Robert Rauschenberg
(1925-2008)
"Jade Hole," 1980
Solvent transfer, fabric collage, and acrylic on paper
Signed and dated in pencil on the lower edge, at center: Rauschenberg; titled on a sales invoice
Sheet: 31.5" H x 23.25" W
Provenance: Ace Gallery, Los Angeles, CA
The Marmor Family Collection, acquired from the above, September 23, 1980

Exhibited: Los Angeles, CA, Ace Gallery, "Three of the Cloisters Series," April-August,1980

Other Notes: We wish to thank the Robert Rauschenberg Foundation for their assistance in the research and cataloguing of this work. The present work is now listed with archive number: RRF 80.D002. This lot is accompanied by a copy of a letter from the foundation, n.d.

Robert Rauschenberg, born Milton Rauschenberg on October 22, 1925, in Port Arthur, Texas, embarked on a diverse and pioneering artistic journey that spanned multiple mediums and styles.

His early years were marked by a convergence of influences and experiences. After serving in the U.S. Navy during World War II, Rauschenberg's artistic pursuits took him to various institutions, where he explored different techniques and styles. Notably, his encounters with avant-garde figures like John Cage and Merce Cunningham during his time at Black Mountain College left a lasting impression, setting the stage for his groundbreaking collaborations in the years to come.

In the 1950s, Rauschenberg's experimentation with materials and techniques began to bear fruit. His early works on paper, such as collages made on Italian shirtboards and photographs taken during travels with Cy Twombly, hinted at his later fascination with the found image. These explorations laid the groundwork for his later innovations in printmaking, where techniques like solvent transfer and lithography allowed him to seamlessly integrate found images into his compositions.

By the early 1960s, Rauschenberg's work had garnered widespread acclaim, with accolades like the Grand Prize at the International Exhibition of Prints in Ljubljana, Yugoslavia, cementing his reputation as a master of printmaking. Yet, his artistic journey was far from over. In the late 1960s and beyond, Rauschenberg's interests expanded to include photography once again. Collaborations with the Trisha Brown Dance Company sparked a renewed passion for the medium, leading to projects like In + Out of City Limits and the Photem Series. From then on, Rauschenberg exclusively used his own photographic images across all mediums, a testament to his commitment to innovation and experimentation.

In the 1970s, Rauschenberg's move to Captiva Island, Florida, marked a significant shift in his artistic practice. Embracing a more abstract idiom and a newfound appreciation for natural fibers, he produced works like the Cardboards and the Venetians, which showcased his mastery of texture and materiality. Collaborations with paper mills in France and India further expanded his artistic horizons, pushing the boundaries of what was possible with paper as a medium.

The 1980s saw Rauschenberg undertaking ambitious long-term projects, such as The ? Mile or 2 Furlong Piece and the Rauschenberg Overseas Culture Interchange (ROCI). These projects exemplified his belief in the power of art to foster social change and cultural exchange on a global scale. Meanwhile, his exploration of photography continued unabated, with projects like Glacial Decoy and the Photem Series showcasing his keen eye for capturing the beauty of everyday life.

Rauschenberg's impact on the art world cannot be overstated. His groundbreaking work in printmaking, photography, and beyond paved the way for future generations of artists, inspiring countless innovations and pushing the boundaries of what was possible in the realm of contemporary art. Today, his legacy lives on as a testament to the enduring power of creativity, collaboration, and experimentation.


This lot is accompanied by a photocopy of a sales invoice and a letter signed by Pamela Kort, all from the Ace Gallery.

Overall good condition. The full sheet with deckled edges. A pea-sized area of pale staining near the lower edge, at right. A few flecks of pigment loss in the blue pigment near the upper edge, right of center, possibly in the hand of the artist. The sheet is framed floating and tipped to the back from the verso of the the upper left and right sheet corners.

Framed under Plexiglas: 40.75" H x 32.75" W x 1.75" D Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others. Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction.