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CHÂTEAU MOUTON ROTHSCHILD 4 Flaschen PAUILLAC 1990 'En Hommage à Francis Bacon', 1er Grand Cru Classé, Region: Pauillac, Frankreich, 750 ml, 12,5% Vol., Füllstand 2 x BON (base of neck) / 2 x VTS (very top shoulder), Alters- und Lagerungsspuren. SHIPPING RESTRICTIONS OUTSIDE THE EU!| CHÂTEAU MOUTON ROTHSCHILD 4 bottles PAUILLAC 1990, 'En Hommage à Francis Bacon', 1er Grand Cru Classé, Region: Pauillac, France, 750 ml, 12,5% Vol., fill level 2 x BON (base of neck) / 2 x VTS (very top shoulder), signs of age and storage. RESTRICTIONS OUTSIDE THE EU!

δ Francis Bacon (1909-1992)Triptych 1974-1977 (Sabatier 4; Tacou 13)Etching with aquatint printed in colours, 1981, signed and inscribed 'H.C.' in pencil, numbered from the edition of 15 hors commerce impressions, printed and published by Ediciones Polígrafa, Barcelona, on Guarro wove paper, with full margins, sheet 1100 x 625mm (43 1/4 x 24 1/2in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Francis Bacon (1909-1992) after.Study for Head of Lucian FreudGiclée print mounted on aluminium, 2015, numbered from the edition of 500 in black ink verso, co-published by The Estate of Francis Bacon and Heni Productions, London, with the Heni inkstamp verso, the full sheet printed to the edges, sheet 355 x 305mm (14 x 12in)

Hertfordshire.- Grimston (Charlotte) The History of Gorhambury, first edition, etched frontispiece of Sir Nicholas Bacon, otherwise lithographed throughout with pictorial title, mounted portrait of the author on india paper, 90pp. text, 3 plans and 6 plates, text with coats-of-arms in margins, portraits foxed, title a little browned with offsetting from frontispiece, occasional light foxing to text, engraved bookplate of Leonard L.Hartley Esq., handsome contemporary diced russia with elaborate gilt border and fan corner-pieces, g.e., a little worn, rebacked in calf with ecclesiastical ornaments in gilt, corners repaired, 4to, [privately printed], [c.1821, water-marked 1820]⁂ "Probably the first [British] topographical book with its text lithographed...the most striking feature of the book is the discrepancy between the assurance of the writing of the main text and the naivety of the drawings...". Twyman, Early Lithographic Books, pp. 179-180 & 1.113.Charlotte Grimston was the wife of the first Earl of Verulam whose father commissioned Gorhambury House from Sir Robert Taylor. It replaced the ruined Old Grohambury House, home of the Bacon family including Sir Francis Bacon.

Derriere le Miroir. Ellsworth Kelly, Derriere le Miroir, No. 149, Paris: Aime Maeght, Novembre 1964, three double-page color lithographs including outer wrappers, monochrome illustrations, text by Dale McConathy, some marks to covers, slim folio, together with Francis Bacon, Derriere le Miroir, No. 162, Paris, Novembre 1966, colour and monochrome illustrations, original wrappers, slight marginal dust-soiling, 4to, with two others: L'Art Absrait. Ses origines, ses premiers maitres, nouvelle edition, Paris, Maeght, 1950, and Ozenfant. Art, Bilan des Arts Modernes en France, Paris, Jean Budry & Co., 1928, one of 100 copies, this copy unnumbered QTY: (4)

