SAM FRANCIS (1923-1994)

SAM FRANCIS - Untitled 1985, San Leandro - acrylic on canvas mounted on board - 44 x 52 in. SAM FRANCIS - Untitled 1985, San Leandro - acrylic on canvas mounted on board - 44 x 52 in. SAM FRANCIS - Untitled 1985, San Leandro - acrylic on canvas mounted on board - 44 x 52 in. SAM FRANCIS - Untitled 1985, San Leandro - acrylic on canvas mounted on board - 44 x 52 in. SAM FRANCIS - Untitled 1985, San Leandro - acrylic on canvas mounted on board - 44 x 52 in. SAM FRANCIS - Untitled 1985, San Leandro - acrylic on canvas mounted on board - 44 x 52 in. SAM FRANCIS - Untitled 1985, San Leandro - acrylic on canvas mounted on board - 44 x 52 in. SAM FRANCIS - Untitled 1985, San Leandro - acrylic on canvas mounted on board - 44 x 52 in. SAM FRANCIS - Untitled 1985, San Leandro - acrylic on canvas mounted on board - 44 x 52 in.
Untitled 1985, San Leandro198544 x 52 in. acrylic on canvas mounted on board
Estate of the artist, California, 1994
Chalk & Vermillion Fine Arts, Inc., Greenwich, Connecticut, 1997
Private Collection, California
Hulten, Pontus. Sam Francis. Bonn: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, 1993; exh. cat., p. 412 (illus.);
Sam Francis. Rome: Galleria II Gabbiano, 1998; exh. cat., p. 45 (illus.);
Sam Francis: 1957-1986. Tokyo: Nantenshi Gallery, 1987; exh. cat. (illus.);
Sam Francis: Remembering 1923-1994. Amsterdam: Gallery Delaive, 2004; exh. cat., pp. 104, 112 (illus.);
Sam Francis: Retrospective in Blue. Bratislava, Slovakia: Danubiana Meulensteen Art Museum, 2010; exh. cat., p. 253 (illus.)

Similar Artworks

Renowned for his monumental outdoor sculptures made of industrial metals, Mark di Suvero created “Whale’s Cry” in 1988. Constructed with stainless steel and cor-ten steel, it demonstrates the imposing and expansive qualities that characterize di Suvero’s work. Often towering over the landscape and incorporating kinetic elements, these works both interrupt and participate in their environments. His sculptural structures have been associated with the Abstract Expressionist movement, in the same vein as David Smith and Alexander Calder, due to their emphasis on materiality and expressive form.


SAM FRANCIS - A Whirling Square - acrylic on canvas - 222 x 210 in.


SAM FRANCIS - Coral Trails - acrylic on canvas - 78 x 108 in.


Rothenberg created Diagonal (1975) in the year of her breakout exhibition at 112 Greene Street in New York. Her Horses series reintroduced representational imagery when the dominant trends were abstraction and Minimalism. The painting’s expressive brushwork, sense of movement, and simplified forms result in a triumphant blend of figuration and abstraction. As in many of Rothenberg's important works, Diagonal evokes the muted and enchanting colors and atmosphere of her adopted home in the American Southwest.


Robert Motherwell is admired for his gestural contributions to Abstract Expressionism. From his early period starting in the 1940s until his final works of the 1990s, one can see a distinct stylistic shift into his characteristic Elegy paintings and signature gestural works. Gesture No. 45 demonstrates Motherwell’s intuitive approach to painting influenced by the automatic drawing of the Surrealists. His gestures in this painting are characterized by a suggestion of chance and accident: “Painting is a medium in which the mind can actualize itself; it is a medium of thought,” he said. “Thus painting, like music, tends to become its own content.”


RICHARD DIEBENKORN - Untitled - welded scrap iron - 20 1/4 x 42 1/4 x 29 1/2 in.


SAM FRANCIS - Yellow, Blue & Orange - watercolor on paper - 22 1/8 x 30 1/8 in.


Roy Lichtenstein’s style of Pop art was inspired by comic strips, in which he created images through a combination of mechanical reproduction and hand-drawing. He used iconic images and cultural influences to create striking action images, often with captions and onomatopoeic exclamations, much as one would find in comics. This screenprint is from a group of seven Reflections prints and in each, the image is obscured by color and patterns resembling the reflected light as if behind glass. Inspired by trying to photograph a work by Robert Rauschenberg behind glass, Lichtenstein appropriated images from his past and thus brings the appropriation of Pop art full circle.


