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Triptych 1991 (right panel) - Signed Print by Francis Bacon 1992 - MyArtBroker

Triptych 1991 (right panel)
Signed Print

Francis Bacon

£5,500-£8,500Value
Indicator

$10,500-$16,000 Value Indicator

$9,500-$14,500 Value Indicator

¥50,000-¥80,000 Value Indicator

6,500-9,500 Value Indicator

$50,000-$80,000 Value Indicator

¥1,030,000-¥1,600,000 Value Indicator

$7,000-$10,500 Value Indicator

This estimate blends recent public auction records with our own private sale data and network demand.

There aren’t enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.

Aquatint, 1992
Signed Print Edition of 84
H 134cm x W 98cm

Jasper Tordoff
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Auction Results

Auction DateAuction HouseArtwork
Hammer Price
Return to Seller
Buyer Paid
October 2022Cornette de Saint Cyr Paris - FranceTriptych 1991 (right panel) - Signed Print
September 2022Phillips London - United KingdomTriptych 1991 (right panel) - Signed Print
December 2021Tate Ward Auctions - United KingdomTriptych 1991 (right panel) - Signed Print
October 2017Phillips New York - United StatesTriptych 1991 (right panel) - Signed Print
February 2004Christie's New York - United StatesTriptych 1991 (right panel) - Signed Print

Meaning & Analysis

In this portion of the triptych, placed above the lower half of a muscular body and seemingly nailed to this right canvas is a close-up headshot of Bacon’s face. The small black and white portrait glares out to the viewer. The figure is confronting with its deformed composition and deadpan face. Autobiographical in its macabre self-portraiture, this 84 edition print expresses the artist’s personal demons as bodily anxiety and claustrophobia are evoked in this signed work.

Using muted colours, Bacon draws attention to the black rectangular void from which the figure emerges from. The layering of contrasting rectangles draws the viewer's eyes towards the self-portrait and creates a pleasing geometric background for the fleshy legs to exist within. The block-coloured background emphasises the red hues that define the contours of the muscular body.

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