Francis Bacon (self-taught painter, 1909-1992), Centenary Exhibition. Tate Gallery, London; Museo del Prado, Madrid; Metropolitan Museum, New York. 2009. List of works and archive items numbered and edited by Mariano Akerman
• Paintings
Crucifixion, 1933. Oil on canvas, 60.5 x 47 cm. London, Murderme
Three Studies for Figures at the Base of a Crucifixion, c. 1944. Oil on board, each 94 x 73.7 cm. Tate Gallery, London
Figure in a Landscape, 1945. Oil on canvas, 144.8 x 128.3 cm. Tate Gallery, London
Figure Study I, 1945-46. Oil on canvas, 123 x 105.5 cm. Scottish National Gallery of Modern Art, Edinburgh
Figure Study II, 1945-46. Oil on canvas, 145 x 129 cm. Huddersfield Art Gallery
Painting, 1946. Oil and pastel on linen, 197.8 x 132.1 cm. Museum of Modern Art, New York
Head I, 1947–48. Oil and tempera on board, 100.3 x 74.9 cm. Metropolitan Museum of Art, New York
Head II, 1949. Oil on canvas, 80 x 63.3 cm. Ulster Museum, Belfast
Head VI, 1949. Oil on canvas, 93.2 x 76.5 cm. Arts Council Collection, Southbank Centre, London
Study from the Human Body, 1949. Oil on canvas, 147 x 134.2 cm. National Gallery of Victoria, Melbourne
Study after Velazquez, 1950. Oil on canvas, 197.8 x 137.4 cm. Steven and Alexandra Cohen Collection
Pope I – Study after Pope Innocent X by Velazquez, 1951. Oil on canvas, 197.8 x 137.4 cm. Aberdeen Art Gallery & Museums Collections
Study of a Dog, 1952. Oil on canvas, 198.1 x 137.2 cm. Tate Gallery, London
Study for Crouching Nude, 1952. Oil on canvas, 198 x 137.2 cm. Detroit Institute of Arts
Untitled (Two Figures in the Grass), c. 1952. Oil on canvas, 147.3 x 132.2 cm. The Estate of Francis Bacon, London
Study of a Nude, 1952-3. Oil on canvas, 59.7 x 49.5 cm. Sainsbury Centre for the Visual Arts, University of East Anglia, Norwich
Man with Dog, 1953. Oil on canvas, 152 x 117 cm. Albright-Knox Art Gallery, Buffalo
Study after Velazquez’s Portrait of Pope Innocent X, 1953. Oil on canvas, 153 x 118 cm. Des Moines Art Center
Study for a Portrait, 1953. Oil on canvas, 152.2 x 118 cm. Hamburger Kunsthalle
Study for a Portrait, 1953. Oil on canvas, 197 x 137 cm. Hess Art Collection, Bern
Study of a Baboon, 1953. Oil on canvas, 198.3 x 137.3 cm. Museum of Modern Art, New York
Figure Study II, 1953-55. Oil on canvas, 198 x 137 cm. Private Collection [Shown only in Madrid]
Man in Blue IV, 1954. Oil on canvas, 198 x 137 cm. Museum Moderner Kunst Stiftung Ludwig, Vienna
Man in Blue V, 1954. Oil on canvas, 198 x 137 cm. Kunstsammlung Nordrhein-Westfalen, Düsseldorf
Chimpanzee, 1955. Oil on canvas, 152.5 x 117 cm. Staatsgalerie, Stuttgart
Study for Portrait II (after the Life Mask of William Blake),
Oil on canvas, 61 x 50.8 cm. Tate Gallery, London
Figure in a Mountain Landscape, 1956. Oil on canvas, 152 x 119 cm. Kunsthaus Zurich
Three Studies for a Crucifixion, 1962. Oil on canvas, each 198.2 x 144.8 cm. Solomon R. Guggenheim Museum, New York
Figures in a Landscape, 1956-57. Oil on canvas, 150 x 107.5 cm. Birmingham Museums & Art Gallery
Study for Portrait of Van Gogh VI, 1957. Oil on canvas, 198.1 x 142.2 cm. Arts Council Collection, Southbank Centre, London
Study for the Nurse from the Battleship Potemkin, 1957. Oil on canvas, 198 x 142 cm. Städel Museum, Frankfurt
Paralytic Child Walking on all Fours (from Muybridge), 1961. Oil on canvas, 198 x 142 cm. Gemeentemuseum Den Haag, The Hague
Landscape Near Malabata, Tangier, 1963. Oil on canvas, 198 x 145 cm. Private collection, London
Three Studies for a Portrait of George Dyer, 1963. Oil on canvas, each 35.3 x 35.5 cm. Private Collection
Three Figures in a Room, 1964. Oil on canvas, each 198 x 147.5 cm. Musée national d'art moderne, Centre Pompidou, Paris
Crucifixion, 1965. Oil on canvas, each 198 x 147.5 cm. Pinakothek der Moderne, Bayerische Staatsgemäldesammlungen, Munich
Study from Portrait of Pope Innocent X, 1965. Oil on canvas, 198 x 147.5 cm. Private collection
Portrait of George Dyer Riding a Bicycle, 1966. Oil on canvas, 198 x 147.5 cm. Fondation Beyeler, Basel
Portrait of Isabel Rawsthorne, 1966. Oil on canvas, 81.3 x 68.6 cm. Tate Gallery, London
Henrietta Moraes, 1966. Oil on canvas, 146 x 152 cm. Private collection
Triptych Inspired by T.S. Eliot’s ‘Sweeney Agonistes’, 1967. Oil on canvas, each 198 x 147.5 cm. Hirshhorn Museum, Washington, D.C.