Read (Herbert, introduction). Henry Moore Sculpture and Drawings, 1921-1948, 1949-1954, & 1955-64, 3 volumes, London: Lund Humphries/Zwemmer, 1957-65, monochrome plates, original cloth, second and third volumes in dustwrappers, 4to, together with Ben Nicholson, work since 1947, volume 2, with an introduction by Herbert Read, 1st edition, London: Lund Humphries, 1956, colour and monochrome illustrations, original cloth-backed pictorial boards, 4to, plus Lewis (Wyndham). Wyndham Lewis the Artist form 'Blast' to Burlington House, 1st edition, London: Laidlaw & Laidlaw, 1939, original green cloth gilt, 8vo, and others on 20th-century British art and artists including Lillian Browse, Sickert, 1st edition, 1960, Margot Eates, Paul Nash The Master of the Image 1889-1946, 1st edition, John Murray, 1973, Andrew Causey, Paul Nash, 1st edition, Oxford University Press, 1980, Michel Leiris, Francis Bacon, Full Face and in Profile, Phaidon, 1983, John Rothenstein & Ronald Alley, Francis Bacon, 1st edition, Tames & Hudson, 1964, Richard Cork, Art Beyond the Gallery in early 20th century England, Yale University Press, 1985, and Vorticism and Abstract Art in the First Machine Age, volume I only, 1976, etc., mostly original cloth, but including some paperbound editions many in dustwrappers, 4to/8voQTY: (6 shelves)

Estate of Francis BaconIn Memory of George Dyer (Small) (Q6B) The complete set of three Diasec-mounted giclée prints, 2016, on aluminium panel, each numbered 483/500 in black ink verso, co-published by The Estate of Francis Bacon and Heni Productions, with their inkstamp at the back of each panel, the full sheetsEach 1100 x 820mm (43 1/4 x 32 1/4in)(3)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

*ALAN DAVIE (1920-2014) 'Les Grands Musicians Initiatiges No.1, 2006' signed, titled and dated verso, oil on canvas, 91.4cm x 76.2cmProvenance: With Gimpel Fils, 30 Davies Street, Mayfair, London W1K.Alan DavieIn the 1950's Alan Davie was recognised internationally as a new radical force in modern painting and was hailed by art critic Alan Bowness as, alongside Francis Bacon, one of the most influential artist of his time. He was an artist who created his own unique style, thoroughly spontaneous, and on drawing from a number of different interests, including his own experiences of primitive art, Abstract Expressionism, Surrealism and Zen Buddhism. However, despite his diverse influences, a Davie painting could never be mistaken for anyone else's work.Alan Davie first trained as a painter at Edinburgh College of Art where he also took up jazz music, and earned money as a musician, poet and jeweller. After his marriage in 1947 to fellow art student Janet Gaul, he travelled widely in Europe and for the first time was exposed to Italian masterpieces such as Cimabue and Giotto in Florence, before meeting Peggy Guggenheim in Venice who introduced him to Pollock's early work. Her recognition and later patronage of his work propelled him onto the international arena. When Davie returned to England he was taken on by the London gallery Gimpel Fils, where he had his first solo exhibition and from then on had the support of both the gallery and the Gimpel family. Initially however, it was in America where he experienced the greatest success; at his first New York exhibition, every painting sold mostly to major institutions and in 1956, when he first visited New York, the city's major artists of the day turned out to meet him, including Pollock and Rothko. In 1957 he showed work at the Museum of Modern Art in Paris and at the Guggenheim in New York. In 1958 he was part of the Critic's Choice Exhibition selected by David Sylvester and in the same year he represented Britain at the Venice Biennale.Alan Davie's work has been widely exhibited and is included in numerous international public and private collections, including the Tate Britain, the Arts Council of Great Britain, the Victoria & Albert Museum, the Foundation Maeght and the Museum of Modern Art, New York. His exuberant and expressive paintings posses a unique force that can be associated with the New York School and also the St Ives School, yet he also stood alone from these groups. He borrowed freely from all cultures and it is the combination of these experiences, together with his freedom of expression that gives Davie his unique style.

