羅芙奧季刊第46期 RAVENEL QUARTERLY NO. 46

精采時刻 雋永人生

空間之華采 Color in Space

No. 46 Spring 2024 1

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發行人 Publisher / 王鎮華 Arthur Wang 監製 Managing Director / 李雅欣 Wendy Lee 總編輯 Editor-in-Chief / 陳惠黛 Odile Chen 主編 Managing Editor / 葉子微 Gina Yeh 編輯 Editor / 陳昱良 Iris Chen 唐維怡 Eva Tang 發行所 Published / 羅芙奧股份有限公司 Ravenel Ltd. 地址 Address / 106485 台北市敦化南路二段 76 號 18 樓 18F, No. 76, Sec. 2, Dunhua S. Rd., Taipei 106485, Taiwan 電話 Tel / +886 2 2708 9868 傳真 Fax / +886 2 2701 3306 電子信箱 email / info@ravenel.com 羅芙奧藝術集團台北辦公室 台北市敦化南路二段 76 號 18 樓 電話 Tel / +886 2 2708 9868 傳真 Fax / +886 2 2701 3306 羅芙奧藝術集團上海辦公室 中國上海市長寧區鎮寧路 465 弄 181 號 1 幢 2 樓 2E 電話 Tel / +86 21 2411 9575 傳真 Fax / +86 21 2411 9570 羅芙奧藝術集團香港辦公室 香港九龍灣常悅道 9 號企業廣場第二座 9 樓 903 室 電話 Tel / +852 2889 0859 傳真 Fax / +852 2889 0850 創刊 2012 年 5 月 First issue May, 2012 季刊 Quarterly 登記證 中華郵政臺北雜字第 1883 號執照登記為雜誌交寄 © 版權所有 翻印必究。本刊圖文非經同意，不得轉載或公開播送。 All rights reserved. Use of editorial content without permission is strictly prohibited.

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空間之華采 — 藝術家山姆．法蘭西斯 Sam Francis, Color in Space

山姆．法蘭西斯《無題》1980年 壓克力 畫布 127 x 353 cm, 登錄於山姆‧法蘭西斯基金會，編號SFP80-31, 出光美術館，東京 Sam Francis, Untitled, 1980, acrylic on canvas, 127 x 353 cm, registered with the Sam Francis Foundation in the number of SFP80-31, Idemitsu Museum of Arts, Tok

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| ART & INVESTMENT | Text / 陳惠黛 Odile Chen

吸睛的名人收藏專拍 保羅．艾倫（Paul Allen,1953-2018），是發明家、投資家、考古學家、慈善家，更是一位藝術愛好 者。1975年時，他與兒時好友比爾．蓋茲（Bill Gates, 1955年生）共同創建微軟公司，攜手啟動了1970年 代、1980年代改變人類的微型電腦的革命。保羅．艾倫擁有美式足球和籃球職業球隊，同時是電影夢 工廠的股東，一生熱愛科學研究、考古、飛行、音樂和藝術收藏。不幸，2018年因淋巴瘤疾病去世， 享年65歲，去世時的淨資產估價約有203億美元之高，那一年他躋身《富比士》全球富豪榜的第44位。 過去人們總是說，拍賣常是由三個D所推動：即是Death（死亡）、Divorce（離婚）、Debt（債務） 。 保羅．艾倫終身未娶，也無後代，最終不意外地，他的藝術收藏被送進了拍賣公司。在他逝世四年後 的2022年，紐約佳士得舉行為期兩天的保羅．艾倫收藏專拍，155件巨擘經典的收藏品，締造了白手套 完售紀錄，以16.2億美元的紀錄，創下單一收藏家專拍最高價紀錄。這批收藏也是新冠疫情結束後，最 受全球矚目的單一藏家委託的拍賣會。

山姆．法蘭西斯1982年攝於洛杉磯畫室 Sam Francis in his Los Angeles studio in 1982. Photo courtesy: Gallery Delaive

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山姆．法蘭西斯《藍色與黑色的構圖》1955年 油彩 畫布 195.6 x 130.2 cm 紐約佳士得2022秋拍 編號58 成交價 USD 13,557,500 Sam Francis, Composition in Blue and Black, 1955, oil on canvas, 195.6 x 130.2 cm Christie's, New York Autumn Auction 2022, lot 58, sold for USD 13,557,500

在這次專拍當中，有一幅描繪波光淋漓、閃爍流動的抽象畫作，它是出自美國藝術家山姆．法蘭西斯（Sam Francis, 19231994）的作品，畫題是《藍色與黑色的構圖》（1955作），靈感來自當年他在醫院病榻上凝視天花板光線與色彩的反射。這 幅畫以1355萬7500美元（約4億4千萬台幣）的價格成交，創下了藝術家歷年拍賣最高金額紀錄，遠遠高於預估價的400萬至 600萬美元。這幅畫作正是保羅．艾倫生前所有，2001年向高古軒畫廊購得，珍藏十餘年。

