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Sam Francis

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Gallery Delaive is one of the leading galleries for modern and contemporary art in the Netherlands. One of the highlights of our collection is the large stock of works by Sam Francis. By far the ...

Gallery Delaive is one of the leading galleries for modern and contemporary art in the Netherlands. One of the highlights of our collection is the large stock of works by Sam Francis. By far the largest in Europe.

http://www.delaive.com

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Sam Francis Presentation Transcript

  • 1. SAM FRANCIS; THE ARTIST AND HIS STUDIO large Californian wooden barn with wooden beams, which decorated an enormous rectangular space. Marlies Bolhoven Francis loved to work here especially at night. He would go to work late in the evening and go home the next morning. The drive home to West Channel Road usually took him 20 minutes. The magic myth surrounding an artist is partly a result of the image the art world creates around a man capable of creating works of art, which continue to fascinate people for decades. These myths -mostly Palo Alto, CA. brought into life by art critics- tend to try and answer the question, “what exactly drives the artist to create Francis relationship with Smith Anderson Gallery started when he had his first exhibition with the gallery extraordinary images?” This quest to find an answer to the psychological drive of the artist tends to only in 1970, he developed a strong friendship with owner Paula Kirkeby and her family. Francis made many4 emphasize the person behind the creation and does not take into consideration other influences. trips to Palo Alto -which literally means big trees- from the early seventies on, especially to make 5 Information about the location where the process of the actual creating takes place might be as influential monotypes in a print studio owned by the gallery. Francis was very familiar with this part of California as the impetus of the artist but tends to be considered as less important. It is however the combination of since this is where he grew up as a boy. However, it was not until 1986 Francis would find his own studio more than one ingredient combined that can often give us a complete picture to allow us to appreciate the to work in the area he knew so well. The studio at Paolo Alto used to be a spray shop for cars and the toxic artwork in his whole. Much has been already said about the psychological drive of Sam Francis as well as had to be professionally cleaned before Francis had the space designed around his specifications. The his studio locations in the early years of his career, but where did he paint in the late 1980s and early location of the studio at Churchill Road was near Stanford University in the middle of Silicon Valley. 1990s, during the last productive years of his live? Francis had extremely high windows installed and the whole was left very spacious. The windows faced the railroad tracks which where only one and a half meters away from the studio. A plunge pool, pink marble bathroom with hand made bathtubs and en-suite bedroom made the studio a perfect location for Francis to Santa Monica, CA. work in and live whenever he felt like it. The loft at Churchill road had guest bedrooms and family rooms Sam Francis had many studio locations scattered out all around the world. Paris, Tokyo, New York, and decorated by Margaret Francis so his family could join him whenever he stayed there for a longer period. Bern are some of the cities where Francis maintained painting studios during the early years of his career. Francis loved working in Palo Alto far away from West Channel Road, and would take a flight from LAX In a 1963 letter to Peter Cochrane, Francis wrote: “My mail has been following me all over, but I have to San Francisco to reach Palo Alto on a regular basis. finally settled down in one spot. I am trying to make a real base and headquarters for myself here in California.”I It was not until the early nineties he would work only in California. In 1962 Francis moved into a house on the edge of the Pacific Ocean, a cedar bungalow probably built Point Reyes & Inverness, CA. around the turn of the century in Santa Monica Canyon, formerly owned by movie star Charlie Chaplin.II In 1988 Francis purchased property in Inverness and Point Reyes Station, California. Francis’s plan was to Francis purchased the property in 1964, and worked in a building that previously housed Chaplin’s fire build a dream studio on the property in Inverness designed by his Japanese friend and architect Arata engine collection. In 1965 Francis began constructing a new studio in place of the fire engine building with Isozaki while living and working in a home studio nearby Point Reyes Station. the help of artists and personal friends Alfons Schilling, Doc Groupp and his wife Spike. The new studio The Point Reyes property was a compound of three buildings: one building where the staff lived who was constructed with assistance of Ed Janns, a collector and owner of a construction company. The project where relocated from West Channel Road, one building for the studio and one building which served as was completed in the middle of the year 1966, designed in a Californian Shinto style. Francis had created a the family home. There was an overall view from the property to the valley and a large lake, facing west to great light filled studio made of cedar wood. The whole property had the feel of a great open environment the Pacific Ocean. The scenery was spectacular even though one of the concerns was that it was with a Japanese