BINDING - Francis BACON (1561-1626). Essays, London, 1903, 8vo, VERY FINELY BOUND in full dark blue crushed morocco elaborately-decorated in gilt by Ramage.BINDING - Francis BACON (1561-1626).  Essays and Colours of Good and Evil with Notes and Glossarial Index by W. Aldis Wright. London: Macmillan and Co. from the "Golden Treasury Series", 1903. 8vo (151 x 96mm). Half title, wood-engraved illustration on the title. VERY FINELY BOUND in full dark blue morocco gilt by Ramage, the covers decorated with large and small anthemia, the larger in green morocco onlays, the smaller in red morocco onlays, interspersed with small crescents and dots, the larger anthemia motifs repeated in five compartments of the spine, the sixth compartment lettered in gilt, dentelles with anthemion cornerpieces and a repeated pattern of small crescents and dots, tan watered silk liners, gilt edges. A BINDING OF RARE BEAUTY IN EXCEPTIONALLY FINE CONDITION.

Eleven art related volumes including surrealists, Eileen Agar, Tristan Hillier and Francis Bacon

Alan Davie (1920-2014)Upsurge No.3, 1952dated '20 8 52' (upper left), signed, dated, and inscribed 'Alan Davie/Aug 52/SPEED SPACE' (to reverse)oil on board 122 x 101cm. Provenance:The Artist's Estate;Private Collection; Bonhams. London, Modern British and Irish Art, 22 June 2022, lot 60. Literature: Alan Bowness, Alan Davie, Lund Humphries, London, 1967, cat.no.147 The present lot is the third in a sequence of works titled Upsurge and subtitled Speed Space, each painted by Davie in 1952. The critic Robert Melville observed that Davie's work of this period relates to the fascination with science fiction prevalent among the artists of the emerging Independent Group, as well as the sacrificial imagery of Francis Bacon. Across the Upsurge pictures, Davie's application of paint is thick, the final image resultant of process rather than design. Upon the acquisition of another work from 1952 (Black Mirror), which matches approach and palette of the Upsurge series, the Tate gallery interviewed Davie. He elaborated on his practice around this date: "The paintings of the period that remain are few — the outcome of violent and mainly destructive work — most of them have many various paintings underneath them... each successive image being the result of the destruction of the previous one (obliteration by a new image, not removal of). At that time I felt the need to produce a work by a flash of intuition — if it didn't come off I did another on top. There is no doubt that many good things were destroyed in the process — but the result could never have been achieved by any other way." (Alan Davie quoted in The Tate Gallery Report 1972–1974, Tate Gallery London, 1975). The painting and board appear in very good condition with no sign of damage or paint loss. The edges of the board have very minor wear consistent with the age. The frame has age and has some wear.

One Magnum Chateau Mouton Rothschild Pauillac 1990 with "En Hommage à Francis Bacon"

Seven boxes of various books to include "John Leech's Pictures", "Who's Who in the World", "The Birds of Gloucestershire", "Private Eye - the first fifty years", MAX HASTING "Vietnam", MARGARET ATTWOOD "The year of the flood", FRANCIS BACON "Revelations" etc, etc

Francis BACON (1909-1992)Trois études pour un autoportrait, 1981 (Tacou, 15)Lithographie en couleurs sur ArchesSignée et numérotée 94/150Arts Litho, imprimeur, ParisEditions de la différence, éditeur, Paris58 x 103 cmColour lithograph on Arches, signed and numbered 94/150Footnotes:Provenance Galerie Maeght, Paris Collection particulière, ParisAcquis auprès de celle-ci en 1984 par l'actuel propriétaire (facture)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

FRANCIS BACON (1909-1992)D'après Study for the Human Body, 1981 (Sabatier, 28; Tacou, 36)Issue du portfolio Logique de la Sensation Texte de Gilles DeleuzeLithographie en couleurs sur ArchesEpreuve hors commerce signée et justifiée 'HC'Editée par les Editions de la différence, ParisPorte le cachet sec de l'imprimeur, Arts litho, ParisPrésentée dans son emboîtage entoilé rouge d'origine45 x 33 cm la lithographie (à pleine page) Colour lithograph on Arches, signed and justified 'HC'This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

▴ Francis Bacon (1909-1992)Centre panel from 'Triptych March', 1974offset lithograph in colours, c.1978, signed 'Francis Bacon' in pen l.r., and numbered '54/150' in pencil l.l.image 63 x 47cmCondition ReportFramed: 83 x 63cmCockling and time staining. There are numerous crease marks where the ink has 'cracked' throughout the printed area, please see images. Watermarks and spots and speckles of dirt to the margins. Not viewed out of glazed frame.