Portrait of Isabel Rawsthorne Standing in a Street in Soho, 1967. Oil on canvas, 198 x 147.5 cm. Nationalgalerie, Berlin
Study of George Dyer in Mirror, 1968. Oil on canvas, 198 x 147.5 cm. Museo Thyssen-Bornemisza, Madrid
Two Studies for a Portrait of George Dyer, 1968. Oil on canvas, 198 x 147.5 cm. Sara Hildén Art Museum, Tampere
Lying figure, 1969. Oil on canvas, 198 x 147.5 cm. Fondation Beyeler, Basel
Three Studies for Portraits including Self-Portrait, 1969. Oil on canvas, each 35.5 x 30.5 cm. Private collection
Triptych–In Memory of George Dyer, 1971. Oil on canvas, each 198 x 147.5 cm. Fondation Beyeler, Basel
Triptych–August 1972. Oil on canvas, each 198 x 147.5 cm. Tate Gallery, London
Self Portrait with a Watch, 1973. Oil on canvas, 198 x 147.5 cm. Private collection
Triptych, 1976. Oil on canvas, 198 x 197.5 cm. Private Collection
Three Studies for a Self-Portrait, 1979. Oil on canvas, each 37.5 x 31.8 cm. Metropolitan Museum of Art, New York
Triptych Inspired by the Oresteia of Aeschylus, 1981. Oil on canvas, each 218.5 x 167.5 cm. Astrup Fearnley Collection, Oslo
Study from the Human Body, 1981. Oil on canvas, 198 x 147.5 cm. Private collection
Triptych, 1983. Oil and pastel on canvas, each 198 x 147.5 cm. Colección Juan Abelló, Spain
Figure in Movement, 1985. Oil on linen, 198 x 147.5 cm. Private collection
Triptych, 1987. Oil on canvas, each 198 x 147.5 cm. The Estate of Francis Bacon, London
Blood on Pavement, c. 1988. Oil on canvas, 198 x 147.5 cm. Private collection
Portrait of John Edwards, 1988. Oil on canvas, 198 x 147.5 cm. The Estate of Francis Bacon, London
Jet of Water, 1988. Oil on canvas, 198 x 147.5 cm. Private collection
Second Version of Triptych 1944, 1988. Oil and acrylic on canvas, each 198 x 147.5 cm. Tate Gallery, London
Triptych, 1991. Oil on linen, each 198.1 x 147.6 cm. Museum of Modern Art, New York
• Sources of inspiration and other work documents
News, cinema and medical imagery
. Albert von Schrenck-Notzing, Phenomena of Materialisation, 1920. Book, 25.1 x 34.8 x 1 cm. To be displayed open to image (fig. 64) opp. pg. 141. Private owner, London
. Overpainted and mounted leaf with still of screaming nurse from Sergei Eisenstein's 'Battleship Potemkin', 16 x 17 cm. Hugh Lane Gallery, Dublin
. Nicole Vedrès, Images du Cinéma Français, 1945. Book, 28 x 43 x 3.5 cm. To be displayed open to p. 106 (fig. 187). Tate Britain Curatorial Department, London
. Roger Manvell, Film (1944) [film still from Eisenstein’s Battleship Potemkin, 1925?]. Book, 17.9 x 11 x 1 cm. Tate Britain Curatorial Department, London
. Rachael Low and Roger Manvel, The History of the British Film 1896-1906, 1948
Book, 24.1 x 16.1 x 2 cm. Tate Britain Curatorial Department, London
. K.C. Clark, Positioning in Radiography, London, 1939. Leaf (p. 19) torn at bottom left with five illustrations concerned with the spine, page heading reads: Vertebral Column, Cervico-thoracic region. Book, 29.1 x 22.7 cm. Hugh Lane Gallery, Dublin
. Illustration of Viktor Bulla's photograph of Nevsky Prospekt demonstrators being
fired on in Petrograd, 17 July 1917. Black and white newspaper cutting. Tate Library and Archive, London (David Sylvester Archive 200816, item 3)
. Leo Longanesi, Il Mondo cambia: storia di cinquant’anni 1900-1950. Book, 31.6 x 23.6 x 3.6 cm. To be displayed open to double spread of images entitled ‘Prigionieri e internati civili in Austria’ and ‘1916. Natale di Guerra’. Private owner
. Sam Hunter, Photomontage of sources from Bacon’s studio, c. 1950. Photograph. Hugh Lane Gallery, Dublin
. Facsimile of Images du Monde, 10 Facsimile of newspaper, 35 x 27.2 cm
(27 August – 10 September 1955). Tate Archive 9810/6
. Two Black and white photographs of a wounded man, undated. Each, 6 x 10 cm. Hugh Lane Gallery, Dublin
. The true aspects of the Algerian Revolution, Ministère de l’Algerie, Cabinet de Ministre, 1957. Leaf showing images of severed and shattered limbs, 23.8 x 16 cm. Hugh Lane Gallery, Dublin
. Mounted leaf with black and white still of Emmanuelle Riva in Alain Resnais’ film ‘Hiroshima mon amour’ (1959), date unknown, 32.4 x 24.8 cm. Hugh Lane Gallery, Dublin
. Leaf from unidentified French magazine with black-and-white illustration of dead bodies in a damaged interior, c. 1970s, 30.2 x 23.2 cm. Hugh Lane Gallery, Dublin
. Leaf from unidentified French magazine with black-and-white illustration of a massacre (possibly in Zaire), 30.2 x 23 cm. Hugh Lane Gallery, Dublin
Wild animals
. Marius Maxwell, Stalking Big Game with a Camera in Equatorial Africa, 1925. Book, 31.7 x 51.3 x 7 cm. To be displayed open to p. 112. Tate Britain Curatorial Department, London
. V.J. Staněk, Introducing Monkeys, London, c. 1957, four facsimile pages, with handwritten lists of works (11, 13, 17 December 1958). Facsimile of book page, 28.6 x 21.1 cm. Tate Gallery Archive, London
. V.J. Staněk, introducing Monkeys, trans. by G. Theiner, London, Spring Books, c. 1957. Leaf with handwritten notes in blue ink by Francis Bacon, 1958. Book, 28.4 x 21.2 cm. Hugh Lane Gallery, Dublin
. V.J. Staněk, Introducing Monkeys, c. 1957, with annotations by Francis Bacon. Book, 28.6 x 42 x 20 cm. London, Tate Gallery Archive, 9810/5
