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SAM FRANCIS | The Bound and the Unbound
Estimate
1,500,000 - 2,000,000 HKD
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Description
- Sam Francis
- The Bound and the Unbound
- acrylic on gessoed hollow-core wooden panels
- each panel: 244 by 122 cm; 96⅛ by 48 in. overall: 244 by 610 cm; 96⅛ by 240¼ in.
each panel is numbered SFP84-114 and their respective panel number and signed on the underside of the first panelExecuted in 1984.
Provenance
Yayoi Gallery, Tokyo
Acquired by the present owner from the above
This work is identified with the archival identification number of SFF.961.970 in consideration for the forthcoming addendum to the Sam Francis: Catalogue Raisonné of Canvas and Panel Paintings, to be published by the Sam Francis Foundation. This information is subject to change as scholarship continues by the Sam Francis Foundation. This work is alternatively registered with the Sam Francis Foundation under archive number SFP84-114(A-B)(1-5). Each side of each panel is also listed separately as SFF.961, SFF.962, SFF.963, SFF.964, SFF.965, SFF.966, SFF.967, SFF.968, SFF.969, and SFF.970.
Acquired by the present owner from the above
This work is identified with the archival identification number of SFF.961.970 in consideration for the forthcoming addendum to the Sam Francis: Catalogue Raisonné of Canvas and Panel Paintings, to be published by the Sam Francis Foundation. This information is subject to change as scholarship continues by the Sam Francis Foundation. This work is alternatively registered with the Sam Francis Foundation under archive number SFP84-114(A-B)(1-5). Each side of each panel is also listed separately as SFF.961, SFF.962, SFF.963, SFF.964, SFF.965, SFF.966, SFF.967, SFF.968, SFF.969, and SFF.970.
Exhibited
New York, André Emmerich Gallery, Sam Francis: New Work, 8 November–1 December 1984
Japan, Toyama, Museum of Modern Art, Sam Francis, 23 April–19 June 1988, pp. 34–35, no. 7 (illustrated in colour). This exhibition later travelled in the same year to additional venues in Japan: Karuizawa, Seibu Takanawa, Museum of Modern Art, 4 August–4 September; Shiga, Museum of Modern Art, 10 September–16 October; Kurashiki, Ohara Museum of Art, 25 October–27 November; and Tokyo, Setagaya Art Museum, 25 February–26 March 1989
Bonn, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Sam Francis, 12 February–18 April 1993, pp. 216–17 (illustrated in colour)
Japan, Tokuyama, Tokuyama City Museum of Art and History, Sam Francis and Sengai: From the Idemitsu Museum of Arts, 11 April–1 June 1997, pp. 44–47, pl. 20-1, 20-2 (illustrated in colour)
Japan, Toyama, Museum of Modern Art, Sam Francis: From the Idemitsu Collection, 10 August–16 September 2002, pp. 89–92, no. 51 (illustrated in colour). This exhibition later travelled to additional venues in Japan: Chiba, Kawamura Memorial Museum of Art, 28 September–10 November 2002; Ehime, Museum of Art Ehime, 16 November–23 December 2002; Tokyo, Museum of Contemporary Art, 5 April–25 May 2003; Fukushima, Iwaki City Art Museum, 3 June–6 July 2003, Oita, Oita City Art Museum, 13 September–26 October 2003
Japan, Toyama, Museum of Modern Art, Sam Francis, 23 April–19 June 1988, pp. 34–35, no. 7 (illustrated in colour). This exhibition later travelled in the same year to additional venues in Japan: Karuizawa, Seibu Takanawa, Museum of Modern Art, 4 August–4 September; Shiga, Museum of Modern Art, 10 September–16 October; Kurashiki, Ohara Museum of Art, 25 October–27 November; and Tokyo, Setagaya Art Museum, 25 February–26 March 1989
Bonn, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Sam Francis, 12 February–18 April 1993, pp. 216–17 (illustrated in colour)
Japan, Tokuyama, Tokuyama City Museum of Art and History, Sam Francis and Sengai: From the Idemitsu Museum of Arts, 11 April–1 June 1997, pp. 44–47, pl. 20-1, 20-2 (illustrated in colour)
Japan, Toyama, Museum of Modern Art, Sam Francis: From the Idemitsu Collection, 10 August–16 September 2002, pp. 89–92, no. 51 (illustrated in colour). This exhibition later travelled to additional venues in Japan: Chiba, Kawamura Memorial Museum of Art, 28 September–10 November 2002; Ehime, Museum of Art Ehime, 16 November–23 December 2002; Tokyo, Museum of Contemporary Art, 5 April–25 May 2003; Fukushima, Iwaki City Art Museum, 3 June–6 July 2003, Oita, Oita City Art Museum, 13 September–26 October 2003
Literature
Waldberg, Michel., Sam Francis: Metaphysics of the Void, Toronto, 1987, pp. 100–101, 160–161 (illustrated). (A French edition titled Metaphysique du vide was published by Francis Delille in 1986.)
Contemporary Great Masters: Sam Francis. Tokyo, Kodansha, 1994, pl. 56 (illustrated)
Debra Burchett-Lere, Ed., Sam Francis: Catalogue Raisonné of Canvas and Panel Paintings 1946-1994, Berkeley, 2011, cat. no. 961-970, illustrated in color on DVD
Contemporary Great Masters: Sam Francis. Tokyo, Kodansha, 1994, pl. 56 (illustrated)
Debra Burchett-Lere, Ed., Sam Francis: Catalogue Raisonné of Canvas and Panel Paintings 1946-1994, Berkeley, 2011, cat. no. 961-970, illustrated in color on DVD
Condition
This work is in very good condition overall. Very minor wear in handling observed along edges and corners of panels. Pinpoint chips are found occasionally on the edges of the panels which are consistent with the work's mode of display. Visible only upon close examination, small air bubbles are observed to be scattered throughout thickly painted areas which are inherent to artist's chosen medium and method of execution. Evidence of Styrofoam accretion was found to be scarcely scattered over small areas of impasto on the panels which have been gently cleaned. No evidence of retouching when examined under ultraviolet light. Please contact the department to obtain the external condition report conducted by a professional restorer.
"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."