John Constable in Hampstead

Burgh House

11 June to 20 September 2026

To celebrate the 250th anniversary of the birth of iconic Suffolk-born artist John Constable, Burgh House is delighted to present John Constable in Hampstead, a new exhibition exploring the artist’s profound connection to Hampstead Heath and the surrounding area where he lived and worked for almost twenty years.

John Constable  Study for 'Hampstead Heath with a Rainbow'  around 1830

Open from 11 June 2026, the anniversary of Constable’s birth, John Constable in Hampstead brings together key works from the artist’s Hampstead years, revealing how the area became both a creative inspiration and a refuge from London life. Through rarely seen paintings, mezzotints, portraits, and personal letters, this exhibition traces Constable’s deep engagement with the landscape, weather, and people of Hampstead during a pivotal and deeply personal period in his life.

John Constable  Branch Hill Pond on Hampstead Heath

Constable loved to paint cloud studies during his years in Hampstead, and many of the rural scenes surrounding the Heath. Having first taken summer lodgings in the area, he later moved his family to North London permanently.

Sir Richard Steele's Cottage, Hampstead Print made by David Lucas (1802 - 1881) after John Constable, RA (1776 - 1837)
Mezzotint, 1846, Burgh House, BH.1997.122
Purchased by Helene Curtis for Burgh House

Noon, Print made by David Lucas (1802 - 1881) after John Constable, RA (1776 - 1837)
Mezzotint, first issued in 1830, Burgh House, BH.2026.7
Gift of Henry Gerrish of Gerrish Fine Art

A Heath, Print made by David Lucas (1802 - 1881) after John Constable, RA (1776 - 1837)
Mezzotint, first issued in 1831, Burgh House, BH.2026.8
Gift of Frances Carey in memory of David Bindman (1940-2025)

Bayeux Tapestry to come to the British Museum

 

British Museum

10 September 2026 – 11 July 2027

In a historic loan agreement, for the Bayeux Tapestry to come to the British Museum for display.

In exchange, treasures from the British Museum that represent all four nations of the UK – including Sutton Hoo and the Lewis chess pieces – will travel to museums in Normandy, France.

The agreement, which will provide immense cultural and educational benefits for citizens in both countries, is due to be announced by UK Prime Minister Sir Keir Starmer and French President Emmanuel Macron, and will be signed by Director of the British Museum Nicholas Cullinan.

The 70-metre Bayeux Tapestry depicts the 1066 Norman invasion and Battle of Hastings, and is due to go on display in the Sainsbury Exhibitions Gallery at the British Museum in the autumn of 2026. The Museum will draw on its own collection as well as other loans in order to tell a rich story about this period of history.

This will be the first time that the tapestry has been shown in the UK since it was made, almost 1,000 years ago – and is expected to be one of our most popular exhibitions ever. The British Museum's status as the UK's most visited attraction, as well as one of the most popular in the world – attracting 6.5 million visitors in 2024 – means it is well placed to ensure that the widest possible audience will have the opportunity to enjoy it.

Quotes

Nicholas Cullinan, Director of the British Museum, said: 'The Bayeux Tapestry is one of the most important and unique cultural artefacts in the world, which illustrates the deep ties between Britain and France and has fascinated people across geographies and generations. It is hard to overstate the significance of this extraordinary opportunity of displaying it at the British Museum and we are profoundly grateful to everyone involved. This will be the first time the Bayeux Tapestry has been in the UK since it was made, almost 1,000 years ago. We are also delighted to send treasures from the British Museum representing all four nations of the UK – including Sutton Hoo treasures and the Lewis chess pieces – to France in return.   
 
This is exactly the kind of international partnership that I want us to champion and take part in: sharing the best of our collection as widely as possible – and in return displaying global treasures of the world never seen in London before to a global audience.'

George Osborne, Chair of the British Museum Trustees, said: 'Once in a generation there's a British Museum exhibition that eclipses all others. Think in previous ages of Tutankhamun and the Terracotta Warriors. The Bayeux Tapestry will be THE blockbuster show of our generation. I know it will capture the imagination of an entire nation.

