Sam Francis

Arthur Tooth & Sons, Londres
Serge Landau, Paris (acquis en avril 1960)
Galerie Mathias Fels & Cie, Paris
Acquis auprès de celle-ci

The colours are fairly accurate in the catalogue illustration, although they are very fresh and vivid in the original. The overall tonality of the paper is whiter in the original. The work is executed on an off-white wove paper and is taped on the reverse to the mount. at all four edges. An artist's pinhole is visible in the lower right corner of the sheet. A tiny loss of paper (approx. 5mm) is visible in the lower left corner. A minute loss of paint (approx. 2mm) is visible in the upper left corner. In the center of the left edge of the sheet, a tiny tear is visible upon very close inspection (approx 3mm). The work is in very good 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."

signed and dated on the back; watercolour and gouache on paper. Executed in 1959.

Sam Francis dans son atelier. © The Sam Francis Estate, Santa Monica.

Tant qu'il était en vie, Sam Francis avait commerce avec le blanc. « Somme de toutes les couleurs », celui-ci était bien ce vers quoi il tendait. Très tôt, il utilisa ingénieusement le blanc du papier ou de la toile, lequel depuis le fond, transparaît dans les interstices, donnant une vibration aux autres couleurs qui composent la surface, couleurs elles mêmes de plus en plus éthérées. (...) Il fera confiance au blanc. Il le fera s'installer au premier plan et agir en maître. Il le laissera prendre en charge les autres couleurs, les porter et les transformer sans fin. 

(François Cheng, « Frère d'exil » (p.44) in Les années parisiennes 1950-1961, Galerie Nationale du Jeu de Paume, RMN, Paris, 1995.)