sense of proportion.III A lush garden filled with fruit trees, a bamboo forest, herb garden, geographically located on one of the major earthquake fault lines of California. Francis started spending gold carp pond, a swimming pool and a volcanic rock garden made his home extremely comfortable, more time in Northern California, an assistant lived and worked from the house at West Channel Road to creating a tranquil haven for Francis to work in. With the decision to make California his home base he serve as a contact person between the Point Reyes studio assistants and the Santa Monica support team. started hiring assistants, which enabled him to devote all his time to painting. The move to Northern California was not determined by chance. Francis was diagnosed with prostate The studio on West Channel Road was extremely large, but not large enough to work on murals, which cancer in 1988 and had been in denial of this diagnosis for a few months. The energy of Francis was now required extremely large floors to paint the enormous canvases. Francis found commercial industrial spaces solely focused on his work and his family. The easy accessibility of the house at West Channel Road he had in Santa Monica (Ashland Studio and Broadway Studios) and in San Leandro, California.IV Francis rented lived in since 1962, and had been with him as long as his international fame, had a too open door in a these studios and would only use them to work on monumental size works like the large paintings for the time when Francis needed tranquility and solitude to regroup himself. As Carl Jung, a constant source of San Francisco Museum of Modern Art and the Berlin Mural painted on the floor of the Ashland Studio. inspiration for Francis, wrote about everybody needing a place of solitude, the home at Point Reyes became One of these commercial industrial spaces was The Litho Shop, Inc. located at 1664 20th Street, Santa this place of solitude for the artist. Monica. Francis initially created here a lithograph studio in 1970 to have flexibility and control in making Not only did Francis have a studio next to his home in Point Reyes but he also rented a studio in the limited edition prints. A press was installed in the space and Francis surrounded himself with specialist’s town of Point Reys, a 3 minute drive from his home, nicknamed the Bank since the studio was located in a printers and staff. In 1978 Francis rented another large painting studio located at 2058 Broadway and he building formerly used by the Bank of America. Francis used the old bank vault as storage and had only moved the Litho Shop, Inc., onto these new premises. The building had the style of a large barn, which the bare necessities installed to make the bank a comfortable painting studio. The village of Point Reyes Francis transformed into offices, a print studio and a painting studio. The painting studio was an extremely was very quiet. It was nothing more than a modern version of a train station and watering hole once used
  • 2. by so many people on their way to find their fortune during the gold rush. the two. Need also bottle each dark red, light red, dark blue, dark green, orange Hoecht German dye Another studio in the Point Reyes area was The Boat House owned by friend and art dealer Paula colors. Arriving October 6 ready to work. Love and kisses, Sam.” Kirkeby, near Inverness. Francis used this studio in 1989-1990 where he only worked on 4 paintings. Francis always announced his relocation and instructed staff and dealers to prepare everything upon arrival. He liked having a lot of studios ready to be used in case he would decide to travel at a minute’s notice. The studios where places he could escape to, sanctuaries where he could be alone with his work and Venice, CA. away from the daily chores and interruptions at the house. The feeling of moving to a different studio or Although Francis was spending more time away from the Southern California area he signed a 10-year lease creating a new studio might have had a great effect on Francis. Maybe we can compare the effect of a new in 1989 on a large studio space at 589 N. Venice Blvd., together with his artist friends, Laddie John Dill, or empty studio to that of a blank canvas, the feeling of excitement and great expectation of what will be6 Joe Goode and Edd Ruscha. The studio was almost sixteen thousand square feet, a perfect space where he created. Francis maybe also needed the constant excitement of changing scenery to stay alert and creative. 7 worked on his large monumental works, mainly at night. A very important feature of the Venice studio was Between all these different locations however we can find some consistent stable factors in the interior the silver ceiling and large white walls. A combination that would light up the studio as a screen in a movie design of his studios. They almost all had a linoleum ballet floor – softer than a normal floor- installed theater when the special daylight lamps where switched on. because of his bad back. Skylights and/ or large windows and specialized artificial lighting were installed Because of the fact Francis painted on the floor working above the painting he could view it from because of his requirements on the quality of light that illuminate the room and affect the painting. A sink different ways and sometimes look at it from a totally different angle when he lifted himself up to look at it as large as a bathtub would be installed because of the amount of paint and brushes he used. There would upside down. The works from the eighties and nineties can therefore be hung any way the viewer prefers, be a bed, so he could always take a nap while he was working or needed to