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| ART & INVESTMENT |

艾倫收藏專拍的成功，給予世人重新關注法蘭西斯其人其藝的機會，過去他的 畫價長期被低估，行情遠遠落後其他美國抽象畫家同代好友。無論是克萊福特． 斯蒂爾（Clyfford Still）、傑克遜．波洛克（Jackson Pollock），兩位藝術家目前 最高拍賣成交價均超過六千萬美元。這場拍賣佳績提前宣示慶祝藝術家的一系列 百年誕辰活動。2023年，適逢山姆．法蘭西斯百歲誕辰，山姆．法蘭西斯基金會 （Sam Francis Foundation）與重要畫廊攜手，透過展覽、教育活動、特別項目、 文章和檔案探索來紀念百歲，喚起眾人對這位藝術家一生精彩的回憶。2023年4月 在洛杉磯郡立美術館舉辦了長達三個月的「山姆．法蘭西斯：空虛四溢」（Sam Francis and Japan: Emptiness Overflowing）展覽，展出60餘幅作品。 同年9月16日，位於加州史丹佛大學的安德森收藏館（Anderson Collection）， 也舉辦慶祝「山姆．法蘭西斯百年紀念」（Sam Francis Centennial）個展以茲慶 祝，展期跨越年度至2024年3月3日。而接續前一年的百歲誕辰，2024年是藝術家逝 世三十週年。回顧這位二十世紀最深刻的抽象表現主義畫家之一，他也是二次戰 後首批獲得國際聲譽的美國畫家。 山姆．法蘭西斯是美國非具象繪畫的代表畫家，在行動繪畫（Action Painting） 風格創新有所成就。法蘭西斯擅長對於光和線條的詮釋，他涉獵甚廣，舉凡紐約 抽象表現主義、色域繪畫、東方中國文化和日本藝術、法國印象派都有研究，還 有他自己根源於灣區的背景，也是一大特色。 獲獎作家嘉布麗葉兒．塞爾茲（Gabrielle Selz）曾於2021年寫作《火焰之光： 山姆．法蘭西斯的藝術與生活》（Light on Fire: The Art and Life of Sam Francis）一 書，是藝術家最完整的傳記。巧合地該作者的父親於1982年也曾為藝術家撰寫專 書。塞爾茲的新書介紹概括了藝術家坎坷的一生：山姆．法蘭西斯1923年出生於 加州聖馬特奧（San Mateo），如今以其巨大、色彩鮮豔的抽象畫而聞名，他曾因 嚴重脊柱結核，全身裹著石膏三年，期間刻苦自學繪畫。在他五十年極其成功的 職業生涯中，創作了萬餘件藝術作品，舉辦了百餘次個展，並在1950年代末至1960 年代中期，曾創下了在世畫家中最高的成交價。法蘭西斯被許多人認為是世界上 第一位真正的國際藝術家，他住遍三大洲，有過五段婚姻，生前在全球各地執行 他的創意計畫。除了多產的藝術實踐之外，還創建了一家出版公司、印刷廠、整 體醫學研究中心、重新造林計劃，以及一家至今仍在營運的風能公司。

法蘭西斯與母親，攝於聖馬特奧 (Francis with his mother in San Mateo, © Sam Francis Foundation)

山姆．法蘭西斯《紅色和粉色》1951年 油彩 畫布 203.2 x 167.3 cm 紐約佳士得2014秋拍 編號65 成交價 USD 4,869,000 Sam Francis, Red and Pink, 1951, oil on canvas, 203.2 x 167.3 cm Christie's, New York Autumn Auction 2014, lot 65, sold for USD 4,869,000

何其傳奇的一生，且讓我們進一步了解這位藝術家的生平梗概。

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藝術拯救了法蘭西斯 藝術家山姆．法蘭西斯，本名山繆爾．路易斯．法蘭西斯（Samuel Lewis Francis），1923年6月25日出生於美國加州聖馬特 奧，位於舊金山灣區西部的一個郡縣。母親凱薩琳．路易斯．法蘭西斯（Katherine Lewis Francis），一位鋼琴家兼法語教 師，父親老山繆爾．奧古斯都．法蘭西斯（Samuel Augustus Francis Sr），是一名數學教授。小山姆的名字來自於母親原本的姓 氏及父親第一予名的組合，表達對他們的敬意與崇拜。 山姆．法蘭西斯是長子，他還有一位弟弟喬治。1935年12歲時，他們的母親不幸病逝。因懷念母親而激發他對音樂的興趣。 隔年他在學校裡不慎觸碰槍枝，意外殺死他最好的朋友。這段悲慘的記憶，在他的人生中永遠留下創傷。後來，與繼母維吉尼 亞．彼得森．法蘭西斯（Virginia Peterson Francis）也建立深厚的感情，稍或彌補少年失恃之痛。 1941年18歲時，山姆．法蘭西斯進入加州大學柏克萊分校學習醫學預科和心理學課程，兩年後畢業。二次世界大戰期間， 美國參戰。年輕的山姆．法蘭西斯於1943年加入美國陸軍航空軍報效國家。飛行時可以欣賞廣闊無邊的景致，令他著迷。隔年 在一次飛行訓練中失事，造成身體嚴重傷害，而導致脊椎結核病，全身裹著石膏長達三年，住院養病一直持續了數年。山姆． 法蘭西斯的遭遇，曾經吸引很多名人探視。灣區具象藝術關鍵人物的大衛．帕克（David Park, 1911-1960），在他住院期間來探 視，贈送他美術用品、書籍，鼓勵他以繪畫打發時間。帕克還向收藏家友人借來保羅．克利、胡安．米羅和畢卡索的小畫，掛 在醫院牆上一天。這些名畫，還有帕克成為法蘭西斯學習的對象。 為了緩解復原期的漫長日，他以畫畫自娛，把病房變成了畫室。因脊椎的傷害，身體裹著石膏衣，懸掛在病床上，採俯臥 姿勢，注意力經常被天花板上流動的光線所吸引，這段期間主要以水彩來創作。後來他總是說「藝術，拯救了我的生命」。 他在舊金山退伍軍人管理局醫院（Veterans Administration Hospital）住院三年，期間初次接觸正式的藝術指導。1947年他 在藝術家群聚的卡梅爾（Carmel）小鎮療養，開始創作抽象表現 主義風格圖畫。隨後他在1948年返回柏克萊主修美術，很快地取 得學士和碩士學位。 法蘭西斯透過研究馬克．羅斯科（Mark Rothko, 1903-1970） 、阿希爾．高爾基（Arshil Gorky, 1904-1948）和克萊福特．斯蒂 爾（Clyfford Still, 1904-1980）等著名藝術家的創作，完善了他對 色彩的表現力運用。他也結識第二代抽象表現主義女性畫家瓊． 米切爾（Joan Mitchell, 1925-1992）和海倫．弗蘭肯塔（Helen Frankenthaler, 1928-2011），同儕藝術家彼此相互影響。

1946年4月16日，法蘭西斯在舊金山麥退伍軍人醫院創作中 Sam Francis in the Bradford frame hoisted above his bed at Fort Miley Veterans Hospital in San Francisco, April 16,1946. © 2021 Sam Francis Foundation, California / Artists Rights Society, New York

山姆．法蘭西斯《中藍色》1957年 油彩 畫布 182.9 x 243.8 cm 紐約佳士得2010春拍 編號38 成交價 USD 6,354,500 Sam Francis, Middle Blue, 1957, oil on canvas, 182.9 x 243.8 cm Christie's, New York Spring Auction 2010, lot 38, sold for USD 6,354,500