Francis Bacon, Deuxième version du triptyque 1944 (Second Version, Triptych)3 Farblithographien auf Karton Je 178,5 x 119,5 cm. Einzeln unter Glas gerahmt. Jeweils signiert und beschriftet. Exemplar E.A. Eines von 8 Künstlerexemplaren (+13 H.C.+30). Edition Michel Archimbaud für Librairie Séguier for IRCAM, Centre Pompidou, Paris 1989. - Mit leichten Altersspuren.Bruno Sabatier, Francis Bacon, œuvre graphique, the graphic work, catalogue raisonné, Paris 2012, WVZ-Nr.24ProvenienzPrivatsammlung, Schweiz

FREUD LUCIAN: (1922-2011) British painter. A good, rare A.L.S., with his initial L, two pages, 8vo, Rue de Seine, Paris, n.d. (1953), to Ann [Fleming], on the printed stationery of the Hotel La Louisiane. Freud announces ‘In spite of Doc. Leadinghams (sic) warning “Life is cruel, my dear!” we are very well’ and explains that Caroline [Blackwood] will be coming to London for two days on the 18th, ‘so could you please make a date for her with leadface for the 19th?’, further writing of his upcoming marriage, ‘I think a Paris wedding would perhaps be best as one needs no documents except my divorce papers but where-ever it takes place do please be my best man! The main advantage of being married here is that it can be done at dusk so that one can emerge, spliced, into the Paris night’. Freud also makes a reference to Ann’s husband, Ian Fleming, stating ‘I am becoming rather like Ian in so much so that a number of subjects can not safely be mentioned in my presence’. A letter of good content and association. Some very light, extremely minor creasing, otherwise VGAnn Fleming (1913-1981) British socialite whose third husband, from 1952, was Ian Fleming (1908-1964) British writer of the James Bond series of spy novels. Ann Fleming’s friends included the artists Francis Bacon and Lucian Freud, the latter of whom painted her portrait.Lady Caroline Blackwood (1931-1996) English writer, socialite and dilettante. Blackwood, the Guinness heiress, was depicted in Freud’s painting Girl in Bed (1952) as well as the autobiographical Hotel Bedroom (1954), the latter also featuring Freud himself and painted at a time when his relationship with Blackwood was beginning to unravel. Both paintings were executed at the Hotel La Louisiane, from where the present letter was written. Ann Fleming had introduced Blackwood to Freud and in December 1952 the two lovers eloped to Paris. Freud’s marriage to his first wife, Kitty Garman, was formally dissolved on 27th November 1953 and two weeks later, on 9th December, Freud and Blackwood were married in a civil ceremony at the Chelsea Register Office in London.