Sport
. Reproduction of Boxers. Studio item 25. Book page pasted onto the back cover of a book, 28.5 x 21.5 cm. No date. The Estate of Francis Bacon, London
. Jack Dempsey (verso Gene Tunney). Loose page taken from a boxing magazine. With overpainted photograph showing Jack Dempsey, 27.5 x 20.8 cm. London, Tate Archive, 9810/8, item 1
. Overpainted magazine page showing Carpentier-Bogeyman to British Heavy-weights: Joe Backett v Georges Capentier (verso: The Revenge…: Schmeling batters young Joe). Loose pages from five taken from a boxing magazine, 27.5 x 20.8 mm
London, Tate Archive, 9810/8, item 2
. Mounted leaf torn from unidentified book with colour illustration of three cricketers, ‘2nd test India V Calcutta’, 30.4 x 38.8 cm, Hugh Lane Gallery, Dublin
Wrestlers
. Eadweard Muybridge, The Human Figure in Motion (1907). Book, 24.8 x 31.3 x 2.8 cm. To be displayed open to plate 63. Tate Britain Curatorial Department, London
. Eadweard Muybridge, The Human Figure in Motion (ed. 1955). Book, 27.9 x 20.8 x 2.5 cm. To be diplayed open to plate 56. Tate Britain Curatorial Department, London
. Working document: ‘Men Wrestling’, plate 69 from Eadweard Muybridge, The Human Figure in Motion, 1955 edition. 19.7 x 27.3 cm. Hugh Lane Gallery, Dublin
. Black and white photographic contact sheets of wrestlers, c. 1975. Black and white photographic print, 40 x 50 cm. Michael Hoppen Gallery, London
Mickelangelo
. Ludwig Goldscheider, The Sculptures of Michelangelo: Complete Edition (2nd ed. London 1950). Book, 36.1 x 53 x 4 cm. To be displayed open to pages 117-118. Private owner
. Leaf from unidentified book with black and white plate of a study by Michelangelo for an ignudo for the Sistine Chapel Ceiling 1508-12, 31.7 x 23.3 cm. Hugh Lane Gallery, Dublin
Van Gogh
. Ludwig Goldscheider, Wilhelm Uhde, Vincent Van Gogh, London, 1945. Book, 36.1 x 53 x 4.5 cm. To be displayed open to figs. 68 & 69, or fig. 69 to be lifted out and displayed loose. Private owner
Bullfight
.Unknown photographer, Llegó la cornada. Studio item 4. Black and white photograph, 31.8 x 23 cm. No date. The Estate of Francis Bacon, London
. Manuel Granero Killed in the Madrid Ring. Studio item 26. Black and white page torn out of a book, 14.5 x 21.6 cm. No date. The Estate of Francis Bacon, London
Photographs
. Nigel Henderson, Three stressed photographs of male bathers, 1950. Gelatine silver print, 12.7 x 89 cm. Estate of Francis Bacon, studio item 40
. Passport photo-strip of Francis Bacon, c. 1950. Gelatine silver print, 19.8 x 4 cm. Hugh Lane Gallery
. John Deakin, Portrait of Peter Lacy, c. 1959. Gelatine silver print, 19.5 x 25 cm.
The Estate of Francis Bacon, studio item 14
. Ibid., 25.5 x 20.7 cm
. Photo booth strip of Francis Bacon, 1960s. Gelatine silver print, 20 x 4 cm. Hugh Lane Gallery
. John Deakin, Portrait of Henrietta Moraes, c. 1960. Gelatine silver print, 29.5 x 25 cm. Estate of Francis Bacon
. John Deakin, Henrietta Moraes lying on a Bed, c. 1963. Gelatine silver print, 20.7 x 24.9 cm. Hugh Lane Gallery
. John Deakin, Henrietta Moraes lying Naked on a Bed, c. 1963. Gelatine silver print, 24 x 30 cm. Estate of Francis Bacon
. John Deakin, George Dyer and Francis Bacon in Soho, c. 1963. Gelatine silver print, 30 x 24 cm. The Estate of Francis Bacon, London
. John Deakin, George Dyer and Francis Bacon in Soho Studio, c. 1963-4. Gelatine silver print, 30 x 24 cm. The Estate of Francis Bacon, studio item 36
. John Deakin, George Dyer, c. 1964. Gelatine silver print, 30.2 x 30.4 cm. Hugh Lane Gallery
. John Deakin, George Dyer in the Reece Mews Studio (sitting), c. 1964. Gelatine silver print, 30.2 x 30.2 cm. Hugh Lane Gallery
. John Deakin, George Dyer (cut-out head), c. 1964. Thirteen pin-holes near top. Gelatine silver print, 22.7 x 15.2 cm. Hugh Lane Gallery
. John Deakin, George Dyer standing in Francis Bacon’s Studio (covering himself), c. 1965. Gelatine silver print. The Estate of Francis Bacon, studio item 28
. John Deakin, George Dyer standing in Underpants in Francis Bacon’s Studio (leaning), c. 1965. Gelatin silver print, 30.3 x 30.5 cm. The Estate of Francis Bacon, London
. John Deakin, Lucian Freud on Bed, c. 1964. Gelatine silver print, 29.7 x 30.3 cm. Estate of Francis Bacon
. John Deakin, Lucian Freud on Bed, c. 1964. Gelatine silver print, 30 x 29.3 cm. Estate of Francis Bacon
. John Deakin, Isabel Rawsthorne in Dean St., Soho, c. 1965. Gelatine silver print, 30.3 x 30.5 cm. Estate of Francis Bacon
. John Deakin, Muriel Belcher, c. 1965. Gelatine silver print. Estate of Francis Bacon
. Unknown photographer, Three photo strips of Francis Bacon, George Dyer and David Plante, Aix-en-Provence, 1966. Gelatine silver print. Mounted on book cover, 25.9 x 22 cm. Estate of Francis Bacon, studio item 34
. Profile of John Edwards seated in an interior, late 1970s. Gelatine silver print, 25.4 x 30.4 cm. Hugh Lane Gallery
. John Edwards by washbasin in 7 Reece Mews with Francis Bacon reflected in a mirror, no date. Gelatine silver print, 30.2 x 23.6 cm. Estate of Francis Bacon, studio item 32
Work documents, lists, notes, sketches
. Two leaves with handwritten lists of works. Paper, 18 x 11 cm.