There is no other single item in British history that is so familiar, so studied in schools, so copied in art as the Bayeux Tapestry. Yet in almost a thousand years it has never returned to these shores. Next year it will and many, many thousands of visitors, especially schoolchildren, will see it with their own eyes.

And we're thrilled too that the people of France will get to see some of the greatest treasures from all four nations of the United Kingdom.

We've worked hard at the Museum to make this extraordinary loan possible. I want to thank this government – the ministers, officials and diplomats – for all their help in getting it over the line. It is the most visible expression of a stronger relationship between Britain and France. Merci beaucoup!

The tapestry will return to France the following year in time for the Bayeux Museum's reopening.

Bayeux Tapestry

© La fabrique de patrimoines en normandie

© La fabrique de patrimoines en normandie

The Bayeux Tapestry is a 70-metre-long masterpiece telling the story of the conquest of England in 1066 by William, Duke of Normandy. The embroidery in wool thread on linen cloth was created in the UK and dates back to the 11th century.

Through 58 scenes, 626 characters and 202 horses, the tapestry gives an account of the medieval period in Normandy and England like no other. It provides information about civil and military architecture, armour and seafaring in the Viking tradition, as well as precious details of everyday life.

The Bayeux Museum, where the tapestry has been displayed since 1983, will close for a two-year renovation from 1 September 2025.

Sutton Hoo

Gold and Garnet shoulder clasps © The Trustees of the British Museum

 Sutton Hoo helmet © The Trustees of the British Museum

Gold Belt Bucket © The Trustees of the British Museum

In 1939, Edith Pretty, a landowner at Sutton Hoo, Suffolk, asked archaeologist Basil Brown to investigate the largest of several Anglo-Saxon burial mounds on her property. Inside, he made one of the most spectacular archaeological discoveries of all time.

Beneath the mound was the imprint of a 27-metre-long (86ft) ship. At its centre was a ruined burial chamber packed with treasures: Byzantine silverware, sumptuous gold jewellery, a lavish feasting set, and, most famously, an ornate iron helmet. Dating to the early AD 600s, this outstanding burial clearly commemorated a leading figure of East Anglia, the local Anglo-Saxon kingdom. It may even have belonged to a king.

The Sutton Hoo ship burial provides remarkable insights into early Anglo-Saxon England. It reveals a place of exquisite craftsmanship and extensive international connections, spanning Europe and beyond. It also shows that the world of great halls, glittering treasures and formidable warriors described in Anglo-Saxon poetry was not a myth.

Lewis chess pieces

Lewis chess set © The Trustees of the British Museum

Knight © The Trustees of the British Museum

Pawn © The Trustees of the British Museum

Bishop © The Trustees of the British Museum

King © The Trustees of the British Museum

Made from walrus ivory in the 12th century, the skilfully carved chess pieces are considered the most famous chess pieces in the world.

Buried in a sand dune on the Isle of Lewis in the Outer Hebrides, Scotland, the chess pieces were discovered as part of a hoard in 1831, thought to have belonged to a trader travelling from Norway to Ireland. The chess pieces testify to the strong cultural and political connections between the kingdoms of the British Isles and Scandinavia in the Middle Ages, as well as to the growing popularity of chess within Europe.

The chess pieces consist of elaborately carved walrus ivory and whales' teeth in the form of seated kings and queens with comical expressions, bishops, knights on their mounts, standing warders and obelisk-shaped pawns.

HELEN FRANKENTHALER The Moment and the Distance

 GAGOSIAN NEW YORK 

April 30–July 2, 2026 

Gagosian has announced Helen Frankenthaler: The Moment and the Distance, an exhibition organized in collaboration with the Helen Frankenthaler Foundation. Surveying four decades of paintings from 1960 to 1992, the exhibition features more than twenty of Frankenthaler’s largest, most ambitious works. Arranged by decade, these canvases—with their monumental scale, sensuous color, and innovative compositions—offer new perspectives on the artist’s continual reinvention of her practice. 

