gedrucktes Material, überwiegend aus populären Zeitschriften, auf Papier, indem er die Vorlagen mit einem Lösungsmittel vorbereitet, sie mit der Vorderseite nach unten auf das Papier legt und anschliessend mit der flachen Seite eines Spachtels über die Rückseite fährt. Das Ergebnis ist ein spiegelverkehrtes Bild, das aus Schraffuren besteht, welche durch das Reiben erzeugt werden. Fotografien, Comiczeichnungen und Reproduktionen von Kunstwerken werden dabei nahtlos in die Bildoberfläche integriert. Ergänzt wird dies durch seine manuellen Überarbeitungen in Form von Graphit-, Gouache-, Aquarell- und Wachskreideelementen. Ab 1993 beginnt der Künstler, mithilfe eines Iris-Druckers Farbdrucke seiner Fotografien zu erstellen. Diese sogenannten Iris-Prints zeichnen sich dadurch aus, dass die Farben auf der Oberfläche der Emulsion verbleiben, anstatt vom Papier absorbiert zu werden. Das Resultat sind hochauflösende Bilder mit gleichmässig nuancierten Farben. Zudem eröffnen diese Drucke dem Künstler die Möglichkeit, pflanzliche Farbstoffe als Druckfarben einzusetzen. Für die Übertragung der Bilder von einem Trägermedium auf ein anderes wird lediglich Wasser anstelle chemischer Lösungsmittel benötigt. So kann Rauschenberg seine künstlerischen Bestrebungen mit seinem Engagement für den Umweltschutz harmonisch vereinen. Passenderweise trägt die erste Serie, die mit dieser Technik geschaffen wurde, den Titel "Waterworks". Seine nachfolgende Bildserie mit dem Titel "Anagrams" bezieht sich auf Wortkombinationen, die in Beziehung zu den dargestellten Motiven stehen. Das Werk "Jones Diner" von 1995 (Los 3421) ist inspiriert von einem klassischen New Yorker Diner, das im oberen Drittel des Bildes zu erkennen ist – eine Ansicht des berühmten Diners in NoHo, Manhattan, nur einen Block von der damaligen Wohnung Robert Rauschenbergs entfernt. Das Werk vereint verschiedene Elemente, wie etwa Tischblumen, eine Strassensperre, eine Momentaufnahme einer Alltagsszene, in der Menschen in einer Warteschlange stehen, sowie eine Wanduhr. Diese unterschiedlichen Sujets verschmelzen durch die wasserbedingten Spuren der Drucktechnik miteinander. Obwohl dieses Kultlokal an der Ecke Great Jones Street und Lafayette Street im Jahr 2002 nach über 60 Jahren geschlossen wurde, könnte das Werk die Betrachtenden dazu einladen, sich auf eine Spurensuche nach Robert Rauschenbergs Wirken in Manhattan zu begeben.
ROBERT RAUSCHENBERG (Port Arthur 1925–2008 Captiva Island) Algae. 2006. Serigraph in colours. From the edition of 100. With the printed signature lower left: RAUSCHENBERG, as well as the artist's fingerprint. Sheet size 47.3 × 6.9 cm on firm paper by Supersilk Snow White. From the serie "Scenarios" based on unique artworks. Workshop-number: RR 207.G01. ------------------------------------------------- ROBERT RAUSCHENBERG (Port Arthur 1925–2008 Captiva Island) Algae. 2006. Farbserigrafie. Aus der Auflage von 100. Unten links mit der gedruckten Signatur und Datierung: RAUSCHENBERG 2k+6, sowie mit dem Daumenabdruck des Künstlers. Blattmass 47,3 × 66,9 cm auf festem Papier von Supersilk Snow White. Aus der Serie "Scenarios" nach Unikaten des Künstlers. Workshop-Nummer: RR 207.G01.
ROBERT RAUSCHENBERG (Port Arthur 1925–2008 Captiva Island) Arcanum IX. 1981. Collage with serigraph in colours. 11/85. Signed and dated in pencil lower right: RAUSCHENBERG 81. Sheet size 57.7 × 40 cm on firm wove paper. Printed by Styria Studio. Inc., New York (with the blind stamp as well as verso with the ink stamp). Sheet 9 from the 13 part "Arcanum Suite". ------------------------------------------------- ROBERT RAUSCHENBERG (Port Arthur 1925–2008 Captiva Island) Arcanum IX. 1981. Collage mit Farbserigrafie. 11/85. Unten rechts mit Bleistift signiert und datiert: RAUSCHENBERG 81. Blattmass 57,7 × 40 cm auf festem Vélin. Gedruckt bei Styria Studio. Inc., New York (mit dem Blindstempel sowie verso mit dem Druckerstempel). Blatt 9 aus der 13-teiligen "Arcanum Suite".
