24 × 35 in
in
cm
Price: $12,500 USD.
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True to the abstract expressionism for which he was known, Sam Francis’ Vegetable 1 is large and vivid, the bold inks instantly seizing the viewer’s attention. Though the piece uses just four colours, Francis’ riotous arrangement feels more holistic with its microscopic dots and broader swaths in varying densities enticing the eye to explore across the entire page. Eventually, the viewer is invited toward the white centre space, almost like the light through an open door, perhaps promising another brilliant world on the other side.
Pencil signed and numbered.
| Medium | Prints |
| Signature | Signed |
| Frame | Unframed |
| Condition | Excellent |
| Seller | Private |
| Location | USA |
| Provenance | Private collection, USA |
Sam Francis (1923–1994) stands as one of the most influential Abstract Expressionists of the 20th century and was among the first post-World War II American painters to achieve international acclaim. His vibrant, large-scale abstract paintings and thousands of works on paper and prints showcase a distinctive style of painterly abstraction that cemented his legacy.
Known for his mastery of colour and light, Francis drew inspiration from diverse influences, including New York Abstract Expressionism, Colour Field painting, French Impressionism, and East Asian art. His unique approach was shaped by extensive travels through Europe and Asia, where he engaged with local artists and movements, establishing studios and forging meaningful artistic connections.
Before pursuing art, Francis served in the United States Air Force during World War II but sustained injuries during a test flight. His recovery, which required years of hospitalization, became a turning point. Encouraged to paint after a visit from artist David Park, Francis discovered his passion for art. Upon his release, he studied at the University of California, Berkeley, earning both a Bachelor’s and a Master’s degree. His education extended beyond art, encompassing fields such as botany, medicine, and psychology.
The 1950s marked a significant period in Francis’s career. After moving to Paris in 1950, he gained international recognition, with Time Magazine calling him “the hottest American painter in Paris these days.” Immersed in the study of Monet’s Water Lilies and influenced by friendships with artists like Joan Mitchell, Helen Frankenthaler, and the Matisse family, Francis developed a style that celebrated fluidity and brilliance in colour.
In 1962, Francis returned to California after spending time in Japan, where he further deepened his artistic practice. Personal experiences, including the joy of fatherhood in 1961 and moments of personal struggle, brought a greater emphasis on the colour blue in his work. During the 1970s, his art evolved from disciplined arrangements of rectangles to looser, more expressive compositions. Blue, whether bold and brilliant or subdued and introspective, became a recurring element in his later works.
Beyond his artistic achievements, Francis embraced an expansive view of creativity, engaging with technology, psychology, science, and environmental advocacy. He was an early supporter of research into renewable energy solutions and efforts to combat AIDS. Often described as a contemporary renaissance man, Francis’s interests extended far beyond the canvas.
Francis married five times and had four children. His final marriage, to painter Margaret Smith, took place in a Shinto ceremony in Japan in 1985. The couple had a son, Augustus, in 1986, who also became an artist.
Throughout his life, Francis’s exploration of the creative process was a constant source of inspiration. His work reflects the energy, intensity, and lyricism of his artistic vision, capturing the interplay of colour, emotion, and movement. Infused with his love for literature, music, and science, his art offers a glimpse into the complexities of his eclectic and passionate life.
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