The exhibition’s title is derived from an incisive 1975 essay by Barbara Guest, a poet and friend of the artist, who wrote: “She has rewarded us with the astonishing combination of freedom with restraint, extravagance with discipline, suggestion and definition. The moment becomes the distance.”

 Embodying Frankenthaler’s exploratory, lyrical approach to abstraction, the canvases on view benefit from an expansive scale that enhances the exceptional visual impact of their brilliant colors and varied gestures. Created with diluted oil paint applied directly to untreated canvas, Provincetown I (1961) features compelling contrasts between line and color, bound and unbound form. I

In the late 1960s and 1970s,  following her move from oil to acrylic paint, Frankenthaler shifted to composing with large, flat slabs of color. Mornings (1971) is distinguished by flowing descents of yellow, buff, and white tones interrupted by linear filaments drawn with black marker, which is also used in Thanksgiving (1972) to arrange biomorphic shapes in precarious balance. Throughout her career, Frankenthaler engaged in a conversation with the history of art. Auguste (1977) was inspired by Auguste Renoir, reconfiguring the Impressionist’s fleshy palette and varied application into a field of loosely rectilinear brushstrokes.

Allusions to landscape are also a constant in Frankenthaler’s oeuvre. 

Ocean Drive West #1, 1974

Acrylic on canvas

94 x 144 inches (238.8 x 365.8 cm)

Ocean Drive West #1 (1974), titled after the address of her seaside studio at Shippan Point in Stamford, Connecticut, stretches striated bands across a vibrant blue canvas to suggest currents, while the expansive horizontal composition of Shippan October (1981) evokes the seascape of the Long Island Sound in autumnal light. 

Frankenthaler once described her painting as “inner amorphous worlds or depths exploding on the surface and in perspective,” channeling the fluidity of pigment that washes over works like 

A Green Thought in a Green Shade (1981), punctuated by opaque elements in contrasting colors. 

In Janus (1990), mirrored accumulations of layered gray tones face one another in the center of the work, framed by passages of fiery color and splattered, vaporous textures. Together, these paintings epitomize Frankenthaler’s continuous introduction of new painting techniques and imagery as well as her stalwart commitment to abstraction. 

Gagosian is publishing a catalogue to accompany the exhibition. It features the essay “Unborrowed Dreams: Helen Frankenthaler’s Post-Surrealist Spaces” by Ara H. Merjian, which discusses the artist’s uniquely sustained engagement with abstraction and Surrealist methods. 

The gallery’s tenth solo presentation of Frankenthaler’s work, The Moment and the Distance follows 

Helen Frankenthaler: A Grand Sweep at the Museum of Modern Art, New York (on view through February 8, 2026) :

Helen Frankenthaler. Jacob’s Ladder, 1957. Oil on canvas, 9′ 5 3/8″ x 69 7/8″ (287.9 x 177.5 cm). The Museum of Modern Art, New York. Gift of Hyman N. Glickstein. © 2025 Helen Frankenthaler / Artists Rights Society (ARS), New York. Digital Image © 2025 The Museum of Modern Art, New York

 

Helen Frankenthler. Mauve District, 1966. Acrylic on canvas, 8′ 7″ x 7′ 11″ (261.5 x 241.2 cm). The Museum of Modern Art, New York. Mrs. Donald B. Straus Fund. © 2025 Helen Frankenthaler / Artists Rights Society (ARS), New York

 

Helen Frankenthaler. Commune, August 9, 1969. Acrylic on canvas, 9′ 3 1/2″ x 8′ 9 1/4″ (282.5 x 267.2 cm). The Museum of Modern Art, New York. Gift of the artist. © 2025 Helen Frankenthaler / Artists Rights Society (ARS), New York

 

