Robert Rauschenberg

Acquired by the present owner directly from the artist in 1962

This work is in very good condition overall. The work consists of two sheets of paper joined on the reverse with adhesive. The upper central portion consists of a 14 x 13 in. sheet that bears the artist's signature on the reverse. Overall the sheet of paper has the expected rippling due to the application of the aqueous medium. Previously the work was framed in a clip frame of glass and masonite without edges - allowing the extreme edges of the sheet to be exposed resulting in slight browning of the outer edges. This has recently been reduced by a conservator. The work is mounted with japanese rice paper hinges at intervals to cotton ragboard and framed in a silver faced strip frame behind Plexiglas.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Untitled, 1958 is an exemplary demonstration of Rauschenberg's hybridization of new art forms. Rauschenberg had developed the "transfer" technique, using turpentine to soak images onto his paper, creating a collage of images just as earlier Modernists collaged scraps and objects onto their work. Rauschenberg could now experiment with imagery juxtapositions and skillfully combine what were to become some of his most famous iconic symbols such as a crowd scene, a skylight window, and shooting rockets. These early `transfers' demonstrate his keen sense of aesthetic balance and ability to use imagery to reach the subconscious and translate a story or idea into a visual picture. He masterfully exploited the dimensionalities of the process of collage and its implicit message-laden imagery. Sam Hunter once explained, "it was that sensitive balance between opposites, a sort of intuitive tension or innate yin/yang that would persist in his character, and emerge in fascinating forms and ever-shifting guises in his art" (Sam Hunter, Robert Rauchenberg: Works, Writings, Interviews, Barcelona, 2006, p. 25).

In 1962, the German composer, Karlheinz Stockhausen, in whose collection this painting belonged, traveled to Locust Valley, Long Island to stay with fellow composer and pianist, Jack Brimberg, in order to give him daily composition lessons. Brimberg was thrilled to host Stockhausen, who was most well known for his innovative work in electronic music and serial composition, and introduced his houseguest to the New York elite including leading contemporary artists such as Rauschenberg. Both artists, Stockhausen and Rauschenberg, recognized the other's ability to draw on found objects for inspiration and subject matter in their respective musical and visual art. This bond led Stockhausen to compose a musical score for Rauschenberg and in exchange, Rauschenberg gave him the present work in 1962. With a few illuminating washes of color and his revolutionary iconic imagery, Untitled, 1958 is a powerful example of the artist's innovations and further represents the mutual friendship between two avant-garde artists.