[BACON FRANCIS]: (1909-1992) Irish-born British painter. A good, large colour 13 x 19 (32.5 x 48 cm) photograph of Bacon by photographer Jacques Saraben, the image depicting the artist seated in a full-length pose in his studio surrounded by unruly piles of paint tubes, pots of paint brushes, the floor scattered with other paraphernalia and the walls partially covered in various daubs of coloured paints. Signed (‘Jacques Saraben’) by the photographer to the lower white border and further titled in his hand ‘Francis Bacon, Atelier de Reece Mews, 25 Mars 1972’ (printed later). Also with his oval credit stamp to the verso. A couple of extremely light, minor corner and surface creases to the white borders, otherwise VGJacques Saraben (1939- ) French photographer and painter.7 Reece Mews in South Kensington, London, served as Bacon’s studio from October 1961 until his death in April 1992. Few people were allowed into the centre of his artistic activities, and even fewer witnessed him painting. In 1998 the entire contents of the studio were donated to the Hugh Lane Gallery in Dublin where they were meticulously reconstructed. Irish-born British painter. A good, large colour 13 x 19 (32.5 x 48 cm) photograph of Bacon by photographer Jacques Saraben, the image depicting the artist seated in a full-length pose in his studio surrounded by unruly piles of paint tubes, pots of paint brushes, the floor scattered with other paraphernalia and the walls partially covered in various daubs of coloured paints. Signed (‘Jacques Saraben’) by the photographer to the lower white border and further titled in his hand ‘Francis Bacon, Atelier de Reece Mews, 25 Mars 1972’ (printed later). Also with his oval credit stamp to the verso. A couple of extremely light, minor corner and surface creases to the white borders, otherwise VGJacques Saraben (1939- ) French photographer and painter.7 Reece Mews in South Kensington, London, served as Bacon’s studio from October 1961 until his death in April 1992. Few people were allowed into the centre of his artistic activities, and even fewer witnessed him painting. In 1998 the entire contents of the studio were donated to the Hugh Lane Gallery in Dublin where they were meticulously reconstructed.

Peacock Press - two privately-printed works Of Gardens By Francis Lord Bacon Woodcut frontispiece and text border to front page, one in black, the other green; woodcut illustration and capital textblock; limited edition, 30 copies set and printed by Wilfrid O. Reynolds at the Peacock Press, Plymouth. Finished on January 2nd, 1929. These being numbers 15 and 23. Scarce items.

(Bindings.) James Boswell: 'The Life of Samuel Johnson, LL.D', London, James Christie, 1824, 4 volumes in 2, engraved folding plate "Round Robin addressed to Samuel Johnson with Facsimiles of the Signatures"/"Facsimiles of Dr Johnson's Hand Writing", uniform contemporary calf gilt, rebacked retaining original backstrips, Hannah Dockray Lancaster bookplates dated 1857 to front pastedowns, James Spedding and others (ed.): 'The Works of Francis Bacon', L, Longmans et al, 1879-1890, 7 volumes, engraved portraits, facsimiles etc, uniform contemporary full calf gilt Repton School prize bindings, spines gilt in compartments, Repton School gilt crests to front covers, 'The Antient Chronicles of Sir John Froissart....translated...by John Bourchier, Lord Berners', London, J. Davis, 1814-16, 4 volumes, uniform half calf gilt, spines gilt in compartments, all edges marbled (13)