Tate Library and Archive, London (David Sylvester Archive 200816, items 1-2)
. Loose sheet with autograph of Francis Bacon, dated 10 December 1957 and headed ‘The Series of Nudes.’ Pen on paper, 27 x 20.8 cm. Tate Gallery Archive, London
. Handwritten notes by Francis Bacon, 1974. Blue felt-tip pen on blank sheet of paper, 22.8 x 17.7 cm. Hugh Lane Gallery, Dublin
. Francis Bacon, Edweard Muybridge, The Human Figure in Motion (ed. 1955) with list of ideas for painting dated 2 January 1962 and a sketch in oils of a figure on a couch on half-title page. Ill. Harrison, In camera p. 181, framed pages from book, 27.3 x 39 cm. Peter and Nejma Beard
. Reproduction of ‘Study for crouching Nude’ (1952). Overpainted by Bacon.
1964. Hugh Lane Gallery, Dublin
. Mounted leaf from Eadweard Muybridge, The Human Figure in Motion, with black-and-white plate series of a man shadow-boxing. Black over-painting by Francis Bacon on image ‘II’. 21 x 33 cm. Date of edition and intervention unknown. Hugh Lane Gallery, Dublin
. Leaf with black-and-white illustrations from Eadweard Muybridge, The Human Figure in Motion (Ed. 1955), with handwritten note in blue ink by Francis Bacon, “Make shadow into separate unit”. 31 x 23.5 cm. Date of note unknown. Hugh Lane Gallery, Dublin
. Overpainted reproduction of Bacon's 'Figures in a Landscape', 1956. Hugh Lane Gallery, Dublin
. Figure in a Landscape, c. 1952. Pencil and oil on paper, 33.9 x 26.3 cm. Tate
. Bending Figure, No. 2, c. 1957-61. Ballpoint pen and oil on paper, 34 x 27 cm
. Blue Crawling Figure, No. 1, c. 1957-61. Oil on paper, 34 x 27 cm. Tate
. Blue Crawling Figure, No. 2, c. 1957-61. Oil on paper, 34 x 27 cm. Tate
. Composition, c. 1957-61. Oil on paper, 34 x 27 cm. Tate
. Falling Figure, c. 1957-61. Pencil and oil on paper, 34 x 27 cm. Tate
. Figure bending forwards, c. 1957-61. Oil on paper, 34 x 27 cm. Tate
. Figure Crawling, c. 1957-61. Oil on paper, 34 x 27 cm. Tate
. Figure in Grey Interior, c. 1957-61. Pencil and oil on paper, 34 x 27 cm. Tate
. Figure Lying No. 1, c. 1957-61. Oil on paper, 34 x 27 cm. Tate
. Figure Lying No. 2, c. 1957-61. Oil on paper, 34 x 27 cm. Tate
. Figure with Foot in Hand, c. 1957-61. Ballpoint pen and oil on paper, 27 x 34 cm. Tate
. Figure with Left Arm Raised, c. 1957-61. Oil on paper, 34 x 27 cm. Tate
. Pink Crawling Figure, c. 1957-61. Oil on paper, 34 x 27 cm. Tate
. Two Owls, No. 2, c. 1957-61. Oil on paper, 34 x 27 cm. Tate
. Turning Figure, c. 1959-62. Oil on paper, 33.9 x 26.3 cm. Tate
. Reclining Figure No. 1, c. 1961. Ballpoint pen and oil on paper, 23.8 x 15.6 cm. Tate
. Reclining Figure No. 2, c. 1961. Ballpoint pen and oil on paper, 22.2 x 15 cm. Tate
. From Eadweard Muybridge, “Woman Walking Downstairs, Picking up Pitcher, and Turning”, plate 24 from Human Figure in Motion, 1955 edition. Bacon isolated the figure turning c. 1965, in preparation for the figure in the left-hand panel of Crucifixion (1965). 27 x 19.6 cm. Hugh Lane Gallery, Dublin
. Three cuttings mounted on board with a needle. One leaf fragment from a book with black-and-white illustration of a Gustav Courbet painting of two lovers; one leaf fragment with two black-and-white images of nude wrestlers by Edweard Muybrigde; one cutting from a magazine with reproduction of ‘Painting’ (1946) and brief biography of Francis Bacon. 29.3 x 40 cm. Date unknown. Hugh Lane Gallery, Dublin
• Paintings
Crucifixion, 1933. Oil on canvas, 60.5 x 47 cm. London, Murderme
Three Studies for Figures at the Base of a Crucifixion, c. 1944. Oil on board, each 94 x 73.7 cm. Tate Gallery, London
Figure in a Landscape, 1945. Oil on canvas, 144.8 x 128.3 cm. Tate Gallery, London
Figure Study I, 1945-46. Oil on canvas, 123 x 105.5 cm. Scottish National Gallery of Modern Art, Edinburgh
