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PROPERTY FROM NORFOLK SOUTHERN CORPORATION

Sam Francis
DEUX MAGOTS
Estimate
400,000600,000
LOT SOLD. 430,000 USD (Hammer Price with Buyer's Premium)
JUMP TO LOT
16

PROPERTY FROM NORFOLK SOUTHERN CORPORATION

Sam Francis
DEUX MAGOTS
Estimate
400,000600,000
LOT SOLD. 430,000 USD (Hammer Price with Buyer's Premium)
JUMP TO LOT

Details & Cataloguing

Contemporary Curated

|
New York

Sam Francis
1923 - 1994
DEUX MAGOTS
signed on the reverse
oil on canvas
36 1/2 by 24 in. 92.7 by 60.9 cm.
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Executed circa 1959-1960, this work is included in the Sam Francis: Catalogue Raisonné of Canvas and Panel Paintings, published by the University of California Berkeley Press (UC Press: 2011) under the number SFF.288 and is also registered in the archives of the Sam Francis Foundation with the number SFP59-48 and SFP60-34. This information is subject to change as scholarship continues by the Sam Francis Foundation.

Provenance

Martha Jackson Gallery, New York
Frank Titelman, Pennsylvania (acquired from the above in 1961)
Private Collection, California (by descent from the above)
Sotheby's, New York, May 6, 1992, lot 7
Private Collection, California (acquired from the above sale)
Many Silverman Gallery, Los Angeles
C&M Arts, New York
Carey Ellis Company, Houston
Acquired by the present owner from the above in 1996

Exhibited

Los Angeles, Manny Silverman Gallery, Sam Francis: 1923-1994, March - April 1995

Literature

Debra Burchett-Lere, ed., Sam Francis: Catalogue Raisonné of the Canvas and Panel Paintings 1946-1994, Berkeley, 2011, cat. no. SFF.288, illustrated in color on the DVD

Catalogue Note

Painted circa 1959-1960, Deux Magots marks a moment of enormous transition for the artist Sam Francis. Stylistically, the work is a summation of Francis’ earlier works from the 1950’s and those that were to come in the 1960’s. Subjectively, the work reflects the massive shifts the artist was experiencing in his own life. Both metamorphoses, artistic and personal, are tangible in the roiling energy of the vibrant hues, exuberant drips, and animated forms that make Deux Magots come alive.

The 1950’s were a period of both critical success and enormous artistic change for Francis. In 1950, Francis moved to Paris, and it was there that his unique brand of Abstract Expressionism, defined by thin veils of color and soft, biomorphic forms, attracted international acclaim. His paintings from that time are glimmering curtains of color and light; the artist himself noted, “color is light on fire.” (Pontus Hulten, Sam Francis, Bonn, 1993, p. 38) The soft, densely-packed forms of works like Big Red (1953) recall microscopic views of cells or miniscule organisms, filling the canvas with their wriggling movement. In 1954-55, however, Francis’ paintings undergo an enormous compositional shift. In works that are reminiscent of Matisse’s cut-outs, Francis introduces large areas of white, creating an airiness and lightness that breaks up his earlier, grid-like compositions. Indeed, the appearance of compositional white space was a precursor to the seminal Blue Balls series Francis would produce in the 1960’s. In the present work large, globular blue forms hover over areas of white, seeming to pulsate with a mysterious inner light and energy. Reflecting on these paintings, Francis remarked, “I live in a paradise of hellish blue balls – merely floating, everything floats, everything floats—where I carry this unique mathematics of my imagination through the succession of days towards a nameless tomorrow.” (Peter Selz, Sam Francis, New York, 1975, p. 80) His forms are still biomorphic, but now, the undulating shapes could be planets or atoms, cellular or galactic, microscopic or the entire cosmos.

Deux Magots, from 1959-60, marks Francis’ transition from his earlier, cellular grids to the impending “paradise” of the Blue Balls. In Deux Magots, as Francis noted, “everything floats”-effervescent blue orbs hover in the left corners, while a cluster of yellow dabs and globs drift buoyantly towards the top of the frame. A blue shape with a glowing center dominates the right side of the composition, leaving behind exuberant trails of dripping blue paint as it floats upward. The entire painting pulsates and shifts; indeed, the work seems to transform before us, oscillating between Francis’ artistic styles. This sensation of metamorphosis also reflects the changes Francis was experiencing in his personal life during this time. In 1959-60, Francis was constantly on the move between Paris, New York, Bern, and Tokyo; his days as a resident Parisian were over. In a backward glance, however, the title of this painting nostalgically refers to Francis’ favorite café in Paris, Les Deux Magots. The "landmark" Parisian café was notorious as a fertile creative environment where great minds convened, such as Pablo Picasso, Ernest Hemingway, Simone de Beauvoir, among others. Francis’ sense of personal upheaval—as an artist and as an individual—is exquisitely tangible in the turbulent, energetic, and organic forms and composition of Deux Magots.

Contemporary Curated

|
New York