Robert Rauschenberg, ‘Star Quarters’, 1971, Phillips
Robert Rauschenberg, ‘Star Quarters’, 1971, Phillips

Overall: 47 3/4 x 191 in. (121.3 x 485.1 cm)

Condition: I. Scattered soft scuffing and surface soiling, two abrasions at the upper center near the swans neck and the at the eagles tail (measuring 3 1/2 inches and 2 3/4 inches respectively), occasional abrasions and scuffing on sides, three abrasions at the upper left side with associates loss (each measuring no larger than 1/2 x 1/4 inch).
II. Scattered soft scuffing and surface soiling, occasional scuffing on the sides, two abrasions at the lower left side with associated loss (both measuring 1 inch).
III. Scattered soft scuffing and surface soiling, a diagonal scuff in the upper center (measuring 4 inches), minor separation of the silver foil at the upper right corner edge, two spots of stray ink at the upper right side, occasional scuffing at the sides.
IV. Scattered soft scuffing and surface soiling, a diagonal abrasion at the point of the center right constellation (measures 2 inches), occasional scuffing on the edges.

In our opinion these works are in good condition.
Courtesy of Phillips

Signature: All incised with signature, date and numbered 42/45 (there were also 6 artist's proofs), published by Multiples Inc. and Castelli Graphics, New York.

The J.L. Hudson Gallery, Detroit

About Robert Rauschenberg

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