sleep over night, and also a as Francis said himself: “Hang those works the way you like it best.”V sound system so Francis could play classical, jazz or rock music while he was working. Pulley’s for the large paintings where installed, he also used these to reverse himself to look at the paintings upside down which also sometimes changed his mood and perspective. Francis’s homes usually incorporated water elements Moss Farm, UK. around the premises in the form of a pond, the sound of the ocean or the view on a lake. Like the Indians Europe and Japan were only visited in the late eighties for business reasons or visits to friends and art believe that the ‘shi’ is refreshing and renewing Francis also believed working in more than one studio at dealers. Francis did not visit and work in his studio in Paris, which he still had although the location the same time was refreshing and renewing. changed from the Arcueil studio to the studio at Rue Georges Braques. His studio in Tokyo, a permanent loan from the Idemitsu family, was also left unused in the late eighties and early nineties. In the summer of 1990 Francis would make his last overseas painting trip to Europe. Moss Farm had Dream Farm been in the family of Margaret Smith Francis for more than a hundred years. The property is located in the Francis’s last dream was never realized; building the perfect studio on the piece of land he bought in green fields in the Manchester area. Sam Francis constructed the Moss Farm Studio in 1989 in place of Inverness in 1988 called Dream farm. Francis had asked Japanese friend and architect Arata Isozaki (1931) existing spaces part of the old farmhouse. The buildings that where once located at the place the studio to build him the ultimate studio. They both shared a common interest in Eastern ideas and forms. The now is built were the two car garages, the stable for the horses, and the granary. The constructions took a plan was to shape these ideas into a bold design with inventive details, which already made Isozaki’s former few months in 1989, with most of the instruction-taking place over the phone. Francis would give creation as the Museum of Contemporary Art in Los Angeles breathtaking. The design of this immaculate instructions to the sister of Margaret and the contractors. The summers in Europe have long clear days; the studio was in the shape of an eight, a round walled studio located in the middle of a virgin forest sun does not go down until ten pm, which enabled Francis to work long evenings and make ultimate use surrounded by the highest Red Wood trees. Francis had already started to buy the trees and had them of the daylight. The new environment of Moss Farm with the extremely long summer days allowed Francis flown to the property by helicopter. Isozaki completed the scale model of the studio, the rough plans and to create a whole new series of works on paper and a few canvases. These works are expressive collage like drawings. Unfortunately the plan was never realized, Francis died in 1994. images alternated with brightly colored landscapes. We can only dream of the works he would have created in this studio. Blank Canvas The Francis family traveled between Point Reyes, Palo Alto, Inverness and Santa Monica on a regular basis during the late 1980s and early 1990s. The distance to San Francisco was usually traveled by plane, while the other locations in California required car trips. The distance from Point Reyes to Palo Alto usually took I Excerpt from unpublished letter from Sam Francis to Peter Cochrane of Arthur Tooth, 10 December 1963. Copy of letter is an hour and a half drive, driven with two cars, one for the staff and one for the family. Trips to the Boat filled in the Sam Francis Foundation archives. House and the Bank Studio where trips made by Francis alone. Francis’s ability to move so frequently II Peter Selz, Sam Francis, Harry N. Abrams, INC., Publishers, New York, Revised edition 1982, page 15. between his studios was possible because of the aid from his dealers and studio assistants. In a telegram to III Ibid, page 15. Shimizu, owner of Minami Gallery in Tokyo Francis wrote: “ Please have stretched and prepared with IV Ibid, page 16. white liquitex gesso-with pink tone-ask Suga-scan, 2 canvases 210 x 500 cm., so Isozaki can pick best of V Quote from Sam Francis in conversation with Nico Delaive, CA., 1992.
  • 3. “Paper is much more beautiful than canvas. It’s deeper. I like the way the paint flows into the fiber.”8 9 Sam Francis, Margaret Francis and their son Augustus, Point Reyes, CA., 1987.
  • 4. 10 11 Untitled, 1991, acrylic on paper, 18 x 22 cm. Point Reyes, CA., 1989.
  • 5. 12 13 Untitled, 1990, acrylic on paper, 43 x 35 cm. Untited, 1990, acrylic on paper, 48,5 x 39,5 cm.
  • 6. 14 15 Untitled, 1990, acrylic on paper, 58 x 82 cm. Untitled, 1990, acrylic on paper, 82 x 58 cm.
  • 7. 16 17 Untitled, 1990, acrylic on paper, 67,5 x 52 cm. Untitled, 1988, acrylic on paper, 73 x 47,5 cm.
  • 8. 18 19 Untitled, 1988, acrylic on paper, 73 x 47,5 cm. Sam Francis at Point Reyes, CA, 1990.
  • 9. 20 21 Untitled, 1990, acrylic on paper, 95 x 65 cm. Point Reyes, Sam Francis and Red Wood trees, CA, 1990.
  • 10. 22 23 Untitled, 1990, acrylic on paper, 71,5 x 112 cm. Point Reyes Garden, CA, 1990.
  • 11. 24 25 Point Reyes Studio, CA, 1990. Untitled, 1990, acrylic on paper, 75 x 105 cm.
  • 12. 26 27 Untitled, 1990, acrylic on paper, 64 x 21 cm. Sam Francis at his home at Point Reyes, CA, 1990.
  • 13. 28 29 view from Point Reyes, CA, 1990. Untitled, 1990, acrylic on paper, 77 x 57 cm.
  • 14. 30 31 above: Model of Dream Farm Studio. Moss Farm, UK, 1990. below: Sam Francis, Arata Isozaki and his wife, CA, 1989.
