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“A line, color, shapes, spaces, all do one thing for and within themselves, and yet do something else, in relation to everything that is going on within the four sides [of the canvas]. A line is a line, but [also] is a color... It does this here, but that there. The canvas surface is flat and yet the space extends for miles. What a lie, what trickery—how beautiful is the very idea of painting.”
—Helen FrankenthalerHelen Frankenthaler’s Spirits of Wine, 1972, depicts a delicate array of color, line and space. Vibrant greens border the edges of the almost six-foot-tall canvas, giving way to an orange field which flanks the pink central passage, creating an almost canyon-like effect within an otherwise abstract composition. Encapsulating a synergy of Abstract Expressionism, Color Field Painting and Minimalism, Spirits of Wine is an exceptional example of Frankenthaler’s famed soak-stain technique. The work has remained in the same collection since 1975 and hasn’t been seen in the public since the 1976 America Now exhibition at The Minneapolis Institute of Art.
The artist in her East 83rd Street studio, with the present work (right). Artwork: © 2024 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), New York Color
Created at a key juncture in her practice, Spirits of Wine opts for diluted acrylic paint over the artist’s previously used thinned oil paint. This departure allowed for her compositions to breathe beneath the painted surfaces and leant themselves to her pioneering soak-stained technique. Likely originating from a childhood habit of pouring her mother’s red nail polish into a bathroom sink filled with cold water and watching the polish disperse to create abstracted forms, Frankenthaler’s soak-stain technique was first seen in her 1952 masterpiece, Mountains and Sea, National Gallery of Art, Washington, D.C.i Challenging the methods of her Abstract Expressionist forebearers, Frankenthaler used thin applications of vast pools of paint, which embraced the canvas, rather than hiding it behind layers of thick impasto. Even through the layering of her stained veils of paint, the viewer can see the intricate weave of the canvas itself, creating an airy, almost ethereal quality to the painting. Though she was not the first artist to dilute her paints – artists such as Paul Cézanne, Wassily Kandinsky and Arshile Gorky had been using this technique in their respective practices decades prior – Frankenthaler would become a pioneer of the soak-stain method, influencing artists like Jules Olitski, Morris Louis and Kenneth Noland.Line
Using orange and bright white thin lines to draw the viewer’s eyes down, the composition encourages the viewer to take in the painting in its entirety. The present work explores the combination of drawing and painting, used as a means to amplify her soak-stained paintings. Blurring the lines between the two mediums, Frankenthaler’s practice during this time “modulated, monochromatic fields of color with irregularly shaped fissures or crevices of bare canvas, around which the filaments of drawing are clustered and within which, at times, notations of other colors appear. The format of these pictures recalls Clyfford Still and allows of a Still-like sense of color zones spreading organically toward each other across the flat surface. But the abrupt accents of drawing pull and pin back the opposing tides, reversing their movement while producing the illusion of paper-like thinness in the color itself.”ii In Spirits of Wine, the lines are less overt, but the effect of this mark-making style is still subtly evident. This constant, self-referential reimagining of her own techniques persisted throughout the entirety of the artist’s practice.
Left: Helen Frankenthaler, Barbizon, 1971, Private Collection. Artwork: © 2024 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), New York
Right: Clyfford Still, PH-571 (1951-N), 1951, National Gallery of Art, Washington, D.C. Image: National Gallery of Art, Washington, D.C., Robert and Jane Meyerhoff Collection, Gift in Honor of the 50th Anniversary of the National Gallery of Art, 1989.87.1, Artwork: © 2024 City & County of Denver, Courtesy Clyfford Still Museum / Artists Rights Society (ARS), New York“No longer are corners and edges ignored. But since image and painting surface are coextensive now – unrolling horizontally out from the center – the corners and edges are less boundaries than before. They had previously been neutralized by being ignored. Now, they are expanded.”
—John ElderfieldSpace
In layering colors and forms atop one another, Frankenthaler was constantly exploring the notion of space, a preoccupation which is very evident in the present work. The rendering of a seemingly infinite space within Spirits of Wine is even more astonishing considering the flat, unprimed canvas ground which serves as its foundation. Allowing the paint to sit on the surface and fully soak into the canvas, Frankenthaler gives life to the otherwise flat surface through the depth and intensity of the colors she uses. The arrangement of color appears as if spilt wine, deeper in the center and growing evermore translucent working outwards, adding a sense of three-dimensionality to the work that is unique to her compositions.
