Robert Rauschenberg Value: Top Prices Paid At Auction

The sale of Rauschenberg's Buffalo II (1964) at Sotheby’s in May 2019 marked a monumental moment in the artist's career, eclipsing his previous auction record set four years earlier. This groundbreaking sale showcases a mixed media silkscreen on canvas, held in private hands since 1965. Reflecting a blend of Abstract Expressionism and Pop Art, it features curated American imagery, including an iconic portrayal of President John F. Kennedy and symbols like the Coca-Cola label. Symbolising both national pride and consumerism, it encapsulates the complexities of American culture, from historical darkness to the optimism of the space race. This notable sale, exceeding £69 million (with fees), underscores the rarity and significance of premium Rauschenberg pieces in the art market, reaffirming its enduring impact.

Johanson's Painting (1961), a compact and evocative combine creation, debuted at Christie's in May 2015, from the esteemed collection of Romanian art dealer Ileana Sonnabend. Surpassing its high estimate, it achieved an impressive £11.9 million (with fees). “Combines”, what Rauschenberg defined by found objects like a shaving brush and tin can, these works embody Dadaist influences, reshaping art norms akin to Damien Hirst's medicine cabinets. Rauschenberg's combines, like Johanson's Painting, possess a unique origin, inspired by his visit to Sweden in the 1960s. Its title stems from a chance remark at an exhibition opening, reflecting Rauschenberg's art as a fusion of fleeting moments and human interactions.

Considered a significant addition to Rauschenberg's later Combine series, Rigger (1961) showcases his experimentation with scale and integration of larger found objects, akin to Johanson's Painting (1961). Rigger stands out as the most expansive of his later Combine explorations, deftly integrating fabric and a suspended tin can. The title, “Rigger,” hints at a mechanistic process, contrasting with the canvas's bold brushstrokes. Rauschenberg seamlessly unites paint, sculpture, and various artistic epochs, creating a work resonant with contemporary culture. Displayed at the Leo Castelli Gallery in solo and group shows, Rigger fetched £9.5 million (with fees) at Sotheby's in May 2017, underscoring its significance.

Dating from 1962, Crocus marks a transformative phase in Rauschenberg's journey into black and white silkscreen paintings. A pivotal piece in this series, it has featured prominently in retrospectives of the artist's work. Crocus serves as a visual tapestry, weaving together imagery from various periods and cultural events. The upper register portrays a military transport vehicle, referencing Cold War tensions and the 1961 Berlin Crisis. Below, Diego Velázquez's “The Rokeby Venus” is replicated, intersecting with a pharmaceutical advertisement addressing malaria. Rauschenberg's deft composition invites reflection on the parallels between mythological scenes and contemporary conflicts. Despite its monochromatic palette, Crocus resonates deeply, reflecting the artist's skilful ability to distill zeitgeist themes. With its distinguished provenance from Leo Castelli and S.I. Newhouse, Crocus achieved £8.1 million (with fees) at Sotheby's in November 2021, remaining culturally significant amid contemporary discourse.

Overdrive (1963) stands as a pinnacle of Rauschenberg's artistic evolution, embodying a rare segment of his oeuvre seldom seen in the market. Rauschenberg's adept fusion of painting, sculpture, and collage demonstrates his unique ability to intertwine cultural narratives with artistic expression. This integration permeates his diverse body of work, showcasing his skill in amalgamating multifaceted elements into cohesive compositions. Overdrive achieves remarkable equilibrium through fragmented primary-coloured quadrants, capturing the essence of New York City's bustling street culture. With its captivating orchestration, this work resonates as a cosmic symphony, harmonising urban life with artistic interpretation. Realising £7.4 million (with fees) at Sotheby's in May 2008, it stands as a poignant precursor to the ensuing stock market crash.

Studio Painting (1960-1961) presents two distinct panels, intentionally separated by a three-inch gap, ingeniously connected by a rope threaded through a pulley and anchored with a sandbag. This piece represents Rauschenberg's exploration into larger canvases and intricate found objects, requiring meticulous craftsmanship. His Combine approach involved scavenging New York City streets, adhering to a unique “house rule”: if uninspired after a stroll, he'd venture one block in any direction before continuing. This method facilitated an unfiltered perspective, allowing him to incorporate found objects seamlessly into his compositions. Studio Painting's dual panels maintain individuality while forging a tangible link, epitomising Rauschenberg's conceptual complexity. The artwork sold for £7.4 million (with fees) at Christie's in May 2010.

Featured in Christie's 20th Century sale in May 2024, Rauschenberg's Hawk (1960) made its debut after being absent from the market since the 1980s. Marked by bold brushstrokes, collage, and abstraction, Hawk represents Rauschenberg's ambitious creations from the early 1960s, a period renowned for its artistic fervour. Notably, his works from the 60s command the highest values in the market. With a sale price of £8.4 million, Hawk joins Rauschenberg's top-selling pieces, underscoring its significance and appeal among collectors.

Incorporating an eclectic array of found objects—sweatshirt fragments, torn paper, photographs, metal, fabric, and wood—the composition of Photograph (1959) epitomises Rauschenberg's engagement with contemporary existence. Autobiographical in nature, it reflects his personal experiences or gleanings from incorporated clippings. Rauschenberg adeptly intertwines collage elements with expressive paint strokes, operating at the juncture of abstraction and collage. This work showcases his affinity for primary hues, with a notable use of black and white reminiscent of his Black Mountain College days. Notably, the canvas features a photographic reproduction of a hand in the upper centre, accompanied by various snapshots, and a faint skyline emerges in the middle, with a necktie motif at the bottom. Photograph achieved £5.3 million (with fees) at Sotheby's in May 2007.

Representing a crucial moment in Rauschenberg's artistic evolution, Exile (1962) stands as an early exploration of his silkscreen technique. This artwork epitomises Rauschenberg's preference for monochromatic tones during this period, highlighting his experimental phase. Notably, Exile showcases his penchant for incorporating recurring motifs, like mosquitoes and keys. Diego Velázquez's “The Rokeby Venus” makes a rare appearance, adding a feminine touch. Described as a “perceptual machine” by Arne Glimcher, Rauschenberg absorbed diverse influences. Exile's distinguished exhibition history includes Documenta, the Stedelijk Museum, and the Whitney Museum. A significant addition to his portfolio, Exile fetched £4.9 million (with fees) at Sotheby's in November 2010.

Transom (1963) stands as a seminal masterpiece, unveiling Rauschenberg's exploration of primary colours. Initially, the chromatic tones encircle the artwork's periphery, creating an abstract allure from a distance. However, closer inspection reveals Rauschenberg's audacious ingenuity, incorporating photographic negatives in corresponding hues, revealing water towers, military aircraft, bird's-eye landscapes, and a vintage car passenger. Amidst this, a three-dimensional cube houses another rendition of Diego Velázquez's “The Rokeby Venus” in vibrant crimson tones. Rauschenberg's adept manipulation of images conjures a singular snapshot akin to a vintage polaroid, encapsulating the cultural currents of an entire decade. Transom fetched £4.6 million at Christie's in 2017.