Helen Frankenthaler - Evening & Day Editions New York Monday, April 22, 2019 | Phillips

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  • Provenance

    Sotheby's New York, Contemporary Prints, November 5, 1995, lot 55
    Rosa Esman Gallery, New York

  • Literature

    Pegram Harrison 182

  • Catalogue Essay

    The days between 14 May and 4 June in 1991 were the most productive of Helen Frankenthaler’s career in printmaking. Reuniting with Monotype master printer Garner Tullis after their initial 1982 collaboration, Frankenthaler sometimes made as many as five Monotypes a day at Tullis’ New York studio that spring. She remarked, “I bring the liberties of my painting studio to Monotypes.” Monotypes are unique works of art produced by painting directly upon a plate that is later pushed through a press. The technique can be vexing; the final image reads in reverse with those inks on the printing plate’s top layer appearing as a final work’s bottom layer. For this series of 30 Monotypes Frankenthaler alternated between aluminum plates and woodblocks. Sometimes the ghost image of a previous work was used as a base layer for the next one. Helen Frankenthaler’s work on this group of Monotypes later led to her The Clearing series.

  • Artist Biography

    Helen Frankenthaler

    Helen Frankenthaler was one of the most influential members of the second generation of Abstract Expressionists and had a considerable impact on the transition from the prevailing New York School sensibilities to the subsequent Color Field style. Frankenthaler first achieved widespread praise for the opaque, floating fields of color of her 1952 painting Mountain and Sea, created using a technique that involved pouring thinned paint onto untreated canvases that had been laid on the floor of her studio. This so-called “soak-stain” technique was an acclaimed overture to Frankenthaler’s tireless experimentations with other styles and media throughout her career, including work in ceramics, sculpture, and printmaking.  

    Frankenthaler’s distinguished career has been widely celebrated since its beginnings. She was featured in the storied 1951 Ninth Street Show in New York as well as in Clement Greenberg’s 1964 Post-Painterly Abstraction exhibition at the Los Angeles County Museum of Art. Frankenthaler co-represented the United States at the 33rd Venice Biennale in 1966 and received the National Medal of the Arts in 2001.  

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Monotype XI, from Monotypes I-XXX, a series of 30 unique works

Monotype in colors with extensive hand-additions, on Fujimori-Awagami paper, the full sheet.
S. 25 1/8 x 38 5/8 in. (63.8 x 98.1 cm)
Signed, dated and annotated 'XI' in pencil, additionally signed and annotated '28 May '91 Monotype #1' on the reverse, published by Garner Tullis Workshop, New York, framed.

$15,000 - 25,000 

Sold for $27,500

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Evening & Day Editions

New York Auction 23 April 2019