Prints & Multiples

Francis Bacon 1909 - 1992 Portrait of John Edwards (not in S.) with the stamped signature (as issued), numbered 43/50 (slightly rubbed) lithograph printed in colours on wove paper image: 735 by 545 mm. 29 by 21½ in. sheet (visible): 800 by 595 mm. 31½ by 23⅜ in. Executed in 2002, this impression is number 43 from the posthumous edition of 50 published by the artist's estate, with their inkstamp verso.

View 1 of Lot 95: Portrait of John Edwards (not in S.)

portrait of john edwards (not in s.)

Triptych August 1972, by <a href="https://www.sothebys.com/en/search?query=Francis+Bacon&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Francis Bacon</a>, 1989.<ul><li>Sold as a set of 3.</li><li>Francis Bacon (Irish-British, 1909-1992).</li><li>Published by Galerie Lelong, Paris.</li><li>Complete triptych of lithographs in colors on Arches Wove papers.</li><li>Part of an edition of 180.</li><li>Hand signed and numbered.</li><li>Each work is presented unframed.</li></ul> This complete set of three lithographs in colors, comprising the triptych, are each hand signed in pencil by the artist, Francis Bacon, at the lower right margins. Each sheet is also hand numbered in pencil from the edition of 180, at the lower left margin. It was published by Galerie Lelong, Paris, in a limited edition of 180 hand signed and numbered impressions based on Bacon's painting Triptych August 1972. This work is generally considered one in a series of ‘Black Triptychs’ which followed the suicide of Bacon’s lover, George Dyer. Dyer appears on the left and Bacon is on the right. The central group (as depicted in this panel) is derived from a photograph of wrestlers by Edward Muybridge, but also suggests a more sexual encounter. The seated figures and their coupling are set against black voids and the central flurry has been seen as ‘a life-and-death struggle’. The artist’s biographer wrote: ‘What death has not already consumed seeps incontinently out of the figures as their shadows.’ Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated at time of purchase.

Triptych August 1972, 1989

Finely bound and illustrated copy of Bacon's essays&nbsp;with all 58 essays as originally published.<ul><li>Francis Bacon (English).</li><li>Illustrated binding by Cedric Chivers (English).</li><li>London: Arthur L. Humphreys, 1900.</li><li>272 pages.</li><li>Signed binding by Cedric Chivers.</li><li>Bound in brown French Levant crushed morocco with decorative endpapers, deckled edges and hand-painted watercolors on transparent vellum over gilt tooling.</li></ul> Around 1903, Cedric Chivers of Bath, England developed a remarkable method of decoration for the binding of books, the transparent vellum or “Vellucent” method. The process involved an artist painting on a super-thin surface medium, and a sheet of vellum, shaved to translucent thinness, was laid over it, with the now indivisible pieces bound over boards. For the first time in the history of the bibliopegistic art, the actual work of the artist, undiluted by a translation through the hands of a binding technician, was involved in the decoration of the book. Using the “vellucent” method, it was also possible to incorporate further embellishments such as mother-of-pearl and iridescent shell, and the like, all of which may be covered and permanently protected by the vellum. As&nbsp;The Graphic Arts and Crafts Year Book&nbsp;for 1908 wrote, “It is difficult indeed not to become enthusiastic over the idea of the gorgeous aspect of a wealthy booklover’s library of “Vellucent”-bound books, which may become at the same time a cabinet of works of art, each one of his choice and rare volumes bearing an unique specimen of the book decorator’s skill, and embellished with the most varied and brilliant effects.”

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