Lithograph in colors on three sheets of Japan paper.
Signed, dated and numbered in pencil.
Lot’s Wife (1971) by Helen Frankenthaler is a large-scale lithograph composed on three joined sheets of Japan paper. With vertical washes of soft beige, bold blue, deep green, rust, and yellow, the composition suggests both architectural presence and emotional resonance. A fine red line weaves through the color fields, adding tension and continuity. The title refers to the biblical figure who turned to look back and became a pillar of salt—here evoked not through figuration but through verticality and stillness. As one of only 17 editions, this signed and numbered work reflects Frankenthaler’s lyrical abstraction and innovative use of color and scale.
Helen Frankenthaler (USA, 1928–2011) was a leading abstract painter and a pioneer of the Color Field movement. Known for her innovative 'soak-stain' technique, she applied diluted paint directly onto unprimed canvases, creating luminous, fluid compositions that redefined modern abstraction.
LithographLithography is a printing method based on the principle that water and oil do not mix. It can be used to print artwork or text onto paper or other suitable materials. Traditionally, an image was drawn with wax, fat, or oil onto a lithographic limestone surface or plate. Today, metal plates and other surfaces are also used in lithographic printing.
Lithograph in colors on three sheets of Japan paper.
Signed, dated and numbered in pencil.
Lot’s Wife (1971) by Helen Frankenthaler is a large-scale lithograph composed on three joined sheets of Japan paper. With vertical washes of soft beige, bold blue, deep green, rust, and yellow, the composition suggests both architectural presence and emotional resonance. A fine red line weaves through the color fields, adding tension and continuity. The title refers to the biblical figure who turned to look back and became a pillar of salt—here evoked not through figuration but through verticality and stillness. As one of only 17 editions, this signed and numbered work reflects Frankenthaler’s lyrical abstraction and innovative use of color and scale.
Helen Frankenthaler (USA, 1928–2011) was a leading abstract painter and a pioneer of the Color Field movement. Known for her innovative 'soak-stain' technique, she applied diluted paint directly onto unprimed canvases, creating luminous, fluid compositions that redefined modern abstraction.
A really good picture looks as if it's happened at once. It's an immediate image.
- Helen Frankenthaler
Initially creating in the style of abstract expressionism before going on to pioneer the Colour Field movement, Helen Frankenthaler was an iconic, highly influential artist with work spanning across the mediums of painting, sculpture and printmaking. Frankenthaler was initially recognised for her colour-stain technique – the practice of applying heavily diluted oil paint onto an unprimed canvas that had been lay flat on the floor; the practice of laying the canvas flat was inspired by Jackson Pollock. Frankenthaler drew a lot of her inspiration from nature – her works would analyse natural forms and recreate them on the canvas – this, as well as the technique of laying the canvas flat, is exemplified in her most notable painting, Mountains and Sea. Asides from these paintings, Frankenthaler also received acclaim for her printmaking – Madame Butterfly is her most recognised print and was created with the use of 46 woodblocks and a range of 102 different colours. (Artist website)
American Abstract Artists (AAA) is an organization founded in New York City in 1936 to promote abstract art and its appreciation in the United States. At a time when abstract art faced strong opposition from critics, the AAA provided crucial exhibition opportunities for abstract artists, helping to foster the growth and acceptance of the movement.