Helen Frankenthaler. Chairman of the Board, 1971. Acrylic and felt-tip pen on canvas, 6′ 10 1/16″ x 16′ 2 5/16″ (208.4 x 493.6 cm). The Museum of Modern Art, New York. Nina and Gordon Bunshaft Bequest. © 2025 Helen Frankenthaler / Artists Rights Society (ARS), New York. Digital Image © 2025 The Museum of Modern Art, New York

 

Helen Frankenthaler. Toward Dark, 1988. Acrylic on canvas. 9′ 10 1/4″ x 7′ 4 1/2″ (300.4 x 224.8 cm). The Museum of Modern Art, New York. Gift of the Helen Frankenthaler Foundation. © 2025 Helen Frankenthaler / Artists Rights Society (ARS), New York. Digital Image © 2025 The Museum of Modern Art, New York

and coincides with Helen Frankenthaler at Kunstmuseum Basel (April 18–August 23, 2026), which will be the largest exhibition of her art to date in Europe. 

Helen Frankenthaler

 Kunstmuseum Basel 

April 18–August 23, 2026

Curator: Anita Haldemann 

With over fifty works from six decades, the special exhibition Helen Frankenthaler at the Kunstmuseum Basel offers extensive insight into the expansive oeuvre of a preeminent figure of American abstraction. Frankenthaler’s intensely colorful paintings, typically in large formats, light up the galleries and engage viewers. This comprehensive in-depth survey is the largest exhibition of her work in Europe to date and her first institutional solo show in Switzerland. 

A pioneering representative of Abstract Expressionism, Helen Frankenthaler (1928– 2011) occupies a central position in postwar American art. Her soak-stain technique revolutionized abstract painting and catalyzed the development of Color Field painting in the U.S. from the mid-1950s onward. A particular focus of the exhibition at the Kunstmuseum Basel is on her probing engagement with historic art she admired, which inspired many works throughout her career. For the first time, Frankenthaler’s paintings will be shown in conversation with artworks ranging from the fifteenth to the twentieth century, a juxtaposition that enriches our understanding of her abstract art. 

At the young age of twenty-three, Frankenthaler changed the course of modern painting when she came up with her innovative soak-stain technique: applying diluted paint to unprimed canvases she laid out on the floor, she created luminous compositions of — often monumental in size. She manipulated the paint from all sides, using sponges, scrapers, household brushes, and other tools. As a result, the canvas absorbed the pigments, yielding distinctive effects: fabric and color became one. 

Although Frankenthaler left plenty of room in her process for chance, she retained a finely honed sense of balance and structure. Her works have captivated viewers for decades through her lyrical handling of color and bold compositional choices.

 In 2024, the Kunstmuseum welcomed Frankenthaler’s formidable painting Riverhead (1963) to its collection. A generous gift of the Helen Frankenthaler Foundation, the work filled a significant gap in the museum’s holdings of American art. The accession also prompted the museum to make plans for this major exhibition. 

Biographical background and influences 

The daughter of an educated and affluent Jewish family, Frankenthaler was raised in New York. She was encouraged early on to believe in herself and pursue her intention to become an artist. She trained as a painter at the progressive Bennington College in Vermont, USA. As a student, she tried her hand at Cubist composition and learned to subject pictures to painstaking analysis. As she strove to develop her own abstract practice, she found vital inspiration in Henri Matisse, Wassily Kandinsky, and Joan Miró, but also in younger artists including Arshile Gorky and Willem de Kooning. 

By her early twenties, Frankenthaler had struck out on her own in a studio in Manhattan. She soon made the acquaintances of the influential art critic Clement Greenberg and members of the first generation of Abstract Expressionist artists including Lee Krasner, Barnett Newman, Jackson Pollock, and her later husband Robert Motherwell. The encounter with Pollock and his treatment of the horizontal canvas, in particular, made a profound impression on Frankenthaler and spurred her to develop her revolutionary soak-stain technique. 

In 1951, work by Frankenthaler was on view in the seminal group exhibition 9th St. Exhibition of Paintings and Sculpture in New York, and the Tibor de Nagy Gallery in New York mounted the artist’s first solo show. 