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| ART & INVESTMENT |

雲遊四方傲視群倫 1950年法蘭西斯繞過紐約前往巴黎，他的到達為大西洋兩岸起 了波瀾，精湛的畫藝脫穎而出。因此，法蘭西斯被譽為「第一位 國際藝術家」。旅居巴黎期間他陸陸續續結識了來自世界各地的 藝術家，包括加拿大的尚保羅．里奧佩爾（Jean-Paul Riopelle）、 比利時的皮耶．阿列欽斯基（Pierre Alechinsky）、荷蘭的卡．阿貝 爾（Karel Appel），以及中國的丁雄泉（Walasse Ting），還有此 時從美國到法國遊學的瓊．米切爾，彼此有著深厚的情誼。 法蘭西斯因為有美國退伍軍人每周75美元的津貼資助，戰後仍 有餘裕於巴黎生活，得以進入費爾南德．雷捷工作室（Atelier Fernand Léger) 學習，接觸到波納爾（Pierre Bonnard）和馬蒂斯 （Henri Matisse）的藝術，激發了他對於光線和色彩研究的興趣。 更有甚者，莫內睡蓮圖的精心研究，絢麗又富哲思的風格，也 對於法蘭西斯的繪畫產生巨大的影響，從曾經的灰色白色的調色 板，轉為光與色的斑斕。他的繪畫在巴黎受到歡迎，名聲也傳回 美國。1956年《時代》雜誌講評法蘭西斯為「近期巴黎最炙手可 熱的美國畫家」，可見當時的活絡程度。 法蘭西斯熱愛旅行，前往巴黎、法國南部、東京、墨西哥城、 伯爾尼和紐約分別度過了一段時間。他需要不斷地用美麗風景， 激發創作的靈感。

丁雄泉曾為法蘭西斯速寫的一張畫像 Sam Francis, an undated ink portrait by Walasse Ting

儘管與四方藝術家與文學家交往熱切，但法蘭西 斯其實未加入任何藝術團體，只是他的創作風格和 「不定形藝術」（Art Informel）有了一些聯繫。後 來到日本訪問，自此終生愛上日本藝術和文 化。1950-1960年代期間，日本恰逢「非定形旋風」 （anforumeru senpū），主要是當時與不定形藝術有 關的三位藝術家訪問日本所引發的現象，有巴黎的 藝術評論家家米歇爾．塔皮耶（Michel Tapié）、法 國畫家喬治．馬修（Georges Mathieu）和美國畫家 山姆．法蘭西斯。一股對於手勢抽象的熱情席捲了 日本藝術界，與同時期日本具體派團體匯聚風潮， 相互映襯。 在法國期間，法蘭西斯和丁雄泉交遊密切，情誼 深厚，藝術上也互有影響。儘管兩人都熱愛旅行， 不能碰面時，書信往來是他們傳遞訊息與互相關懷 的方式。丁雄泉的明信片上曾打趣地寫道，法蘭西 斯的性魅力令人敬畏。他們一生都愛女人，喜歡追 求性冒險。一位沉迷於情色，自比為採花大盜，另 一位野心勃勃迷戀追女，軼事不斷。當年法蘭西 斯的畫很受市場歡迎，丁雄泉早年雖然也賣了不少 畫，但勉強僅能糊口。1964年法蘭西斯資助丁雄泉 出版《一分錢人生》（1 Cent Life）畫集，收錄68位 藝術家的彩色石版畫，當中包括羅伊．李奇登斯 坦、阿貝爾、安迪．沃荷及他們自己，藉此贊助丁 雄泉發展他的藝術事業。

丁雄泉撰文、法蘭西斯編輯，1964年由E.W.科恩菲爾德發行的《一分錢人 生》版畫集 The 1964 "One Cent Life" Portfolio, by Walasse Ting, edited by Sam Francis, and published by E.W. Kornfeld.

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藝術拯救了法蘭西斯 透過丁雄泉妙筆下的形容，可以看出法蘭西斯應該是充滿男性魅力，野心勃勃，創意無窮。他畢生有過五段 婚姻，四個孩子。愛情來得快，去得也快。 第一段婚姻是與他的大學同學薇拉．米勒（Vera Miller），婚姻從1947 年持續到1952 年；第二段是從1955 年 到1958 年，與加州藝術家妙麗葉兒．古德溫（Muriel Goodwin）結婚；第三段和第四段婚姻都是日籍妻子，分別 是與油畫家橫井照子（Teruko Yokoi)，從1959年至1962年（他們的第一個女兒Kayo出生於1961年）；前衛藝術、 錄像藝術家出光真子（Maku Idemitsu），他們生下兩個兒子（Osamu和Shingo），兩人從1966年至1985年分開。 上述兩段婚姻說明了法蘭西斯與日本之間的聯繫，他的藝術深受日本哲學的影響。最後，62歲的藝術家也在日 本慶祝了他的第五度婚姻（1985-1994），這也是最後一次婚姻，並與英國藝術家瑪格麗特．史密斯（Margaret Smith）一起參加了神道儀式婚婚禮，後來他們擁有一個孩子奧古斯都（Augustus），名字取自爺爺的中間名。 另一方面，法蘭西斯一生曾受邀繪製許多大型壁畫作品。1956年受委託為瑞士巴塞爾藝術館（Kunsthalle Basel）完成抽象畫聯幅壁畫；1957 赴日本旅行時，受邀為草月流學校（Sogetsu School）繪製壁畫；1959年在紐約 租一間畫室，開始大通銀行（Chase Manhattan Bank）壁畫，在歐洲時期也留下許多不朽的壁畫作品，如布魯塞 爾皇家鑄幣局劇院入口大廳等。他在世界許多城市都有建立畫室，如伯爾尼、巴黎、東京、墨西哥城、紐約以及 北加州和南加州，他需要美景視覺的靈感滋養，除了藝術之外更開拓出其他的興趣與事業。

五段婚姻裡，曾迎娶了兩名日藉 妻子，不難想見他對於日本的鍾情； 此外，法蘭西斯本身也是榮格分析法 與禪宗精神的探索者。他挖掘心靈與 夢想的能量，也學習日本人將繪畫視 為冥想體驗的傳統。日本美學「間」 （ma），對留白空間的思考，深刻 欣賞寂靜、虛無與時間停止的概念， 一種和諧與平衡的感覺。職業中期之 後，他的作品保留更多留白空間，更 有詩意和寧靜的舖白。他曾經為觀眾 解釋過繪畫中的留白：