ROBERT RAUSCHENBERG (1925-2008) CARDBIRD V, 1971 Carton, ruban adhésif et impression offset Édition Gemini G.E.L., Los Angeles, à 75 exemplaires Corrugated cardboard, tape and offset print; publisher Gemini G.E.L., Los Angeles; from an edition of 75 86 X 101,5 CM • 34 X 40 IN.
Robert Rauschenberg (1925-2008) Autobiography (3 works), 1968 A set of 3 offset lithographs in colors on wove paper, each from the edition of 2000, printed by Broadside Art, Inc., New York, each the full sheet, each framed. (3 works) Titles include: X-Ray; Circle of Words; Dance each sheet sight 65 7/8 x 48 1/4in (167.4 x 122.5cm)
ROBERT RAUSCHENBERG (1925 - 2008) Untitled (Sunday Drawing). Solvent transfer with fabric collage on wove paper, 1978. 280x208 mm; 11x8¼ inches. A unique impression. Signed and dated in pencil, lower left and dedicated and inscribed with the artist's work number "78.D66" verso.
ROBERT RAUSCHENBERG (1925 - 2008) CORE Poster. Color screenprint with varnish overlay, 1965. 910x605 mm; 35⅞x23⅞ inches (sheet), full margins. Signed, dated and numbered 29/200 in felt-tip pen, lower right. Printed by Ives-Sillman, New Haven, with the blind stamp lower left. Published for CORE (Congress of Racial Equality), Chicago. Foster 32.
ROBERT RAUSCHENBERG (1925 - 2008) Untitled (Ship Captain Faces Charge in Oil Spill). Color lithograph on Rives BFK, 1970. 615x530 mm; 24½x20¾ inches, full margins. Signed, dated and numbered 50/175 in brown pencil, lower right. Printed by Solomon and Company, New York, with the blind stamp lower right. Published by the Academic and Professional Action Committee for a Responsible Congress, New York. From Peace Portfolio I.
ROBERT RAUSCHENBERG (1925 - 2008) XXXIV Drawings for Dante's Inferno. Portfolio with complete text, 1 lithograph printed on Angoumois à la main paper and 34 color offset lithographs, 1964. The lithograph, 415x400 mm; 16⅜x15¾ inches (sheet), full margins. Edition of 44 with the lithograph Kar, from a total edition of 300. The lithograph signed, dated, titled and numbered 44/44 in pencil, lower right, and signed in pencil on the colophon, and numbered "214" in ink on the justification page. Printed by ULAE, West Islip, with the blind stamp lower left. Published by Harry N. Abrams, Inc., New York. Original linen portfolio. Foster 19.
"Marathon, Ace Gallery, Canada" by Robert Rauschenberg, 1981 Unsigned Offset Lithograph. Paper size is 55 x 36 inches, with an image size of 55 x 36 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A-: Near Mint, very light signs of handling. Additional details: The poster titled Marathon was created for Robert Rauschenberg's 1981 exhibition at Ace Gallery in Canada. This work, like much of Rauschenberg's art, reflects his interest in blending various media and techniques to create dynamic, multi-layered compositions. The term Marathon can be interpreted as a metaphor for the artist's creative process and the endurance required in his work. The poster likely emphasizes Rauschenberg’s ability to push boundaries and engage in an ongoing dialogue with contemporary art and culture. It encapsulates his innovative spirit and his capacity to challenge traditional artistic forms.
"ROCI: Venezuela" by Robert Rauschenberg, 1985 Signed Offset Lithograph. Paper size is 34.5 x 24 inches, with an image size of 34.5 x 24 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A-: Near Mint, very light signs of handling. Additional details: This is titled Venezuela, an exhibition poster created for Robert Rauschenberg's Overseas Culture Interchange (ROCI) series. The poster is signed in pencil by Rauschenberg and is not numbered. It was printed for the Museo de Arte Contemporáneo de Caracas, Venezuela. This piece is part of Rauschenberg's renowned ROCI project, which sought to foster cross-cultural dialogue through art.
