Art

Created in 1986, Sam Francis King Corpse, 1986 is a unique color trial proof screenprint on Arches cover paper hand signed by Sam Francis (San Mateo, 1923- Santa Monica, 1994) in the...

Dynamic and bold color lithograph on Rives BFK. One of 20 numbered Hors Commerce impressions, aside from the edition of 176. This stunning print is signed and inscribed "H.C. 10/20" ...

Paper Size: 20 x 16 inches ( 50.8 x 40.64 cm ) Image Size: 14.75 x 12 inches ( 37.465 x 30.48 cm ) Framed: No Condition: A: Mint Additional Details: Museum Reproduction Edition...

101.6 x 71.1 cms (40 x 28 ins) Edition of 40 Signed lower left; numbered lower centre, printer's chop lower right. Publisher: Hollander's Workshop, New ...

SF64-045, Sam Francis, Acrylic, American Abstraction, Postwar, Work on paper 1964 Acrylic on paper 73 x 56.5 cm 94 x 75 cm / 37 x 29.5 in. (w...

SAM FRANCIS 1923-1994 San Mateo, California 1923 – 1994 Santa Monica (American) Title: Untitled SFE-003 (Blue, Red and Yellow), 1982 Technique: Original Hand Signed and Inscribed E...

97.5 x 71.1 cms (38 3/8 x 28 ins) Edition of 50 Paper: Arches Cover Signed lower left; numbered lower right, publisher's chop lower left.\Publisher: The Litho Shop, Inc., Santa Monica, California. Printed by George Page...

SAM FRANCIS 1923-1994 San Mateo, California 1923 – 1994 Santa Monica (American) Title: Sun Up, 1964 Technique: Original Hand Signed and Inscribed Lithograph in Colours on BFK Rives...

A preeminent figure in 20th century abstraction, Sam Francis (1923-1994) is renowned for his dynamic and colorful works. Printmaking was an essential part of Francis' practice. The ...

Artwork size: 67 x 51 cm. Frame size: 112 x 97 cm. Free shipment worldwide. Archive number SF 89-153 in the Sam Francis Foundation. Stamped with the Sam Francis Estate logo and stamped signature on verso. Sam Francis’s paintings are a journey into a dream, a voyage into the landscapes of the soul where colours are lights on fire. Alongside names such as Jackson Pollock, Willem de Kooning and Franz Kline, Sam Francis is an artist who has succeeded in demonstrating a total mastery of abstract expressionism’s impassioned and spontaneous genre. The explosions of colour – red, blue, green and yellow – the streaks, strokes and bold lines of his pictures are the physical synthesis of the deepest crevices of the soul. His colours create rhythmical motifs that, characteristically enough, can be called the “musicality” of his paintings. The work of Sam Francis provides a visible meeting place for the conscious and the unconscious. His pictures are the cross-fertilisation of what has already been experienced with what exists still only as desire, a struggle between melancholy and merrymaking. Influenced by C.G. Jung, the father of psychoanalysis, Sam Francis spent a large portion of his life exploring the premise that dreams, instincts and intuition provide, the keys which unlock the mysteries and meaning of our inner lives. He was also fascinated by the four ancient elements – earth, water, air and fire – which developed into a leitmotif in his work. Sam Francis was born in San Mateo in California, USA in 1923. After starting to paint at the age of around twenty, he soon found himself increasingly consumed by the power of art. He spent much of the 1950s in Paris, from where he not only made frequent excursions to a number of European cities, but also embarked on many journeys to South America and Asia. He continued to move from place to place, primarily in the USA and Japan, right up until his death in 1994. Sam Francis’s first...

A painting by Sam Francis. "Untitled (Black and White Composition)" is an abstract expressionism painting, acrylic on paper executed in black and white by American Post-War artist Sa...

Sam Francis Chinese Wall 1969 Lithograph, Edition of 20 76.5 x 57.2 cms (30 1/8 x 22 1/2 ins) SF15156

Artist: Sam Francis, American (1923 - 1994) Title: Untitled (SF-208) Year: 1976 Medium: Lithograph on BFK Rives, signed and numbered in pencil Edition: 25/30 Size: 33 x 25 in. (83.82...

