Robert Rauschenberg Prints and Multiples

Medium: original offset lithograph. This work is also known as "Envelope". Rauschenberg executed this interesting Pop Art classic for Art In America in 1970. It consists of one compo...

Artist: Robert Rauschenberg Title: Quarry Medium: Offset lithograph in colors Year: 1968 Edition: 500 Frame Size: 41 1/2" x 33" Sheet Size: 35 1/2" x 26 1/2" Signature: Signed in the...

Artist: Robert Rauschenberg Title: 1977 Presidential Inauguration Portfolio: Inaugural Impressions Medium: Lithograph Date: 1977 Edition: 51/100 Frame Size: 36 1/2" x 26 1/2" Sheet S...

Robert Rauschenberg Trisha Brown Company (Hand signed and dated), 1989 Offset lithograph (hand signed and dated by Robert Rauschenberg) 36 × 24 inches Si...

Renowned American artist Robert Rauschenberg left an indelible mark on the art world, not only through his groundbreaking works but also through a distinctive poster created for the St. Louis Symphony Orchestra in 1968. Born on October 22, 1925, Rauschenberg was a pivotal figure in the transition from Abstract Expressionism to Pop Art. His interdisciplinary approach to art, incorporating elements of painting, sculpture, and graphic design, set him apart. The St. Louis Symphony Orchestra poster...

This artwork titled "Why Can't You Tell" from the suite "Nine Prints" is an original screen print with offset lithograph and fabric collage on B.F.K. Rives paper by American artist ...

Rare unopened Robert Rauschenberg designed Talking Heads Speaking in Tongues: In 1983, legendary pop artist Robert Rauschenberg designed the album cover for Talking Heads’ acclaimed...

Robert Rauschenberg at Leo Castelli Gallery 1986: Vintage original Robert Rauschenberg exhibition poster published by Castelli Graphics in conjunction with the exhibition, Robert Rauschenberg: Tibetan Keys and Locks, May 21-June 18, 1986 at Leo Castelli New York. A unique vintage Rauschenberg collectible featuring the artist's signature collage style. Well-sized and suitable for framing. Off-set lithograph 1986. 20 x 29.75 inches. Double-quattro fold-lines as originally issued; minor edge wear to one fold-line; otherwise very good condition (no rips, tears, stains, etc.) Scarce form an edition of unknown; unsigned. First edition, 1st printing; postmarked 1986 on the verso. Artist biography: Robert Rauschenberg’s enthusiasm for popular culture and, with his contemporary Jasper Johns, his rejection of the angst and seriousness of the Abstract Expressionists led him to search for a new way of painting. A prolific innovator of techniques and mediums, he used unconventional art materials ranging from dirt and house paint to umbrellas and car tires. In the early 1950s, Rauschenberg was already gaining a reputation as a true art world rebel rouser...

Robert Rauschenberg Photos In+Out City Limits: Boston (hand signed by Robert Rauschenberg), 1981 Monograph held in slipcase (Hand signed in graphite pencil) Hand signed by Robert Rau...

Pre-Morocco form the Eight by Eight portfolio is a lithograph on paper with an image size of 42 x 29 inches, signed 'RAUSCHENBERG 83' and annotated 92/250 lower right. From the editi...

Caucus is an offset lithograph on paper with an image size of 37 x 27 inches, framed in a contemporary, silver-tone frame 50.5 x 40.25 inches. From the edition of 190 - the art is si...

