Helen Frankenthaler Prints and Multiples

This print features a reproduction of Lush Spring (1975) by Helen Frankenthaler. It’s mounted and laminated for protection from dust and UV rays, and floated in a hand-stained, natur...

Helen Frankenthaler Air Frame, from the New York Ten portfolio (Harrison 6), 1965 Color silkscreen on Arches double-weight watercolor paper Signed and annotated AP in graphite on the front; this is an Artist's Proof, aside from the regular edition of 200 Frame included: held in the original vintage wood frame with plexiglass front and John Berggruen Gallery label on the back: Pencil signed AP, aside from the regular edition of 200 This work is held in its original vintage 1960s frame, bearing the label of the famed John Berggruen Gallery in California. Catalogue Raisonne: Harrison 6, Berggruen 7, Clark 6 Printed by Chiron Press, New York. Published by Tanglewood Press, New York. Measurements: Framed 22.5 inches vertical by 17.5 inches (horizontal) by 1.5 inches Artwork: 22 inches vertical x 17 inches horizontal “What concerns me when I work is not whether a picture is a landscape… or whether somebody will see a sunset in it. What concerns me is, did I make a beautiful picture?” - - Helen Frankenthaler This is Frankenthaler's first silkscreen, produced for the portfolio New York Ten, which includes works by other New York-based artists at the time such as Roy Lichtenstein, Jim Dine, Tom Wesselmann and Claes Oldenburg. (She created her first lithograph in 1961) Other examples of this edition are found in the permanent collections of the Museum of Modern Art, MOCA Chicago, the Metropolitan Museum, the Philadelphia Museum, the Art Institute of Chicago, and numerous regional museums and institutions in the United States and worldwide. Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann. Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

Helen Frankenthaler (1928-2011) is one of the most revered and influential abstract painters of the 20th century in addition to being one of the most successful and collected female ...

Screenprint in colours, 2004, on Rives BFK paper, signed and dated in pencil, numbered from edition of 118, printed by Brand X Editions, New York, published by The Dalton School, New...

Helen Frankenthaler: 1928-2011. Well listed very important American abstract expressionist. Her paintings have sold well into the millions of dollars. This particular print is done a...

Screenprint in colours, 2005, on Somerset wove paper, signed and dated in pencil, numbered from the edition of 128, printed by Brand X Editions, Ltd., New York, published by Lincoln ...

Screenprint in colors, 2006, on Rives BFK paper, signed and dated in pencil, numbered from the edition of 120, published by the Naples Art Museum, Florida, 78.7 x 93.7 cm. (31 x 37 i...

Lithograph, drypoint, etching in colours, 1987/88, on handmade wove paper, signed in pencil, numbered from the edition of 75, printed and published by Polígrafa Obra Gráfica, Barcelo...

Lithograph in colours, 1995, on BFK Rives paper, signed and dated in pencil, inscribed ‘P.P.’ a printer’s proof, aside from the standard edition of 30, published by Tyler Graphics Lt...

Etching, aquatint and drypoint in colours, 1987, on Magnani paper, signed and dated in pencil, numbered from the edition of 71 (there were also 8 artist’s proofs), published by 2RC E...

This print features a reproduction of Tutti-Frutti (1966) by Helen Frankenthaler. It's mounted and laminated for protection from dust and UV rays, and floated in a hand-stained, natu...

Helen Frankenthaler Grey Fireworks, 2000 Screenprint 28 x 46 in (71.1 x 116.8 cm) A Printer's Proof (4/9) apart from the edition of 108 Hand signed by the artist in graphite [publi...

This porcelain/ceramic plate makes a gorgeous gift - in a bright blue bespoke box, ready to be gifted. Any fan of Helen Frankenthaler or Abstract Expressionist art would be thrilled!...

Helen Frankenthaler Frankenthaler: The Darker Palette (Hand signed twice and inscribed), 1998 Offset Lithograph poster 42 × 35 in hand signed "Frankenthaler" lower left; inscribed an...

Helen Frankenthaler Pro Musica's Contemporary American Choral Music (Hand signed by both Helen Frankenthaler and Aaron Copland), 1982 Offset lithograph poster (Hand signed by Helen F...

“Sirocco” by Helen Frankenthaler . Mixographia embossed engraving on handmade paper. Unique color from the regular numbered edition. 51/52. Hand signed by artist, dated 1989. Pri...

ONE WEEK ONLY SALE "Untitled" lithograph from Frakenthaler's What Red Lines Can Do Series. Signed and dated, with the numbers 55/9/75 on the lower front right. Color screen print on white arches handmade cold press paper. Helen Frankenthaler was born on December 12, 1928 in New York City, the daughter of a New York Supreme Court judge and a family of Jewish immigrants from Germany who emphasized culture and intellectual pursuits and continue to be active to this day such as through nephew, the artist and photographer Clifford...

