Francis, Sam o.T. 1979. Farboffsetlithographie auf Fabriano Artistico Velin (mit…

Description

Francis, Sam o.T. 1979. Farboffsetlithographie auf Fabriano Artistico Velin (mit WZ). 47 x 57,5 cm (63,5 x 71,8 cm). Signiert und nummeriert. - Verso partiell mit Spuren der vorherigen Montierung. Seh…

American Modernism Abstract Expressionism Francis, Sam n.d. 1979. Color offset lithograph on Fabriano Artistico wove paper (with WZ). 47 x 57.5 cm (63.5 x 71.8 cm). Signed and numbered. - Partially with traces of previous mounting verso. Very partially with a few light brown stains, these barely noticeable. Good overall. Splendid, fresh and expressive impression with full white margins. Lembark 234, SF-256 - One of 75 copies. - Published by Brooke Alexander Gallery, New York. - Printed by Siena Studios, New York (verso with the stamp). Color offset lithograph on buff Fabriano Artistico.Signed and numbered. Verso with the stamp "Siena Studio". - On the verso partially with traces of the previous mounting. Very partially with a few, light brown spots, these not very noticeable. All in all good. Splendid, fresh and expressive impression with the full white margin. - One of 75 copies. - Published by Brooke Alexander Gallery, New York. - Printed by Siena Studios, New York (stamp on verso). This work is taxed. The hammer price is subject to a 23.95% surcharge and the final invoice amount is subject to 7% (books) or 19% VAT in the European Union. This work is subject to the regular margin scheme. There is a 23.95% buyer's premium on the hammer price and 7% (Books) or 19% VAT on the final invoice amount in the European Union.

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Francis, Sam o.T. 1979. Farboffsetlithographie auf Fabriano Artistico Velin (mit WZ). 47 x 57,5 cm (63,5 x 71,8 cm). Signiert und nummeriert. - Verso partiell mit Spuren der vorherigen Montierung. Sehr partiell mit wenigen, leichten Braunfleckchen, diese

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MANUEL BARBADILLO (Cazalla de la Sierra, Seville, 1929 - Malaga, 2003). Untitled, 1979- 1984. Ink on paper. Framed in museum glass. Signed in the lower right corner. Measurements: 21 x 30 cm; 29 x 38 cm (frame). On the graph paper there is a study, reflections of the artist, which shows us the previous and conceptual work. In fact, in the collection of the Museo Nacional Centro de Arte Reina Sofía, there are several pieces of larger dimensions that reflect the aesthetic concept that the artist embodies in this work. Examples of this are the pieces Coraina, Dione and Merata. Manuel Barbadillo began his training in the studio of José Arpa (1941), and later moved to the workshop of sculptor Emilio García Ortiz, where he remained between 1944 and 1947. He finally completed his training at the School of Arts and Crafts between 1951 and 1953. At the same time he studied law, and when he finished his studies in 1954 he exhibited for the first time at the Ateneo de Sevilla. He then traveled to Morocco, where he remained until 1957, and there he definitively left figuration behind to focus on abstract experimentation. When in 1959 he moved to New York, where he remained until 1962, his work was framed in the informalist abstraction, at first showing influences of abstract expressionism. However, his language will soon derive in the line of the reduction of color, until deriving in sober, monochrome works, dense in pictorial matter and of an accentuated experimental character. Towards 1960 his work enters a new stage, marked by structuring and the search for an increasingly rational and balanced language. Finally, around 1963 his painting reached maturity through compositional schematization, the elimination of matter, symmetry and the use of repetitive forms. This simplification will finally lead him to the binary language, and from 1964 he replaces the concept of form with that of module, thus beginning the longest and most fruitful period of his production. In 1968 he was invited to participate in a course at the Centro de Cálculo de la Complutense, and that same year he took part in the Seminar on Automatic Generation of Plastic Forms at the same center, something that would be key in his career. Since then Barbadillo will establish a close relationship with the computer, understood as a working tool. Throughout his career, Barbadillo has been a member of the Computer Arts Society and the Artistic Council of the Gesellschaft für Computer Grafik und Computer Kunst in Munich, and has shown his work in exhibitions held in Spain, Morocco, Argentina, Venezuela, the United States and Germany, as well as participating in group exhibitions around the world. He is currently represented in the MNCA Reina Sofía, in the Centro Andaluz de Arte Contemporáneo and in numerous public and private collections in Europe and America. Framed in museum glass.