RICHARD DIEBENKORN - Blue Surround - spit bite aquatint & drypoint aquatint on paper - paper: 35 x 26 1/4 in.


American artist Robert Rauschenberg helped to revolutionize art in the 20th century through his assemblages incorporating found objects and pop culture. For the Hoarfrost series, Rauschenberg used solvent to transfer images from newspapers and magazines to unstretched fabric. Hoarfrost is a kind of lacy film made up of minute, needle-like ice crystals. Rauschenberg evoked the transience of the hoarfrost by printing newspaper and magazine pages on overlapping layers of delicate fabrics. Other pieces in this series are in the collections of The Guggenheim, MoMA, SF MOMA, the National Gallery of Art and Tate.


Norman Bluhm's Black and Red (1953), first owned by fellow artist Sam Francis, is an explosive drip painting that characterizes the artist’s style in the late 1950s. Bluhm's process and resulting work epitomizes the category of Abstract Expressionist painters that earned the moniker "action" painters. The energy and passion present in Bluhm’s work was likely fueled by his experience fighting in World War II. The intensity of his paintings from the decade following the war is one reason why Bluhm’s work from the 1950s are some of the most highly sought-after. The top ten prices for the artist at auction are held by paintings from this era.


TOM WESSELMANN - Study for Bedroom Painting #6 - pencil and thinned Liquitex on paper - 5 1/4 x 6 3/4 in.


HASSEL SMITH - Piano, Bass and Drums - oil on canvas - 67 7/8 x 48 1/4 in.


RICHARD DIEBENKORN - Untitled (Urbana Series) - ink on paper - 13 7/8 x 11


Carl Andre is an American artist who helped pioneer minimalist sculpture and was the husband of famed and celebrated artist Ana Mendieta. This is a classic text piece from the early 1960s and is typical of his poems which are composed by selecting individual words from source texts, and then ordering them on the page according to simple and self-evident criteria, which, in this case, is by alphabetical listing. Aviator Charles Lindbergh deep fascinated Carl Andre whom he returned to as a source for his poetry. This work with its structured repetition like his famed sculptures reflect the minimalism and post-minimalism emerging in the 1960s and the 1970s including fellow concrete poet Christopher Knowles.


Part of the post-war Abstract Expressionist movement, Paul Jenkins was renowned for his technique of controlled paint pouring and use of translucent colors. His paintings drew on wide range of philosophies from Gurdjieff to Goethe, Jung to Zen Buddhism, astrology to alchemy, and all of which inspired him to preface the titles of his works with the word “Phenomena,” followed by an evocative word or phrase. Jenkins remarked of his painting process, “I try to paint like a crapshooter throwing dice, utilizing past experience and my knowledge of the odds. It’s a big gamble, and that’s why I love it.” His combination of chance and control reveals paintings of dazzling depth and beauty with their sinuous seams and arcs of colors, in other words, a phenomenon. Paul Jenkins was friends with Willem de Kooning and even took over de Kooning’s loft near Union Square in New York City.


LOUISE BOURGEOIS - Plate 5 of 9 from He Disappeared Into Complete Silence - engraving - 8 x 6 in.


ROBERT NATKIN - Untitled - acrylic on canvas - 60 x 60 in.


JACK JEFFERSON - Mission #20 - oil on canvas - 77 x 50 in.


PAUL JENKINS - Phenomena Lucifer Edge - oil on canvas - 45 x 34 3/4 in


ELAINE DE KOONING - Bacchus II - watercolor on paper - 29 5/8 x 22 3/8 in.


FRED MITCHELL - Untitled - oil on canvas - 72 x 72 in.


CLAES OLDENBURG - NYC Pretzel - acrylic on corrugated cardboard - 21 x 28 3/4 in.


LARRY BELL - Small Mirage Study #398 - vapor drawing on canvas - 30 x 30 in.


PAUL JENKINS - Phenomena Violet Scent - oil on canvas - 14 x 18 in.


JOAN MITCHELL - Bedford III (from The Bedford Series) - lithograph - 42 3/4 x 32 5/8 (sheet)


ELLSWORTH KELLY - Pears III, (A.47) - lithograph - 35 3/4 x 24 1/2 in.


ANDY WARHOL - I Dream of Genie with the Light Brown Shoes - offset lithograph with watercolor - 9 3/4 x 13 3/4 in.


PAUL JENKINS - Phenomena The Edge of Plume - watercolor on paper - 30 1/4 x 22 1/4 in.


RED GROOMS - Portrait of John Powers - watercolor on paper - 33 3/4 x 22 in.