「這些畫作中間的空間是為你而留的。」 「這些畫作中間的空間是為你而留的。 」

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| ART & INVESTMENT |

除了繪畫創作，法蘭西斯一生熱中參與研究，投資，重視環保。1990年時曾一 度建立山姆．法蘭西斯藝術博物館（Sam Francis Art Museum）。雖然早年多次歷經 身體的病痛，他以藝術為救贖。但終其一生他展現出強大的意志力和活力。1987年 他發現罹患前列腺癌，晚年他受病痛折磨，在生命最中的一年，因為不慎跌倒無法 再使用右手，他堅毅地以左手畫了近150幅小作品，一如年輕時期俯臥於病床上仍刻 苦創作。

山姆．法蘭西斯《大紅II》1979年，路易斯安那現代藝術博物館，丹麥，攝於1990年 Sam Francis, Big Red II, 1979, in the symphony hall of the Louisiana Museum of Modern Art, 1990.

Photo by Jens Frederiksen, courtesy Louisiana Museum of Modern Art.

山姆．法蘭西斯《無題，SF85-646》1985年 水墨 紙本 35.5 x 28 cm 羅芙奧香港2015秋拍 編號82 成交價 HKD 66,000 Sam Francis, Untitled, SF85-646, 1985, ink on paper, 35.5 x 28 cm Ravenel Hong Kong Autumn Auction 2015, lot 82, sold for USD 8,516 山姆．法蘭西斯1991年攝於加州雷斯岬畫室 Sam Francis working in his Point Reyes studio in 1991.

Photo courtesy: Gallery Delaive

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山姆．法蘭西斯《無題》 1980年 壓克力 畫布 701 x 884 cm 舊金山國際機場/博物館 Sam Francis, Untitled, 1980, acrylic on canvas, 701 x 884 cm SFO Museum Terminal 3 Photo by SFO Museum.

藝術收藏與市場分析 1994年法蘭西斯病逝，享年71歲。他的幾段婚姻和遺留下價值7900萬美 元的龐大資產和畫作，糾纏出非常複雜難解的問題，當中也有遺產的官司 與糾紛，耗費多年才得以解決。後來，藝術家遺產的紀錄檔案，為洛杉磯 加州約翰．保羅．蓋蒂藝術博物館研究所收藏。後人成立山姆．法蘭西斯 基金會蒐集和研究他的藝術資料，出版《從1940年代到1990年代油畫和紙上 作品全集目錄》。 山姆．法蘭西斯創作頗豐，參加過1964年32屆威尼斯雙年展第三屆卡塞 爾文件大展，也曾在世界各地的一流畫廊和博物館中展出。他的藝術成 就獲得了廣泛的認可和讚譽。現在國際重要博物館都有收藏法蘭西斯的 作品，包括阿姆斯特丹市立博物館、巴塞爾貝耶勒基金會、巴爾的摩美術 館、芝加哥藝術學院、科隆路德維希博物館、達拉斯美術館、漢堡藝術 館、休士頓梅尼爾基金會、倫敦維多利亞與阿爾伯特博物館、洛杉磯縣藝 術博物館、蒙特婁美術館、現代藝術博物館和紐約古根漢美術館、巴黎龐 畢度中心、費城美術館和舊金山美術館等。

山姆．法蘭西斯《無題》1964年 壓克力 紙本 裱於纖維板 103.7 x 69.5 cm，紐約古根漢 美術館永久收藏 Sam Francis, Untitled, 1964, acrylic on paper, mounted on masonite, 103.7 x 69.5 cm, the Guggenheim's permanent collection Credit Line：The Solomon R. Guggenheim Foundation Peggy Guggenheim Collection, Venice, 1976 Copyright：© 2023 Sam Francis Foundation, California / Artists Rights Society (ARS), New York

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| ART & INVESTMENT | 在藝術市場上，法蘭西斯的作品一直受到關注，從藝術家 過世之後，畫價呈現和緩地上揚。法蘭西斯的1950年代時期最 受到歡迎，但因為市場上可流通作品已所剩無幾。根據他的歐 洲代理畫廊主表示，「其價格是他職業生涯中任何其他時期的 三到四倍。」 如同前文所提，他的藝術仍舊被低估。主要的原因，加州 的畫商指出其中的問題：法蘭西斯不屬於紐約藝術圈，所以沒 有得到同樣的關注。法蘭西斯來自西岸，經常在海外旅行。 如果有紐約的光環加持，或許行情表現會有所不同。藝術家身 後沒有留下太多現金，繼承人為了繳納高額的遺產稅，短時間 內曾經於市場上釋放大量的畫作，導致有一段時間價格呈現低 迷，一直到遺產問題底定，山姆．法蘭西斯基金會在加州成立 後才得以緩解。 山姆．法蘭西斯基金會由藝術家遺孀及四名子女擔委員會 顧問成員，並聘請專家黛博拉．伯切特-勒爾（Debra BurchettLere）擔任基金會主席和董事，研究藝術家的生平並編輯全集 目錄，並提供獎學金和教育推廣。該基金會擁有部分法蘭西斯 畫作收藏，但不進行銷售，收藏家意識到，作品並沒有想像得 多，所有作品都出現在二級市場了，價格就開始上漲了。 藝術家在二級市場的成交情況，有超過55%的銷售都集中在 美國，然後才是英國、法國、瑞士。亞洲的市場占比不大，說 明亞洲收藏家對於法蘭西斯仍不太熟悉。在抽象藝術市場逐漸 受到全球市場關注時，我們應該可以嘗試去發現具有代表性， 卻仍被低估的國際藝術大師。值此藝術家逝世三十週年之際， 緬懷並尊敬他曾為藝術如此的努力。

山姆．法蘭西斯《紫色之顯現》1989年 壓克力 畫布 275 x 183 cm 巴黎蘇富比2019秋拍 編號34 成交價 USD 1,237,063 Sam Francis, Coming of the Violet, 1989, acrylic on canvas, 275 x 183 cm Sotheby's, Paris Autumn Auction 2019, lot 34, sold for USD 1,237,063 山姆．法蘭西斯《無題》1958年 水彩 紙本 裱於畫布 76.2 x 56.5 cm，紐 約古根漢美術館永久收藏 Sam Francis, Untitled, 1958, watercolor on paper, mounted on canvas, 76.2 x 56.5 cm, the Guggenheim's permanent collection Credit Line：Solomon R. Guggenheim Foundation Hannelore B. and Rudolph B. Schulhof Collection, bequest of Hannelore B. Schulhof, 2012 Copyright：© 2023 Sam Francis Foundation, California / Artists Rights Society (ARS), New York