Figure Study II, 1945-46. Oil on canvas, 145 x 129 cm. Huddersfield Art Gallery
Painting, 1946. Oil and pastel on linen, 197.8 x 132.1 cm. Museum of Modern Art, New York
Head I, 1947–48. Oil and tempera on board, 100.3 x 74.9 cm. Metropolitan Museum of Art, New York
Head II, 1949. Oil on canvas, 80 x 63.3 cm. Ulster Museum, Belfast
Head VI, 1949. Oil on canvas, 93.2 x 76.5 cm. Arts Council Collection, Southbank Centre, London
Study from the Human Body, 1949. Oil on canvas, 147 x 134.2 cm. National Gallery of Victoria, Melbourne
Study after Velazquez, 1950. Oil on canvas, 197.8 x 137.4 cm. Steven and Alexandra Cohen Collection
Pope I – Study after Pope Innocent X by Velazquez, 1951. Oil on canvas, 197.8 x 137.4 cm. Aberdeen Art Gallery & Museums Collections
Study of a Dog, 1952. Oil on canvas, 198.1 x 137.2 cm. Tate Gallery, London
Study for Crouching Nude, 1952. Oil on canvas, 198 x 137.2 cm. Detroit Institute of Arts
Untitled (Two Figures in the Grass), c. 1952. Oil on canvas, 147.3 x 132.2 cm. The Estate of Francis Bacon, London
Study of a Nude, 1952-3. Oil on canvas, 59.7 x 49.5 cm. Sainsbury Centre for the Visual Arts, University of East Anglia, Norwich
Man with Dog, 1953. Oil on canvas, 152 x 117 cm. Albright-Knox Art Gallery, Buffalo
Study after Velazquez’s Portrait of Pope Innocent X, 1953. Oil on canvas, 153 x 118 cm. Des Moines Art Center
Study for a Portrait, 1953. Oil on canvas, 152.2 x 118 cm. Hamburger Kunsthalle
Study for a Portrait, 1953. Oil on canvas, 197 x 137 cm. Hess Art Collection, Bern
Study of a Baboon, 1953. Oil on canvas, 198.3 x 137.3 cm. Museum of Modern Art, New York
Figure Study II, 1953-55. Oil on canvas, 198 x 137 cm. Private Collection [Shown only in Madrid]
Man in Blue IV, 1954. Oil on canvas, 198 x 137 cm. Museum Moderner Kunst Stiftung Ludwig, Vienna
Man in Blue V, 1954. Oil on canvas, 198 x 137 cm. Kunstsammlung Nordrhein-Westfalen, Düsseldorf
Chimpanzee, 1955. Oil on canvas, 152.5 x 117 cm. Staatsgalerie, Stuttgart
Study for Portrait II (after the Life Mask of William Blake),
Oil on canvas, 61 x 50.8 cm. Tate Gallery, London
Figure in a Mountain Landscape, 1956. Oil on canvas, 152 x 119 cm. Kunsthaus Zurich
Three Studies for a Crucifixion, 1962. Oil on canvas, each 198.2 x 144.8 cm. Solomon R. Guggenheim Museum, New York
Figures in a Landscape, 1956-57. Oil on canvas, 150 x 107.5 cm. Birmingham Museums & Art Gallery
Study for Portrait of Van Gogh VI, 1957. Oil on canvas, 198.1 x 142.2 cm. Arts Council Collection, Southbank Centre, London
Study for the Nurse from the Battleship Potemkin, 1957. Oil on canvas, 198 x 142 cm. Städel Museum, Frankfurt
Paralytic Child Walking on all Fours (from Muybridge), 1961. Oil on canvas, 198 x 142 cm. Gemeentemuseum Den Haag, The Hague
Landscape Near Malabata, Tangier, 1963. Oil on canvas, 198 x 145 cm. Private collection, London
Three Studies for a Portrait of George Dyer, 1963. Oil on canvas, each 35.3 x 35.5 cm. Private Collection
Three Figures in a Room, 1964. Oil on canvas, each 198 x 147.5 cm. Musée national d'art moderne, Centre Pompidou, Paris
Crucifixion, 1965. Oil on canvas, each 198 x 147.5 cm. Pinakothek der Moderne, Bayerische Staatsgemäldesammlungen, Munich
Study from Portrait of Pope Innocent X, 1965. Oil on canvas, 198 x 147.5 cm. Private collection
Portrait of George Dyer Riding a Bicycle, 1966. Oil on canvas, 198 x 147.5 cm. Fondation Beyeler, Basel
Portrait of Isabel Rawsthorne, 1966. Oil on canvas, 81.3 x 68.6 cm. Tate Gallery, London
Henrietta Moraes, 1966. Oil on canvas, 146 x 152 cm. Private collection
Triptych Inspired by T.S. Eliot’s ‘Sweeney Agonistes’, 1967. Oil on canvas, each 198 x 147.5 cm. Hirshhorn Museum, Washington, D.C.
