- 47
Sam Francis
Estimate
40,000 - 60,000 EUR
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Description
- Sam Francis
- Sans titre
- signé et daté 1982 au dos
- acrylique sur toile
- 37,5 x 60 cm; 14 3/4 x 23 5/8 in.
Provenance
Galerie Jean Fournier, Paris
Acquis auprès de celle-ci
Acquis auprès de celle-ci
Exhibited
Milan, Studio Marconi, Sam Francis: Opere dal 1960 al 1983, 1983
Paris, Galerie Jean Fournier, Sam Francis: New Paintings, 1985; catalogue, illustré en couleurs
Paris, Galerie Jean Fournier, Sam Francis: New Paintings, 1985; catalogue, illustré en couleurs
Literature
Sam Francis et Yves Michaud, Entretiens: Sam Francis et Yves Michaud—Paris le 17 juin, 1 et 2 juillet 1985, Paris, Galerie Jean Fournier, 1985, p.36, illustré
Elodie Rahard, Galerie Jean Fournier: Cartons d’invitation de 1955 à 2006, Paris, Galerie Jean Fournier, 2007, p.116, illustré
Michel Waldberg, Sam Francis: Metaphysics of the Void, Philosophy of the Arts, Toronto, Moos Book Publishing, 1987, p.130, illustré; édition française, Métaphysique du vide, Francis Delille, 1986
Elodie Rahard, Galerie Jean Fournier: Cartons d’invitation de 1955 à 2006, Paris, Galerie Jean Fournier, 2007, p.116, illustré
Michel Waldberg, Sam Francis: Metaphysics of the Void, Philosophy of the Arts, Toronto, Moos Book Publishing, 1987, p.130, illustré; édition française, Métaphysique du vide, Francis Delille, 1986
Condition
The colours are fairly accurate with the catalogue illustration.
This work is executed on its original canvas and is not relined.
Under UV light, there is no evidence of any retouching.
With the exception of two tiny paint losses at the extremities of the upper and lower right corners, this work is in excellent condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
Sam Francis dans son atelier © Betty Freeman Papers, Archives of American Art, Smithsonian Institution, Washington
" Evoquer. Le pathos du geste, l'énergie sur le chemin comme la lave en éruption, toute chose s'inverse jusqu'à sa limite. Antipodes.
Inspirer et expirer - le mouvement de mon oeuvre. La couleur, c'est enflammer le regard. La couleur, c'est enflammer l'esprit. Et beaucoup plus."
Sam Francis (cité in Depuis 1945, l'art de notre temps, I, Bruxelles, La Connaisance, 1969)
" Evoquer. Le pathos du geste, l'énergie sur le chemin comme la lave en éruption, toute chose s'inverse jusqu'à sa limite. Antipodes.
Inspirer et expirer - le mouvement de mon oeuvre. La couleur, c'est enflammer le regard. La couleur, c'est enflammer l'esprit. Et beaucoup plus."
Sam Francis (cité in Depuis 1945, l'art de notre temps, I, Bruxelles, La Connaisance, 1969)