  • 15. 32 33 Untitled, 1990, acrylic on paper, 103,5 x 76,5 cm. Untitled, 1990, acrylic on paper, 103,5 x 76,5 cm.
  • 16. 34 35 Sam Francis at Moss Farm, UK, 1988. Untitled, 1990, acrylic on paper, 106 x 76 cm.
  • 17. 36 37 Moss Farm, UK, 1990. Untitled, 1990, acrylic on canvas, 80 x 60 cm.
  • 18. 38 39 Untitled, 1990, acrylic on paper, 103,5 x 76,5 cm. Untitled, 1990, acrylic on paper, 103,5 x 76,5 cm.
  • 19. 40 41 Margaret Francis at the studio Moss Farm, 1990. Untitled, 1990, acrylic on paper, 75,5 x 58,5 cm.
  • 20. 42 43 Untitled, 1990, acrylic on paper, 61,5 x 49,5 cm. Untitled, 1990, collage and acrylic on canvas, 245 x 183 cm.
  • 21. 44 45 Moss Farm Studio, UK, 1990. Untitled, 1990, acrylic on canvas, 245 x 183 cm.
  • 22. 46 47 Untitled, 1990, acrylic on paper, 75.5 x 56.5 cm. Moss Farm Studio, UK, 1990.
  • 23. 48 49 Untitled, 1990, acrylic on paper, 62 x 49 cm. Untitled, 1990, acrylic on paper, 105 x 75 cm.
  • 24. 50 51 Untitled, 1990, acrylic on paper, 49 x 49,5 cm. Untitled, 1990, collage and acrylic on paper, 156 x 104 cm.
  • 25. 52 53 Untitled, 1990, acrylic on paper, 104 x 75 cm. Untitled, 1990, acrylic on paper, 104 x 76 cm.
  • 26. 54 55 Untitled, 1990, acrylic on paper, 75 x 104 cm. Untitled, 1990, acrylic on paper, 105 x 75 cm.
  • 27. 56 57 Untitled, 1990, acrylic on paper, 75,5 x 56,5 cm. Untitled, 1990, acrylic on paper, 57 x 75,5 cm.
  • 28. 58 59 Untitled, 1990, acrylic on paper, 41 x 30 cm. Untitled, 1990, acrylic on paper, 80 x 49 cm.
  • 29. 60 61 Untitled, 1990, acrylic on paper, 29 x 21 cm. Untitled, 1990, acrylic on paper, 75,5 x 56,5 cm.
  • 30. 62 63 Untitled, 1990, acrylic on paper, 35 x 52 cm. Untitled, 1990, acrylic on paper, 30,5 x 40 cm.
  • 31. 64 65 Untitled, 1990, acrylic on paper, 76,5 x 103,5 cm. Untitled, 1990, acrylic on paper, 75,5 x 56,5 cm.
  • 32. 66 67 Untitled, 1990, acrylic on canvas, 353 x 231 cm. Untitled, 1990, acrylic on canvas, 317,5 x 430 cm.
  • 33. 68 69 Untitled, 1990, acrylic on canvas, 170 x 134 cm. Studio Palo Alto, CA, 1990.
  • 34. 70 71 Untitled, 1990, acrylic on canvas, 322,5 x 381 cm. Sam Francis and Walasse Ting in the Palo Alto Studio, CA, 1990.
  • 35. 72 73 Untitled, 1989, acrylic on paper, 66 x 41 cm. Untitled, 1990, acrylic on paper, 27 x 37 cm.
  • 36. 74 75 Untitled, 1992, acrylic on canvas mounted on wood, 180 x 61,5 cm. Sam Francis at work at Palo Alto Studio, CA, 1992.
  • 37. 76 77 Sam Francis at Palo Alto, CA, 1992. Untitled, 1991, acrylic on canvas, 365 x 365 cm.
  • 38. 78 79 Untitled, 1990, acrylic on paper, 58 x 82 cm. Untitled, 1990, acrylic on paper, 79 x 57,5 cm.
  • 39. 80 81 Sam Francis at West Channel Road Studio, CA, 1992. Untitled, 1992, acrylic on paper, 26 x 18,5 cm.
  • 40. 82 83 Untitled, 1989, acrylic on paper, 45,5 x 30,5 cm. Sam Francis and his son Augustus in Venice Studio, CA, 1990.
  • 41. 84 85 Venice Studio, CA, 1990. Sam Francis and his son Augustus, West Channel Road, CA, 1994.