ROBERT RAUSCHENBERG Dream of William Burroughs, 1972 Offset lithograph 34 1/2 × 24 inches Edition 103/150 Signed, dated and numbered in black marker on the front Unframed Wonderful early 1970s print Words appearing in a dream of William Burroughs Co-published by Automation House and E.A.T., produced by Local One, Amalgamated Lithographers of America, New York Signed and numbered 103/150 in black marker This work is registered with the Robert Rauschenberg archives, reference number: RRF 72.E001 Text reads: THEY DID NOT FULLY UNDERSTAND THE TECHNIQUE. IN A VERY SHORT TIME THEY NEARLY WRECKED THE PLANET. More information about this work from the Rauschenberg Foundation: Lithopinion 26, the current affairs and graphic arts journal, dedicated its summer 1972 edition to the subject of “Our Transportation Mess.” Among the contributors were Theodore Kheel, who was a lawyer, leading labor mediator and arbitrator, as well as an environmentalist, and Senator Edward Kennedy. Kheel commissioned artists such as Romare Bearden, Christo, and Rauschenberg, his friend and client, to address the transportation system in the United States. Rauschenberg’s contribution was inspired by a dream that William Burroughs, the Beat writer, had described to him, and which resulted in the lithograph Dream of William Burroughs (1972) published by Experiments in Art and Technology (E.A.T.). Surrounded by images of various modes of transportation, the lithograph includes the words: “They did not fully understand the technique / in a very short time they nearly wrecked the planet.” As an E.A.T. board member, Kheel understood, like Rauschenberg, that environmentalism and technology were not conflicting views but symbiotic relationships. In Lithopinion 26, E.A.T. stated that it “supports technology when it tries to help people achieve their human potentiality [and] criticizes it when it doesn’t.” About Robert Rauschenberg: Robert Rauschenberg ushered in a new era of postwar American art in the wake of Abstract Expressionism. His approach, along with that of his contemporary Jasper Johns, was sometimes termed “Neo-Dada,” due to its relation to both European forebears and the physical gestures of American Abstract Expressionists. His Combine works (1954 to early 1960s) blurred the distinctions between painting and sculpture, as their flat surfaces were augmented with discarded materials and appropriated images. Rauschenberg also worked with photography, printmaking, papermaking, and performance, the last of which resulted in a number of collaborations with choreographers, including Merce Cunningham, Paul Taylor, and Trisha Brown. Rauschenberg was among the founding members of the innovative group Experiments in Art and Technology (E.A.T.) in 1966, and in 1984 he established the Rauschenberg Overseas Culture Interchange (ROCI) to bring art to communities around the world, saying, “I feel strong in my beliefs, based on my varied and widely traveled collaborations, that a one-to-one contact through art contains potent peaceful powers, and is the most non-elitist way to share exotic and common information, seducing us into creative mutual understandings for the benefit of all.” Rauschenberg’s nontraditional art practice and creative energy generated an enduring influence that impacted generations of artists, as noted by art historian Branden W. Joseph: “Rauschenberg’s was a position with which artists across the board were confronted and to which they almost necessarily had to respond. … Rauschenberg’s work served as a stimulus, an impetus and a challenge.” Robert Rauschenberg was born in 1925, in Port Arthur, Texas and died on Captiva Island, Florida in 2008. He has had numerous exhibitions worldwide, including “Robert Rauschenberg: A Retrospective,” Solomon R. Guggenheim Museum, New York (1997, traveled to Menil Collection, Contemporary Arts Museum, and Museum of Fine Arts, Houston, Museum Ludwig, Cologne and Guggenheim Museum, Bilbao, through 1999); “Combines,” Metropolitan Museum of Art, New York (2005, traveled to Museum of Contemporary Art, Los Angeles, Centre Pompidou, Paris, and Moderna Museet, Stockholm in 2007); “Cardboards and Related Pieces,” Menil Collection, Houston (2007); “Traveling ‘70–‘76,” Museu de Arte Contemporânea de Serralves, Porto (2008, traveled to Haus der Kunst, Munich, and Madre, Naples in 2009); “Gluts,” The Peggy Guggenheim Collection, Venice (2009, traveled to The Tinguely Museum, Basel, Guggenheim Museum Bilbao, and Villa e Collezione Panza, Varese in 2010); and “Botanical Vaudeville,” Inverleith House, Royal Botanic Garden, Edinburgh (2011). Gagosian Gallery first exhibited Robert Rauschenberg’s work in 1986. About William Burroughs William S. Burroughs was a Beat Generation writer known for his startling, nontraditional accounts of drug culture...

Robert Rauschenberg I Love New York, 2001 (LARGE) Plate signed on the front Offset lithograph on high quality wove paper 39.25" x 25 inches (This ship...

Paper Size: 32.75 x 25 inches ( 83.185 x 63.5 cm ) Image Size: 30 x 22.5 inches ( 76.2 x 57.15 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional...

Robert Rauschenberg Lucio Amelio Napoli poster, 1987 Offset lithograph poster Plate signed 39 × 21 inches Unframed This poster was published for the exh...

Robert Rauschenberg Earth Day, 1970 Offset Lithograph Plate signed and dated on the front Publisher: Castelli Graphics 33 1/2 × 22 1/4 inches Unframed Robert Rauschenberg was drawn t...

