Stand 14.11.2024

Helen Frankenthaler

Lot 65052
Tout-à-coup, 1987
Etching, aquatint, and drypoint in colors on Magnani paper

222,9 x 105,7 cm (87,8 x 41,6 in)

Lot 65052
Tout-à-coup, 1987
Etching, aquatint, and drypoint in colors on Magnani paper
222,9 x 105,7 cm (87,8 x 41,6 in)

Schätzpreis: US$ 25.000 - 35.000
€ 24.000 - 33.000
Auktion: 19 Tage

Heritage Auctions

Ort: Dallas, TX
Auktion: 10.12.2024
Auktionsnummer: 8179
Auktionsname: Prints & Multiples Signature® Auction

Lot Details
Helen Frankenthaler (1928-2011) Tout-à-coup, 1987 Etching, aquatint, and drypoint in colors on Magnani paper 87-3/4 x 41-5/8 inches (222.9 x 105.7 cm) (sheet) Ed. 8/46 (aside from 8 artist's proofs) Signed, editioned, and dated in pencil along lower edge; publisher's chop marks lower left Published by 2RC Edizioni d'Arte, Rome Printed by Raffaele d'Orsogna and the Vigna Antoniniana Stamperia, Rome Stamperia d'Arte 2RC, the publisher of this beautiful Frankenthaler etching, was founded in 1959 in Rome by Valter and Eleonora Rossi and Eleonora's cousin, Francesco Cioppi. While the press's success is often attributed to its advanced technology, its legacy lies in the welcoming environment Valter and Eleonora created in their home and studios. These spaces became sanctuaries for artists, offering a creative refuge that allowed them to expand their printmaking repertoire. In response to the growing post-war European art market, the family opened a studio in New York, forming lifelong friendships with many abstract contemporary artists. Stamperia d'Arte 2RC is renowned for its technical mastery of printmaking techniques, such as etching, aquatint, and embossed reliefs, often on a monumental scale, as seen in Helen Frankenthaler's vertical etching Tout-a-coup, made with two color runs on the artist's handmade plates. The company evolved from Stamperia d'Arte to 2RC Editrice in Rome and later expanded globally as 2RC Edizioni d'Arte. Today, the business continues to innovate, with new printmaking studios in China and an International Centre of Printmaking in Viareggio. HID12401132022 © 2024 Heritage Auctions | All Rights Reserved www.HA.com/TexasAuctioneerLicenseNotice
Mild handling dents with some light creasing primarily evident in margins; otherwise, there do not appear to be any other major condition issues affecting the work. Unframed.
Lot Details
Helen Frankenthaler (1928-2011) Tout-à-coup, 1987 Etching, aquatint, and drypoint in colors on Magnani paper 87-3/4 x 41-5/8 inches (222.9 x 105.7 cm) (sheet) Ed. 8/46 (aside from 8 artist's proofs) Signed, editioned, and dated in pencil along lower edge; publisher's chop marks lower left Published by 2RC Edizioni d'Arte, Rome Printed by Raffaele d'Orsogna and the Vigna Antoniniana Stamperia, Rome Stamperia d'Arte 2RC, the publisher of this beautiful Frankenthaler etching, was founded in 1959 in Rome by Valter and Eleonora Rossi and Eleonora's cousin, Francesco Cioppi. While the press's success is often attributed to its advanced technology, its legacy lies in the welcoming environment Valter and Eleonora created in their home and studios. These spaces became sanctuaries for artists, offering a creative refuge that allowed them to expand their printmaking repertoire. In response to the growing post-war European art market, the family opened a studio in New York, forming lifelong friendships with many abstract contemporary artists. Stamperia d'Arte 2RC is renowned for its technical mastery of printmaking techniques, such as etching, aquatint, and embossed reliefs, often on a monumental scale, as seen in Helen Frankenthaler's vertical etching Tout-a-coup, made with two color runs on the artist's handmade plates. The company evolved from Stamperia d'Arte to 2RC Editrice in Rome and later expanded globally as 2RC Edizioni d'Arte. Today, the business continues to innovate, with new printmaking studios in China and an International Centre of Printmaking in Viareggio. HID12401132022 © 2024 Heritage Auctions | All Rights Reserved www.HA.com/TexasAuctioneerLicenseNotice
Mild handling dents with some light creasing primarily evident in margins; otherwise, there do not appear to be any other major condition issues affecting the work. Unframed.

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