Robert Rosen: A Large Group of Vintage Polaroids Taken by Rosen and Signed by Various Film/Music/TV Stars,1980s-00s,approximately 340 colour Polaroids, each signed in various inks by the celebrity featured in the images, notable people include; David Bowie, Bill Wyman, Cliff Richard, Grace Jones, Donovan, Elton John, Sting, Zandra Rhodes, Mary Quant, Sylvester Stallone, Terence Stamp, Vera Lynn, Marianne Faithful, Pete Townsend, Charlie Watts (unsigned), Shirley Bassey, Audrey Hepburn, Stevie Knicks, Andrew Ridgeley, Rudolf Nureyev, Luciano Pavarotti, BB King, Joan Rivers, Jackie Collins, Ronnie Barker, Rowan Atkinson, Whoopie Goldberg, Diana Rigg, Tom Selleck, Mel Gibson, Kylie Minogue, Olivia Newton-John, Nicole Kidman, Ru Paul, Cate Blanchette, Yoko Ono, David Essex, Phil Lynott, Phil Collins, The Village People, David Hockney, Andrew Logan, Karl Lagerfeld, Joe Cocker, John Hurt, Edward Bell, Duggie Fields, Patrick Hughes, Naomi Campbell, Ossie Clark, Malcolm McLaren, Celia Birtwell, Grayson Perry, Peter Blake, Thierry Mugler, David Bailey, Martin Sharp, Paloma Picasso, Jean Shrimpton, Diana Ross, Ella Fitzgerald, Etta James, Issey Miyake, Marcel Marceau, Francis Bacon, Dean Martin, Bob Geldof, Michael York, Helmut Newton, Herb Ritts, Joan Collins, Carrie Fisher, Tom Stoppard, Lewis Morley, Anita Ekberg, Bill Gibb, David Attenborough, Kenny Rogers, Kenny Everett, Christopher Reeve, Jean Paul Gautier, Ronnie Corbett, Diana Dors, Tony Curtis, Joanna Lumley, Geraldine Chaplin, Omar Sharif, Ian McKellen, Michael Caine, Penelope Keith, Muhammad Ali, Les Dawson, Jane Asher, Janet Street-Porter, Bette Midler, Bonnie Tyler, Jerry Hall, Boy George, Quentin Crisp, William Burroughs, Andrew Lloyd-Webber, Deborah Kerr, Nina Simone, Leo Sayer, Lulu, David Hemmings, Barry Lategan, Nico, Vanessa Redgrave, among many others, all signed and dated on the reverse by the photographer, split across two leather-bound albums, sold without copyright or any reproduction rights, each 3 1/2in x 4in (9cm x 10cm), (Qty)Footnotes:Provenance:Offered by Australian photographer Robert Rosen.During 1975-1985 Rosen worked as a freelance photographer in London for Rolling Stone, NME and other music papers. He was also a society, portrait and catwalk photographer for Ritz Newspaper, Avant Garde Magazine, Root, Fashion Weekly & POL and freelanced for daily newspapers during this time. In 1985 Robert returned to Australia and continued his work with Harper's Bazaar, Vogue, Mode & Elle and the Sunday Telegraph, Sydney.Robert Rosen is one of Australia's foremost social photographers and an astute observer of Sydney and London society. He has covered social events for the past 30 years and through his lens brings us tantalizing shots of global celebrities. These are not the stiff poses and uncomfortable smiles captured by most social photographers. It is clear Rosen's subjects are willing participants, resulting in images that exude warmth and wit. This fascinating series of Polaroid photographs records the glamour, the personalities, the drama and the fun of London, Paris and Sydney social events. The images are also important social documents, recording key personalities among the world's social set‚ a mix of actors, rockstars, stage and screen stars and creatives. A visual history of his work appears in his latest book Glitterati. David Bowie Polaroid, London, 1981.'This polaroid was taken at a party at Regine's nightclub on top of a building in Kensington London. I spotted Bowie in the garden and nervously went up to him and asked if I could take his photo and do a Polaroid of him. He agreed but wanted us to go somewhere a little more secluded. I took the Polaroid and all the while I'm thinking, he's going to remember me as the photographer who'd taken his photo at the Blitz Club without his permission about six months before. He was asking me questions about my attire, especially the Andrew Logan mirror bowtie I was wearing. He then said ' Ahh, Robert Rosen with the looking glass bowtie.' I smiled and showed him the Polaroid that by now had fully developed. But it had my fingerprints across the top of it as I'd been nervously holding it too hard whilst talking to David. I suggested we take another one, but he said 'No I like it, it's art' and he signed it.'- Robert RosenThe Charlie Watts Polaroid is the only unsigned photograph in the collection. When Rosen asked Watts to sign it, his excuse for not doing so was because John Lennon had passed away that day.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

4 bottles of Chateau Mouton Rothschild Pauillac, 1990, Francis BaconPrivate cellar in HampsteadInto the neck

Milton (John) Thomas Moore, Francis Bacon and others. The Complete History of England: with the Lives of all the Kings and Queens Thereof, 3 vol., first edition, titles in red and black, engraved portraits, bookplates, occasional faint off-setting, contemporary panelled calf, vol. 1 upper cover worn, most joints cracked but holding, rubbed, Brab. Aylmer, Reb. Ronwick and others, 1706; and another, folio (4)