Georgia O’Keeffe, From the Lake No. 3, 1924, Philadelphia Museum of Art. Image: Philadelphia Museum of Art, Bequest of Georgia O'Keeffe for the Alfred Stieglitz Collection, 1987, Artwork: © Georgia O'Keeffe Museum / Artists Rights Society (ARS), New York While entirely abstract, Frankenthaler’s paintings do seem to reference landscapes and figures in interesting ways. The present work is an almost bodily representation of a landscape. The curvy outlines of the green frame the pink center which resemble a deep canyon, or perhaps the inner anatomy of a figure. This is reminiscent of the dual-meaning landscapes of Georgia O’Keeffe, whose iconic paintings often disguise references to female anatomy in pastel landscapes. Spirits of Wine transports the viewers to an undescribed place, allowing them to create their own interpretations of the painting. Frankenthaler herself noted, “There is no ‘always.’ No formula. There are no rules. Let the picture lead you where it must go.”iii
iAlex Greenberger, “Helen Frankenthaler’s Liberated Abstractions Charted a New Path for Painting,” Art in America, March 12, 2021, online.
iiJohn Elderfield, Frankenthaler, New York, 1987, n.p.
iiiHelen Frankenthaler, quoted in Ted Loos, ”ART/ARCHITECTURE; Helen Frankenthaler, Back to the Future,” New York Times, April 27, 2003, online.
Condition Report
Description
View our Conditions of Sale.
Provenance
André Emmerich Gallery, New York
Locksley Shea Gallery, Minneapolis
Private Collection (acquired from the above in 1975)
Thence by descent to the present ownerExhibited
The Minneapolis Institute of Art, America Now, February 28–May 2, 1976
Literature
Line into Color, Color into Line: Helen Frankenthaler, Paintings, 1962–1987, exh. cat., Gagosian Gallery, Beverly Hills, 2016, p. 48 (illustrated in a preliminary state in the artist's studio, frontispiece and p. 48)
Property from a Private Midwestern Collection
133
Spirits of Wine
titled and dated "SPIRITS OF WINE - (1972 - AUGUST) SPIRITS OF WINE" on the stretcher
acrylic on canvas
69 5/8 x 43 1/4 in. (176.8 x 109.9 cm)
Painted in 1972.
Estimate
$1,200,000 - 1,800,000
Annie Dolan
NY Head of Auctions and Specialist, Head of Sale, Morning Session
212 940 1288
adolan@phillips.com
Modern & Contemporary Art Day Sale, Morning Session
New York Auction 15 May 2024
101
Emmi Whitehorse (Diné)
Canyon Lake I
Estimate $12,000 - 18,000
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102
Jaune Quick-to-See Smith (Confederated Salish and Kootenai)
Eagle Wing
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103
Hedda Sterne
Untitled
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104
Wolfgang Paalen
Phantoms I
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105
René Magritte
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106
Chico da Silva
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107
Bill Traylor
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108
Elaine de Kooning
Untitled (Bullfight Series)
Estimate $150,000 - 200,000
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109
Lois Dodd
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Estimate $60,000 - 80,000
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110
Willem de Kooning
Still Life
Estimate $150,000 - 250,000
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111
Milton Avery
The White Hen and Fantasy Creatures (double-sided)
Estimate $60,000 - 80,000
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112
Milton Avery
Dark Sea, Dark Sky
Estimate $25,000 - 35,000
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113
Wassily Kandinsky
Rapallo-Stürmischer Tag
Estimate $120,000 - 180,000
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114
Arshile Gorky
Portrait of the Artist's Wife
Estimate $25,000 - 35,000
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115
Guy Pène du Bois
Conversation - Paris Cafe (Yvonne Pène du Bois)
Estimate $12,000 - 18,000
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116
Raoul Dufy
La fenêtre aux vitres de couleurs
Estimate $100,000 - 150,000
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117
André Derain
Les remparts à Montreuil-sur-mer
Estimate $300,000 - 500,000
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118
Pierre-Auguste Renoir
Jeune femme assise
Estimate $150,000 - 250,000
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119
Pierre Bonnard
Jardin au bord de la Seine
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120
Odilon Redon
Fleurs dans un vase
Estimate $250,000 - 350,000
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121
Henri Matisse
Nu assis ou femme au collier
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122
Françoise Gilot
Flora
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123
Pablo Picasso
Tasse et bananes
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124
Fernand Léger
Composition à l'échequier
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125
Willi Baumeister
Maschine und Mensch
Estimate $25,000 - 35,000
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126
Howard Hodgkin
Small Tree near Cairo
Estimate $150,000 - 200,000
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127
Philip Guston
Untitled
Estimate $350,000 - 500,000
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128
Lynne Drexler
Untitled
Estimate $50,000 - 70,000
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129
Michael Corinne West
Save the Tiger
Estimate $25,000 - 35,000
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130
Judith Rothschild
Figure in Space
Estimate $10,000 - 15,000
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131
Hans Hofmann
Magenta, Yellow and Black
Estimate $250,000 - 350,000
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132
Alice Baber
The Green Day of the Jaguar
Estimate $60,000 - 80,000
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133
