Artwork details

Artist

Robert Rauschenberg

Title

Robert Rauschenberg Untitled (Sketch for Monogram) from The New York Collection

Description

Untitled (Sketch for Monogram) from The New York Collection

By Robert Rauschenberg

Lithograph from a portfolio of seventeen screenprints, nine lithographs, two lithographs with screenprint, one photocopy, and one photograph.

1973

30.4 x 22.9 cm

Hand-signed and numbered by Rauschenberg

Edition of 300

From The New York Collection for Stockholm
Published by Experiments in Art and Technology, Inc., New York

Mint condition, housed within the original typeset paper folder from the portfolio.

This screenprint on paper was created as part of the iconic New York Collection for Stockholm portfolio, a collection of 30 prints designed to be sold in an edition of 300, with each artist donating their prints. Experiments in Art and Technology in New York arranged the portfolio of prints to be sold to raise money for the collection at Moderna Museet in Stockholm, a European museum that celebrated American artists.

Today, important museums around the world hold the Stockholm portfolio including the MET and MoMA in New York, the Georgia Museum of Art, the Chazen Museum of Art and the Mildred Lane Kemper Art Museum, along with many others.

Date

1973

Medium

Lithograph

Edition

300

Signature

Signed

Sheet

30.4 x 22.9 cm

Status

Sold

Robert Rauschenberg

Robert Rauschenberg, an American born in 1925, started producing painterly prints in the early 1960s that contained pictures he cut out of magazines and newspapers. Nearly ten years prior, he had created pieces he dubbed “Combines,” which are fusions of painting and sculpture that embrace the noise of daily life and contrast the solitary canvases of abstract expressionism. The ordinary was also introduced in Rauschenberg’s prints in a variety of ways, such as the water ring left by a drinking glass, the embossment from a coin, or the traced contour of a cane. By reintroducing representation into the avant-garde, the artist revived a vibrant visual language. “What he invented above all was…a graphic surface that let the world in again,” wrote art historian Leo Steinberg.