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山姆．法蘭西斯在他的加州帕羅奧圖書室 Sam Francis at his Palo Alto studio. Photo courtesy: Gallery Delaive

| ART & INVESTMENT |

Sam Francis, Color in Space

Text / 陳惠黛 Odile Chen

Eye-catching Celebrity Collection Auction Paul Allen (1953-2018) epitomized versatility as an inventor, investor, archaeologist, philanthropist, and foremost, an ardent lover of art. In 1975, he co-founded Microsoft alongside his childhood confidant, Bill Gates (born in 1955), catalyzing the personal computing revolution of the 1970s and 1980s. Besides pioneering in technology, Paul Allen's ventures extended to owning professional football and basketball teams, and holding shares in DreamWorks Studios. His life was a tapestry of passions, spanning scientific exploration, archaeology, aviation, music, and the curation of exquisite art collections. Tragically, he succumbed to lymphoma in 2018 at the age of 65, leaving behind an estimated net worth of US$20.3 billion and securing the 44th position on Forbes' global billionaires list that year.

A common adage suggests that auctions are often fueled by the three Ds: Death, Divorce, and Debt. With no spouse or children, Paul Allen's remarkable art collection eventually found its way to the auction block. Four years posthumously, in 2022, Christie's in New York hosted a two-day auction exclusively dedicated to Paul Allen's collection, showcasing 155 iconic pieces. The event shattered records, achieving a staggering US$1.62 billion in total sales, marking the highest ever achieved in a single-owner auction. This auction marked a highly anticipated milestone, signaling the resurgence of art auctions post the COVID-19 pandemic.

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Among the treasures auctioned was a masterpiece portraying cascading waves of abstract hues. Crafted by American maestro Sam Francis (1923-1994), the painting titled "Composition in Black and Blue" (1955) drew inspiration from the interplay of light and color on the hospital ceiling during Francis's convalescence. It fetched a remarkable US$13,557,500 (approximately NT$432.5 million), setting a new benchmark for the artist's auction sales, far surpassing the estimated value of US$4-6 million. This cherished piece was once a part of Paul Allen's collection, acquired from the Gagosian Gallery in 2001 and held dear for over a decade.

山姆．法蘭西斯《無題》1984年 壓克力 畫布 106.2 x 137.2 cm 紐約佳士得2023春拍 編號155 成交價 USD 819,000 Sam Francis, Untitled, 1984, acrylic on canvas, 106.2 x 137.2 cm Christie's, New York Spring Auction 2023, lot 155, sold for USD 819,000 山姆．法蘭西斯《黃》1953年 油彩 畫布 194.3 x 158.2 cm 紐約佳士得2006秋拍 編號30 成交價 USD 4,048,000 Sam Francis, Yellow, 1953, oil on canvas, 194.3 x 158.2 cm Christie's, New York Autumn Auction 2006, lot 30, sold for USD 4,048,000

The success of Allen's collection auction has brought renewed attention to Sam Francis and his art. Previously, Francis's paintings were undervalued compared to those of his contemporaries in the American abstract art scene, such as Clyfford Still and Jackson Pollock, both of whose highest auction prices have exceeded US$60 million. This auction's achievement was an early celebration of a series of centennial events commemorating the artist. In 2023, marking Sam Francis's centenary, the Sam Francis Foundation collaborated with important galleries to commemorate the occasion through exhibitions, educational activities, special projects, articles, and archival explorations, evoking memories of the vibrant artist's life. In April 2023, the Los Angeles County Museum of Art (LACMA) held a three-month exhibition titled "Sam Francis and Japan: Emptiness Overflowing," showcasing over 60 works.

On September 16 of the same year, the Anderson Collection at Stanford University in California staged a solo exhibition titled "Sam Francis Centennial" to honor the artist's 100th birthday, extending till March 3, 2024.

As 2024 marks the thirtieth anniversary of Francis's passing, retrospection on his legacy becomes poignant. Sam Francis remains a beacon among 20th-century abstract expressionists, heralding a new era of American artistic prominence post-World War II. Representing the pinnacle of American abstract painting, Sam Francis made indelible contributions to Action Painting. His mastery lay in interpreting light and lines, underscored by a diverse array of influences ranging from New York Abstract Expressionism to color field painting, Eastern philosophies, and French Impressionism. Rooted in the Bay Area, his eclectic background enriched his artistic oeuvre, defining him as a luminary of his time.

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山姆．法蘭西斯《黑》1955年 油彩 畫布 189.2 x 161.2 cm 紐約佳士得2008春拍 編號21 成交價 USD 5,193,000 Sam Francis, Black, 1955, oil on canvas, 189.2 x 161.2 cm Christie's, New York Spring Auction 2008, lot 21, sold for USD 5,193,000

Award-winning writer Gabrielle Selz authored "Light on Fire: The Art and Life of Sam Francis" in 2021, offering the most comprehensive biography of the artist to date. Coincidentally, her father had also written a book about the artist in 1982, marking a serendipitous connection.

Selz's new book encapsulates the tumultuous life of the artist: Sam Francis was born in 1923 in San Mateo, California, and became renowned for his monumental, vividly colored abstract paintings. He endured severe spinal tuberculosis, spending three years immobilized in a fullbody cast, during which he diligently self-taught himself painting. Over his illustrious 50-year career, Francis produced over 10,000 artworks, held more than 100 solo exhibitions, and during the late 1950s to mid-1960s, commanded the highest prices among living painters. Widely regarded as the world's first truly international artist, Francis traversed three continents, married five times, and embarked on creative ventures worldwide. Beyond his prolific artistic endeavors, he founded a publishing company, printing press, holistic medical research center, reforestation program, and a wind energy company that remains operational today.

What a legendary life it was, inviting us to delve deeper into the overview of this remarkable artist's journey.