Helen Frankenthaler
Spirits of Wine
Estimate $1,200,000 - 1,800,000
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134
Robert Motherwell
Hollow Men Series
Estimate $600,000 - 800,000
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135
Robert Motherwell
Zen IV
Estimate $120,000 - 180,000
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136
Vivian Springford
Untitled (VSF 347)
Estimate $70,000 - 100,000
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137
Helen Frankenthaler
Untitled
Estimate $40,000 - 60,000
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138
Joan Mitchell
Untitled
Estimate $350,000 - 550,000
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139
Norman Lewis
Untitled
Estimate $80,000 - 120,000
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140
Charles Alston
Black and White #7
Estimate $150,000 - 200,000
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141
Ernie Barnes
Human Celebration
Estimate $150,000 - 250,000
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142
Andy Warhol
Three works: (i-iii) Bobby Short
Estimate $600,000 - 800,000
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143
Peter Saul
Prune Head
Estimate $120,000 - 180,000
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144
Fritz Scholder (Luiseño)
Super Kachina
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145
Andy Warhol
Skull
Estimate $60,000 - 80,000
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146
Jean-Michel Basquiat
Untitled
Estimate $180,000 - 250,000
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147
Keith Haring
Untitled
Estimate $150,000 - 200,000
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148
Yayoi Kusama
Butterfly
Estimate $200,000 - 300,000
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149
On Kawara
NOV. 8, 1977 (from Today Series, no. 23)
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150
Ed Ruscha
Suddenly Spastic
Estimate $100,000 - 150,000
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151
Ed Ruscha
TREMBLING STALKS OF AQUATIC VEGETATION
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152
Ed Ruscha
We're This and We're That Aren't We?
Estimate $180,000 - 250,000
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153
Josef Albers
Study for Homage to the Square: Oracle
Estimate $250,000 - 350,000
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154
Donald Judd
Untitled
Estimate $80,000 - 120,000
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155
Lynda Benglis
Untitled
Estimate $100,000 - 150,000
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156
Louise Nevelson
Untitled
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157
Olga de Amaral
Untitled
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158
Richard Serra
Untitled
Estimate $400,000 - 700,000
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159
Brice Marden
Honey's Drawing
Estimate $30,000 - 40,000
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160
Agnes Martin
Untitled
Estimate $60,000 - 80,000
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161
Ed Clark
Ife
Estimate $50,000 - 70,000
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162
Gerhard Richter
Untitled 26.2.89
Estimate $100,000 - 150,000
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163
Richard Serra
Untitled #21
Estimate $250,000 - 350,000
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164
Lynn Chadwick, R.A.
Maquette, High Wind
Estimate $50,000 - 70,000
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165
Moissey Kogan
Mädchenkopf I (Head of a Girl I)
Estimate $8,000 - 12,000
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166
Gaston Lachaise
Garden Figure (second state) [LF 137]
Estimate $300,000 - 400,000
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167
Manolo Valdés
Reina Mariana
Estimate $300,000 - 500,000
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168
Aristide Maillol
La nymphe aux fleurs
Estimate $600,000 - 800,000
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169
Édouard Vuillard
Mme Arthur Fontaine au piano
Estimate $120,000 - 180,000
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170
André Derain
Nus dans un paysage
Estimate $80,000 - 120,000
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171
Louis Valtat
Les deux soeurs assises, Madame Zette et Madame Juin
Estimate $50,000 - 70,000
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172
Maurice de Vlaminck
Village et bord de rivière
Estimate $100,000 - 150,000
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173
André Derain
Nature morte avec bouteille
Estimate $300,000 - 500,000
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174
Jean Metzinger
Femme au perroquet (La fenêtre)
Estimate $80,000 - 120,000
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175
Alexander Calder
Untitled
Estimate $300,000 - 500,000
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176
Alexander Calder
Bow Tie
Estimate $100,000 - 150,000
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177
John Chamberlain
Tonk #8
Estimate $100,000 - 150,000
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178
Robert Indiana
Number 0
Estimate $60,000 - 80,000
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179
Robert Rauschenberg
Access
Estimate $40,000 - 60,000
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180
Ken Price
Lower
Estimate $150,000 - 200,000
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181
Lawrence Weiner
Stretched As Tightly As Is Possible (Satin) & (Petroleum Jelly)
Estimate $50,000 - 70,000
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182
Neil Jenney
Biosphere #3
Estimate $40,000 - 60,000
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183
Joseph Kosuth
'Word, Sentence, Paragraph (Z. & N.) #16'
Estimate $50,000 - 70,000