Sam Francis An Other Set - Y (From The Pasadena Box) 1964 Lithograph, Edition of 100, experimental proof 39.4 x 57.2 cms (15.51 x 22.52 ins) SF15493

Sam Francis Untitled 1968 Lithograph, Edition of 3, experimental proof 66 x 47 cms (26 x 18 1/2 ins) SF15155

Sam Francis Untitled 1984 Etching and aquatint in colours, edition of 30, this is a colour trial proof 74.6 x 43.2 cms (29 3/8 x 17 ins) SF15201

Sam Francis Mercury 1963 Lithograph on BFK Rives paper, Edition of 20 60 .3 x 47.6 cms (23 3/4 x 18 3/4 ins) SF16664 Literature: The Prints of Sam Francis: A Catalogue Raisonne 196...

Francis, Sam. SELF-PORTRAIT. Lembark 52. Etching, 1982. Edition of 20, signed and numbered "1/20" in pencil. Printed on Fabriano Tiepolo paper, and published by 3EP, Ltd., Palo Alto,...

It is infrequent, to say the least, that a diagnosis of tuberculosis proves fortuitous, but that was the event, in 1921, that set Paul Starrett Sample on the road to becoming a professional artist. (The best source for an overview of Sample’s life and oeuvre remains Paul Sample: Painter of the American Scene, exhib. cat., [Hanover, New Hampshire: Hood Museum of Art, 1988] with a detailed and definitive chronology by Sample scholar, Paula F. Glick, and an essay by Robert L. McGrath. It is the source for this essay unless otherwise indicated.) Sample, born in Louisville, Kentucky, in 1896 to a construction engineer and his wife, spent his childhood moving with his family to the various locations that his father’s work took them. By 1911, the family had landed in Glencoe, Illinois, settling long enough for Paul to graduate from New Trier High School in 1916. Sample enrolled at Dartmouth College, in Hanover, New Hampshire, where his interests were anything but academic. His enthusiasms included the football and basketball teams, boxing, pledging at a fraternity, and learning to play the saxophone. After the United States entered World War I, Sample, to his family’s dismay, signed on for the Naval Reserve, leading directly to a hiatus from Dartmouth. In 1918 and 1919, Sample served in the U.S. Merchant Marine where he earned a third mate’s license and seriously contemplated life as a sailor. Acceding to parental pressure, he returned to Dartmouth, graduating in 1921. Sample’s undergraduate life revolved around sports and a jazz band he formed with his brother, Donald, two years younger and also a Dartmouth student. In November 1933, Sample summarized his life in a letter he wrote introducing himself to Frederick Newlin Price, founder of Ferargil Galleries, who would become his New York art dealer. The artist characterized his undergraduate years as spent “wasting my time intensively.” He told Price that that “I took an art appreciation course and slept thru it every day” (Ferargil Galleries Records, circa 1900–63, Archives of American Art, Smithsonian Institution, available on line). In 1920, Donald Sample contracted tuberculosis. He went for treatment to the world-famous Trudeau Sanitorium at Saranac Lake, in New York State’s Adirondack Mountains for the prescribed regimen of rest, healthful food, and fresh air. Visiting his brother in 1921, Paul also contracted the disease. Tuberculosis is highly contagious, and had no certain cure before the development of streptomycin in 1946. Even for patients who appeared to have recovered, there was a significant rate of recurrence. Thus, in his letter to Price, Sample avoided the stigma conjured by naming the disease, but wrote “I had a relapse with a bad lung and spent the next four years hospitalized in Saranac Lake.” The stringent physical restrictions imposed by adherence to “the cure” required Sample to cultivate an alternate set of interests. He read voraciously and, at the suggestion of his physician, contacted the husband of a fellow patient for instruction in art. That artist, then living in Saranac, was Jonas Lie (1880–1940), a prominent Norwegian-American painter and an associate academician at the National Academy of Design. Lie had gained renown for his dramatic 1913 series of paintings documenting the construction of the Panama Canal (The Metropolitan Museum of Art, New York; United States Military Academy, West Point, New York). Primarily a landscape