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Art Saved Francis The artist Sam Francis, born Samuel Lewis Francis, on June 25, 1923, in San Mateo, California, was situated in the western part of the Bay Area in San Francisco. His mother, Katherine Lewis Francis, a pianist and French teacher, and his father, Samuel Augustus Francis Sr., a mathematics professor, bestowed upon him his name as an amalgamation of his mother's maiden name and his father's first name, as a token of reverence and admiration.

Sam Francis was the eldest son, with a younger brother named George. Tragedy struck in 1935 when their mother passed away, sparking in young Sam an interest in music as a means of remembering her. The following year, a tragic accident occurred at school when he accidentally shot and killed his best friend.

This harrowing memory left an indelible scar on his life. Later, he formed a profound bond with his stepmother, Virginia Peterson Francis, somewhat mitigating the pain of his childhood loss.

In 1941, at the age of 18, Sam Francis enrolled at the University of California, Berkeley, to study pre-medical and psychology courses, graduating two years later. The United States entered World War II in 1941, and young Sam joined the United States Army Air Forces in 1943 to serve his country. Flying allowed him to marvel at the vast and boundless landscapes, which fascinated him.

However, a year later, he was involved in a crash during a training flight, sustaining severe injuries that led to spinal tuberculosis. He was encased in a full-body cast for three years, hospitalized for several more years. Sam Francis's plight attracted many celebrities, including David Park, a pivotal figure in the Bay Area Figurative Art movement, who visited him during his hospitalization, providing him with art supplies, books, and encouragement to pass the time through painting. Park even borrowed small paintings by Paul Klee, Juan Miró, and Picasso from collector friends, which adorned the hospital walls for a day. These masterpieces, along with Park himself, became Francis' sources of inspiration.

山姆．法蘭西斯《圍繞著藍色1957》1962–3年 油彩 壓克力 畫布 275.5 x 487.5 cm，倫敦泰德美術館收藏 Sam Francis, Around the Blues 1957, 1962–3, oil and acrylic on canvas, 275.5 x 487.5 cm, the Tate's collection Copyright：© Estate of Sam Francis/ ARS, NY & DACS, London 2024

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山姆．法蘭西斯《夏#1》1957年 油彩 畫布 242.6 x 182.9 cm 紐約蘇富比2016春拍 編號17 成交價 USD 11,842,000 Sam Francis, Summer #1, 1957, oil on canvas, 242.6 x 182.9 cm Sotheby's, New York Spring Auction 2016, lot 17, sold for USD 11,842,000

To alleviate the endless days of recovery, he turned to painting for solace, transforming his hospital ward into a studio. With his body immobilized in a plaster cast, suspended above his bed, he adopted a prone position, often captivated by the flowing light on the ceiling. During this time, he primarily worked with watercolors.

He later proclaimed, "Art saved my life."

He spent three years at the Veterans Administration Hospital in San Francisco, where he received formal art instruction for the first time. In 1947, he recuperated in the artist community of Carmel, where he began experimenting with abstract expressionist paintings. He returned to Berkeley in 1948 to major in art, quickly earning bachelor's and master's degrees.

Through studying the works of renowned artists such as Mark Rothko, Arshile Gorky, and Clyfford Still, Francis honed his mastery of color expression. He also befriended second-generation abstract expressionist female painters Joan Mitchell and Helen Frankenthaler, mutually influencing each other's artistic endeavors.

Wandering the World with Unrivaled Confidence

山姆．法蘭西斯《深藍、黃、紅》1956年 油彩 畫布 161.9 x 130.8 cm 紐約蘇富比2020春拍 編號111 成交價 USD 8,920,400 Sam Francis, Deep Blue, Yellow, Red, 1956, oil on canvas, 161.9 x 130.8 cm Sotheby's, New York Spring Auction 2020 , lot 111, sold for USD 8,920,400

In 1950, Francis bypassed New York and headed to Paris, where his arrival caused a stir on both sides of the Atlantic, showcasing his exceptional artistic talent. As a result, Francis was hailed as "the first International artist." During his sojourn in Paris, he gradually befriended artists from around the world, including Jean-Paul Riopelle from Canada, Pierre Alechinsky from Belgium, Karel Appel from the Netherlands, Walasse Ting from China, and Joan Mitchell from the United States, who was also studying in France at the time. They formed deep bonds of friendship.

Supported by a weekly allowance of US$75 from the U.S. veterans, Francis had the means to sustain himself in Paris after the war. He had the opportunity to study at Fernand Léger's studio, where he was exposed to the art of Pierre Bonnard and Henri Matisse, sparking his interest in the study of light and color. Furthermore, his meticulous study of Monet's water lilies, with their splendid and thoughtful style, also had a profound influence on Francis's painting, transforming his palette from shades of gray and white to a kaleidoscope of light and color. His paintings gained popularity in Paris, and his reputation reached back to the United States. In 1956, Time magazine hailed Francis as "the hottest American painter in Paris these days," indicating his prominence at the time.

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Francis loved to travel, spending time in Paris, the south of France, Tokyo, Mexico City, Bern, and New York. He constantly sought inspiration from beautiful landscapes for his creations.

Although he interacted eagerly with artists and writers from around the world, Francis never actually joined any art groups.

However, his artistic style had some connections with Art Informel.

A visit to Japan later in his life made him fall in love with Japanese art and culture forever. During the 1950s and 1960s, Japan experienced the "Art Informel storm," (anforumeru senpū) mainly due to the visits of three artists associated with Art Informel at the time: Michel Tapié, Georges Mathieu, and Sam Francis. A wave of enthusiasm for gestural abstraction swept through the Japanese art scene, resonating with the concurrent trend of the Gutai group.

During his time in France, Francis had a close relationship with Walasse Ting, and they influenced each other artistically. Although both men were passionate about traveling, when they couldn't meet in person, they communicated through letters. Ting once jokingly wrote on a postcard that Francis's sexual magnetism was aweinspiring. Both men loved women and enjoyed sexual adventures.

One was obsessed with erotica, likening himself to a womanizer, while the other was ambitious and infatuated with pursuing women, leading to many anecdotes. While Francis's paintings were in high demand in the market, Ting struggled to make ends meet in his early years. In 1964, Francis funded the publication of "1 Cent Life" by Ting, a collection of color lithographs by 68 artists, including Roy Lichtenstein, Alechinsky, Andy Warhol, and themselves, to support Ting's artistic career.