From this point on, she regularly presented work in group and solo exhibitions—first in the U.S., then, from 1959 on, also abroad. The retrospectives at the Jewish Museum, New York, in 1960 and at the Whitney Museum of American Art, New York, in 1969 were particular highlights; the latter presentation subsequently toured in Europe. 

The first monographic study of her oeuvre, by art historian John Elderfield, came out in 1989, the year a retrospective of her paintings opened at the Museum of Modern Art, Fort Worth, Texas. 

In the 1990s, Frankenthaler gradually relocated the center of her life and work from New York City to the Connecticut shore, first to Shippan Point, Stamford, and later to Contentment Island, Darien. During this time, she worked primarily on paper and continued to show her work at major institutions. 

At age eighty-three, she died in Darien, CT, in 2011. 

Frankenthaler continually developed and refined her painterly practice throughout her career, but she also kept returning to the soak-stain technique. In addition to creating singular paintings on canvas and paper, she also worked in other media; her fine art prints, in particular, have won acclaim. 

Helen Frankenthaler at the Kunstmuseum Basel is made possible by the Helen Frankenthaler Foundation, which provided a generous loan of 37 works by the artist. Additional works come from the holdings of European and American museums and private collections including the ASOM Collection, Vaduz; the Brooklyn Museum, New York; the Phillips Collection, Washington, D.C.; the MAMCO Musée d’art moderne et contemporain, Geneva; the Merzbacher Kunststiftung, Zurich; the Museo Reina Sofía, Madrid; the mumok, Museum moderner Kunst Stiftung Ludwig, Vienna; the Museum Reinhard Ernst, Wiesbaden; the Stedelijk Museum, Amsterdam; and the Whitney Museum of American Art, New York. 

Publication 

 The exhibition will be accompanied by a catalogue with contributions by Anita Haldemann and Karen Wilkin and a richly illustrated biography by Amanda KoppKempinski. It offers insight into Frankenthaler’s oeuvre and life, her travels and creative inspirations, and contains plate reproductions of selected works, some paired with historic art to which they respond. Edited by Anita Haldemann and published by Kunstmuseum Basel, released by Deutscher Kunstverlag, 96 pages ISBN 978-3-422-80385-5 

 The exhibition 

The exhibition Helen Frankenthaler at the Kunstmuseum Basel sheds light on Frankenthaler’s creative process, showcasing major works from her beginnings in the early 1950s to her late oeuvre of around 2000. The nine galleries are arranged in chronological sequence to throw the evolution of her painting into relief. The introduction shows paintings from her early days in New York that clearly reflect her training and the inspiration she drew from artists like Kandinsky, Miró, Gorky, de Kooning, and Pollock. 

Devising the soak-stain technique in 1952, she freed herself from these formative models and found her own visual language, a progression that is evident in the works in the second gallery. One important source of creative inspiration for Frankenthaler were visits to museums and exhibitions, to which she dedicated considerable time also during her frequent and extensive travels in Europe. She found inspiration in landscapes, cultural sites, and encounters with older art, as shown in the third gallery. 

From the mid-1950s on, she produced the first works stimulated by her studies of other artists’ creations, including the paintings Europa (1957), which references Titian’s The Rape of Europa (ca. 1560– 1562) at the Isabella Stewart Gardner Museum, Boston, and Hommage à M. L. (1962), in which she pays tribute to the artist Marie Laurencin’s painting style and palette. The latter work exemplifies her painterly practice of the early 1960s, which is distinguished by airy islands of color and sometimes features discernible landscapes and living beings. 

In the fourth gallery, visitors are invited to delve deeper into Frankenthaler’s life and creative evolution: a richly illustrated biography retraces key stages of her life, complemented by the twenty-minute film portrait Helen Frankenthaler: Let the Picture Lead You by Maria Anna Tappeiner (Wolf Truchsess von Wetzhausen / WESTEND Film & TV Produktion, 2025), which captures the artist’s extraordinary charisma. Works like Riverhead (1963) illustrate the shift toward canvases covered edge to edge by flowing areas of color. 