Winning buyer: Try entering code FREESHIP for complimentary packing and shipping at checkout. (Some exceptions apply) Helen Frankenthaler Frankenthaler, Works on Paper 1949-1984 (Han...

A very good impression of this color soft-ground etching, etching and aquatint on White Rives BFK paper. Signed, dated and numbered 55/60 in pencil, lower margin. Printed and publish...

Screenprint and offset lithograph in colours, 1987, on wove paper, signed in pencil by the artist, one of 10 printer's proofs, aside from standard edition of 72, published by Lincoln...

A very good impression of this large lithograph with strong colors and stencil on White Arches Cover paper. Signed, dated "'85-'87" and numbered 51/54 in pencil by Frankenthaler. Printed and published by Tyler Graphics...

Helen Frankenthaler Frankenthaler (Hand signed and inscribed), 1988 Offset lithograph (hand signed and inscribed to renowned collectors) Hand signed and warmly inscribed in ink on the front Frame included: Museum frame with UV plexiglass included Inscribed "to Paul and Joan, love Helen Frankenthaler" (Paul and Joan Gluck were major art collectors) Measurements: Framed 42 inches vertical by 34 inches by 1.75 inches Print 34.5 inches vertical by 27 inches Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

Printed by Universal Limited Art Editions. Edition 65 of 100

A very good impression of this color screenprint on cream wove paper. Signed and numbered 112/126 in pencil by Frankenthaler. Printed by Brand X Editions, Ltd., New York. Published b...

Artist: Helen Frankenthaler (American, 1928-2011) Title: "Altitudes" *Signed, dated, and numbered by Frankenthaler in pencil lower right Year: 1978 Medium: Original Lithograph on light yellow-pink J.B. Green Hayle Mill Bodleian handmade paper Limited edition: 29/42 Printer: Bill Goldston and John A. Lund of Universal Limited Art Editions, West Islip, NY Publisher: Universal Limited Art Editions, West Islip, NY Reference: "Frankenthaler: A Catalogue Raisonné - Prints 1961-1994" - Harrison No. 72, page 264, 268-270; "ULAE" - Sparks No. 33, page 88, 323; Clark No. 67; Williams No. 67 Sheet size (irregular margins): 22.25" x 30.88" Condition: Remnants of previous mounting tape on verso. In excellent condition with strong colors Very rare Notes: Provenance: private collection - New York, NY; private collection - notable fashion illustrator Jay Hyde, Crawford, New York, NY; acquired from an art gallery in New York, NY; likely acquired directly from the publisher Universal Limited Art Editions, West Islip, NY. Lithograph drawn with tusche wash. Printed in two colors from two stones: red and green. Universal Limited Art Editions chop mark/blind stamp lower right. "Frankenthaler: A Catalogue Raisonné - Prints 1961-1994" - Harrison - "Frankenthaler carefully chose a European handmade paper that would add another color and texture to the print" ... "By contrast, in "Altitudes", the artist created a bleed image so that the sheet of paper is smaller than the stone's image and the large red tusche wash sweeps across the surface of the yellow-pink J.B. Green Hayle Mill Bodleian paper, becoming warmed and enhanced by its color and texture." "Universal Limited Art Editions - A History and Catalogue: The First Twenty-Five Years" - Sparks - "In "Bronze Smoke" (cat. no. 32), "Altitudes" (cat. no. 33), and "Door" (cat. no. 34), minimal compositions were replaced by fields of drifting, multilayered color, as rich and satisfying as her work on a much grander scale." Biography: Frankenthaler was an American abstract expressionist painter. She was a major contributor to the history of postwar American painting...

Vivid color monotype by American Abstract Expressionist artist Helen Frankenthaler, signed by the artist in pencil, lower right. Printed and published in collaboration with Tyler Graphics...

Helen Frankenthaler (1928-2011) "Parets" Collagraph drawn with Araldite glue, c. 1988 Printed in light burnt sienna from one steel plate, off white handmade paper Signed in lowe...

Printer and Publisher: ULAE, West Islip, New York Catalogue raisonne: Abrams 41 Edition size: 18 Signed, dated, and numbered, lower margin

This print features a reproduction of Lush Spring (1975) by Helen Frankenthaler. It’s mounted and laminated for protection from dust and UV rays, and floated in a hand-stained, natur...

DESCRIPTION aquatint and drypoint printed in colors, signed in pencil, dated, numbered 43/71 (total edition includes eight artist's proofs), on Magnani wove paper, with the blindstam...