The Influence of Asian Art Through Ting's eloquent description, it can be seen that Francis must have been full of male charm, ambitious, and endlessly creative. He had five marriages and four children in his lifetime, with love coming and going quickly.

His first marriage was to his college classmate Vera Miller, lasting from 1947 to 1952; the secondwas with California artist Muriel Goodwin from 1955 to 1958. The third and fourth marriages were both to Japanese wives: Teruko Yokoi, a painter, from 1959 to 1962 (his first daughter, Kayo, was born in 1961); and video artist Maku Idemitsu, with whom he had two sons, Osamu and Shingo, from 1966 to 1985. These two marriages illustrate Francis's connection with Japan and his art was influenced by Japanese philosophy.

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Finally, at the age of 62, the artist celebrated his fifth marriage in Japan (1985-1994), also his last, and participated in a Shinto ritual wedding with British artist Margaret Smith, with whom he later had a child named Augustus, named after his grandfather's middle name.

In his five marriages, he married two Japanese wives, which indicates his fondness for Japan. Additionally, Francis himself was an explorer of Jungian analysis and Zen spirituality. He tapped into the energy of the mind and dreams, and also learned from the Japanese tradition of viewing painting as a meditative experience. The Japanese aesthetic of "ma," which involves contemplating blank space, deeply appreciates the concepts of silence, emptiness, and the suspension of time, creating a sense of harmony and balance.After the middle of his career, his works retained more blank space, imbued with more blank space, imbued

| ART & INVESTMENT | with more poetry and tranquility. He once explained the blank space in his paintings to the audience: "The space at the center of these paintings is reserved for you."

On the other hand, Francis was invited to create many large-scale mural works throughout his life. In 1956, he was commissioned to complete an abstract mural for the Kunsthalle Basel in Switzerland; during his trip to Japan in 1957, he was invited to paint murals for the Sogetsu School; in 1959, he rented a studio in New York and began a mural for Chase Manhattan Bank, leaving behind many immortal mural works in Europe, such as the entrance hall of the Royal Mint Theatre in Brussels. He established studios in many cities around the world, such as Bern, Paris, Tokyo, Mexico City, New York, and Northern and Southern California, needing visual inspiration from beautiful scenery. Besides art, he also pursued other interests and careers.

In addition to his painting creations, Francis was passionate about research, investment, and environmental protection throughout his life. In 1990, he once established the Sam Francis Art Museum. Although he suffered from physical illness many times in his early years, he redeemed himself through art. But throughout his life, he showed strong willpower and vitality. In 1987, he was diagnosed with prostate cancer. In his later years, he was tormented by illness. In the last year of his life, due to an accidental fall that left him unable to use his right hand, he resolutely painted nearly 150 small works with his left hand, just as he persevered in creating art while lying on a sickbed in his youth.

山姆．法蘭西斯和大衛．霍克尼 Sam Francis and David Hockney Los Angeles.

Photo courtesy: Gallery Delaive

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Art Collection and Market Analysis In 1994, Francis passed away at the age of 71. His several marriages and the vast assets and artworks worth US$79 million left behind by him tangled up in extremely complex and difficult-to-resolve issues, including estate lawsuits and disputes that took years to settle. Later, the records of the artist's estate were collected by the Research Institute of the J. Paul Getty Museum in Los Angeles, California. Later generations established the Sam Francis Foundation to collect and study his art materials, publishing the "Catalogue Raisonné of canvas and works on paper from the 1940s through the 1990s."

Sam Francis enjoyed a prolific creative career, which included participation in the 32nd Venice Biennale in 1964 and the third Documenta in Kassel, as well as exhibitions in leading galleries and museums worldwide. His artistic achievements have garnered widespread recognition and acclaim. Today, major international museums proudly display Francis's works, including the Amsterdam Municipal Museum, the Beyeler Foundation in Basel, the Baltimore Museum of Art, the Art Institute of Chicago, the Ludwig Museum in Cologne, the Dallas Museum of Art, the Hamburger Kunsthalle, the Menil Foundation in Houston, the Victoria and Albert Museum in London, the Los Angeles County Museum of Art, the Montreal Museum of Fine Arts, the Museum of Modern Art, the Guggenheim Museum in New York, the Pompidou Center in Paris, the Philadelphia Museum of Art, and the San Francisco Museum of Modern Art, among others.

In the art market, Francis's works have always attracted attention. After the artist's passing, the prices of his paintings gradually rose. The 1950s were the most popular period for Francis, but few works remain on the market.

According to his European gallery representative, "His prices are three to four times as expensive as for any other period in his career."

As mentioned earlier, the value of his art remains underestimated. California art dealers attribute this mainly to Francis's absence from the influential New York art scene, resulting in a lack of recognition. Hailing from the West Coast and frequently traveling abroad, Francis lacked the aura associated with New York, which might have altered his market trajectory. With limited liquid assets left behind, his heirs were compelled to release a substantial number of artworks onto the market to meet high estate taxes, causing a period of depressed prices until estate matters were settled and the Sam Francis Foundation was established in California.

山姆．法蘭西斯《法蘭德斯的天空》1986年，皇家鑄幣局劇院，布魯塞爾 Sam Francis, Center panel of Flemish Skies, 1986, in Grand Vestibule of Théâtre Royal de la Monnaie, Brussels.

Photo courtesy: Archives of La Monnaie/De Munt, Brussels and Galerie Jean Fournier, Paris.

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| ART & INVESTMENT |

Comprising the artist's widow and four children as advisory committee members, the Sam Francis Foundation is led by expert Debra Burchett-Lere, serving as president and executive director.

The foundation undertakes extensive research into the artist's life, curates the complete works catalog, and actively supports scholarships and educational initiatives. While the foundation holds a portion of Francis's artwork collection, it refrains from selling it. Collectors have recognized the scarcity of available works, as all pieces have surfaced on the secondary market, resulting in a surge in prices.

Sales of the artist's works on the secondary market show a clear concentration in the United States, accounting for over 55% of total sales turnover, followed by the United Kingdom, France, and Switzerland. However, the market share in Asia remains relatively small, suggesting that Asian collectors are still not extensively acquainted with Francis's work. As the abstract art market continues to garner global attention, there is an opportunity to identify internationally renowned artists who are emblematic yet underappreciated. As we mark the thirtieth anniversary of the artist's passing, we reflect on his unwavering commitment to art and the enduring legacy he has left behind.

