FRANCIS BACON | TRIPTYCH INSPIRED BY THE ORESTEIA OF AESCHYLUS
FRANCIS BACON | TRIPTYCH INSPIRED BY THE ORESTEIA OF AESCHYLUS
Lot Closed
FRANCIS BACON | TRIPTYCH INSPIRED BY THE ORESTEIA OF AESCHYLUS
FRANCIS BACON | TRIPTYCH INSPIRED BY THE ORESTEIA OF AESCHYLUS
FRANCIS BACON | TRIPTYCH INSPIRED BY THE ORESTEIA OF AESCHYLUS
FRANCIS BACON | TRIPTYCH INSPIRED BY THE ORESTEIA OF AESCHYLUS
FRANCIS BACON | TRIPTYCH INSPIRED BY THE ORESTEIA OF AESCHYLUS
FRANCIS BACON | TRIPTYCH INSPIRED BY THE ORESTEIA OF AESCHYLUS
FRANCIS BACON | TRIPTYCH INSPIRED BY THE ORESTEIA OF AESCHYLUS
FRANCIS BACON | TRIPTYCH INSPIRED BY THE ORESTEIA OF AESCHYLUS
FRANCIS BACON | TRIPTYCH INSPIRED BY THE ORESTEIA OF AESCHYLUS
105

FRANCIS BACON | TRIPTYCH INSPIRED BY THE ORESTEIA OF AESCHYLUS

Estimate: 60,000,000 - 80,000,000 USD

FRANCIS BACON | TRIPTYCH INSPIRED BY THE ORESTEIA OF AESCHYLUS

Estimate: 60,000,000 - 80,000,000 USD
Lot sold:84,550,000USD

Description

FRANCIS BACON

1909 - 1992

TRIPTYCH INSPIRED BY THE ORESTEIA OF AESCHYLUS


signed, titled, dated 1981 and variously inscribed on the reverse of each panel

oil on canvas, in three parts

each: 78 by 56 in. 198 by 147.5 cm.

Condition report

To request a condition report for this lot, please contact Kelsey.Leonard@sothebys.com.

Provenance

Marlborough International Fine Art, Vaduz

Acquired by Hans Rasmus Astrup from the above in 1987

Literature

Michel Leiris, Francis Bacon: Full Face and in Profile, New York 1983, pp. 42, 46 (text), and pp.124-26, no. 134, illustrated in color (titled Triptych)

Grey Gowrie, “Francis Bacon: Artist of Endgame,” The Sunday Times Magazine, 19 May 1985, p. 49, illustrated

Hugh Davies and Sally Yard, Francis Bacon, New York 1986, p. 99 (text), and pp. 100-101, no. 97, illustrated in color

David Sylvester, The Brutality of Fact: Interviews with Francis Bacon, New York 1987, p. 123, illustrated (center panel), and p. 182, no. 138, illustrated

Art International, Volumes 1-3, Paris 1987, p. 94 (text)

Exh. Cat., London, Royal Academy of Arts, British Art in the 20th Century: The Modern Movement, 1987, p. 76 (text)

Michel Leiris, Francis Bacon, New York 1988, pp. 108-109, no. 130, illustrated in color

Ernst van Alphen, Francis Bacon and the Loss of Self, London 1992, p. 148 (text)

Andrew Sinclair, Francis Bacon: His Life and Violent Times, London 1993, p. 254 (text)

Exh. Cat., Lugano, Museo d'arte moderna, Francis Bacon, 1993, p. 110 (text)

Tim Hilton, “The Matter of Life and Death,” The Independent on Sunday, 20 June 1993, pp. 24-5, illustrated

John Russell, Francis Bacon, London 1993, pp. 160-161, no. 85, illustrated

Daniel Farson, The Gilded Gutter Life of Francis Bacon, London 1994, p. 128 (text)

Wieland Schmied, tr. John Ormrod, Francis Bacon: Commitment and Conflict, Munich 1996, p. 90 (text)

Christophe Domino, Francis Bacon ‘Taking Reality by Surprise’, London 1997, p. 104, illustrated in color

James Luther Adams and Wilson Yates, Eds., The Grotesque in Art and Literature: Theological Reflections, Grand Rapids, Michigan 1997, p. 144 (text)

