Items Similar to Three of the Cloister Series (Hand signed and inscribed to CPA Ruben Gorewitz)
Want more images or videos?
Request additional images or videos from the seller
1 of 6
Robert RauschenbergThree of the Cloister Series (Hand signed and inscribed to CPA Ruben Gorewitz)1981
1981
About the Item
Robert Rauschenberg
Three of the Cloister Series (Hand signed and inscribed to CPA Ruben Gorewitz, Andy Warhol's business partner), 1981
Offset lithograph poster (Signed by Robert Rauschenberg)
Boldly signed and inscribed in white marker to Rubin Gorewitz and his wife Friede
27 × 36 inches
Published by ACE Gallery Los Angeles
Hand signed and inscribed by Rauschenberg to Rubin and his wife Frieda (officially spelled "Friede")
Unframed and unnumbered
Provenance: Estate of CPA Rubin Gorewitz
A Certified Public Accountant whose clients included some of the 20th Century's most well-known artists, Rubin L. Gorewitz was a friend of and critical business partner to Andy Warhol, Robert Rauschenberg, Richard Serra, Robert Indiana, James Rosenquist, Larry Rivers, Cy Twombly, and John Chamberlain among many others. A portrait of him with his many clients, taken by Photographer Bill King, was featured in Esquire magazine in 1974.
ROBERT RAUSCHENBERG BIOGRAPHY
Robert Rauschenberg was born Milton Rauschenberg on October 22, 1925, in Port Arthur, Texas. He began to study pharmacology at the University of Texas, Austin, before being drafted into the U.S. Navy, where he served as a neuropsychiatric technician in the U.S. Navy Hospital Corps in San Diego. In 1947, he enrolled at the Kansas City Art Institute and traveled to Paris to study at the Académie Julian the following year.
In fall 1948, Rauschenberg returned to the United States to study under Josef Albers at Black Mountain College near Asheville, North Carolina. During intermittent study there through 1952, he met avant-garde creative partners John Cage and Merce Cunningham, with whom he would later collaborate. While taking classes at the Art Students League, New York, from 1949 to 1951, Rauschenberg was offered his first solo exhibition at the Betty Parsons Gallery. Some works from this period include blueprints, monochromatic white paintings, and black paintings. From fall 1952 to spring 1953, he traveled to Europe and North Africa with Cy Twombly, whom he had met at the Art Students League. During his travels, Rauschenberg worked on a series of small collages, hanging assemblages, and small boxes filled with found elements, which he exhibited in Rome and Florence.
On his return to New York in 1953, Rauschenberg completed his series of black paintings, using newspaper as the ground, and began work on sculptures created from wood, stones, and other materials found on the street; paintings made with tissue paper, dirt, or gold leaf; and more conceptually oriented works such as Automobile Tire Print (1953) and Erased de Kooning Drawing (1953). By the end of 1953, he had begun his Red Painting series (1953–54) on canvases that incorporated newspapers, fabric, and found objects and evolved in 1954 into the Combines, a term Rauschenberg coined for his well-known works that integrated aspects of painting and sculpture and would often include such objects as a stuffed eagle or goat, street signs, or a quilt and pillow. In late 1953, he met Jasper Johns; together, Johns and Rauschenberg are now considered the most influential artists who reacted against Abstract Expressionism. They had neighboring studios, regularly exchanging ideas and discussing their work, until 1961. From 1954 to 1964, and again in 1977, Rauschenberg also worked with Cage and Cunningham, contributing scenic, costume, and lighting design to the latter’s dance company.
Rauschenberg began to silkscreen paintings in 1962. He had his first retrospective, organized by the Jewish Museum, New York, in 1963 and was awarded the Grand Prize for painting at the 1964 Venice Biennale. He spent much of the remainder of the 1960s dedicated to more collaborative projects, including printmaking, performance, choreography, set design, and art-and-technology works. In 1966, he cofounded Experiments in Art and Technology, an organization that sought to promote collaborations between artists and engineers.
Over the following decades his work continued to encompass a variety of fields. In the summer of 1970, joining a protest movement in the arts against the Vietnam War, Rauschenberg withdrew from the U.S. Pavilion at the Venice Biennale. In September that same year, he founded Change, a nonprofit organization to assist artists-in-need with emergency expenses.