  • 42. 86 87 1 3 5 7 9 11 13 15 2 4 6 8 10 12 14 16 1. Untitled 3. Untitled 5. Untitled 7. Untitled 1990 1990 1990 1990 9. Untitled 11. Untitled 13. Untitled 15. Untitled mixed technique on acrylic on paper acrylic on paper acrylic on paper 1990 1990 1990 1992 paper 29 x 21 cm. 58 x 3 cm. 75, 5 x 56,5 cm. acrylic on paper acrylic on paper acrylic on paper acrylic on paper 75 x 55 cm. 76 x 56 cm. 29,5 x 21 cm. 29,5 x 21 cm. 26 x 36 cm. 4. Untitled 6.Untitled 8. Untitled 2. Untitled, 1990 1990 1990 10. Untitled 12. Untitled 14. Untitled 16. Untitled 1990 acrylic on paper acrylic on paper acrylic on paper 1990 1990 1980 1974 acrylic on paper 40,5 x 30 cm. 80,5 x 9 cm. 36,5 x 22,5 cm. acrylic on paper acrylic on paper acrylic on paper acrylic on paper 29 x 21 cm. 76 x 57 cm. 40 x 30,5 cm. 76,5 x 56,5 cm. 49 x 35,4 cm.
  • 43. CONDENSED EXHIBITION HISTORY OF SAM FRANCIS 1961 compiled by Debra Burchett-Lere • Moved to Santa Monica, California, which became permanent home base. • Solo show at Esther Bear Gallery, Santa Barbara, California. 1923 1961-64 • Born June 25, San Mateo, California. • Solo shows at Minami Gallery, Tokyo; Kornfeld and Klipstein, Bern; Galerie Benador, Zurich, Switzerland. • Major exhibition at Documenta III, Kassel, Germany. 194988 • B.A., University of California at Berkeley. 89 1966 • Sky painting performance in Japan over Tokyo Bay. 1950 • M.A. University of California at Berkeley. 1967 • Snow painting performance in Naibara, Japan. 1946-50 • Solo show at Pierre Matisse Gallery, New York City. • Began painting in San Francisco, California. • Retrospective museum show at Museum of Fine Arts, Houston, Texas that traveled to University Art Museum, Berkeley; San Francisco Museum of Art. 1950-58 • Lived and worked in Paris, France with travels to Mexico, Japan, and Europe. 1968 • Receives Honorary Ph.D. from the University of California, Berkeley. 1952 • Solo shows at Centre National dArt Contemporain, Paris; Kunsthalle, Basel. • Solo gallery shows at Galerie Nina Dausset, Paris; Galerie du Dragon, Paris. • Solo exhibit at Minami Gallery, Tokyo. 1955 1969-71 • Solo show at Galerie Rive Droite, Paris. • Painted and installed commissioned mural for the National Gallery of Art, West Berlin, Germany. • Solo museum show at Los Angeles County Museum of Art, Los Angeles, California 1956 • Also exhibited at Martha Jackson Gallery, New York City; Felix Landau Gallery, Los Angeles. • "12 Americans" group show at the Museum of Modern Art, New York City. • Solo gallery shows at Galerie Rive Droite, Paris; Martha Jackson Gallery, New York City. 1970 • Established the Litho Shop in Santa Monica to print and publish his own lithographs. 1957 • Completed mural for the Sogetsu School of the sculptor and flower arranger, Sofu Teshigahara, in Tokyo, 1969-72 Japan. • Solo shows at André Emmerich Gallery, New York City; Nicholas Wilder Gallery, Los Angeles. • Solo show at Gimpel Fils, Ltd, London, England. 1972 1952-58 • Retrospective solo museum show at the Albright-Knox Art Gallery, Buffalo, New York, that traveled to • Solo shows at Gimpel Fils Ltd., London; Kornfeld and Klipstein, Bern, Switzerland; Martha Jackson Corcoran Gallery, Washington, D.C.; Whitney Museum of American Art, New York City; Dallas Museum Gallery, New York City. of Fine Arts, Texas; Oakland Museum of Art, Oakland, California. • Exhibit at the Stanford University Museum of Art, Palo Alto, California. 1959 • Lived in New York City; worked on the Chase Manhattan Bank mural. 1973-74 • Solo museum show at Pasadena Art Museum, Pasadena, California that traveled to San Francisco Museum • Lived and painted primarily in Tokyo. of Art, San Francisco ; Seattle Art Museum, Seattle, Washington. 1974 1959-61 • Exhibition at the Idemitsu Art Museum, Tokyo. • Lived in Bern. Solo museum show at Kunsthalle, Bern that traveled to Moderna Museet, Stockholm, • Solo show at Minami Gallery, Tokyo. Incorporated the Litho Shop. Sweden.