AR * Bacon (Francis, 1909-1992). Portrait of the artist at Reece Mews, London, on his 80th birthday, taken by Neil Libbert (born 1938), 1989, gelatin silver print, printed later, 245 x 165 mm, corner-mounted in a modern aperture mountQTY: (1)

Antiquarian Books; A collection of eight Titles including 'Religio Medici', seventh edition, 1672, 'The Essays or Counsels, Civil and Moral of Sir Francis Bacon', printed by M.Clark for Samuel Mearne, 1680, 'Antonini Iter Britanniarum', 1709, 'Fables for the Female Sex', printed for R.Franklin in Russel-Streel Covent-Garden, 1744 etc., (8)

Francis Bacon (1909-1992) after.Grand Palais Exhibition PosterOffset lithograph printed in colours, 1972, printed by J.E. Wolfensberger, Zurich, published by Gordon House, London, on wove paper, the full sheet printed to the edges, sheet 718 x 428mm (28 1/4 x 16 7/8in)

Francis Bacon (1909-1992) after.Galerie Maeght Exhibition PosterLithograph printed in colours, 1967, printed by Arte, Barcelona, published by Maeght Editeur, Paris, on wove paper, the full sheet printed to the edges, sheet 707 x 448mm (27 7/8 x 17 5/8in);Together with a further Francis Bacon exhibition poster, Galerie Lelong, Paris, 1999-2000 (2)

Ahmed Ben Driss El Yacoubi (Morocco, 1929-1985)Abstract Figure in Red mixed media on canvasexecuted mid 1960s70 x 50cm (27 9/16 x 19 11/16in).Footnotes:Provenance:Property from a distinguished collection, TangierAcquired directly from the Artist in Tangier in the 1970s'The painting of Yacoubi is a window opening into space. You do not look at his pictures but through them.' – William Burroughs.'Eventually it was Francis Bacon who supplied the key, suggesting that Ahmed sit each afternoon in his Casbah studio and watch him paint. There was to be no conversation; it was merely a matter of seeing a painter paint.' – Paul BowlesFor further information on this lot please visit Bonhams.com

Bacon (Francis). Baconiana. Or Certain genuine remains of Sr Francis Bacon, Baron of Verulam, and Viscount of St. Albans; in arguments civil and moral, natural, medical, theological, and bibliographical; now the first time faithfully published. An account of these remains, and of all his Lordship’s other works, is given by the publisher, in a discourse by way of introduction, 1st edition, London: J. D. for Richard Chilwell, 1679, bound with: A Discourse by the way of Introduction, in which the publisher endeavoureth an account of the philosophy, mechanic inventions, and writings, of Sir Francis Bacon, 1st edition, London: Printed for R. C. at the Rose and Crown in St. Paul's Church-yard, 1679, [2], 104; [8], 270, [2] p., engraved portrait frontispiece by F.H. van. Houe (loose), occasional light toning, lacking front free endpaper, contemporary speckled calf, rebacked, red morocco title label lettered in gilt, rubbed, 8voQTY: (1)NOTE:ESTC R9006; Pforzheimer 25.This copy conforms to the ESTC collation, with an alternative listed in Pforzheimer.

FOLIO SOCIETY: BACON, Francis “Essays or Councils Civil & Moral”, illus. Harry Brockway, 2002; BEOWULF, trans. K. Crossley-Holland, illus. Virgil Burnett, 1973; ERASMUS of ROTTERDAM, trans. Betty Raddice, 1974; FERNANDEZ-ARMESTO, Felipe (ed.): “A History of England 1945-2000”, 2001; CROSSLEY-HOLLAND, K. (ed.) “Folk Tales of the British Isles”, illus. Hannah Firmin, 1985; GRAVES, Robert “The Golden Fleece”, illus. Grahame Baker, 2003; GEOFFREY of MONMOUTH “The History of the Kings of Britain”, trans. Lewis Thorpe, 1969; THE CHEVALIER OF JOHNSTONE: “A Memoir of the Forty-Five”, 1958; MORE, Thomas: “Utopia”, trans. Paul Turner, illus. Edward Bawden, 1972; POPE, Alexander; “The Rape of the Lock”, illus. Peter Forster, 1989; PHELPS, Gilbert; “A Short History of English Literature”, 1962; Scott, W. S. (trans): “The Trial of Joan of Arc”, 2nd. Imp., 1968. (12).