Robert Rauschenberg Test Stone #6 (Blue Cloud) from the Booster and 7 Studies Series (Foster, 45, G:33), 1967 Lithograph on domestic etching paper 47 × 35 inches Hand signed and numb...

Robert Rauschenberg Robert Rauschenberg at Leo Castelli (postmarked to artist Ludwig Sander), 1960 Offset lithograph poster 19 × 26 inches Unframe...

Robert Rauschenberg Museo D'Arte Moderna, Ca' Pesaro Venezia, 1975 Extremely rare vintage offset lithograph poster 39 4/5 × 27 3/5 inches Unframed Robert Rauschenberg was drawn to poster design throughout his career, viewing the medium as a unique opportunity to collaborate with printmakers and reach a larger audience. Rauschenberg’s posters are rarely legible at first glance and require repeat viewing to uncover their many hidden symbols and details. Composed of layered images and text, Rauschenberg’s first poster was a black-and-white advertisement for his first retrospective at the Jewish Museum in 1963, and he continued to create exhibition posters throughout his life. “We were doing a poster for every show, and those posters were going out all over the country, and people were thinking we must be this amazing gallery instead of a freight elevator,” Rauschenberg remembered of this era. Over the next 35 years, the artist created over 100 posters celebrating iconic historical moments, including the first landing on the moon and the first Earth Day, in his signature collage aesthetic. Vintage 1975 poster...

Beautiful poster created for a twelve-hour event at Symphony Space in New York on March 13, 1982, from 11 am to 11 pm. Participants included John Cage, Robert Rauschenberg, Merce Cunningham and the Merce Cunningham Dance Company, Alison Knowles, Charlotte Moorman, David Tudor, Clark Coolidge, Jackson Mac Low, Arthur Russell...

Robert Rauschenberg International Very Special Arts Festival, 1989 Lithograph on wove paper Signed, dated and numbered from the edition of 275 in graphite pencil on the front 38 1/4 ...

Robert Rauschenberg and Cris Gianakos RAUSCHENBERG (Scarce and collectible early invitation), 1970 Offset Lithograph Invitation 8 7/10 × 11 9/10 inches Unframed Offset lithograph invitation created on the occasion of Robert Rauschenberg's exhibition at SVA's Visual Arts Gallery in 1970. The poster was designed by Cristos Gianakos, who was also a professor at SVA, and the show was curated by Felice Wender, the director of Dayon's Gallery 12 in Minneapolis. The invitation states that "after completing its New York debut, the show will open at the School of the Art Institute of Chicago in January 4, 1971 and continue through January 29, 1971. In May, 1971, Dayton's Gallery 12, Minneapolis, Minnesota will exhibit the new Rauschenberg works..." The text on this invitation additionally states that Rauschenberg said in a written statement about these works: "The image and the words cooperate to construct a flat re-reading of the facts plus familiar passing insignificancies that control our day. Information, originally engaged in a daily rhetorical screen to eliminate as much direct feeling and response as possible, re-exposed to encourage consideration..." In nearly a decade and a half of buying and selling art...

Robert Rauschenberg is revered as one of the most innovative American pop artists - more avant-garde than Warhol, more audacious than Jasper Johns. In the summer of 1969, Robert Rau...

Paper Size: 36 x 22.75 inches ( 91.44 x 57.785 cm ) Image Size: 36 x 22.75 inches ( 91.44 x 57.785 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or age...

Robert Rauschenberg is revered as one of the most innovative American pop artists - more avant-garde than Warhol, more audacious than Jasper Johns. In addition to his artistic achie...

Paper Size: 36 x 24 inches ( 91.44 x 60.96 cm ) Image Size: 34 x 24 inches ( 86.36 x 60.96 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Det...

Paper Size: 34.5 x 26 inches ( 87.63 x 66.04 cm ) Image Size: 34.5 x 26 inches ( 87.63 x 66.04 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional...

Robert Rauschenberg Untitled Limited Edition Porcelain Plate (Guggenheim Museum), 1997 Porcelain Plate (Limited Edition Exclusively for Guggenheim) 10 2/5 in diameter Signed in plate...

Robert Rauschenberg Human Rights Award, 1981 Silkscreen and Lithograph with Collage Embossing on Hodgkins Handmade Paper Pencil signed and numbered 73/100 on the front Silkscreen and Lithograph with Collage Embossing on Hodgkins Handmade Paper Published by the Democratic Party...