  • 44. 1975-77 1984 • Solo exhibitions at Nicholas Wilder Gallery, Los Angeles; Galerie Jean Fournier, Paris; André Emmerich • Established Lapis Press to publish artists’ books. Gallery, New York; Richard Gray Gallery, Chicago, Illinois; Kornfeld and Klipstein, Bern; Smith-Andersen Solo shows at André Emmerich Gallery, New York; Pamela Auchincloss Gallery, Santa Barbara; Brooke Gallery, Palo Alto, California. Alexander, Inc., New York; Cantor/Lemberg Gallery, Birmingham, Michigan and Robert Elkon Gallery, Began collaboration with Garner Tullis on monotypes. New York; Thomas Babeor Gallery, La Jolla, California; Knoedler Gallery, London; Gemini G.E.L., Los Paintings in group exhibition "Art in Progress" at the Louisiana Museum of Art at Humlebaek, Denmark Angeles; Steven Wirtz Gallery, San Francisco. that traveled to Centre Pompidou, Paris; Liljevalchs Konsthall, Stockholm.90 1985 91 1978 • Solo exhibitions at Galerie Kornfeld, Bern; Galerie Jean Fournier, Paris; Nantenshi Gallery, Tokyo; Richard • Solo shows at Nicholas Wilder Gallery, Los Angeles; Otis Art Institute, Los Angeles. Gray Gallery, Chicago; Smith-Andersen Gallery, Palo Alto; Hokin Gallery, Bay Harbor Isle, Florida. • Completed mural for the San Francisco Museum of Art. 1979 • Retrospective exhibition of works on paper at Institute of Contemporary Art, Boston, Massachusetts, that 1986 traveled to Taiwan, Hong Kong, Manila, Korea, and Japan under the U.S. International Communication • Solo shows at André Emmerich Gallery, New York; Galerie Jean Fournier, Paris; Nantenshi Gallery, Tokyo; Agency. Angles Gallery, Santa Monica; Le Maire de Paris, France. Included in "Art in Progress" exhibition at Israel Museum, Jerusalem, Israel. • Received commission to paint mural for ceiling of the Opera National, Theatre Royal de la Monnaie, Solo shows at Galerie Jean Fournier, Paris; André Emmerich Gallery, New York; Brooke Alexander, Inc., Brussels. New York. 1987 1980 • Solo exhibitions at Knoedler Gallery, London; André Emmerich Gallery, New York; Pamela Auchincloss • Exhibition at Abbaye de Senanque, Gordes, France; “Monotypes," Los Angeles County Museum of Art. Gallery, Santa Barbara; Heland Thorden Wetterling Galleries, Stockholm; G.Dalsheimer Gallery, Solo exhibitions at Riko Mizuno Gallery, Los Angeles; James Corcoran Gallery, Los Angeles; and Smith- Baltimore, Maryland; Galeria Eude, Barcelona Spain; Manny Silverman Gallery, Los Angeles; Galerie Andersen Gallery, Palo Alto. Pudelko, Bonn, Germany; Lever/Meyerson Galleries, New York. Mural commissions at Weinstocks Department Store, Sacramento, and General Services Administration building in Anchorage, Alaska. 1988 Becomes part of the Board of Trustees of the Museum of Contemporary Art, Los Angeles. • Solo shows at André Emmerich Gallery, New York; Galerie Jean Fournier, Paris; Nantenshi Gallery, Tokyo; Smith Andersen Gallery, Palo Alto; Greenberg Gallery, St. Louis, Missouri; Galerie Seoul, Korea. 1981 • Sam Francis Exhibition traveled throughout Japan, April 1988-March 1989 to: Toyama Museum, the • Solo shows at André Emmerich Gallery, New York; Ace Gallery, Los Angeles; Ruth Schaffner Gallery, Santa Museum of Modern Art, Seibu Takanawa, Karuizawa, the Museum of Modern Art, Shiga, Ohara Museum Barbara; Faith and Charity in Hope Gallery, Idaho. of Art, Murashiki, Setagaya Art Museum, Tokyo. Established temporary painting studio in San Leandro, California to complete the San Francisco Museum of Art Mural commission. 1989 • Solo exhibitions at André Emmerich Gallery, New York; Galerie Jean Fournier, Paris; Bernard Jacobson 1982 Gallery, London; Sun Valley Center Gallery, Ketchum, Idaho; Linda Farris Gallery, Seattle, WA; • Solo shows at André Emmerich Gallery, New York; Nantenshi Gallery, Tokyo; and monotype exhibition at Cantor/Lemberg Gallery, Birmingham; Knoedler Gallery, London. Richard Gray Gallery, Chicago. 1990 • Solo shows at Associated American Artists, New York (prints); Gallery Delaive, Amsterdam, The 1983 Netherlands; Heland Wetterling Gallery, Stockholm; Ogawa Art Foundation, Tokyo (monotypes); Ochi • Completed the San Francisco Airport Mural. Gallery, Ketchum, Idaho; Talbot Rice Gallery, Edinburgh, Scotland; Andre Emmerich Gallery, New York; Solo shows at André Emmerich Gallery, New York; Galerie Kornfeld, Bern; Smith-Andersen Gallery, Palo Smith Andersen Gallery, Palo Alto (prints). Alto; Fondation Maeght, St.Paul, France; Studio Marconi, Milan, Italy; Colorado State University, Colorado (monotypes); Galerie Jean Fournier, Paris; Art Attack Gallery, Idaho; John Berggruen Gallery, 1991 San Francisco; Nantenshi Gallery, Tokyo and a travelling survey of works on paper through the Art • Forty year retrospective at Galerie Kornfeld, Bern. Museum Association of America. • Solo shows at Galerie Jean Fournier, Paris; James Corcoran Gallery, Los Angeles; Angles Gallery, Los Angeles; Associated American Artists, New York (prints); Gagosian Gallery, New York; Centre Regional dArt Contemporain Midi-Pyrenees, Toulouse-Labege, France.