Portrait of Isabel Rawsthorne Standing in a Street in Soho, 1967. Oil on canvas, 198 x 147.5 cm. Nationalgalerie, Berlin
Study of George Dyer in Mirror, 1968. Oil on canvas, 198 x 147.5 cm. Museo Thyssen-Bornemisza, Madrid
Two Studies for a Portrait of George Dyer, 1968. Oil on canvas, 198 x 147.5 cm. Sara Hildén Art Museum, Tampere
Lying figure, 1969. Oil on canvas, 198 x 147.5 cm. Fondation Beyeler, Basel
Three Studies for Portraits including Self-Portrait, 1969. Oil on canvas, each 35.5 x 30.5 cm. Private collection
Triptych–In Memory of George Dyer, 1971. Oil on canvas, each 198 x 147.5 cm. Fondation Beyeler, Basel
Triptych–August 1972. Oil on canvas, each 198 x 147.5 cm. Tate Gallery, London
Self Portrait with a Watch, 1973. Oil on canvas, 198 x 147.5 cm. Private collection
Triptych, 1976. Oil on canvas, 198 x 197.5 cm. Private Collection
Three Studies for a Self-Portrait, 1979. Oil on canvas, each 37.5 x 31.8 cm. Metropolitan Museum of Art, New York
Triptych Inspired by the Oresteia of Aeschylus, 1981. Oil on canvas, each 218.5 x 167.5 cm. Astrup Fearnley Collection, Oslo
Study from the Human Body, 1981. Oil on canvas, 198 x 147.5 cm. Private collection
Triptych, 1983. Oil and pastel on canvas, each 198 x 147.5 cm. Colección Juan Abelló, Spain
Figure in Movement, 1985. Oil on linen, 198 x 147.5 cm. Private collection
Triptych, 1987. Oil on canvas, each 198 x 147.5 cm. The Estate of Francis Bacon, London
Blood on Pavement, c. 1988. Oil on canvas, 198 x 147.5 cm. Private collection
Portrait of John Edwards, 1988. Oil on canvas, 198 x 147.5 cm. The Estate of Francis Bacon, London
Jet of Water, 1988. Oil on canvas, 198 x 147.5 cm. Private collection
Second Version of Triptych 1944, 1988. Oil and acrylic on canvas, each 198 x 147.5 cm. Tate Gallery, London
Triptych, 1991. Oil on linen, each 198.1 x 147.6 cm. Museum of Modern Art, New York
• Sources of inspiration and other work documents
News, cinema and medical imagery
. Albert von Schrenck-Notzing, Phenomena of Materialisation, 1920. Book, 25.1 x 34.8 x 1 cm. To be displayed open to image (fig. 64) opp. pg. 141. Private owner, London
. Overpainted and mounted leaf with still of screaming nurse from Sergei Eisenstein's 'Battleship Potemkin', 16 x 17 cm. Hugh Lane Gallery, Dublin
. Nicole Vedrès, Images du Cinéma Français, 1945. Book, 28 x 43 x 3.5 cm. To be displayed open to p. 106 (fig. 187). Tate Britain Curatorial Department, London
. Roger Manvell, Film (1944) [film still from Eisenstein’s Battleship Potemkin, 1925?]. Book, 17.9 x 11 x 1 cm. Tate Britain Curatorial Department, London
. Rachael Low and Roger Manvel, The History of the British Film 1896-1906, 1948
Book, 24.1 x 16.1 x 2 cm. Tate Britain Curatorial Department, London
. K.C. Clark, Positioning in Radiography, London, 1939. Leaf (p. 19) torn at bottom left with five illustrations concerned with the spine, page heading reads: Vertebral Column, Cervico-thoracic region. Book, 29.1 x 22.7 cm. Hugh Lane Gallery, Dublin
. Illustration of Viktor Bulla's photograph of Nevsky Prospekt demonstrators being
fired on in Petrograd, 17 July 1917. Black and white newspaper cutting. Tate Library and Archive, London (David Sylvester Archive 200816, item 3)
. Leo Longanesi, Il Mondo cambia: storia di cinquant’anni 1900-1950. Book, 31.6 x 23.6 x 3.6 cm. To be displayed open to double spread of images entitled ‘Prigionieri e internati civili in Austria’ and ‘1916. Natale di Guerra’. Private owner
. Sam Hunter, Photomontage of sources from Bacon’s studio, c. 1950. Photograph. Hugh Lane Gallery, Dublin
. Facsimile of Images du Monde, 10 Facsimile of newspaper, 35 x 27.2 cm
(27 August – 10 September 1955). Tate Archive 9810/6
. Two Black and white photographs of a wounded man, undated. Each, 6 x 10 cm. Hugh Lane Gallery, Dublin
. The true aspects of the Algerian Revolution, Ministère de l’Algerie, Cabinet de Ministre, 1957. Leaf showing images of severed and shattered limbs, 23.8 x 16 cm. Hugh Lane Gallery, Dublin
. Mounted leaf with black and white still of Emmanuelle Riva in Alain Resnais’ film ‘Hiroshima mon amour’ (1959), date unknown, 32.4 x 24.8 cm. Hugh Lane Gallery, Dublin
. Leaf from unidentified French magazine with black-and-white illustration of dead bodies in a damaged interior, c. 1970s, 30.2 x 23.2 cm. Hugh Lane Gallery, Dublin
. Leaf from unidentified French magazine with black-and-white illustration of a massacre (possibly in Zaire), 30.2 x 23 cm. Hugh Lane Gallery, Dublin
Wild animals
. Marius Maxwell, Stalking Big Game with a Camera in Equatorial Africa, 1925. Book, 31.7 x 51.3 x 7 cm. To be displayed open to p. 112. Tate Britain Curatorial Department, London
. V.J. Staněk, Introducing Monkeys, London, c. 1957, four facsimile pages, with handwritten lists of works (11, 13, 17 December 1958). Facsimile of book page, 28.6 x 21.1 cm. Tate Gallery Archive, London
. V.J. Staněk, introducing Monkeys, trans. by G. Theiner, London, Spring Books, c. 1957. Leaf with handwritten notes in blue ink by Francis Bacon, 1958. Book, 28.4 x 21.2 cm. Hugh Lane Gallery, Dublin
. V.J. Staněk, Introducing Monkeys, c. 1957, with annotations by Francis Bacon. Book, 28.6 x 42 x 20 cm. London, Tate Gallery Archive, 9810/5
