Sam Francis

The Estate of Sam Francis, California
Private Collection, Belgium (acquired from the above in 1997)
Gallery Delaive, Amsterdam
Private Collection, Switzerland
Private Collection, Germany
Christie's, London, 15 February 2012, Lot 269
Acquired from the above by the present owner

Amsterdam, Gallery Delaive, Sam Francis, 1997, p. 27, illustrated in colour
London, Broadbent Gallery, Sam Francis: 1923–1994, September – October 2003, no. 42
Amstelveen, Museum Jan van der Togt, Sam Francis: Remembering 1923-1994, 2004-2005, p. 129, illustrated in colour

Colour: The colours in the catalogue illustration are fairly accurate, although the overall tonality is brighter more vibrant in the original. The catalogue illustration also fails to fully convey the rich texture of the paint. Condition: This work is in very good condition. The sheet is attached verso to the mount in several places. All four edges are deckled. Extremely close inspection reveals a small spot of lifting towards the centre of the right edge, and a raised layer of yellow paint towards the centre of the left edge, which appears to be original. No restoration is apparent when examined under ultraviolet light.
"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."

A dazzling celebration of colour, Untitled (Osamu hand print) is an extraordinary example of the pure energy, artistic skill and creative eye that was employed by Sam Francis when creating one of his masterpieces. Executed between 1988-89, during the peak of what was to be the final phase of his career; this work has a captivatingly rich composition which exudes a dramatic presence when on display. Illustrating both the development and the cyclical nature of Francis’ oeuvre, this painting encapsulates the progression of his career, as well as the recurrence of certain shapes, images, patterns and techniques. However, as Francis would argue, “there is no development in my paintings. There is a rhythm. They are all intense from the beginning to the end” (Sam Francis quoted in Exh. Cat. Amsterdam, Museum van der Togt, Sam Francis, 1991, p. 14).

Much of the discourse surrounding Francis’ practice cites his recovery in hospital after the second world-war as a defining moment, when he both began his artistic output and was inspired by the concept of light. Having watched the its patterns shimmer across the ceiling of his hospital room he became intrigued by the “quality of light itself, not just the play of light, but the substance of which light is made” (Sam Francis quoted in P. Selz, Sam Francis, New York, 1975, p. 34). Whilst this inspiration would follow him throughout his career, Francis’ artistic output continued to be stimulated by a multitude of other experiences, most prominently so, his love of travel. His trips would follow favourite routes and places, most commonly Japan and Europe and within Europe; France, Switzerland and England. During these travels he was heavily influenced by aspects of local culture such as traditional Japanese hatsuboku painting which surfaced in the horizontal format, the asymmetry and the style of paint splashes in many of his compositions . The expanses of white canvas that began to appear and the use of negative space has been associated with his exploration into the role of Zen, emptiness and the void and it is also possible that his time in Europe may well have led to his life-long interest in Jungian psychology. In fact, the current lot takes part of its title, Osamu, from a common male Japanese name. For Francis, travel was not for entertainment purposes but, rather, a way of life, a way of fitting into the world, and a way of finding his own place within it.

In Untitled (Osamu hand print) we see the culmination of a life of exploration, inspiration and experimentation that has gradually been perfected over the decades. The vibrancy of colour, the strong bright red and jolting yellow, comes from Francis’ insistence that he mixed his own paints; allowing unique and unexpected colour combinations to form. The fluidity and transparency of the paint was cultivated through a process of thinning that allowed for a sense of movement and freedom within the composition and, finally, the glimpses of white that we see peeking through from behind remind us of the presence of the paper, which Francis believed to hold a sort of material perfection which a blank canvas lacked. For Francis, paper was perfect as it allowed the artist to immediately begin work without needing to prepare the surface. This need for immediacy can also be sensed in the present work, as one feels like the artist had to transcribe his vision onto the surface as quickly as possible. This is perhaps heightened by the hand print in the top left hand corner which typically symbolises the imprint of a moment that is left to remain long after the physical presence of the hand has disappeared. However, to believe that a work of this significance is a purely spontaneous affair is to underestimate both the artist and his capabilities. Each of Francis’ compositions were the result of an extremely complex, premeditated application of brush and paint. Whilst the violence of the artist’s splashes and the energy of colour and movement may conceal the internal structure, even within the guise of chaos, he continued to compose and organise. A master of light and colour, Francis has created a manifestation of his core beliefs through the composition of Untitled (Osamu hand print) which continues to enliven and inspire the viewer each and every time they observe it.