After Second Version Of The Triptych 1944 (centre panel)
After Second Version Of The Triptych 1944 (centre panel)
Signed Print
Francis Bacon
£7,000-£10,500Value
Indicator
$13,500-$20,000 Value Indicator
$12,000-$18,000 Value Indicator
¥60,000-¥100,000 Value Indicator
€8,000-€12,500 Value Indicator
$70,000-$110,000 Value Indicator
¥1,320,000-¥1,980,000 Value Indicator
$9,000-$13,500 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: Lithograph
Edition size: 60
Year: 1988
Size: H 62cm x W 46cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| December 2021 | Bonhams New Bond Street - United Kingdom | After Second Version Of The Triptych 1944 (centre panel) - Signed Print | |||
| December 2013 | Phillips London - United Kingdom | After Second Version Of The Triptych 1944 (centre panel) - Signed Print | |||
| November 2007 | Bonhams San Francisco - United States | After Second Version Of The Triptych 1944 (centre panel) - Signed Print |
Meaning & Analysis
Created in 1988, this lithograph is the centre panel of a triptych by Francis Bacon named After Second Version Of The Triptych 1944. The triptych is a second version of an original triptych from 1944. With each panel at 78 x 58 inches (198 x 147 cm), the reworking is more than twice the size of the original. Furthermore, the background on which the smaller creatures are against consists of violent blood red hues instead of the shocking burnt orange of the original.
This central panel is part of an edition size of 60. After Second Version of the Triptych 1944 diverges from the right and left in its background where a central blood red strip is framed by two pale yellow panels on either side. The anthropomorphic creature is upon an almost ornate wooden pedestal. It’s bulbus body appears to be facing the back and its long neck is turned back towards the viewer grinning to reveal human teeth. The spindly legs of the creature emulate the wood of the pedestal as they extend out towards the viewer. The fragility of the legs creates a sense of unease as the creatures bulging body balances precariously on its legs framed by the blood red runway.
The sinister atmosphere created in this triptych reflects that of the original 1944 work. Despite the different composition of the panels and the variety of this central panel, the affect remains harrowing if with an increased elegance in the certain familiar unfamiliarity of these creatures and the stark space that they inhabit.