By the end of 1970, Rauschenberg had established a permanent residence and studio in Captiva Island, Florida. He eventually acquired 20 acres of the island to use a workspace and serve as a nature preserve. His first project on Captiva was a 16.5-meter-long silkscreen print called Currents (1970), made with newspapers from the first two months of the year, followed by Cardboards (1970–71) and Early Egyptians (1973–74), the latter of which is a series of wall reliefs and sculptures constructed from used boxes. He also printed on textiles using his solvent-transfer technique to make the Hoarfrosts (1974–76) and Spreads (1975–82), and for the Jammers (1975–76), he created a series of colorful silk wall and floor works.
A retrospective organized by the National Collection of Fine Arts (now the Smithsonian American Art Museum), Washington, D.C., traveled throughout the United States in 1976 and 1978. In 1977 Rauschenberg, Cunningham, and Cage reconnected as collaborators for the first time in 13 years, when the Merce Cunningham Dance Company, New York, performed Travelogue (1977), for which Rauschenberg contributed the costume and set designs.
In 1980, after he settled a copyright lawsuit brought against him for an earlier appropriation of an advertisement, Rauschenberg shifted to exclusively using his own photographs as material for works that involved photography. His return to that medium led to exhibitions in Florida and Paris over the next two years, which, for the first time, featured his black-and-white photographs from the 1950s, as well as his more current photographs taken in various cities around the United States. In 1981 he began work on The 1/4 Mile or Two Furlong Piece (1981–2008), conceived by the artist to be the longest artwork in the world, eventually extending beyond the length designated in the title. It encompassed a wide range of Rauschenberg’s techniques and a chronology of his imagery.
Rauschenberg traveled extensively throughout his life. In the mid-1980s his collaborations with artisans and workshops abroad culminated in the establishment of the Rauschenberg Overseas Culture Interchange (ROCI). Announced to the United Nations in December 1984, ROCI involved the artist making and presenting work while traveling with a team of assistants through 11 politically sensitive countries, including China, Tibet, the U.S.S.R., and East Germany, as a way to initiate cross-cultural dialogue. Some works remained in their original sites as gifts and others traveled with the ROCI team to be shared with future participants. Rauschenberg personally funded the project, which concluded in 1991 with an exhibition of over 125 works at the National Gallery of Art, Washington, D.C.
Based on his introduction to painting and screenprinting on copper during ROCI Chile in 1985, Rauschenberg created multiple series, such as Urban Bourbons (1988–95), that focused on different methods of transferring images onto a variety of reflective metals, such as steel and aluminum. In addition, throughout the 1990s, Rauschenberg continued to use new materials while still working with more rudimentary techniques, such as wet fresco, as in the series Arcadian Retreat (1996), and the transfer of images by hand, as in the Anagrams (1995–2000). As part of his engagement with the latest technology, he began making digital Iris prints and using biodegradable vegetable dyes in his transfer processes, underscoring his commitment to caring for the environment. During this time, he also designed costumes and sets for several major productions by the Trisha Brown Dance Company, New York. Despite a stroke in 2002 that paralyzed his right side, he continued to make work in his Captiva Island studio.
The Guggenheim Museum has exhibited the largest retrospective of Rauschenberg’s work to date (1997), which traveled to the Menil Collection, Contemporary Arts Museum, and Museum of Fine Arts, all in Houston (1998); and then traveled to Europe (1998–99) with exhibitions at Museum Ludwig, Cologne (1998); and Guggenheim Museum Bilbao (1998–99). Also in 1998, the Vatican commissioned (and later refused) a work by Rauschenberg based on the Apocalypse for Renzo Piano’s pilgrimage church in Foggia, Italy. The Museum of Contemporary Art, Los Angeles, and the Metropolitan Museum of Art, New York, hosted a survey of the artist’s Combines (1999), and the Guggenheim Foundation organized the memorial exhibition Robert Rauschenberg: Gluts for the Peggy Guggenheim Collection, Venice (2009), which traveled to the Museum Tinguely, Basel (2009–10); Guggenheim Museum Bilbao (2010); and Villa e Collezione Panza, Varese, Italy (2010–11). Rauschenberg’s last stage set was for Cunningham’s Xover (crossover) (2007), based on his own painting Plank (2003). Rauschenberg died in Captiva Island, Florida, on May 12, 2008.
