FRANCIS BACON (1909-1992)

Lot 12
09.11.2023 18:30UTC -05:00
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$ 52 160 000
AuctioneerCHRISTIE'S
Event locationUSA, New York
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ID 1064405
Lot 12 | FRANCIS BACON (1909-1992)
FRANCIS BACON (1909-1992)

Figure in Movement

signed and dated 'Francis Bacon 1976' (on the reverse)

oil and dye transfer lettering on canvas

78 ¼ x 58 in. (198.9 x 147.3 cm.)

Executed in 1976.





Provenance

Galerie Claude Bernard, Paris

Galerie Alice Pauli, Lausanne

Acquired from the above by the present owner, 1977



Literature

M. Leiris, Francis Bacon: Full Face and In Profile, Oxford, 1983, n.p., no. 105 (illustrated).

J. Russell, Francis Bacon, London, 1985, p. 176, no. 103 (illustrated).

M. Frizot, "La photographie, hors-champ de la peinture," Artstudio, Summer 1990, no. 17, p. 107 (illustrated).

E. van Alphen, Francis Bacon and the Loss of Self, London, 1992, pp. 148 and 150, no. 90 (illustrated).

A. Sinclair, Francis Bacon: His Life and Violent Times, New York, 1993, p. 252.

J. M. Faerna, ed., Bacon, New York, 1995, pp. 34-35, no. 32 (illustrated).

W. Schmied, Francis Bacon: Commitment and Conflict, Munich, 1996, p. 113, no. 29 (illustrated).

C. Domino, Francis Bacon ‘Taking Reality by Surprise,’ London, 1997, pp. 88-89 (illustrated).

J.-C. Delpierre, ed., “Francis Bacon,” Beaux Arts Magazine, Paris, 1997, pp. 32-33, no. 23 (illustrated).

D. Sylvester, Looking Back at Francis Bacon, London, 2000, pp. 152 and 155-156, no. 118 (illustrated).

Francis Bacon in Dublin, exh. cat., Dublin, Hugh Lane Municipal Gallery of Modern Art, 2000, pp. 109 and 117, no. 42 (illustrated).

L. Ficacci, Bacon: 1909-1992, Cologne, 2003, p. 9 (illustrated on the front cover).

M. Cappock, Francis Bacon’s Studio, London, 2005, pp. 103, 105 and 212, fig. 179 (illustrated).

Bacon, exh. cat., Milan, Palazzo Reale, 2008, pp. 64 and 66-67, fig. 11 (illustrated).

S. Hunter, Francis Bacon, Barcelona, 2009, p. 44 (illustrated).

B. Dawson, “Food for Thought,” Apollo, March 2013, p. 124, fig. 12 (illustrated).

J. Littell, Triptych: Three Studies After Francis Bacon, London, 2013, pp. 107-108.

Francis Bacon and the Masters, exh. cat., St. Petersburg, State Hermitage Museum, 2014-2015, p. 36.

M. Harrison, ed., Francis Bacon: Catalogue Raisonné, London, 2016, vol. I, pp. 14-15 (illustrated).

R. Daniels and M. Harrison, eds., Francis Bacon: Catalogue Raisonné, 1971-1992, London, 2016, vol. IV, pp. 1090-1091, no. 76-02 (illustrated).

D. Sylvester, Interviews with Francis Bacon, London, 2016, p. 175, no. 115 (illustrated).

G. Manfieri, "La violenza del reale. Bacon e Giacometti vis-à-vis a Basilea. Le immagini," ArtsLife, 17 July 2018, digital (illustrated).

Y. Peyré, Francis Bacon or The Measures of Excess, London, 2019, pp. 232 and 239 (illustrated).

M. Stevens and A. Swan, Francis Bacon: Revelations, London, 2021, p. 616.

J. Birch and M. Hodges, Bacon in Moscow, London, 2022, pp. 182-183 (illustrated).



Exhibited

Marseille, Musée Cantini, Francis Bacon œuvres récentes, July-September 1976, n.p., no. 16 (illustrated).

London, Tate Gallery; Stuttgart, Staatsgalerie and Berlin, Nationalgalerie, Francis Bacon, May 1985-March 1986, p. 237, no. 96 (illustrated).

Aix-en-Provence, Cloître Saint-Louis, Présence contemporaine, images du corps: exposition réalisée d’après l’ouvrage de Marc Le Bot, July-August 1986, p. 21 (illustrated).

Marseille, Centre de la Vieille Charité, Peinture, Cinéma, Peinture, October 1989-January 1990, p. 112 (illustrated).

Venice, Museo Correr, XXXXV Biennale Internazionale dell’Arte, Francis Bacon: Figurabile, June-October 1993, pp. 72, 76, 82 and 128, no. 24 (illustrated on p. 76 and the front cover).

Paris, Centre national d’art et de culture Georges Pompidou and Munich, Haus der Kunst, Francis Bacon, June 1996-January 1997, pp. 29 and 202-203, no. 70 (illustrated).

Lausanne, Fondation de l'Hermitage, Shared Passions: From Cézanne to Rothko, June-October 2009, pp. 138-139, no. 1 (illustrated).

Basel, Fondation Beyeler, Bacon-Giacometti, April-September 2018, pp. 124, 125, 145 and 197 (illustrated).



Further Details

We would like to thank Rebecca Daniels for the information she has kindly provided on this work.
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