In the early 1960s, Frankenthaler increasingly worked in acrylic rather than oil paints. Her pictures recall natural landscapes, encouraging associations of skies, clouds, mountains, forests, and water. Examples including her works Flood (1967) and Moveable Blue (1973), which captivate viewers by their sheer size and luminous colors, are on view in the fifth gallery. 

The exhibition repeatedly pinpoints Frankenthaler’s engagement with works of art from the past. Especially striking are her homages to André Derain and Claude Monet from the 1970s. In these instances, rather than choosing concrete pictures as points of departure, she took inspiration from the earlier painters’ palettes and compositional practices, as juxtapositions with selected works by them in the sixth gallery demonstrate. 

Title: Helen Frankenthaler in her studio on East 83rd Street, New York, 1974.
Description: In the background, the work "April Mood" (1974).

Credit: Photograph by Alexander Liberman, Getty Research Institute, Los Angeles (2000.R.19).
Photo Credit: Alexander Liberman, © J. Paul Getty Trust.
Photo Credit: Works © 2026 Helen Frankenthaler Foundation, Inc. / ProLitteris, Zurich.

During the 1970s, Frankenthaler produced paintings with layered coats of paint of varying intensity, employing a variety of tools to apply the paint. Her works on paper, which took on growing importance during this period, likewise bring home her emphasis on the surface; they are on view in gallery seven. 

In 1979, Frankenthaler returned to in-depth studies of works of older art. Her paintings Portrait of a Lady in White (1979) and Portrait of Margaretha Trip (1980) are modeled on portraits by Titian and Rembrandt. During this period, she was especially interested in both painters’ technique, and more particularly in glazing, the ultrafine layering of transparent paints, and the use of chiaroscuro and sfumato effects. 

Postcards played an important role in how Frankenthaler worked with historic art. Although she saw the originals in exhibitions and at museums, the actual translation of what she had seen into her abstract compositions happened in her studio, where postcards served her as aides-mémoire. That is how the works on view in room eight came into being; they refer to specific paintings by Gustave Courbet, Edgar Degas, Utagawa Hiroshige, and Édouard Manet. 

The last gallery presents several paintings from the 1990s that stand out for the impasto and dynamism of their surfaces. Frankenthaler was inspired to these works by natural phenomena such as thunderstorms or whirlpools. The resulting paintings recall pictures by Nicolas Poussin or William Turner. 

In her final years, Frankenthaler increasingly turned her attention to working on paper. Her output in this medium is in no way inferior to her paintings in terms of format or the quality of the surface design. The artist again took her cue from the art of earlier eras: From the Master (2002) gestures toward a self-portrait by Rembrandt at the National Gallery of Art in Washington, D.C.; Lighthouse Series XII (1998), to James McNeill Whistler’s Chelsea Houses (1880–87). The artist’s last paintings date from 2002; one of them, Cloud Burst (2002), marks the exhibition’s conclusion. As a prelude of sorts to the exhibition on level 2 of the museum’s Neubau, Salome (1978) is on view in the landing on level 1, where the imposing painting, a loan from the Austrian Ludwig Foundation, also acts as a bridge to the Kunstmuseum Basel’s collection of American art on view in the adjacent galleries.