-Courtesy The Guggenheim Foundation
- Creator:Robert Rauschenberg (1925 - 2008, American)
- Creation Year:1981
- Dimensions:Height: 27 in (68.58 cm)Width: 36 in (91.44 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Very good vintage condition other than minor handling around the edges.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745215876162
Robert Rauschenberg
Robert Rauschenberg was one of the preeminent American artists of the 20th century, occupying a singular position that straddled the Abstract Expressionist and Pop art movements, drawing on key elements of each. An artistic polymath equally adept at painting, collage and silkscreening, Rauschenberg is best known for for the complex assemblages of found objects he termed “combines.”
Rauschenberg was born in Port Arthur, Texas, in 1925. He first began to seriously consider a career in art in 1947, while serving in the U.S. Marines. After leaving the service, he briefly studied art in Paris with support from the G.I. Bill, then moved to North Carolina to attend Black Mountain College, home to a flourishing cross-disciplinary art community. Among his peers there were choreographer Merce Cunningham and composer John Cage, both of whom became friends and artistic collaborators.
Relocating to New York in the mid-1950s, Rauschenberg was initially put off by what he perceived as the self-seriousness of the adherents of Abstract Expressionism, then the dominant movement in the New York art world. Like Andy Warhol and Roy Lichtenstein, Rauschenberg was drawn to the visual landscape of popular culture and mined its imagery for inspiration. He used unorthodox materials like house paint and tried novel techniques in his studio like running paper over with a car whose wheels he had inked. Shortly after his inaugural solo exhibition at Leo Castelli Gallery, which featured paintings and drawings, he pivoted to a new format, creating his first found-object combines, which became his signature. The most famous of these is the 1959 Monogram in which a taxidermied goat is surrounded by a car tire, recalling the way a person’s initials are interwoven in the design referred to by the title.
Later in the 1960s, Rauschenberg turned his attention to silkscreening, creating prints that feature iconic figures of the day, very much in line with the style and content of Pop art. One such work, 1965's Core, which was created to commemorate the Congress of Racial Equality, combines photographs of President Kennedy, an unidentified Native American man, and a statue of a Civil War soldier with images of highways, amusement parks, street signs, and other features of the built environment. A circular color-test wheel sits at the composition’s formal core, reflecting the work’s commentary on race and ethnicity.
Throughout the 1960s and ‘70s, Rauschenberg experimented with printing on unusual materials, such as Plexiglas, clothing and aluminum. Venturing even further afield, he created performance works, such as his 1963 choreographed piece “Pelican” and the 1966 film Open Score. In 1998, the Guggenheim Museum presented a large and comprehensive retrospective of Rauschenberg’s work, highlighting his influence on American art in the second half of the 20th century.
Find original Robert Rauschenberg art for sale on 1stDibs.
About the Seller
5.0
Platinum Seller
Premium sellers with a 4.7+ rating and 24-hour response times
Established in 2007
1stDibs seller since 2022
430 sales on 1stDibs
Typical response time: 2 hours
- ShippingRetrieving quote...Shipping from: New York, NY
- Return Policy
Authenticity Guarantee
In the unlikely event there’s an issue with an item’s authenticity, contact us within 1 year for a full refund. DetailsMoney-Back Guarantee
If your item is not as described, is damaged in transit, or does not arrive, contact us within 7 days for a full refund. Details24-Hour Cancellation
You have a 24-hour grace period in which to reconsider your purchase, with no questions asked.Vetted Professional Sellers
Our world-class sellers must adhere to strict standards for service and quality, maintaining the integrity of our listings.Price-Match Guarantee
If you find that a seller listed the same item for a lower price elsewhere, we’ll match it.Trusted Global Delivery
Our best-in-class carrier network provides specialized shipping options worldwide, including custom delivery.More From This Seller
View AllPaintings and Drawings for Parade offset lithograph Hand Signed by David Hockney
By David Hockney
Located in New York, NY
David Hockney
Paintings and Drawings for Parade - Metropolitan Museum (Hand Signed by David Hockney), 1981
Offset Lithograph. Hand signed by David Hockney...
