Helen Frankenthaler, ‘Broome Street At Night’, 1987, Waddington's
Helen Frankenthaler, ‘Broome Street At Night’, 1987, Waddington's
Helen Frankenthaler, ‘Broome Street At Night’, 1987, Waddington's

Printed by Vigna Antoniniana Stamperia d’Arte, Rome
Published by 2RC Edizione d’Arte, Rome

From the Catalogue:
Broome Street at Night, 1987 although a later work, remains true to Helen Frakenthaler’s iconic style: the large swatches of blue, orange and green embrace the colour field movement, a lone light-blue moon sets the scene. With painter-like qualities, the translucency between each layer not only creates depth, but also aptly displays Frankenthaler’s interest in the physical qualities of the materials and their reaction on an unencumbered surface – a technique similar to Frankenthaler’s turpentine-thinned paint awash onto raw canvas. The solitude and tranquility of Broome Street at Night strikes to the heart of the romantic rhetoric of Abstract Expressionism.
Courtesy of Waddington's

Signature: signed, dated ‘87 and numbered 65/68 in pencil to margin with 2RC blindstamp (the total edition includes 14 artist’s proofs)


Private Collection, Toronto

About Helen Frankenthaler

A second-generation Abstract Expressionist painter, Helen Frankenthaler became active in the New York School of the 1950s, initially influenced by artists like Arshile Gorky, Willem de Kooning, and Jackson Pollock. She gained fame with her invention of the color-stain technique—applying thin washes of paint to unprimed canvas—in her iconic Mountains and Sea (1952), a motivating work for Morris Louis, Kenneth Noland, and other Color Field painters who emerged in the ’60s. Her own canvases, however, often evoked elements of landscape or figuration in the shaping of their forms. “My pictures are full of climates, abstract climates,” she once said. “They're not nature per se, but a feeling.” From 1958 to 1971, she was married to fellow Abstract Expressionist Robert Motherwell, who, like Frankenthaler, worked in symbolic painted gestures—only her paintings were almost always visibly improvised from start to finish. As poet and critic Frank O’Hara wrote in 1960, “she is willing to risk everything on inspiration.” In addition to painting, Frankenthaler also made ceramics, welded steel sculptures, and set designs, but the related medium that most attracted her, and in which her achievement came the closest painting, was printmaking—especially the creation of woodcuts, hers counting among the greatest of contemporary works in that medium.

American, 1928-2011, New York, New York, based in New York and Darien, Connecticut