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Property from a Private London Collection

90

Francis Bacon

Portrait of Michel Leiris, from Miroir de la tauromachie (Mirror of the Bullfight) (S. 30, see T. 37)

1990
Lithograph in colours, on Arches paper, the folded sheet trimmed.
I. 25 x 21 cm (9 7/8 x 8 1/4 in.)
S. 48.1 x 36.1 cm (18 7/8 x 14 1/4 in.)
Signed in pencil, from the edition of 150 (the portfolio was numbered on the colophon, there were also 5 hors commerce sets in Roman numerals), published by Galerie Lelong & Co., Paris, printed in France, framed.

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Francis Bacon

Irish-British | B. 1909 D. 1992

Francis Bacon was a larger-than-life figure during his lifetime and remains one now more than ever. Famous for keeping a messy studio, and even more so for his controversial, celebrated depictions of papal subjects and bullfights, often told in triptychs, Bacon signified the blinding dawn of the Modern era. His signature blurred portraits weren't murky enough to stave off his reputation as highly contentious—his paintings were provocations against social order in the people's eye. But, Bacon often said, "You can't be more horrific than life itself."
 
In conversation with yet challenging the conventions of Modern art, Bacon was known for his triptychs brutalizing formalist truths, particularly Three Studies for Figures at the Base of a Crucifixion, which Bacon debuted in London in 1944, and Three Studies of Lucian Freud, which became famous when it set the record for most expensive work of art at auction at the time it sold in 2013.

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