IMAGES

Title: Untitled (on 21st Street)
Artist & Participants: Helen Frankenthaler
Date: 1951
Material / Technique: Oil on paper
Dimensions: 22.2 x 30.2 cm; Framed dimensions: 41.8 x 49.1 x 4 cm

Object ID: 100437

Copyright: © 2026 Helen Frankenthaler Foundation, Inc. / ProLitteris, Zurich
Credit line: Helen Frankenthaler Foundation, New York
Photo Credit: Dan Bradica, courtesy Helen Frankenthaler Foundation, New York

Title: Village
Artist & Participants: Helen Frankenthaler
Date: 1951
Material / Technique: Oil on sized, primed canvas
Dimensions: 186.7 x 131.4 cm; Framed dimensions: 196.9 x 141.3 x 7.1 cm

Object ID: 100739

Copyright: © 2026 Helen Frankenthaler Foundation, Inc. / ProLitteris, Zurich
Credit line: Helen Frankenthaler Foundation, New York
Photo Credit: Rob McKeever, courtesy Gagosian

Title: Open Wall
Artist & Participants: Helen Frankenthaler
Date of Creation: 1953
Material / Technique: Oil on canvas
Dimensions: 136.5 x 332.7 cm; Framed dimensions: 141.6 x 338.1 x 5.6 cm

Object ID: 99444

Copyright: © 2026 Helen Frankenthaler Foundation, Inc. / ProLitteris, Zurich
Credit line: Made possible by Kenneth C. Griffin
Photo Credit: Rob McKeever, courtesy Gagosian

Title: Eden
Artist & Participant: Helen Frankenthaler
Date of Creation: 1956
Material / Technique: Oil on canvas
Dimensions: 261.6 x 297.2 cm; Framed dimensions: 266.9 x 302.6 x 5.6 cm

Object ID: 99905

Copyright: © 2026 Helen Frankenthaler Foundation, Inc. / ProLitteris, Zurich
Credit line: Helen Frankenthaler Foundation, New York

Photo Credit: Rob McKeever, courtesy Gagosian

Title: Europe
Artist & Participants: Helen Frankenthaler
Date of Creation: 1957
Material / Technique: Oil on canvas
Dimensions: 177.8 x 138.4 cm; Framed dimensions: 182.9 x 143.5 x 7.6 cm

Object ID: 99907

Copyright: © 2026 Helen Frankenthaler Foundation, Inc. / ProLitteris, Zurich
Credit line: Helen Frankenthaler Foundation, New York
Photo Credit: Rob McKeever, courtesy Gagosian

Title: Untitled
Artist & Participants: Helen Frankenthaler
Date of Creation: 1959
Material / Technique: Oil and collage on paper
Dimensions: 27.9 x 54.6 cm; Framed dimensions: 48.3 x 74.9 x 5.4 cm

Object ID: 100741

Copyright: © 2026 Helen Frankenthaler Foundation, Inc. / ProLitteris, Zurich
Credit line: Helen Frankenthaler Foundation, New York
Photo Credit: Thomas Barratt, courtesy Helen Frankenthaler Foundation, New York

Title: Fabritius Bird
Artist & Contributor: Helen Frankenthaler
Date of Creation: 1960
Material / Technique: Oil on paper
Dimensions: 86.7 x 62.9 cm; Framed dimensions: 104.5 x 79.1 x 4.6 cm

Object ID: 99434

Copyright: © 2026 Helen Frankenthaler Foundation, Inc. / ProLitteris, Zurich
Credit line: Helen Frankenthaler Foundation, New York
Photo Credit: Dan Bradica, courtesy Helen Frankenthaler Foundation, New York

Title: Blue Moon
Artist & Participant: Helen Frankenthaler
Date of Creation: 1963
Material / Technique: Acrylic on canvas
Dimensions: 123.2 x 223.5 cm

Object ID: 100833

Copyright: © 2026 Helen Frankenthaler Foundation, Inc. / ProLitteris, Zurich
Credit Line: ASOM Collection
Photo Credit: Robert McKeever

Title: Riverhead
Artist & Contributor: Helen Frankenthaler
Date of creation: 1963
Material / Technique: Acrylic on canvas
Dimensions: Weight: 45 kg; 208.9 x 363.2 cm

Inventory No.: Inv. G 2024.2
Object ID: 85838

Copyright: © 2026 Helen Frankenthaler Foundation, Inc. / ProLitteris, Zurich
Credit line: Kunstmuseum Basel, Gift of the Helen Frankenthaler Foundation, Inc.
Photo Credit: Max Ehrengruber

