Triptych 1991 (right panel)
Triptych 1991 (right panel)
Signed Print
Francis Bacon
£6,000-£9,000
$11,500-$17,000 Value Indicator
$10,500-$16,000 Value Indicator
¥60,000-¥80,000 Value Indicator
€7,000-€10,500 Value Indicator
$60,000-$90,000 Value Indicator
¥1,220,000-¥1,830,000 Value Indicator
$8,000-$11,500 Value Indicator
AAGR (5 years) 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.
Medium: Aquatint
Edition size: 84
Year: 1992
Size: H 134cm x W 98cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2022 | Cornette de Saint Cyr Paris - France | Triptych 1991 (right panel) - Signed Print | |||
| September 2022 | Phillips London - United Kingdom | Triptych 1991 (right panel) - Signed Print | |||
| December 2021 | Tate Ward Auctions - United Kingdom | Triptych 1991 (right panel) - Signed Print | |||
| October 2017 | Phillips New York - United States | Triptych 1991 (right panel) - Signed Print | |||
| February 2004 | Christie's New York - United States | Triptych 1991 (right panel) - Signed Print |
Meaning & Analysis
Triptych 1991 (right panel) is an aquatint print by Francis Bacon released in an edition size of 84. Created in 1992, the work was made at the end of the artist’s career. This was part of Bacon’s final triptych. Across the three panels, composite figures facing towards the central panel, step in and out of window-like spaces. The limbs emerge from black niches out towards the light beige space of the viewer.
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.