artist, Lie had a particular affinity for scenes with water. His paintings, impressionistic, atmospheric, and brushy, never strayed from a realistic rendering of his subject. Sample regarded Lie as a mentor and retained a lifelong reverence for his teacher. Sample’s early paintings very much reflect Lie’s influence. ` In 1925, “cured,” Sample left Saranac Lake for what proved to be a brief stay in New York City, where his veteran’s benefits financed a commercial art course. The family, however, had moved to California, in the futile hope that the climate would benefit Donald. Sample joined them and after Donald’s death, remained in California, taking classes at the Otis Art Institute in Los Angeles. In Sample’s account to Price, “I couldn’t stomach the practice of painting a lot of High Sierras and desert flowers which seemed to be the only kind of pictures that were sold here so I got a job teaching drawing and painting at the art school of the University of Southern California.” Initially hired as a part-time instructor, Sample progressed to full-time status and ultimately, by the mid-1930s, to the post of Chairman of the Fine Art Department. Sample, however, did not want to wind up as a professor. “Teaching is all right in small doses,” he wrote, “but I have a horror of drifting into being a college professor and nothing more.” At the same time as he taught, Sample began to exhibit his work in a variety of venues at first locally, then nationally. Though he confessed himself “a terrible salesman,” and though occupied with continued learning and teaching, Sample was nonetheless, ambitious. In 1927, he wrote in his diary, “I am eventually going to be a painter and a damned good one. And what is more, I am going to make money at it” (as quoted by Glick, p. 15). In 1928, Sample felt sufficiently solvent to marry his long-time love, Sylvia Howland, who had also been a patient at Saranac Lake. The Howland family were rooted New Englanders and in summertime the Samples regularly traveled East for family reunion vacations. While the 1930s brought serious hardship to many artists, for Paul Sample it was a decade of success. Buttressed by the financial safety net of his teacher’s salary, he painted realist depictions of the American scene. While his work addressed depression-era conditions with a sympathetic eye, Sample avoided the anger and tinge of bitterness that characterized much contemporary realist art. Beginning in 1930, Sample began to exhibit regularly in juried exhibitions at important national venues, garnering prizes along the way. In 1930, Inner Harbor won an honorable mention in the Annual Exhibition of the Art Institute of Chicago. That same year Sample was also represented in a show at the Albright-Knox Gallery in Buffalo and at the Biennial Exhibition of the Corcoran Gallery of Art, Washington, D.C. In 1931, Dairy Ranch won the second Hallgarten Prize at the Annual Exhibition of the National Academy of Design, in New York. Sample also made his first appearances at the Carnegie Institute, Pittsburgh, and The Pennsylvania Academy of the Fine Arts, Philadelphia. In 1936, Miner’s Resting won the Temple Gold Medal at the Pennsylvania Academy’s Annual Exhibition. Always interested in watercolor, in 1936, Sample began to send works on paper to exhibitions at the Whitney Museum, New York. While participating in juried exhibitions, Sample also cultivated commercial possibilities. His first New York art dealer was the prestigious Macbeth Gallery in New York, which included his work in a November 1931 exhibition. In 1934, Sample joined the Ferargil Galleries in New York, after Fred Price arranged the sale of Sample’s Church Supper to the Michele and Donald D’Amour Museum of Fine Arts in Springfield, Massachusetts. In 1937, The Metropolitan Museum of Art purchased Sample’s Janitor’s Holiday from the annual exhibition of the National Academy of Design, a notable honor. As prestigious as this exhibition schedule may have been, by far Sample’s most visible presence in the 1930s and 1940s was the result of his relationship with Henry Luce’s burgeoning publishing empire, Time, Inc. Sample’s first contribution to a Luce publication appears to have been another San Pedro...