Title: Sesame
Artist & Participants: Helen Frankenthaler
Date of Creation: 1970
Material / Technique: Acrylic and felt-tip pen on canvas
Dimensions: 269.2 x 209.6 cm; Framed dimensions: 274.6 x 215 x 6.7 cm

Object ID: 99914

Copyright: © 2026 Helen Frankenthaler Foundation, Inc. / ProLitteris, Zurich
Credit line: Helen Frankenthaler Foundation, New York
Photo Credit: Tim Pyle, courtesy Helen Frankenthaler Foundation, New York

Title: Moveable Blue
Artist & Contributor: Helen Frankenthaler
Date of Creation: 1973
Material / Technique: Acrylic on canvas
Dimensions: 177.8 x 617.2 cm

Object ID: 99447

Copyright: © 2026 Helen Frankenthaler Foundation, Inc. / ProLitteris, Zurich
Credit line: ASOM Collection
Photo Credit: © Berggruen Gallery, San Francisco

Title: April Mood
Artist & Participant: Helen Frankenthaler
Date of Creation: 1974
Material / Technique: Acrylic on canvas
Dimensions: 152.4 x 434.3 cm

Object ID: 99913

Copyright: © 2026 Helen Frankenthaler Foundation, Inc. / ProLitteris, Zurich
Credit Line: ASOM Collection
Photo Credit: ASOM Collection

Title: La passerelle sur le bassin aux nymphéas.
Artist & Contributors: Claude Monet.
Date: 1919.
Material/Technique: Oil on canvas.
Dimensions: 65.6 x 106.4 cm; Framed dimensions: 87.5 x 130 x 11 cm.

Inventory No.: Inv. G 1986.15.
Object ID: 1482.

Copyright: Image data public domain - Kunstmuseum Basel.
Credit line: Kunstmuseum Basel, acquired with a special loan from the Basel government and a contribution from the Max Geldner Foundation.
Photo Credit: Martin P. Bühler

Title: Claude's Message
Artist & Participant: Helen Frankenthaler
Date of Creation: 1976
Material / Technique: Acrylic on canvas
Dimensions: 149.9 x 289.6 cm; Framed dimensions: 155.6 x 295.3 x 6.7 cm

Object ID: 99440

Copyright: © 2026 Helen Frankenthaler Foundation, Inc. / ProLitteris, Zurich
Credit line: Helen Frankenthaler Foundation, New York
Photo Credit: Thomas Barratt, courtesy Helen Frankenthaler Foundation, New York

Title: Salome
Artist & Participant: Helen Frankenthaler
Date of Creation: 1978
Material / Technique: Acrylic on canvas
Dimensions: 239 x 409.8 cm

Object ID: 99839

Copyright: © 2026 Helen Frankenthaler Foundation, Inc. / ProLitteris, Zurich
Credit line: mumok – Museum of Modern Art Ludwig Foundation Vienna, loan from the Austrian Ludwig Foundation, Inv. ÖL-Stg 67/0

Title: Fish (Still Life)
Artist & Participants: Edouard Manet
Date: 1864
Material / Technique: Oil on canvas
Dimensions: 73.5 x 92.4 cm

Object ID: 99432

Credit: The Art Institute of Chicago. Mr. and Mrs. Lewis Larned Coburn Memorial Collection
Photo Credit: Art Institute of Chicago

Title: Mediterranean
Artist & Participant: Helen Frankenthaler
Date of Creation: 1981
Material / Technique: Acrylic on canvas
Dimensions: 172.1 x 237.5 cm; Framed dimensions: 177.2 x 242.9 x 6.4 cm

Object ID: 99448

Copyright: © 2026 Helen Frankenthaler Foundation, Inc. / ProLitteris, Zurich
Credit line: Helen Frankenthaler Foundation, New York
Photo Credit: Thomas Barratt, courtesy Helen Frankenthaler Foundation, New York