Pan American Art

274 NE 67th Street
Florida 33138 Miami
United States
Phone : +1 305 751 2550
Mobile Ph. : 786 201 1099
Email :

Claudia Taboada   ()
Robert Borlenghi   ()
Janda Wetherington   ()
Elisa Lopez   ()


Pan American Art Projects specializes in art of the Americas with the mission to build a bridge between North and South American cultures by presenting and exhibiting artists from both regions concurrently. We deal with emerging to established artists, as well as secondary market paintings, sculpture, and works on paper.

In 1990, we started as Galerie Malraux in Los Angeles, California. The gallery focused mainly on Caribbean art, in specific, the art of Haiti and Jamaica. In 1994, the gallery moved to Dallas, Texas where both the focus and the name changed. This transition marks the beginning of Pan American Art Gallery, a dealer of Haitian, Jamaican and important Cuban works of the early Modernist period. The gallery opened a 4,500 square-foot commercial space in early 2003 in the upscale Turtle Creek area of Dallas. Since that time the gallery has expanded its reach into North America and works carefully to promote quality contemporary artists of distinction from the Western Hemisphere. In 2006, we have modified our name to reflect our expansion and evolution into a dynamic contemporary art venture. In December 2006, we opened a 4,500 square foot space in Miami, which features two exhibition rooms, a video box, sculpture garden, and an apartment with a studio for visiting artists.
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Claes Oldenberg Miniature Soft Drum Set (Axsom & Platzker 61), 1969
Signed in black marker and numbered 100/200 (there were also 26 artist proofs), with inkstamp on the underside of the base of the artist and publisher.

Three-dimensional screen print and sprayed enamel on canvas, clothesline multiple with accompanying screen printed wove paper-covered wood base and illustrated sheet (as issued)

9 3/4 x 19 x 13 3/4 in
(24.8 x 48/3 x 34.9 cm)

Ed. 100 of 200

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Robert Rauschenberg Romances (Pomegranate), 1977
Signed, numbered, and dated in pencil along lower edge, with publisher's stamp. Published by Gemini G.E.L.
Edition 8 of 37 plus 12 AP
Lithograph in colors HMP Koller handmade paper
41 3/4 x 31 1/2 in
106 x 80 cm

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Sam Francis Untitled (SF-363), 1994

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About the Artist

Screenprint and spray-paint on canvas in colors, rope and wood
Ed. 100 of 200

from 'Romances'
Published by Gemini G.E.L.
Edition 8 of 37 plus 12 AP
Lithograph in colors HMP Koller handmade paper

Lithograph in color on circular wove paper
Diameter 23 1/4 in (59.1 cm)
Edition of 50 plus 9 AP
Signed in pencil and annotated 'AP'

More info

Sam Francis (1923 - 1994) occupies a prominent position in post-war American painting. Although associated with the Abstract Expressionist movement and Clement Greenberg's Post-Painterly Abstraction, unlike many American painters of the time he had direct and prolonged exposure to French painting and to Japanese art which had an individual impact on his work.

On leaving the U.S. Army Air Corps in 1944 owing to illness Francis took up painting as a hobby. He decided to make this a serious undertaking studying under David Park in 1947 and completed his BA and MA at the University of California. He was greatly influenced by Abstract Expressionism, particularly the works of Clyfford Still and Jackson Pollock. In his use of space on the canvas to allow free circulation of strong color and the sensitivity to light, Francis developed his own style by the time his studies had ended.

Francis moved to Paris in 1950 where he met Jean-Paul Riopelle who was to remain an important influence, and study of Monet's Waterlilies had a profound impact on his work. From a very muted palette of grays and whites he returned to the qualities of light and color producing such works as Big Red 1953. He continues to develop the use of white space and increased the dimensions of his paintings for greater emphasis. During his period in Europe he executed a number of monumental mural paintings.

Francis returned to California in 1962 and was then influenced by the West Coast School's preoccupation with mysticism and Eastern philosophy. Blue had become a more dominant feature of his work since 1959 inspired by personal suffering and the great joy of becoming a father for the first time in 1961. This led to combinations of hard color and more disciplined structures with centrally placed rectangles during the 1970s. Eventually these more rigid structures gave way to looser configurations sometimes of snake-like forms with web-like patterns. Blue, sometimes brilliant, remained an important part of many later works.