Estim. 10 000 - 12 000 EUR

SAM FRANCIS (San Mateo, California, 1923 - Santa Monica, California 1994). Untitled, 1984 (SFF.1099 aka SFP84-46). Acrylic on canvas. Signed on verso in cursive by the artist: 'Sam Francis' with inscriptions 'SFP84-45' in blue marker and 1984 in grey pencil. Provenance: -Nantenshi Gallery, Tokyo (1985). -Private collection, Japan. Attached certificate of authenticity issued by the Sam Francis Foundation. Listed in the catalogue raisonné under no. SFF. 1099. Measurements: 5,08 x 7,62 cm; 33 x 40 cm (frame). In this canvas, San Francis presents us with a composition devoted to the study of rhythm and the linear decomposition of abstract forms. Styles such as Neo-Plasticism and Constructivism have been assimilated in a personal way; however, the Californian goes further and breaks with this idea of pure lines, leaving spaces to chance and to the expressiveness of the pictorial material itself, as can be seen in the spilled drops of paint. San Francis studied botany, medicine and psychology at Berkeley University in California between 1941 and 1943, and served in the United States Air Force during the Second World War from 1943 to 1945 before being injured in a plane crash. He spent several years in hospital, and it was during this time that he began to paint, at the urging of his friend David Parks, a professor at the San Francisco School of Fine Arts. Once out of hospital he returned to Berkeley, this time to study art. His studies in painting and art history took him from 1948 to 1950. Francis' early work is directly influenced by the Abstract Expressionists such as Rothko, Gorky and Still. During the 1950s he lived in Paris, where he held his first solo exhibition in 1952 at the Galerie Nida Dausset. During the fifties and sixties he held important solo exhibitions and participated in group shows at the Ribe Droite (Paris, 1955), Martha Jackson (New York, 1956), Gimpel Fils (London, 1957), the exhibition "New American Painting", which toured eight European cities (1958), the Documenta in Kassel (1959 and 1964) and the Kunsthalle in Bern and Düsseldorf. In 1963 he settled in Santa Monica, California, and six years later he was awarded an honorary doctorate by the University of Berkeley. It was during this period, between 1960 and 1963, that he created several series of works, including the "Blue Balls" series. Consisting of predominantly biomorphic blue shapes and drops, these works referenced the pain resulting from the kidney tuberculosis he suffered in 1961. He continued to paint, mainly in Los Angeles, but also in Tokyo, where he lived mainly in 1973-4. In 1965 Francis began a series of paintings featuring large areas of open canvas, minimal colour and strong lines. His work evolved further after he began an intensive Jungian analysis with Dr. James Kirsch in 1971. It was then that he began to pay close attention to his dreams and the unconscious images they suggested, Francis' works from the early 1970s have been called fresh air images. Created by adding pools, drips and splashes of colour to wet bands of paint applied with a roller, these works reaffirmed the artist's interest in colour. By 1973-4, many of Francis's paintings featured a formal grid or matrix composed of cross-hatched traces of colour. Many of these matrix works were large in scale, measuring up to twenty feet in length. After 1980, the formal grid structure gradually disappeared from Francis's work. He was extremely active as a printmaker, creating numerous etchings, lithographs and monotypes, many of which were executed in Santa Monica at Francis' own Litho Shop. In 1984 Francis founded The Lapis Press with the aim of producing unusual and timely texts in visually appealing formats.

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