Christophe Domino, Discoveries: Francis Bacon, London 1997, no. 104, illustrated in color

John G. Hatch, “Fatum as Theme and Method in the Work of Francis Bacon,” Artibus et Historiae, Vol. 19, No. 37, 1998, pp. 170 and 172, no. 7, illustrated in color

Exh. Cat., Dublin, Hugh Lane Municipal Gallery of Modern Art, Francis Bacon in Dublin, 2000, p. 20 (text)

David Sylvester, Looking Back at Francis Bacon, London 2000, pp. 158, 211-12 (text), and no. 130, illustrated in color

Hans Jakob Brun, Collection: Astrup Fearnley Museum of Modern Art, Oslo, 2000, p. 22, illustrated in color

Exh. Cat., Dublin, Hugh Lane Municipal Gallery of Modern Art, Francis Bacon’s Studio at the Hugh Lane, 2001, pp. 29 and 52 (text)

Aeschylus, tr. Christopher Collard, Oresteia, Oxford 2002, pp. lx (text)

Luigi Ficacci, Bacon, Cologne 2003, pp. 16-17, illustrated in color, p. 94 (text)

Martin Harrison, In Camera: Francis Bacon, London 2005, p. 225, no. 249, illustrated in color (left-hand panel)

Margarita Cappock, Francis Bacon’s Studio, London 2005, pp. 169, 197, 201 (text), and p. 141, no. 254, illustrated in color

Exh. Cat., Paris, Musée Picasso, Bacon-Picasso: The Life of Images, 2005, p. 164 (text)

Exh. Cat., Norwich, Sainsbury Centre for Visual Arts (and travelling) Francis Bacon in the 1950s, 2006, pp. 173-74 (text)

Wieland Schmied, Francis Bacon: Commitment and Conflict, Munich 2006, p. 90 (text)

Hafnia: Copenhagen Papers in the History of Art, Issue 11, 2007, no. 13, illustrated (central panel only)

Michael Peppiatt, Francis Bacon: Studies for a Portrait, London 2008, pp. 112, 264-65 (text)

Michael Peppiatt, Francis Bacon: Anatomy of an Enigma, London 2008, p. 334 (text)

Martin Harrison, Ed., Francis Bacon - New Studies: Centenary Essays, Göttingen 2009, p. 223, no. 159, illustrated in color

Sam Hunter, Francis Bacon, Barcelona 2009, p. 59, illustrated, and pp. 86-87 (text)

Katharina Günther, Francis Bacon: Metamorphoses, London 2011, p. 12, illustrated in color (left panel), and p. 13, illustrated in color (detail)

Rina Arya, Francis Bacon: Critical and Theoretical Perspectives, New York 2012, p. 157 (text)

Rina Arya, Francis Bacon: Painting in a Godless World, Farnham 2012, pp. 56, 161 (text)

Martin Hammer, Francis Bacon, London 2013, pp. 126, 128 (text), and pp. 129-131, illustrated in color

Jonathan Littell, Triptych: Three Studies after Francis Bacon, London 2013, pp. 53-54 (text)

Sune Nordgren, “The New Museum Astrup Fearnley in Oslo,” The Tretyakov Gallery Magazine , 28 May 2013, p. 78, illustrated in color

David Salle, How to See: Looking, Talking, and Thinking About Art, New York and London 2016

Martin Harrison, Ed., Francis Bacon Catalogue Raisonné, Vol IV 1971-92, London 2016, pp. 1221-1223, no. 81-03, illustrated in color, and p. 1224, illustrated in color (center panel)

Martin Harrison, Francis Bacon: La France et Monaco, Paris 2016, pp. 146, 180 (text), and p. 181, no. 38, illustrated in color (center panel)

Martin Harrison, Bacon and the Mind: Art, Neuroscience and Psychology, Francis Bacon Studies, London 2019, p. 54, no. 36, illustrated in color (center panel), and p. 125, no. 83, illustrated in color (left panel)

Exhibited

New York, Marlborough Gallery Inc., Britain Salutes New York: Paintings and Sculpture by Contemporary British Artists, April – May 1983, no. 4