Sport
. Reproduction of Boxers. Studio item 25. Book page pasted onto the back cover of a book, 28.5 x 21.5 cm. No date. The Estate of Francis Bacon, London
. Jack Dempsey (verso Gene Tunney). Loose page taken from a boxing magazine. With overpainted photograph showing Jack Dempsey, 27.5 x 20.8 cm. London, Tate Archive, 9810/8, item 1
. Overpainted magazine page showing Carpentier-Bogeyman to British Heavy-weights: Joe Backett v Georges Capentier (verso: The Revenge…: Schmeling batters young Joe). Loose pages from five taken from a boxing magazine, 27.5 x 20.8 mm
London, Tate Archive, 9810/8, item 2
. Mounted leaf torn from unidentified book with colour illustration of three cricketers, ‘2nd test India V Calcutta’, 30.4 x 38.8 cm, Hugh Lane Gallery, Dublin
Wrestlers
. Eadweard Muybridge, The Human Figure in Motion (1907). Book, 24.8 x 31.3 x 2.8 cm. To be displayed open to plate 63. Tate Britain Curatorial Department, London
. Eadweard Muybridge, The Human Figure in Motion (ed. 1955). Book, 27.9 x 20.8 x 2.5 cm. To be diplayed open to plate 56. Tate Britain Curatorial Department, London
. Working document: ‘Men Wrestling’, plate 69 from Eadweard Muybridge, The Human Figure in Motion, 1955 edition. 19.7 x 27.3 cm. Hugh Lane Gallery, Dublin
. Black and white photographic contact sheets of wrestlers, c. 1975. Black and white photographic print, 40 x 50 cm. Michael Hoppen Gallery, London
Mickelangelo
. Ludwig Goldscheider, The Sculptures of Michelangelo: Complete Edition (2nd ed. London 1950). Book, 36.1 x 53 x 4 cm. To be displayed open to pages 117-118. Private owner
. Leaf from unidentified book with black and white plate of a study by Michelangelo for an ignudo for the Sistine Chapel Ceiling 1508-12, 31.7 x 23.3 cm. Hugh Lane Gallery, Dublin
Van Gogh
. Ludwig Goldscheider, Wilhelm Uhde, Vincent Van Gogh, London, 1945. Book, 36.1 x 53 x 4.5 cm. To be displayed open to figs. 68 & 69, or fig. 69 to be lifted out and displayed loose. Private owner
Bullfight
.Unknown photographer, Llegó la cornada. Studio item 4. Black and white photograph, 31.8 x 23 cm. No date. The Estate of Francis Bacon, London
. Manuel Granero Killed in the Madrid Ring. Studio item 26. Black and white page torn out of a book, 14.5 x 21.6 cm. No date. The Estate of Francis Bacon, London
Photographs
. Nigel Henderson, Three stressed photographs of male bathers, 1950. Gelatine silver print, 12.7 x 89 cm. Estate of Francis Bacon, studio item 40
. Passport photo-strip of Francis Bacon, c. 1950. Gelatine silver print, 19.8 x 4 cm. Hugh Lane Gallery
. John Deakin, Portrait of Peter Lacy, c. 1959. Gelatine silver print, 19.5 x 25 cm.
The Estate of Francis Bacon, studio item 14
. Ibid., 25.5 x 20.7 cm
. Photo booth strip of Francis Bacon, 1960s. Gelatine silver print, 20 x 4 cm. Hugh Lane Gallery
. John Deakin, Portrait of Henrietta Moraes, c. 1960. Gelatine silver print, 29.5 x 25 cm. Estate of Francis Bacon
. John Deakin, Henrietta Moraes lying on a Bed, c. 1963. Gelatine silver print, 20.7 x 24.9 cm. Hugh Lane Gallery
. John Deakin, Henrietta Moraes lying Naked on a Bed, c. 1963. Gelatine silver print, 24 x 30 cm. Estate of Francis Bacon
. John Deakin, George Dyer and Francis Bacon in Soho, c. 1963. Gelatine silver print, 30 x 24 cm. The Estate of Francis Bacon, London
. John Deakin, George Dyer and Francis Bacon in Soho Studio, c. 1963-4. Gelatine silver print, 30 x 24 cm. The Estate of Francis Bacon, studio item 36
. John Deakin, George Dyer, c. 1964. Gelatine silver print, 30.2 x 30.4 cm. Hugh Lane Gallery
. John Deakin, George Dyer in the Reece Mews Studio (sitting), c. 1964. Gelatine silver print, 30.2 x 30.2 cm. Hugh Lane Gallery
. John Deakin, George Dyer (cut-out head), c. 1964. Thirteen pin-holes near top. Gelatine silver print, 22.7 x 15.2 cm. Hugh Lane Gallery
. John Deakin, George Dyer standing in Francis Bacon’s Studio (covering himself), c. 1965. Gelatine silver print. The Estate of Francis Bacon, studio item 28
. John Deakin, George Dyer standing in Underpants in Francis Bacon’s Studio (leaning), c. 1965. Gelatin silver print, 30.3 x 30.5 cm. The Estate of Francis Bacon, London
. John Deakin, Lucian Freud on Bed, c. 1964. Gelatine silver print, 29.7 x 30.3 cm. Estate of Francis Bacon
. John Deakin, Lucian Freud on Bed, c. 1964. Gelatine silver print, 30 x 29.3 cm. Estate of Francis Bacon
. John Deakin, Isabel Rawsthorne in Dean St., Soho, c. 1965. Gelatine silver print, 30.3 x 30.5 cm. Estate of Francis Bacon
. John Deakin, Muriel Belcher, c. 1965. Gelatine silver print. Estate of Francis Bacon
. Unknown photographer, Three photo strips of Francis Bacon, George Dyer and David Plante, Aix-en-Provence, 1966. Gelatine silver print. Mounted on book cover, 25.9 x 22 cm. Estate of Francis Bacon, studio item 34
. Profile of John Edwards seated in an interior, late 1970s. Gelatine silver print, 25.4 x 30.4 cm. Hugh Lane Gallery
. John Edwards by washbasin in 7 Reece Mews with Francis Bacon reflected in a mirror, no date. Gelatine silver print, 30.2 x 23.6 cm. Estate of Francis Bacon, studio item 32
Work documents, lists, notes, sketches
. Two leaves with handwritten lists of works. Paper, 18 x 11 cm.