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184
Jack Goldstein
Untitled
Estimate $40,000 - 60,000
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185
James Rosenquist
The Serenade for the Doll after Claude Debussy, Gift Wrapped Doll #18
Estimate $100,000 - 150,000
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186
Richard Estes
Staten Island Ferry Docking
Estimate $60,000 - 80,000
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187
Richard Estes
Passages (Shopping Center)
Estimate $70,000 - 100,000
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188
Isamu Noguchi
Small Wonder
Estimate $40,000 - 60,000
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189
John McCracken
Vibe
Estimate $70,000 - 100,000
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190
John McLaughlin
Untitled
Estimate $70,000 - 100,000
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191
John McLaughlin
Untitled
Estimate $50,000 - 70,000
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192
Alfred Leslie
Hipped
Estimate $100,000 - 150,000
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193
Alfred Leslie
Lake Front Property
Estimate $120,000 - 180,000
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194
Leon Polk Smith
Great Hall
Estimate $60,000 - 80,000
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195
Lorser Feitelson
Magical Space Forms
Estimate $30,000 - 40,000
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196
Jean-Paul Riopelle
Cold Climate
Estimate $70,000 - 100,000
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197
Michael Goldberg
Untitled
Estimate $20,000 - 30,000
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198
James Brooks
Blow
Estimate $30,000 - 40,000
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199
Friedel Dzubas
Night Shuttle
Estimate $60,000 - 80,000
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200
Ilya Bolotowsky
Ellipse with Yellows
Estimate $25,000 - 35,000
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201
Ed Clark
Love Birds
Estimate $50,000 - 70,000
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202
Alex Katz
Jessica (Study for New Pink)
Estimate $40,000 - 60,000
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203
Andy Warhol
Karen Lerner
Estimate $70,000 - 100,000
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204
Richard Pettibone
Andy Warhol 'Lavender Disaster', 1964
Estimate $25,000 - 35,000
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205
Richard Pettibone
Andy Warhol 'Liz' 1962
Estimate $30,000 - 50,000
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206
Kenny Scharf
BEYOND
Estimate $150,000 - 200,000
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207
Peter Saul
He Forgot Something
Estimate $80,000 - 120,000
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208
Karel Appel
Bride
Estimate $50,000 - 70,000
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209
Karl Wirsum
Ahh! Macy's Grazed
Estimate $20,000 - 30,000
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210
Cundo Bermúdez
Arlequines
Estimate $40,000 - 60,000
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211
Gustav Klimt
Frontal stehend, linke Hand an die Hüfte gelegt (Standing Woman with Hand on Hip)
Estimate $25,000 - 35,000
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212
Armand Guillaumin
Gelée blanche à Crozant
Estimate $30,000 - 50,000
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213
Maurice Brazil Prendergast
The Beach and Along the Sea with Boat and People (double-sided)
Estimate $20,000 - 30,000
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214
Maurice Brazil Prendergast
Study St. Malo
Estimate $40,000 - 60,000
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215
Milton Avery
Young Mother and Child
Estimate $40,000 - 60,000
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216
Reginald Marsh
Coney Island (double-sided)
Estimate $18,000 - 25,000
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217
Willem de Kooning
Reclining Woman
Estimate $40,000 - 60,000
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218
Willem de Kooning
Reclining Women
Estimate $40,000 - 60,000
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219
Martín Ramírez
Untitled (Arches)
Estimate $10,000 - 15,000
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220
Jean Dubuffet
Réchaud-four à Gaz
Estimate $15,000 - 20,000
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221
Jean Dubuffet
Personnage
Estimate $40,000 - 60,000
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222
Hans Hartung
P10-1976-H20
Estimate $25,000 - 35,000
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223
Peter Saul
Study for Prune Head
Estimate $10,000 - 15,000
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224
Jean-Michel Basquiat
Free comb with Pagoda
Estimate $80,000 - 120,000
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225
Andy Warhol
Dollar Sign
Estimate $40,000 - 60,000
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226
Andy Warhol
Ladies and Gentlemen
Estimate $20,000 - 30,000
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227
Alexander Calder
Rose des sables
Estimate $40,000 - 60,000
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228
Alexander Calder
Grass
Estimate $40,000 - 60,000
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229
Alexander Calder
Untitled
Estimate $40,000 - 60,000
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230
Alighiero Boetti
Pisciarsi in bocca
Estimate $60,000 - 80,000
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231
Nuvolo (Giorgio Ascani)
Primavera Inoltrata
Estimate $15,000 - 20,000
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232
Daniel Spoerri
Tavola toscana (Post-Sevillane, Tableau piège)
Estimate $15,000 - 20,000
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