Artist: Helen Frankenthaler (American, 1928-2011) Title: "Sun Corner" Portfolio: The Metropolitan Scene *Signed, dated, and numbered by Frankenthaler (inscribed into the metal) lower right Year: 1968 Medium: Original Screenprint on core-filled, baked Aluminum Panel Limited edition: 17/50, (there were also 4 artist's proofs) Printer: Sheila Marbain of Maurel Studios, New York, NY Publisher: Tanglewood Press, New York, NY Reference: "Frankenthaler: A Catalogue Raisonné - Prints 1961-1994" - Harrison No. 12, page 90-91; Berggruen No. 13; Clark No. 13 Framing: Recently framed in a white maple moulding and conservation clear glass with frame-space. All archival Framed size: 37.38" x 37.38" Sheet size: 36.13" x 36.13" Image size: approx. 32" x 32" Condition: A faint crease upper right and lower right. Some light scuffmarks and scratches to image. In otherwise very good condition with strong colors and clean white background Very rare Notes: Provenance: private collection - Upton, MA. Comes from the 1968 "The Metropolitan Scene" portfolio of five screenprints by various artists. Printed in four colors from four screens: blue, orange-red, green, and yellow. This is the third screenprint edition Frankenthaler ever made. "The Metropolitan Scene", a portfolio of prints by Richard Anuszkiewicz, Helen Frankenthaler, Adolph Gottlieb, Nicholas Krushenick, Roy Lichtenstein, and George Segal, was commissioned for a traveling exhibition organized by the Education Department of The Metropolitan Museum of Art, New York, NY. The museum received ten Roman-numbered copies for this purpose. Tanglewood Press then released all but Gottlieb's print in numbered editions of fifty. (Gottlieb's contract with Marlborough Gallery, New York, NY, did not permit commercial release of his print by the publisher). "Air Frame" (cat. no. 6) was Frankenthaler's first silkscreen - a medium that Universal Limited Art Editions, West Islip, NY did not use, although it became increasingly popular for artists' prints, both in Europe and the United States, during the sixties. Several other silkscreens followed in the next few years: "Untitled" (cat no. 11), in 1967, and "Sun Corner" (cat. no. 12) by Tanglewood Press, New York, in 1968. - "What Red Lines Can Do" (cat. nos. 22-26) is a suite of silkscreens published by Multiples, Inc., at that time directed by Rosa Esman, in 1970. - (Harrison - page 19). Biography: Frankenthaler was an American abstract expressionist painter. She was a major contributor to the history of postwar American painting...

2004 Thirty-four color Ukiyo-e woodcut printed from 16 woodblocks on Torinoko paper and mounted onto Fabriano Classico paper Image/sheet: 37 1/2 x 26 inches Edition of 65 Signed and ...

2005 Sixteen color Ukiyo-e style woodcut Image/sheet: 26 x 38 in. Edition of 50 Signed, dated and numbered in pencil, lower margin

1987 Lithograph in colors, on wove paper Sheet: 31 5/8 x 23 1/2 in. Edition of 50 Signed, dated and numbered in pencil, lower margin

1987 Etching, aquatint and drypoint in colors, on wove paper Sheet: 15 3/4 x 18 3/4 in. Edition of 71 Signed, dated and numbered in pencil, lower margin

1978 Lithograph in colors, on brown wove paper Sheet: 31 1/2 x 22 1/2 in. Edition of 38 Signed, dated and numbered in pencil, lower margin

2009 Thirty-one color Ukiyo-e style woodcut Image/sheet: 25 1/4 x 37 1/4 in. Edition of 50 Signed, dated and numbered in pencil, lower margin

An image of ethereal beauty, Helen Frankenthaler created Causeway in 2001 after a lifetime of experimentation with etching and aquatint.  Hand-signed, dated and numbered in pencil, t...

1987 Color etching, aquatint, drypoint Sheet: 15 3/4 x 18 3/4 in. Edition of 71 Signed, dated and numbered in pencil, lower margin

1978 Screenprint in colors Sheet: 31 1/2 x 22 1/2 in. Edition of 38 Signed, dated and numbered in pencil, lower margin

2009 Thirty-one color ukiyo-e woodcut Sheet: 25 1/4 x 37 1/4 in. (64.1 x 94.6 cm) Edition of 50 Signed, dated and numbered in pencil

2006 Lithograph in colors, on wove paper Sheet: 22 1/4 x 27 1/2 in. (56.5 x 69.9 cm) Edition of 35 Signed and numbered in pencil, lower margin Framed, excellent condition

2009 Thirty-one color ukiyo-e woodcut 25 1/4 x 37 1/4 in. (64.1 x 94.6 cm) Edition of 50 Signed, dated and numbered in pencil Unframed, pristine condition

1978 Lithograph in colors, on pink handmade paper Sheet: 23 1/4 x 27 22/25 inches Edition of 58 Signed, dated and numbered in pencil Framed, mint condition