Tate Library and Archive, London (David Sylvester Archive 200816, items 1-2)
. Loose sheet with autograph of Francis Bacon, dated 10 December 1957 and headed ‘The Series of Nudes.’ Pen on paper, 27 x 20.8 cm. Tate Gallery Archive, London
. Handwritten notes by Francis Bacon, 1974. Blue felt-tip pen on blank sheet of paper, 22.8 x 17.7 cm. Hugh Lane Gallery, Dublin
. Francis Bacon, Edweard Muybridge, The Human Figure in Motion (ed. 1955) with list of ideas for painting dated 2 January 1962 and a sketch in oils of a figure on a couch on half-title page. Ill. Harrison, In camera p. 181, framed pages from book, 27.3 x 39 cm. Peter and Nejma Beard
. Reproduction of ‘Study for crouching Nude’ (1952). Overpainted by Bacon.
1964. Hugh Lane Gallery, Dublin
. Mounted leaf from Eadweard Muybridge, The Human Figure in Motion, with black-and-white plate series of a man shadow-boxing. Black over-painting by Francis Bacon on image ‘II’. 21 x 33 cm. Date of edition and intervention unknown. Hugh Lane Gallery, Dublin
. Leaf with black-and-white illustrations from Eadweard Muybridge, The Human Figure in Motion (Ed. 1955), with handwritten note in blue ink by Francis Bacon, “Make shadow into separate unit”. 31 x 23.5 cm. Date of note unknown. Hugh Lane Gallery, Dublin
. Overpainted reproduction of Bacon's 'Figures in a Landscape', 1956. Hugh Lane Gallery, Dublin
. Figure in a Landscape, c. 1952. Pencil and oil on paper, 33.9 x 26.3 cm. Tate
. Bending Figure, No. 2, c. 1957-61. Ballpoint pen and oil on paper, 34 x 27 cm
. Blue Crawling Figure, No. 1, c. 1957-61. Oil on paper, 34 x 27 cm. Tate
. Blue Crawling Figure, No. 2, c. 1957-61. Oil on paper, 34 x 27 cm. Tate
. Composition, c. 1957-61. Oil on paper, 34 x 27 cm. Tate
. Falling Figure, c. 1957-61. Pencil and oil on paper, 34 x 27 cm. Tate
. Figure bending forwards, c. 1957-61. Oil on paper, 34 x 27 cm. Tate
. Figure Crawling, c. 1957-61. Oil on paper, 34 x 27 cm. Tate
. Figure in Grey Interior, c. 1957-61. Pencil and oil on paper, 34 x 27 cm. Tate
. Figure Lying No. 1, c. 1957-61. Oil on paper, 34 x 27 cm. Tate
. Figure Lying No. 2, c. 1957-61. Oil on paper, 34 x 27 cm. Tate
. Figure with Foot in Hand, c. 1957-61. Ballpoint pen and oil on paper, 27 x 34 cm. Tate
. Figure with Left Arm Raised, c. 1957-61. Oil on paper, 34 x 27 cm. Tate
. Pink Crawling Figure, c. 1957-61. Oil on paper, 34 x 27 cm. Tate
. Two Owls, No. 2, c. 1957-61. Oil on paper, 34 x 27 cm. Tate
. Turning Figure, c. 1959-62. Oil on paper, 33.9 x 26.3 cm. Tate
. Reclining Figure No. 1, c. 1961. Ballpoint pen and oil on paper, 23.8 x 15.6 cm. Tate
. Reclining Figure No. 2, c. 1961. Ballpoint pen and oil on paper, 22.2 x 15 cm. Tate
. From Eadweard Muybridge, “Woman Walking Downstairs, Picking up Pitcher, and Turning”, plate 24 from Human Figure in Motion, 1955 edition. Bacon isolated the figure turning c. 1965, in preparation for the figure in the left-hand panel of Crucifixion (1965). 27 x 19.6 cm. Hugh Lane Gallery, Dublin
. Three cuttings mounted on board with a needle. One leaf fragment from a book with black-and-white illustration of a Gustav Courbet painting of two lovers; one leaf fragment with two black-and-white images of nude wrestlers by Edweard Muybrigde; one cutting from a magazine with reproduction of ‘Painting’ (1946) and brief biography of Francis Bacon. 29.3 x 40 cm. Date unknown. Hugh Lane Gallery, Dublin
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