What Sold at Art Basel in Hong Kong
Robert Rauschenberg (1925-2008)
signed, titled and dated 'Calendar Rauschenberg 1962' (on the reverse)
oil and silkscreen ink on canvas
88 1/8 x 60 1/4 in. (223.8 x 153 cm.)
Painted in 1962.
Signature: signed, titled and dated 'Calendar Rauschenberg 1962' (on the reverse)
Paris, Galerie Ileana Sonnabend, Rauschenberg Seconde Exposition Oeuvres 1962-1963, February-March 1963, n.p.
New York, Jewish Museum, Robert Rauschenberg: Retrospective of Works from 1949-1963, March-May 1963, cat. no. 45 (illustrated).
Museum Haus Lange Krefeld, Robert Rauschenberg, September-October 1964, no. 12.
Berlin, Amerika Haus, Robert Rauschenberg: Bilder, Zeichnungen, Lithos von der Galerie Ileana Sonnabend, Paris, January-February 1965, no. 1.
Berlin, Staatliche Kunsthalle; Kunsthalle Düsseldorf; Humlebæk, Louisiana Museum of Modern Art; Frankfort, Städelsches Kunstinstitut, Munich, Städtische Galerie im Lenbachhaus; Humlebæk, Louisiana Museum and London, Tate Gallery, Robert Rauschenberg: Werke 1950-1980, March 1980-June 1981, pp. 325 and 385, no. 27 (illustrated in color).
Basel, Galerie Beyeler, Rauschenberg, March-May 1984, no. 8 (illustrated in color).
Princeton Art Museum, Princeton University; Austin, Archer M. Huntington Art Gallery, University of Texas and Minneapolis, Walker Art Center, Selections from the Ileana and Michael Sonnabend Collection: Works from the 1950s and 1960s, February 1985-March 1986, p. 82, no. 54 (illustrated).
Bordeaux, CAPC musée d'art contemporain; Museo Nacional Centro de Arte Reina Sofía; Art Cologne; Hamburger Bahnhof; Rome, Galleria Nazionale d'Arte Moderna; Museo d'Arte Moderna e Contemporanea di Trento e Rovereto; Geneva, Musée Rath; Tokyo, Sezon Museum of Art; Sendai, Miyagi Museum of Art; Hiroshima, Fukuyama Museum of Art and Kyoto, National Museum of Modern Art, Collection Sonnabend: 25 Années de Choix et d'Activités d'Ileana et Michael Sonnabend, October 1987-February 1991, p. 108 (illustrated in color).
C. Tomkins, _Off the Wall: Robert Rauschenberg and the Art World of Our Time,_New York, 1980, p. 305.
_Rauschenberg,_exh. cat., Madrid, Fundación Juan March, 1985, no. 9 (illustrated in color).
_The Sonnabend Collection: From Pop Art On,_exh. cat., Electa, Galleria Nazionale d'Arte Moderna, 1989, p. 67 (illustrated in color).
_Robert Rauschenberg: The Silkscreen Paintings 1962-64,_exh. cat., New York, Whitney Museum of American Art, 1990, pp. 130 and 132, fig. 52 (illustrated).
The Estate of Ileana Sonnabend, acquired directly from the artist
By descent to the present owner
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 the art world’s enfant terrible with works such as Erased de Kooning Drawing (1953), for which he requested a drawing (as well as permission) from Willem de Kooning, and proceeded to rub away the image until only ghostly marks remained on the paper. By 1954, Rauschenberg completed his first three-dimensional collage paintings—he called them Combines—in which he incorporated discarded materials and mundane objects to explore the intersection of art and life. “I think a picture is more like the real world when it’s made out of the real world,” he said. In 1964 he became the first American to win the International Grand Prize in Painting at the Venice Biennale. The 1/4 Mile or Two Furlong Piece (1981–98), a cumulative artwork, embodies his spirit of eclecticism, comprising a retrospective overview of his many discrete periods, including painting, fabric collage, sculptural components made from cardboard and scrap metal, as well as a variety of image transfer and printing methods.
American, 1925-2008, Port Arthur, Texas, based in New York and Captiva Island, Florida
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