  • 45. 1992 1999 • Galerie Daniel Papierski, Paris; Museum van der Togt, Amsterdam; Kukje Gallery, Seoul. • Solo shows at Leslie Sacks Fine Art, Los Angeles (prints); Robert Green Fine Arts, Mill Valley, California; Galleri Faurschou, Copenhagen, Denmark; Ikon, Ltd., Los Angeles; Manny Silverman Gallery, Los 1993 Angeles; Galerie Pascal Retelet, Saint Paul de Vence, France; Galerie Jean Fournier, Paris; Baukunst Galerie, • Retrospective museum exhibition at the Kunst und Ausstellungshalle der Bundesrepublik Deutchland, Cologne; Pace Editions, New York (prints); Galerie Loeper, Hamburg, Germany. Bonn, Germany, curated by Pontus Hulten. • Solo shows at Galerie Pudelko, Bonn; Bobbie Greenfield Fine Art, Venice, California; Michele Cohen92 Gallery, New York; Ochi Gallery, Ketchum; Manny Silverman Gallery, Los Angeles; Galerie Iris Wazzau, 1999-2001 93 Davos, Switzerland. • Major retrospective exhibit “Sam Francis: Paintings 1947-1990,” at the Museum of Contemporary Art, Los • Commission for new German Parliament Building, Bonn. Angeles curated by William C. Agee. Traveled through 2001 to: the Menil Collection, Houston, Texas; • Major donation of ten paintings to The Museum of Contemporary Art (MOCA), Los Angeles. Konsthall Malmö, Malmö, Sweden; the Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Galleria Communale d’Arte Moderna e Contemporanea, Rome, Italy. 1994 • Solo shows at Long Fine Art, New York; Galerie Delaive, Amsterdam; Bobbie Greenfield Gallery, Venice, 2000 CA; Galerie Jean Fournier, Paris, France; Galerie Proarta, Zurich; Andre Emmerich Gallery, New York; • Solo shows at Galleri GKM Siwert Bergström, Malmö; Bruk Kahan Gallery, Boca Raton, Florida; Richard Nantenshi Gallery, Tokyo; Richard Gray Gallery, Chicago. Gray Gallery, New York and Chicago; Rayuela Galeria De Arte, Madrid; Ikon Ltd., Santa Monica; Gallery • University Art Museum, University of California, Berkeley honored Francis with Distinguished Alumnus Delaive, Amsterdam; Lawrence Rubin Greenberg Van Doren Fine Art, New York; Galleria il Gabbiano, Award and announced Scholarship Award in Francis’ name. Rome. • Daco Verlag Günter Bläse, Stuttgart, Germany published major monograph on monotypes. • Solo museum shows at Springfield Art Museum, Springfield, Missouri; Idemitsu Museum of Arts, Osaka • November 4, 1994, Sam Francis passed away in Santa Monica. and Tokyo. 1995 2001 • "The Last Paintings of Sam Francis," 152 small paintings (painted June through August 1994, at his Santa • Sam Francis Estate offices/gallery/print studio move to new location at 5440 McConnell Ave., Los Angeles. Monica house studio) exhibited at The Los Angeles County Museum of Art. • Solo shows at Meyerovich Gallery, San Francisco; Baukunst Galerie, Cologne, Germany; Galerie Guy • Solo shows at André Emmerich Gallery, New York; Manny Silverman Gallery, Los Angeles Pieters, Saint-Paul, France; Alan Cristea Gallery, London; Galerie Proarta, Zurich; Brian Gross Gallery, San • Solo museum exhibitions at Grunwald/UCLA/Armand Hammer Museum, Los Angeles; Kunstverein Francisco; Lawing Gallery, Houston; Gallery Delaive, Amsterdam. Ludwigsberg, Germany. • "Les annees Parisiennes - 1950-1961," at the Jeu de Paume, Paris reunited the three Basel Mural panels. 