After Second Version Of The Triptych 1944 (right panel)
After Second Version Of The Triptych 1944 (right panel)
Signed Print
Francis Bacon
Price data unavailable
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
TradingFloor
Track this artwork in realtime
Watch artwork, manage valuations, track your portfolio and return against your collection.
Track auction value trend
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| December 2015 | Karl & Faber - Germany | After Second Version Of The Triptych 1944 (right panel) - Signed Print | |||
| June 2015 | Bonhams New Bond Street - United Kingdom | After Second Version Of The Triptych 1944 (right panel) - Signed Print | |||
| February 2006 | Christie's London - United Kingdom | After Second Version Of The Triptych 1944 (right panel) - Signed Print |
Meaning & Analysis
Created in 1988, this lithograph is the right panel of a triptych by Francis Bacon named After Second Version Of The Triptych 1944. A reworking of his widely known 1944 triptych, this work is a refined and polished version of the original. Some claim it lacks the rawness of the first however, it rather excels in detail where Bacon’s imagination of these creatures originally depicted in a claustrophobic state has developed into a state of seclusion and everlasting misery.
This signed right panel is part of an edition size of 60. It depicts a harrowing anthropomorphic creature writhing as it rests on a wooden table placed right of centre and extending seemingly beyond the canvas. The mouth of the creature gapes wide open to reveal human-like teeth and a tongue seemingly screeching towards the centre of the triptych. The long neck extends out from a body made up on thin flesh across a jagged rib cage. This creature, unlike the left panel has a more recognisable form which creates a certain familiar unfamiliarity as human features of teeth, bones and ears are more apparent to the viewer.
The figure sinks into a deep red void accompanied by dark patches of paint that diffuse upwards from the bottom of the picture plane. As in all three panels a light horizontal line running across the lithograph suggests that these creatures are in a room.
