Cabin at Sunset is one of the major works in the John Oliver’s Bob Ross Auction for Public Broadcasting. Image: PBS

Record-breaking Bob Ross auction for public broadcasting: Over $1 million raised to protect the future of public media in America after government cuts.

BY ARTCENTRON NEWS

John Oliver has made waves once again, this time in support of public broadcasting. During the 2025 season finale of Last Week Tonight with John Oliver, the late-night host helped secure a historic sale for Bob Ross’s most iconic painting, Cabin at Sunset. Ross originally featured the serene landscape on the beloved PBS show The Joy of Painting in 1986. Ultimately, the painting fetched an astonishing $1,044,000, setting a new record for Ross’s artwork at auction. This Bob Ross auction for public broadcasting not only paid tribute to the late artist’s enduring legacy but also channeled critical funding to preserve public broadcasting in America.

The Significance of the Bob Ross Auction for Public Broadcasting

The auction of Cabin at Sunset was part of a larger initiative to raise awareness and funds for public media. Oliver, a vocal critic of the Trump administration’s budget cuts to federal arts funding, worked directly with the Bob Ross estate to make this charity event a reality. The painting itself, a masterpiece of gentle greens and soft, lavender skies, captivated buyers immediately. It attracted 35 bids, a clear testament to Ross’s lasting cultural influence

Other Bob Ross Paintings in the Auction Lineup

In addition to this groundbreaking sale, Oliver had previously participated in another auction to support public broadcasting. Earlier in November, Bonhams Los Angeles sold three additional Bob Ross paintings. These works collectively raised $662,000 for American Public Television, the organization that brings The Joy of Painting into homes nationwide. These sales further contributed significantly to the financial resilience of public media. They included Winter’s Peace (1993), which sold for $318,000; Cliffside (1990), which fetched $229,100; and Home in the Valley (1994), which brought in $114,800.

The Need for a Bob Ross Auction for Public Broadcasting

These efforts are crucial in light of the significant financial challenges faced by public broadcasters across the country. The Trump administration’s 2025 budget cuts eliminated $1.1 billion in funding from the Corporation for Public Broadcasting (CPB). The CPB, a federal agency, supports local radio and TV stations, many of which serve rural and underserved communities. These reductions put enormous strain on the operations of these stations, even though they provide essential educational programming and news services to millions of Americans.

To further combat this threat, Oliver initiated a fundraising campaign through an online auction called John Oliver’s Junk. The sale, which featured 65 unique items from the Last Week Tonight set, raised an impressive $1.54 million. The auction allocated these funds to the Public Media Bridge Fund, which serves as a financial lifeline for local public broadcasters. These stations are struggling to survive following the CPB’s defunding. The Bob Ross painting auction for public broadcasting effectively helped highlight these critical funding gaps, while simultaneously offering fans a chance to support the cause

Public Broadcasting Impacts the Future of Media

Oliver’s actions point out the important part that public media plays in American society. His team highlighted this crisis during the Last Week Tonight finale. It notes how cuts to public broadcasting could disrupt the lives of millions, especially those in rural and underserved regions. Although the Bob Ross painting auction for public broadcasting was an homage to Ross, it was also a direct response to the increasing pressures on the U.S. media landscape. Here, independent voices and educational content are constantly at risk.

Public broadcasting is more than just entertainment—it is a cornerstone of free speech and democracy. From news programs to educational series, these platforms provide an essential counterbalance to the corporate media landscape. Funding for such outlets is now more precarious than ever, so initiatives like Oliver’s are not just acts of charity. Instead, they represent crucial advocacy for the preservation of these vital public institutions.

The Ongoing Fight for Public Broadcasting’s Survival

Spearheaded by John Oliver, this year’s auction successfully raised significant sums, but they also are a wake-up call. As federal support wanes, it’s clear that public media needs broader societal backing to continue thriving. In the coming years, it will be up to individuals, organizations, and governments to step in and ensure that the programs that educate, inform, and enrich the lives of so many Americans remain on air.

Ultimately, Oliver’s campaign has highlighted a growing movement to safeguard the future of public broadcasting. Whether through high-profile auctions, direct donations, or advocacy for more sustainable funding models, it’s clear that the fight for a vibrant and independent public media system is far from over. And with champions like John Oliver leading the charge, hope for the survival of these vital resources remains strong.