This artwork "Untitled" is an original color lithograph on Arches paper by renown American artist Sam Francis 1923-1994. It is hand signed and inscribed E.A. (Epreuve d'Artiste, Arti...

This artwork titled "Concert Hall Set III" 1977 is an original color lithograph on B.F.K Rives paper by renown American artist Sam Francis 1923-1994. It i...

Vintage 1960s Sam Francis Lithograph: Sam Francis, "Blackstone," 1964. Lithograph in colors. 16 x 23 inches (Dimensions including frame: 27.5 x 21.5 inches). Framed in glass. Cente...

signed Lower Right Born in Louisville, Kentucky, Paul Sample established his reputation as a Regionalist landscape, figure and genre painter, particularly of New England subject matter. In 1925, he moved to California and enrolled at the Otis Art Institute where his teacher was Jonas Lie, and he took private lessons from Stanton MacDonald-Wright and Frank Tolles Chamberlin...

Francis, Sam. Exhibition Poster for Metaphysique de vide- Michael Waldberg Ca 1980. Serigraph, Painter and printmaker who was prominent among the group of painters known as the ...

Plate size: 36.8 x 27. 3 cms (14 1/2 x 10 3/4 ins) Image size: 15.2 x 9.5 cms (6 x 3 3/4 ins) Edition of 20

97.5 x 66 cms (38 3/8 x 26 ins) Edition of 20

Artwork size: 22 x 9 cm. Frame size 40 × 35 cm. Estate stamped on the verso. Archive number SF 84-871 Free shipment worldwide. Sam Francis’s paintings are a journey into a dream, a voyage into the landscapes of the soul where colours are lights on fire. Alongside names such as Jackson Pollock, Willem de Kooning and Franz Kline, Sam Francis is an artist who has succeeded in demonstrating a total mastery of abstract expressionism’s impassioned and spontaneous genre. The explosions of colour – red, blue, green and yellow – the streaks, strokes and bold lines of his pictures are the physical synthesis of the deepest crevices of the soul. His colours create rhythmical motifs that, characteristically enough, can be called the “musicality” of his paintings. The work of Sam Francis provides a visible meeting place for the conscious and the unconscious. His pictures are the cross-fertilisation of what has already been experienced with what exists still only as desire, a struggle between melancholy and merrymaking. Influenced by C.G. Jung, the father of psychoanalysis, Sam Francis spent a large portion of his life exploring the premise that dreams, instincts and intuition provide, the keys which unlock the mysteries and meaning of our inner lives. He was also fascinated by the four ancient elements – earth, water, air and fire – which developed into a leitmotif in his work. Sam Francis was born in San Mateo in California, USA in 1923. After starting to paint at the age of around twenty, he soon found himself increasingly consumed by the power of art. He spent much of the 1950s in Paris, from where he not only made frequent excursions to a number of European cities, but also embarked on many journeys to South America and Asia. He continued to move from place to place, primarily in the USA and Japan, right up until his death in 1994. Sam Francis’s first...

SAM FRANCIS 1923-1994 San Mateo, California 1923 – 1994 Santa Monica (American) Title: Sketch SF65-076, 1965 Technique: Signed and Dated Acrylic Painting on Paper Size: 33 x 55.9 ...

Artist: Sam Francis Medium: Two lithographs printed on full page sheet Title: 1¢ Life (Left) and Uncle Sam Loves Marilyn (Right) Portfolio: 1¢ Life Year: 1964 Edition Size: 2000 Fram...

TECHNICAL INFORMATION Sam Francis Untitled, from Michael Walberg Poemes dans le Ciel (Lembark 273) 1986 Lithograph 30 x 22 in. Edition of 100 ...

SAM FRANCIS 1923-1994 San Mateo, California 1923 – 1994 Santa Monica (American) Title: Untitled (SF-362), 1994 Technique: Original Hand Signed and Inscribed Lithograph in Colours o...

SAM FRANCIS 1923-1994 San Mateo, California 1923 – 1994 Santa Monica (American) Title: Untitled (SF-363), 1994 Technique: Original Hand Signed and Inscribed Lithograph in Colours o...

TECHNICAL INFORMATION Sam Francis Spun for James Kirsch 1972 Screenprint 30 x 22 1/2 in. Edition of 100 Pencil signed & numbered Accompanied with COA by Gregg Shienbaum Fine A...

Sam FRANCIS Abstract composition (c. 1986) Original lithograph Unsigned as issued Justified bottom right "Lithographie originale de Sam Francis - Atelier d'Art Desjobert" On l...

Aquatint and drypoint 75.9 x 60.6 cms (29 7/8 x 23 7/8 ins) paper size 60.3 x 45.4 cms (23 3/4 x 17 7/8 ins) plate size Edition of 5

SAM FRANCIS 1923-1994 San Mateo, California 1923 – 1994 Santa Monica (American) Title: Untitled SF64-572 (Acrylic Watercolour), 1964 Technique: Signed and Dated Acrylic and Waterco...

Aquatint, monoprint with chine collé 85.7 x 68.6 cms (33 3/4 x 27 ins) Edition of 19 variants

Hand signed and numbered etching and aquatint on wove paper. Edition of 40. Image size 23.875 x 18 inches. Sheet size 33.5 x 27 inches. Custom framed as pictured. Frame has some random scratches. Blindstamp of the publisher, The Litho Shop, Santa Monica, printed by Jacob Samuel...

SAM FRANCIS 1923-1994 San Mateo, California 1923 – 1994 Santa Monica (American) Title: Untitled, 1988 Technique: Original Hand Signed and Inscribed Screenprint in colours on wove p...

