FRANCIS BACON | TRIPTYCH INSPIRED BY THE ORESTEIA OF AESCHYLUS

Marlborough International Fine Art, Vaduz

Acquired by Hans Rasmus Astrup from the above in 1987

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 20^th 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)