山姆·弗朗西斯

款識
Sam Francis，Venice 88（每幅畫架）

本作為山姆·弗朗西斯基金會之註冊作品，圖錄及檔案編號為SFF.1479.1482，並將載於山姆·弗朗西斯基金會出版之〈山姆·弗朗西斯：畫布及畫板作品全集〉。上述資料或就基金會持續研究而作相應更改。此外，本作亦另附山姆·弗朗西斯基金會檔案編號SFP88-51 (A-D)

洛杉磯，Elaine Horwitch畫廊
私人收藏 （於1989年購自上述來源）
倫敦，佳士得，1998年5月20日，拍品編號126
紐約私人收藏

巴塞爾，巴塞爾藝術展，Bernard Jacobson畫廊，二〇一四年六月十九至二十二日

〈山姆·弗朗西斯：畫布及畫板作品全集，1946-1994〉Debra Burchett-Lere編（加利福尼亞大學出版社，二〇一一年），圖錄編號SFF.1479.1482，相關圖錄之資料光碟載彩色圖版

This work is in very good condition overall. Minor bubbles scarcely scattered across the work, primarily on thickly painted areas which are intrinsic to artist's method of execution. Evidence of light accretion observed on the top left corner of the second panel from the left. Minor sign of abrasion observed on the bottom right corner of the first panel from the left, visible only upon close examination. Evidence of light surface dirt observed on the white edges and corners of the panels. No evidence of restoration when examined under ultraviolet light. Please note that this work has not been examined out of its frame. Framed.
"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."

本作繪於一九八八年，見證弗朗西斯五十年創作生涯的成熟高峰。本作由四幅畫布組成，每幅色彩艷麗豐富，展現藝術家在創作晚期常用的鮮豔用色，摒棄早期作品的暗淡色調。其筆下由格子結構主導的七十年代作品特色在本作依然可見，然而它們改以豪邁而不對稱的流麗筆觸示人，並與類似抽象表現主義藝術家傑克森·波拉克的動勢筆觸互相交織。弗朗西斯於一九五七年留居東京一所寺廟，期間研習破墨，並無疑於本作運用了此技法。他的六十年代作品常將色彩繪於畫面邊緣，以襯托留白空間，但本作卻有別於此，迷人的色彩再次佔據畫面中央。躍動起伏的線條與滴痕反映其八十年代末廣泛創作的《無題》系列特色，塑造出賞心悅目的色彩交響樂。正如讓·弗朗索瓦·利奧塔所言，觀者目光變成「視覺之神」山姆·弗朗西斯的雙手，在色彩變化的深淵中追蹤近乎完美的韻律。（〈山姆·弗朗西斯：漆黑的啟示〉（魯汶大學出版社，二〇一〇年）30-31頁）