Category
1980s Pop Art Abstract Prints
Materials
Lithograph, Offset
Clippings: hardback monograph, hand signed with the artist's baseball drawing
By Jonas Wood
Located in New York, NY
Jonas Wood
Original basketball drawing bound in monograph (Hand Signed Book), 2017
Original drawing. hand signed and dated. held in limited edition hardback monograph.
Boldly signed ...
Category
2010s Pop Art Still-life Drawings and Watercolors
Materials
Mixed Media, Permanent Marker, Offset
Process and Collaboration Met Museum print (Hand Signed & dated by Chuck Close)
By Chuck Close
Located in New York, NY
Chuck Close
Process and Collaboration (Hand Signed by Chuck Close), 2004
Offset Lithograph poster (Hand Signed & dated by Chuck Close in 2014)
Boldly hand signed and dated by artist ...
Category
Early 2000s Pop Art Figurative Prints
Materials
Permanent Marker, Lithograph, Offset
RARE! Double Elvis Denver Museum poster hand signed 2x by Andy Warhol Provenance
By Andy Warhol
Located in New York, NY
Andy Warhol
Exhibition Poster for Andy Warhol Exhibition at the Denver Art Museum
Double Elvis (Inscribed to Maryanne and hand signed twice by Andy W...
Category
1970s Pop Art Portrait Prints
Materials
Lithograph, Offset, Permanent Marker
Exclusive Invitation Card to Andy Warhol Memorial Lunch from Estate of Tim Hunt
By Andy Warhol
Located in New York, NY
SUPER RARE!
Invitation Card to private Andy Warhol Memorial Lunch, from the Estate of Tim Hunt, 1987
Offset lithograph card
6 1/2 × 3 3/5 inches
Unframed
This exclusive invitation to the private memorial lunch for Andy Warhol is an historic collectors item. Few people in the world own this card other than those who were invited to the event and/or their heirs, though it has occasionally appeared at public auction now that another generation has passed. This offset lithograph invitation card to Andy Warhol's Memorial Lunch at the Diamond Horseshoe in the Paramount Hotel bears an image of Andy Warhol's iconic 1967 Marilyn on one side, and on the other side is an announcement that reads as follows:
ANDY WARHOL
A Memorial Lunch
Wednesday, April 1, 1987
The Diamond Horseshoe
235 West 46th Street
New York City
Special thanks to:
Carillon Importers
Caffe Condotti
Glorious Food
All leftover food and flowers will be donated to the homeless program at Church of the Heavenly Rest.
Marilyn - Andy Warhol 1967
The provenance of this card is impressive as it comes from the estate of Warhol Foundation curator and sales agent Tim Hunt, who was married to bestselling author Tama Janowitz, author of "Slaves of New York". Tama would describe how she met Tim Hunt as follows: "Andy Warhol died in 1987. In the long hot summer after, I bought a tiny basement apartment on West 70th Street over by West End Ave. That’s when I met Tim Hunt. A model for Werther’s Caramel and Ralph Lauren who’d gone to Oxford and had a brother who was a famous race car driver, he’d been with Christie’s a few years and had come over from England to work on the Warhol estate. He would later become my husband. Andy would have loved Tim. But the two had never met..."
The event in this invitation is the more exclusive Memorial Lunch on April 1st 1987, held prior to Warhol's Memorial Mass at St. John the Divine, later that evening, the latter of which was attended by thousands of people. The press referred to this earlier event as a "Special Memorial Lunch Party" - using the vernacular of the day, as everything in the mid to late 1980s seemed like a party - until it was not. Interestingly, no start time, or even time range, is mentioned on this invitation - something that is rarely if ever missing from such an item; further evidence that it wasn't enough just to get this card; one had to already be in the know to be able to attend. Either that, or the lunch party was going on all day - so invitees could show up whenever they wanted. Or, alternatively, it was simply an accidental omission with no hidden message. And another side note: one of the sponsors of this Memorial luncheon, Carillon Importers, is the holding company or importer for Absolut Vodka, which commissioned Andy Warhol to create a series of advertising ads that would comprise one of the most successful, award-winning advertising campaigns of the era - and the most successful of the company's history. Who attended this event? Probably everybody who was anybody in the nexis of art, celebrity, high fashion and big business. Getty images features photographs by celebrity paparazzo Ron Galella of some of Warhol pals entering or leaving the Diamond Horseshoe for this exclusive event including Dianne Brill...