Paris, Galerie Maeght-Lelong, Francis Bacon: Peintures Récentes, January - February 1984, pp. 11-13, no. 7

New York, Marlborough Gallery Inc., Francis Bacon: Recent Paintings, May – June 1984, pp. 23-25, no. 9, illustrated in color

London, Tate Gallery, The Hard-Won Image: Traditional Method and Subject in Recent British Art, July – September 1984, no. 18

London, Tate Gallery; Stuttgart, Staatsgalerie; and Berlin, Nationalgalerie, Francis Bacon, October 1985 – March 1986, p. 17, illustrated, pp. 20-21 (text), and pp. 208-9, no. 110, illustrated in color

New York, Marlborough Gallery Inc., Francis Bacon. Paintings of the Eighties, May – July 1987, pp. 18-19, no. 2, illustrated in color

Moscow, Central House of the Union of Artists, Tretyakov Gallery, Francis Bacon Paintings, September – November 1988, no. 15, illustrated in color

Washington D.C., Hirshhorn Museum and Sculpture Garden; Los Angeles County Museum of Art; and New York, The Museum of Modern Art, Francis Bacon, October 1989 – August 1990, pp. 24, 33, 180 (text), and n.p., no. 49, illustrated in color

Venice, Museo Correr. Francis Bacon: Figurabile, June – October 1993, pp. 84-86, no. 26

Oslo, Astrup Fearnley Museet, Double Reality: The School of London, April – October 1994, no. 18

Edinburgh, Scottish National Gallery of Modern Art; Luxembourg, Musée National d’Histoire et d’Art; and Lausanne, Musée Cantonal des Beaux Arts, From London: Bacon, Freud, Kossoff, Andrews, Auerbach, Kitaj, July 1995 – January 1996, no. 6

Paris, Centre national d’art et de culture Georges Pompidou; and Munich, Haus der Kunst, November 1996 – January 1997, Francis Bacon, p. 200, no. 74, illustrated in color, and p. 238, illustrated (reproduction installed in the artist’s studio)

Humlebæk, Louisiana Museum of Modern Art, Francis Bacon, January – April 1998, no. 32

New Haven, Yale Center for British Art; The Minneapolis Institute of Arts; The Fine Arts Museum of San Francisco; and Modern Art Museum of Fort Worth, Francis Bacon: A Retrospective, January – October 1999, pp. 187-189, no. 61, illustrated in color

The Hague, Gemeentemuseum Den Haag, Francis Bacon, January – May 2001, pp. 126-127, illustrated in color

Wolfsburg, Kunstmuseum; and Toulouse, Les Abattoirs, Blast to Freeze: British Art in the 20th Century, September 2002 – May 2003

Valencia, Institut Valenciá d’Art Modern; and Paris, Fondation Dina Vierny-Musée Maillol, Francis Bacon, Lo Sagrado y lo Profano, December 2003 – June 2004, p. 102, illustrated in color

Düsseldorf, K20 Kunstsammlung Nordrhein-Westfalen, Francis Bacon. The Violence of the Real, September 2006 – January 2007, pp. 182-183, no. 64, illustrated in color

London, Tate Britain; Madrid, Museo Nacional del Prado; and New York, The Metropolitan Museum of Art, Francis Bacon, September 2008 – January 2009, p. 161, illustrated (reproduction installed in the artist’s studio), pp. 216, 234, 281 (text), and pp. 228-229, illustrated in color

Rome, Galleria Borghese, Caravaggio. Bacon, October 2009 – January 2010, pp. 40, 75-6, 104 (text) and pp. 212-13, illustrated in color (center panel only)

Oslo, Astrup Fearnley Museet; and Gothenburg, Göteborgs Konstmuseum, Surrounding Bacon and Warhol, May 2011 – August 2012

New York, Gagosian Gallery, Francis Bacon: Late Paintings, November – December 2015, pp. 64-66, illustrated in color

Basel, Fondation Beyeler, Bacon – Giacometti, April – September 2018, pp. 165-67, illustrated in color

Paris, Centre national d’art et de culture Georges Pompidou, Bacon en toutes lettres, September 2019 – January 2020, pp. 84-86, illustrated in color