1965
(from the New York Ten portfolio)
Original screenprint in colors on Arches watercolor paper
Signed by the artist in pencil, dated and numbered
22 x 17 in. (56 x 43 cm), unframed
Edition of 200
(Published by Tanglewood Press, NY)
Bronze Smoke *
1978
Lithograph in colors on J.B. Green Katuash handmade paper
Signed by the artist in pencil, dated and numbered
31 x 22 1/2 inches (78.7 x 57.2 cm)
Edition of 38
Comet *
1980-82
Etching with aquatint in colors on brown Moriki
paper collaged to handmade Zaen linen paper
Signed, dated and numbered in pencil
25 x 29 3/4 in. (63.5 x 75.6 cm.), unframed
Edition of 8
(Harrison 90)
Dream Walk *
1977
Lithograph in colors on mauve HMP handmade paper
Signed by the artist in pencil, dated and numbered
26 x 35 1/2 inches (66 x 90.2 cm)
Edition of 47 + 12 AP
(Published by Tyler Graphics, Ltd., with their blind stamp)
Flotilla *
2006
Screenprint in color on Rives BFK paper
31 × 37 in (78.7 × 94 cm), unframed
Edition of 120
Ganymede *
1978
Soft-ground and sugar-lift etching and aquatint in colors on Arches paper
Signed in pencil by the artist, dated and numbered
22 ¼ x 16 ½ inches (56.5 x 42 cm)
Edition of 49 + 12 AP
Published by Tyler Graphics
(H. 69)
Spring Veil *
1987
Etching, aquatint and drypoint in color on Fabriano Rosaspina paper
Signed by the artist in pencil, dated and numbered
Paper size: 25 ½ x 30 ½ inches (64.8 x 77.5 cm)
Image size: 9 ¼ x 13 ½ inches (23.5 x 34.3 cm)
Edition of 51
(With publisher’s blind stamp)
(H. 125)
The Clearing *
1991
Color woodcut on While Richard B. Tullis II handmade paper
Signed by the artist in pencil, dated and numbered
Edition of 28
24 x 32 inches (61 x 81.3 cm)
The Grove *
1991
10-color woodcut
Signed by the artist in pencil, dated and numbered on off-white Awagami-Fujimori (Japan) handmade paper
38 1/2 x 25 1/2 inches (96.52 x 63.5 cm.).
Edition of 32
Printed by Emanuele Cacciatore, Benjamin Gervis, and Garner Tullis. Published by Garner Tullis, New York City.
(Harrison 232)
The Red Sea
1978-82
8-color original lithograph on pink HMP handmade paper
Signed in pencil, dated and numbered
23 1/2 x 27 1/2 in. (60 x 70 cm), unframed
Edition of 58
Printed by Tyler Graphics, Bedford Village, NY with their blindstamp
(H. 89)
Wind Directions *
1970
Pochoir in colors on Arches Imperial Rough paper
Signed by the artist in pencil, dated and numbered
30 1/2 x 22 inches (77.5 x 55.9 cm)
Edition of 50
Reflections XI *
(From The Reflections portfolio)
1996
Original 5-color lithograph on paper
Signed by the artist in pencil, dated and numbered
20 x 15 inches (50.8 x 38.1 cm)
Edition of 30
(Published by Tyler Graphics)
Soho Dreams *
1987
Etching, aquatint and drypoint in colors on Wove paper
Hand-signed by the artist in pencil, dated and numbered
25 ½ x 30 ¾ inches (64.8 x 78 cm)
Edition of 71
(H. 124)
Sanguine Mood *
1971
Pochoir/Screenprint
Signed, dated and numbered
23 x 18
Edition of 75
Ramblas *
1987-88
Color Lithograph, drypoint and Etching on Rives
Signed and numbered
34 x 27 inches
Edition of 75
La Sardana *
1987
Color Lithograph and Etching
Signed and numbered
35 x 25 3/8 in
Edition of 60
Deep Sun *
1983
Etching and intaglio
Signed and numbered
30 x 40 ½ in
Edition of 54
Helen Frankenthaler was born in New York in 1928. She studied at a number of art schools and was taught at one stage by Hans Hofmann. By 1950 she had met many of the main figures of Abstract Expressionism. In 1958 she married the painter Robert Motherwell.
Frankenthaler became the first American painter after Jackson Pollock to see the implications of the color staining of raw canvas to create an integration of color and ground in which foreground and background cease to exist. This highly intuitive process, known as “stain painting,” became the hallmark of her style and enabled her to create color-filled canvases that seemed to float on air.
In 1960 Frankenthaler made her first prints. Since then, she has worked with a variety of printmaking techniques in addition to painting, using each of these media to explore pictorial space through the interaction of color and line on a particular surface. One of her most successful prints is “Essence Mulberry” (1977) inspired by an exhibit of medieval prints at the Metropolitan Museum of Art.
Helen Frankenthaler’s art is held in the collection of every major museum of modern art. The stain technique she made famous is still an integral part of her work and it can be seen running through her entire oeuvre. Although the paintings are abstract, a strong suggestion of landscape is often apparent, and they have been praised for their lyrical qualities.
Belgian-born, Jean-Michel Folon is a prominent painter and illustrator. He began to study architecture but abandoned it in favor of drawing, which allowed more …
Frankenthaler, Helen
Frankenthaler became the first American painter after Jackson Pollock to see the implications of the color staining of raw canvas to create an integration of color and ground in which foreground and background cease to exist. This highly intuitive process, known as “stain painting,” became the hallmark of her style and enabled her to create color-filled canvases that seemed to float on air.
In 1960 Frankenthaler made her first prints. Since then, she has worked with a variety of printmaking techniques in addition to painting, using each of these media to explore pictorial space through the interaction of color and line on a particular surface. One of her most successful prints is “Essence Mulberry” (1977) inspired by an exhibit of medieval prints at the Metropolitan Museum of Art.
Helen Frankenthaler’s art is held in the collection of every major museum of modern art. The stain technique she made famous is still an integral part of her work and it can be seen running through her entire oeuvre. Although the paintings are abstract, a strong suggestion of landscape is often apparent, and they have been praised for their lyrical qualities.