Category
1980s Pop Art Figurative Prints
Materials
Lithograph, Offset
Lt. Ed. Artist Book: Business Cards (Signed by Ed Ruscha and Billy Al Bengston)
Located in New York, NY
Ed Ruscha, Billy Al Bengston
Business Cards (hand signed by Ed Ruscha and Billy Al Bengston), 1968
Mixed Media Artist's Book: Softback monograph with a latigo leather thong, silver g...
Category
1960s Pop Art Portrait Prints
Materials
Leather, Paper, Ink, Mixed Media, Lithograph, Offset, Silver Gelatin
You May Also Like
AMERICAN WOMAN Signed One-of-a-Kind Hand Colored Lithograph with Pastel Portrait
By Peter Max
Located in Union City, NJ
AMERICAN WOMAN is an original hand drawn lithograph enhanced with hand coloring by the renowned American Pop artist, Peter Max. AMERICAN WOMAN was created in 1980 printed using tradi...
Category
1980s Pop Art Portrait Prints
Materials
Pastel, Mixed Media, Lithograph
ROBED MAN AND VASE Signed Lithograph, Monk, Abstract Flowers, Fantasy Interior
By Peter Max
Located in Union City, NJ
ROBED MAN AND VASE is an original hand drawn lithograph by the renowned American Pop artist, Peter Max, printed in 1980 in an edition of 165, using traditional hand lithography techn...
Category
1980s Pop Art Interior Prints
Materials
Lithograph
$1,480 Sale Price
44% Off
MONK AND VASE Signed Lithograph, Pop Art Interior, Striped Robe, Floor Vase
By Peter Max
Located in Union City, NJ
MONK AND VASE is an original hand drawn lithograph by the renowned American Pop artist, Peter Max, printed in 1980 in an edition of 165, using traditional hand lithography techniques...
Category
1980s Pop Art Interior Prints
Materials
Lithograph
$1,387 Sale Price
25% Off
BROWN LADY II Signed Lithograph, Fashion Portrait, Woman In Flower Hat, Pop Art
By Peter Max
Located in Union City, NJ
BROWN LADY II is an original hand drawn lithograph by the American artist and Pop Art icon, Peter Max printed in an edition of 100, using traditional han...
Category
1990s Pop Art Portrait Prints
Materials
Lithograph
$2,320 Sale Price
20% Off
SAGE AT WINDOW Signed Lithograph, Robed Man, Cattails, Beige Room, Pop Art
By Peter Max
Located in Union City, NJ
SAGE AT WINDOW is an original hand drawn lithograph by the renowned American Pop artist, Peter Max, printed in 1980 in an edition of 165, using traditional hand lithography techniques on archival Somerset paper, 100% acid free. SAGE AT WINDOW is a dreamy, abstract black line drawing of a Pop Art interior scene depicting a monk dressed in a rose colored robe peering out a window. His body leans toward the left as he bends to view the reflected mountain landscape visible through the window frame. Freely drawn multi color cattail flowers gracefully arch over a colorful floral sofa...
Category
1980s Pop Art Interior Prints
Materials
Lithograph
$1,480 Sale Price
25% Off
COMPOSITION RED AND GREEN Signed Lithograph, Young Woman Off Shoulder Dress
By Peter Max
Located in Union City, NJ
COMPOSITION RED AND GREEN is an original hand drawn lithograph by the renowned American Pop artist, Peter Max, printed in 1980 in an edition of 165, using traditional hand lithograph...
Category
1980s Pop Art Portrait Prints
Materials
Lithograph
$1,152 Sale Price
55% Off
Recently Viewed
View AllMore Ways To Browse
Vintage Blueprints
Egyptian Relief
Mayer Piano
German Coins
Black And Gold China Set
1960s Piano
Black And White Quilts
Vintage Metal Box Spring
Vintage Metal Box Springs
Copper Wall Relief
1970s Studio 54
1970 Copper Wall Art
Stone Marker
Gold Eagle Coins
African Coin
Vatican Workshop
Metal Wall Sculptures 1980s
Vintage Austin Productions