山姆．法蘭西斯《灰》1954年 油彩 壓克力 畫布 302.3 x 192.4 cm，紐 約佳士得2009春拍 成交價 USD 3,666,500 Sam Francis, Grey, 1954, oil and acrylic on canvas, 302.3 x 192.4 cm Christie's, New York Spring Auction 2009, sold for USD 3,666,500

山姆．法蘭西斯《大橘色》1954-5年 油彩 壓克力 畫布 300.4 x 193 cm， 紐約佳士得2023春拍 成交價 USD 2,695,500 Sam Francis, Big Orange, 1954-5, oil and acrylic on canvas, 300.4 x 193 cm, Christie's, New York Spring Auction 2023, sold for USD 2,695,500

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山姆．法蘭西斯作品二十大拍賣成交排行 1

2

3

4

5

藍色與黑色的構圖 Composition in Blue and Black

夏#1 Summer #1

深藍、黃、紅 Deep Blue, Yellow, Red

紅色一號 Red No. 1

中藍色 Middle Blue

1957 Oil on canvas 242.6 x 182.9 cm

1956 Oil on canvas 161.9 x 130.8 cm

1953 Oil on canvas 162.6 x 114.3 cm

1957 Oil on canvas 182.9 x 243.8 cm

預估價 Estimate

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成交價 Sold at

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拍賣日期 Auction Date 紐約佳士得 Christie's, New York May 11, 2010

1955 Oil on canvas 195.6 x 130.2 cm

USD 4,000,000~ 6,000,000 USD 13,557,500

USD 11,842,000

USD 5,000,00~ 7,000,000 USD 8,920,400

USD 2,500,000~ 3,500,000 USD 6,780,000

USD 3,000,000~ 5,000,000 USD 6,354,500

拍賣日期 Auction Date 紐約佳士得 Christie's, New York November 9, 2022

拍賣日期 Auction Date 紐約蘇富比 Sotheby's, New York May 11, 2016

拍賣日期 Auction Date 紐約蘇富比 Sotheby's, New York June 29, 2020

拍賣日期 Auction Date 紐約佳士得 Christie's, New York November 10, 2022

6

7

8

9

10

黑 Black

紅色和粉色 Red and Pink

無題 Untitled

紅色一號 Red No. 1

黃 Yellow

1955 Oil on canvas 189.2 x 161.2 cm

1951 Oil on canvas 203.2 x 167.3 cm

1958 Oil on canvas 110.4 x 148.5 cm

1953 Oil on canvas 162.5 x 114.3 cm

1953 Oil on canvas 194.3 x 158.2 cm

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拍賣日期 Auction Date 紐約佳士得 Christie's, New York May 13, 2008

拍賣日期 Auction Date 紐約佳士得 Christie's, New York November 12, 2014

拍賣日期 Auction Date 紐約佳士得 Christie's, New York May 15, 2013

拍賣日期 Auction Date 紐約佳士得 Christie's, New York May 10, 2016

拍賣日期 Auction Date 紐約佳士得 Christie's, New York November 15, 2006

USD 4,000,000~ 6,000,000 USD 5,193,000

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USD 8,000,000~ 12,000,000

USD 3,000,000~ 5,000,000 USD 4,869,000

USD 2,000,000~ 3,000,000 USD 4,603,750

USD 2,000,000~ 3,000,000 USD 4,421,000

USD 1,500,000~ 2,000,000 USD 4,048,000

| ART & INVESTMENT |

TOP

TOP 20 MOST EXPENSIVE ARTWORKS OF SAM FRANCIS EVER SOLD AT AUCTION

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製表 ∕ 陳子萱Jenny Chen (Update 2024.01.02; Source: Artprice.com, Sotheby's, Christie's, MutualArt, Artsy)

11

12

13

13

15

紫、黃、白 Violet, Yellow and White

為什麼還要打開 II Why Then Opened II

灰 Grey

礁 Reefs

紅色和粉色 Red and Pink

1958 Oil on canvas 146.1 x 96.5 cm

1962-1963 Oil and acrylic on canvas 246 x 182.8 cm

1954 Oil on canvas 302.3 x 192.4 cm

1955 Oil on canvas 96.5 x 130.2 cm

1951 Oil on canvas 203.2 x 167.3 cm

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USD 1,800,000~ 2,500,000

USD 3,000,000~ 4,000,000

成交價 Sold at

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拍賣日期 Auction Date 紐約佳士得 Christie's, New York November 14, 2012

拍賣日期 Auction Date 紐約佳士得 Christie's, New York May 17, 2017

拍賣日期 Auction Date 紐約佳士得 Christie's, New York May 13, 2009

拍賣日期 Auction Date 紐約佳士得 Christie's, New York May 11, 2011

拍賣日期 Auction Date 紐約蘇富比 Sotheby's, New York November 14, 2007

16

17

18

19

20

東京 Tokyo

趨向衰退 I Towards Disappearance I

飽和的藍（一號） Saturated Blue (No. 1)

藍色的構圖 Blue Composition

大橘色 Big Orange

1957 Oil on canvas 193 x 396.2 cm

1958 Oil on canvas 274.5 x 321 cm

1953 Oil on canvas 195 x 114 cm

c.1952 Oil on canvas 97.2 x 130.2 cm

1954-1955 Oil on canvas 300.4 x 193 cm

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拍賣日期 Auction Date 紐約佳士得 Christie's, New York November 8, 2011

拍賣日期 Auction Date 紐約蘇富比 Sotheby's, New York November 17, 1999

拍賣日期 Auction Date 紐約佳士得 Christie's, New York November 15, 2018

拍賣日期 Auction Date 紐約佳士得 Christie's, New York October 6, 2020

拍賣日期 Auction Date 紐約佳士得 Christie's, New York May 14, 2003

USD 2,500,000~ 3,500,000 USD 4,002,500

USD 2,500,000~ 3,500,000 USD 3,442,500

USD 3,000,000~ 5,000,000 USD 3,831,500

USD 1,500,000~ 2,000,000 USD 3,412,500

USD 2,000,000~ 3,000,000 USD 3,666,500

USD 3,000,000~ 5,000,000 USD 3,252,500

USD 3,666,500

USD 2,000,000~ 3,000,000 USD 3,150,000

USD 3,513,000

USD 2,000,000~ 3,000,000 USD 2,695,500

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