Robert RAUSCHENBERG Cardbirds, 1972 exhibition, rare original poster For the exhibition "Cardbirds" at the Sonnabend Gallery Signed in the plate framed in walnut. 21 x26.5" framed. ...

Robert Rauschenberg Score, 1970 Lithograph 26 x 19 1/2 inches Edition 51 of 75 Signed This print belongs to Rauschenberg’s “Stoned Moon” seri...

Robert Rauschenberg Leo Castelli Gallery 1986: Vintage Robert Rauschenberg exhibition poster published by Castelli Graphics in conjunction with the exhibition, Robert Rauschenberg: Tibetan Keys and Locks, May 21-June 18, 1986 at Leo Castelli New York. A unique vintage Rauschenberg collectible featuring the artist's signature collage style. Well-sized and suitable for framing. Off-set lithograph 1986. 20 x 29.75 inches. Double-quattro fold-lines as originally issued; minor edge wear to one fold-line; otherwise very good condition (no rips, tears, stains, etc.) Scarce form an edition of unknown; unsigned. First edition, 1st printing; postmarked 1986 on the verso. Artist biography Robert Rauschenberg’s enthusiasm for popular culture and, with his contemporary Jasper Johns, his rejection of the angst and seriousness of the Abstract Expressionists led him to search for a new way of painting. A prolific innovator of techniques and mediums, he used unconventional art materials ranging from dirt and house paint to umbrellas and car tires. In the early 1950s, Rauschenberg was already gaining a reputation as a true art world rebel rouser...

TECHNICAL INFORMATION Robert Rauschenberg Artist’s Rights Today 1981 Embossed Lithograph 40 x 27 in. Edition of 200 Pencil signed, dated & numbered Accompanied with COA by ...

TECHNICAL INFORMATION Robert Rauschenberg Chow Bags - Monkey Chow 1977 Screenprint with collage of string 48 1/8 x 36 3/8 in. Edition of 100 with 20 ...

TECHNICAL INFORMATION Robert Rauschenberg Ape, from Stoned Moon 1970 Lithograph 46 x 38 in. Edition of 46 with 6 artist proofs. Pencil signed, dated ...

color lithograph on Japanese paper

This artwork titled "Why You Can Tell #2" from the suite "Nine Prints" is an original serigraph with offset lithograph and collage on Wove paper by American artist Robert Rauschenberg, 1925-2008. It is hand signed and numbered 36/100 in pencil by the artist. Published by Multiples, New York and Printed by Styria Studio, New York. With the blind stamp of the printer at lower left corner. The sheet size is 22.75 x 30 inches, framed is 43 x 34.25 inches. This particular artwork is held in several museums, including the Museum of Modern Art, New York. It is beautifully framed in a wooden gold frame, with fabric matting and color bevel. About the artist. Born in Port Arthur, Texas in 1925, Robert Rauschenberg imagined himself first as a minister and later as a pharmacist. It wasn't until 1947, while in the U.S. Marines, that he discovered his aptitude for drawing and his interest in the artistic representation of everyday objects and people. After leaving the Marines, he studied art in Paris on the G.I. Bill, but quickly became disenchanted with the European art scene. Rauschenberg's enthusiasm for popular culture and his rejection of the angst and seriousness of the Abstract Expressionists led him to search for a new way of painting. He found his signature mode by embracing materials traditionally outside of the artist's reach. He would cover a canvas with house paint, or ink the wheel of a car and run it over paper to create a drawing, while demonstrating rigor and concern for formal painting. By 1958, at the time of his first solo exhibition at the Leo Castelli Gallery, his work had moved from abstract painting to drawings like "Erased De Kooning" (1953) (which was exactly as it sounds) to what he termed "combines." These combines (meant to express both the finding and forming of combinations in three-dimensional collage) cemented his place in art history. As Pop Art emerged in the 1960s, Rauschenberg turned away from three-dimensional combines and began to work in two dimensions, using magazine...

Soviet / American Array VI is a 1991 color intaglio by Robert Rauschenberg. Soviet / American Array VI is part of a larger series entitled Soviet / American Array where Rauschenberg pairs pictures of the Soviet Union with those of the United States. Soviet / American Array VI is from an edition of 59 plus artist and printers proofs. Soviet / American Array VI is signed by Rauschenberg.

C.O.R.E. 1965 Lithograph Signed and numbered edition of 200 36 X 24 inches Robert Rauschenberg’s work reflects a methodology between the approaches of structuralism and post-...