4
Helen Frankenthaler
Four Pochoirs portfolio
- Estimate
- $12,000 - 18,000
$43,750
Lot Details
The complete set of four pochoirs in colors, on Arches Imperial Rough watercolor paper, the full sheets,
1970
32 x 23 in (81.3 x 58.4 cm)
all signed, dated `9/30/70', `10/19/70', `10/28/70' and `11/14/70' and numbered 50/50 in pencil (there were also 6 or 7 artist's proofs), coordinated by Rosa Esman, published by Abrams Original Editions, New York (with their inkstamp on the reverse), all in very good condition, all contained in original pink fabric-covered portfolio with green ties (occasional scattered foxing).
Specialist
Full-Cataloguing
Catalogue Essay
Including:
Orange Downpour; Wind Directions; A Little Zen; and Green likes Mauve
Between September and November 1970, Frankenthaler and three assistants met four times in the basement of her New York City studio and produced four editions of fifty pochoirs. Frankenthaler has always enjoyed experimenting with different processes, and learned about this method after seeing a reproduction of a pochoir by Sonia Delaunay.
...The three of us were holding down the stencils while Helen worked over, around, and on our fingers with the liquid acrylics. The process was revised to accommodate Helen's free and spontaneous approach to printmaking. We felt that the technique was very effective. Despite the fact that the prints were made as an edition, each print has an original, fresh quality recalling the immediacy of a unique watercolor, yet there is no doubt that the prints are very closely related.
Helen Frankenthaler Prints: 1961-1979, Williams College, The Clark Art Institute, edited by Thomas Krens, 1980
Orange Downpour; Wind Directions; A Little Zen; and Green likes Mauve
Between September and November 1970, Frankenthaler and three assistants met four times in the basement of her New York City studio and produced four editions of fifty pochoirs. Frankenthaler has always enjoyed experimenting with different processes, and learned about this method after seeing a reproduction of a pochoir by Sonia Delaunay.
...The three of us were holding down the stencils while Helen worked over, around, and on our fingers with the liquid acrylics. The process was revised to accommodate Helen's free and spontaneous approach to printmaking. We felt that the technique was very effective. Despite the fact that the prints were made as an edition, each print has an original, fresh quality recalling the immediacy of a unique watercolor, yet there is no doubt that the prints are very closely related.
Helen Frankenthaler Prints: 1961-1979, Williams College, The Clark Art Institute, edited by Thomas Krens, 1980
Literature