Lithograph in colors on wove paper 43.2 x 55.9 cms (17 x 22 ins) Edition of 38

117 x 76 cms (46 x 30 ins) Edition of 50

Aquatint, monoprint with chine collé 84.5 x 68.6 cms (33 1/4 x 27 ins) Edition of 22 variants

91.4 x 81.6 cms (36 x 32 1/8 ins) Edition of 20

Samuel Lewis Francis (1923 – 1994) was an American painter and printmaker. He received both his BA and MA degrees from University of California, Berkeley, where he studied art, botany, medicine and psychology. Francis was initially influenced by the work of abstract expressionists such as Mark Rothko, Arshile Gorky and Clyfford Still. He later became loosely associated with a second generation of abstract expressionists, including Joan Mitchell and Helen Frankenthaler, who were increasingly interested in the expressive use of color. Because Francis worked and exhibited in the United States, Europe and Asia, he is credited with helping secure international recognition for postwar American painting...

Lithograph 38.4 x 56.5 cms (15 1/8 x 22 1/4 ins) Edition of 100

67.3 x 88.9 cms (26.5 x 35 ins) Edition of 50 Signed lower right, numbered lower left. Published by Nantenshi Gallery, Tokyo. Printed by Harumi Sonoyama at Gendai hanga Kobo Co...

86 x 107 cms (33 7/8 x 42 1/8 ins) Edition of 66

107.3 x 73 cms (42 1/4 x 28 3/4 ins) Edition of 15

125 x 135.5 cms (49.21 x 53.35 ins) Edition of 76 76 numbered impressions and 14 artist's proofs Fabriano Rosaspina paper Signed in pencil, inscribed 'Bon a tirer'. Published ...

86.4 x 71.8 cms (34 x 28.25 ins) Edition of 17 Paper: Somerset Textured Proofs: 9 AP, I CTP (on handmade paper) Signed right, under image; numbered left, under image; publisher's chop lower right Publisher: The Litho Shop Inc., Santa Monica, California Printed by Jacob Samuel...

64.8 x 46.3 cms (25 1/2 x 19 ins) Edition of 3 Paper: Rives BFK Proofs: 1 UP (Hand colored) Signed lower left, numbered lower left. Publisher: Joseph Press...

66 x 94 cms (26 x 37 ins) Edition of 20 Rives BFK paper Proofs: I BAT, 4 AP, 7 CTP, 9 XP Signed lower left; numbered lower left; publisher's chop lower left. Published by Tama...

106.7 x 72.4 cms (42 x 28 1/2 ins) Edition of 15 Paper: Arjomari Proofs: 1 BAT, 4 AP, 3 TP Signed lower right of centre; numbered lower left; publisher's chop lower right Publisher: Gemini G.E.L., Los Angeles (SF71 - 407A) Printed by Lloyd Baggs, assisted by Ron Adams...

74.6 x 43.2 cms (29 3/8 x 17 ins) Edition of 30 Plate: 60.3 x 25.1 cm (23 3/4 x 9 7/8 ins), Sheet: 74.6 x 43.2 cm (29 3/8 x 17 ins) Paper: Somerset Textured Edition of 30 Proofs: I BAT, 3 AP, 3 CTP Signed right, under image, numbered left, under image; publisher's chop lower right. Publisher: The Litho Shop, Inc., Santa Monica, California Printed by Jacob Samuel...

55.9 x 76.2 cms (22 x 30 ins) Edition of 20 Signed lower left verso, numbered lower left verso, publisher's chop lower left verso. Publisher: Tamarind Lithography Workshop, Los ...

125.5 x 135.5 cms (49.41 x 53.35 ins) Edition of 58 Signed in pencil, inscribed 'Bon a tirer'. Published by 2RC Edizioni d'Arte, Rome Printed by Vigna Antoniniana, Rome, with t...

86.4 x 116.8 cms (34 x 46 ins) Edition of 17 Colour Trial Proof

Sam Francis (1923 - 1994), American) Vegetable I, from Vegetable Series 1971 Lithograph 35 x 24 in. Edition of 15 Pencil signed and numbered Samuel Lewis Francis (June 25, 1923 – November 4, 1994) was an American painter and printmaker. Early life Sam Francis was born in San Mateo, California, the son of Katherine Lewis Francis and Samuel Augustus Francis...