2002 • Solo shows at Galerie Andreas Baumgartl, München, Germany ; Lovers of Fine Arts Ltd., Gstaad, 1996 Switzerland. • Solo shows at Smith Andersen Gallery, Palo Alto; Sogetsu Art Museum, Tokyo; Gallery Delaive, Amsterdam; Gagosian Gallery, Beverly Hills, California; Gallery Guy Pieters, Knokke, Belgium; Galerie 2002-2003 Michael Haas, Berlin; Galerie Proarta, Zurich. • Idemitsu Museum, Tokyo organizes major Sam Francis exhibition from their collection that travels to six museums in Japan through 2003 (The Museum of Modern Art, Toyama; Kawamura Memorial Museum, 1997 Chiba; The Museum of Art, Ehime; Museum of Contemporary Art, Tokyo; Iwaki City Art Museum, • "Sam Francis: The Archetypal Image," opened at the Frederick M. Weisman Museum of Art, Pepperdine Fukushima; Oita Art Museum, Oita. University, Malibu, California and traveled to The Fundacion Caja de Madrid, Madrid, Spain. • Solo show at Galerie Iris Wazzau, Davos, Switzerland. • Solo shows at André Emmerich Gallery, New York; Manny Silverman Gallery, Los Angeles; Musee dArte, Mendrisio, Switzerland; Richard Gray Gallery, Chicago; Gallery Delaive, Amsterdam; Galerie Retelet, St. 2003 Paul de Vence, France. • Solo shows at Ace Gallery, Beverly Hills, California; Artemis Greenberg Van Doren Gallery, New York, NY; Galerie Guy Pieters, Saint Paul de Vence (France). 1998 • Solo show at Robert Sandelson Gallery, London, UK • Solo monotype shows at Dorothy Blau Gallery, Bay Harbor Island; Thomas Segal Gallery, Baltimore, • Solo show at Broadbent Gallery, London, UK Maryland • Solo shows at ACA Gallery, Münich, Germany; Gallery Guy Pieters, Knokke, Belgium; Bobbie Greenfield 2003-2004 Gallery, Santa Monica; Gallery Delaive, Amsterdam; Galleria d’Arte il Gabbiano, Rome, Italy. • Solo show Prototypes at Gallery Delaive, Amsterdam, Netherlands
  • 46. 2004 • Solo show at Baukunst Galerie, Cologne, Germany • Solo show at Galleri GKM Siwert Bergström, Malmö, Sweden • Solo show at Galerie Thomas, München , Germany • Solo show at Alanda Arte Contemporanea, Carrara, Italy • Solo show at Samuelis Baumgarte Galerie, Bielefeld, Germany • Solo show at Galerie Proarta, Zurich, Switzerland94 • Solo show at Venice Design Art Gallery, Venice, Italy 95 • Solo show at Martin Lawrence Galleries, San Francisco, California, USA • Solo show at Museum Jan van der Togt, Amstelveen, Netherlands • Solo show at Gallery Delaive, Amsterdam, Netherlands 2005 • Solo show at Gallery Wild, Frankfurt, Germany • Solo show at Robert Sandelson Gallery, London, UK • Solo show at Leslie Sacks Fine Art, Los Angeles, California, USA • Solo show at, Kaare Berntsen, Oslo, Norway. • Movimento Arte Contemporanea, Milan, Italy. • Solo show at Gallery Delaive, Amsterdam, Netherlands Sam Francis Biography compiled by Debra Burchett-Lere (Assistance and prior research by Nancy Mozur and Beth Silverman) Sam Francis biography, copyright by the Samuel L. Francis Art Museum, Inc. (AKA Samuel L. Francis Foundation or Sam Francis Foundation, CA) 2005 Not to be reproduced without prior written approval. 1146 N. Central Avenue #523, Glendale, California 91202 (USA) 818 246 5455 phone/ 818 246 6690 fax Email: samfrancisfoundation@earthlink.net Thank you. Sam Francis and Nico Delaive, 1993, Bonn, Germany.
  • 47. Colofon Copyright Gallery Delaive B.V., Amsterdam Samuel L. Francis Art Museum, Inc. and the Sam Francis Foundation, Santa Monica, CA Artists Rights Society (ARS), NY / Beeldrecht, Amsterdam96 Published by Gallery Delaive, Amsterdam 97 Printed by Nederlof Repro, Heemstede Lithographs by Nederlof Repro, Heemstede Photo credits Kurt Blum Nico Delaive Margaret Francis Sam Francis Edo Kuipers Douglas Shields Jerry Sohn Lay-out Marlies Bolhoven Nico Delaive ISBN 90-73392-160 Text Marlies Bolhoven Special thanks to Debra Burchett-Lere Margaret Francis Gallery Delaive Spiegelgracht 23 1017 JP Amsterdam The Netherlands Tel: +31-20 6221295/6259087 Fax: +31-20 6204130 url: www.gallerydelaive.com e-mail: gallery.delaive@wxs.nl This catalogue is made in an edition of 1000 copies Oktober 2005 Untitled, 1987, acrylic on paper, 70x41 cm.