FOLIO SOCIETY: BACON, Francis “The History of the Reign of King Henry the Seventh”, 1971; BANERJI, Bibhutibhushan “Panther Panchali”, illus. Janet Archer, 1971; BEARD, Mary “Pompeii”, 2013; CELLINI, Benvenuto, Autobiography, trans. Geo. Bull, 1966; BURNEY, Charles “Music, Men & Manners in France & Italy, 1770; ed. Edmund Poole, 1969; GRAVES, Robert; “I, Claudius”, ill. Neil Packer, 1994; MARO, Publius Vergilius; “The Georgies”, trans. K.R. Mackenzie, illus. Nigel Lambourne, 1969; NORWICH, John Julius “A History of Venice”, 2007; PILKINGTON, J.G. (trans.) “St. Augustine, Bishop of Hippo, Confessions”, illus. Simon Brett, 1993; SHAKESPEARE, Wm. “Julius Ceasar”, illus. “Motley” (Margaret Harris), 1962; SMOLLETT, Tobias “Travels Through France & Italy”, 1979; & VASARI, Giorgio “The Life of Micharlangelo Buonarroti”, trans. Geo. Bull, 1971. (12).

Three Royal Academy art exhibition posters, Summer Exhibition, Amoako Boafo, The Architectural Photographs of Héléne Binet and Leon Spilliaert, and a Francis Bacon mini poster, unframed

Two boxes of modern / contemporary art books including, Gauguin, Gerard Hoffnung (x8), Klimt, Rossetti, Whistler, Francis Bacon, Matisse, Paolozzi (2 boxes)

GEORGE HARRISON - First Edition Copy of Blind & Shutters Autographed by George Harrison, Francis Bacon, Peter Blake and OthersA autographed first edition copy of the book Blinds & Shutters by British photographer Michael Cooper, who famously shot the cover for the Beatles' Sgt. Pepper's Lonely Hearts Club Band and The Rolling Stones' Their Satanic Majesties Request. This book is numbered 1,301 out of 5,000 copies, and was published by Genesis Publications in 1990. It contains more than 600 photographs by Cooper taken throughout the 1960s. Several subjects and friends have signed this copy, including George Harrison, Francis Bacon, Peter Blake, Pattie Clapton (now Pattie Boyd), Adam Cooper, Terry Doran, Anita Pallenberg, Bridget Riley, Colin Self and Bill Wyman. The leather-bound book comes presented in a custom black-and-yellow solander box with a sliding blind which reveals an image unique to this copy, incorporated onto the lid. Dimensions (in box): 39.5 cm x 28.5 cm x 6.5 cm (15 1/2" x 11 1/4" x 2 1/2")Estimate: £800 - 1,600 M Bidding for this lot will end on Friday, November 10th. The auction will begin at 3:00PM BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 9th, Saturday, November 11th or Sunday, November 12th.

A collection of eleven art reference books including British 20th Century masters, Francis Bacon, Patrick Heron, Alan Davie, John Bellany and Howard Hodgkin

A silver plaque, a pair of silver-plated round bowls and a plated bell. Comprising; an Italian silver-mounted rectangular plaque of Kyrenia Harbor(sic)'; two round bowls each with a Celtic inscribed rim 'The Company makes the feast, Francis Bacon 1561-1626' and 'Have nothing in your house that you do not know to be useful or believe to be beautiful', William Morris', each approx. 11cm diameter; and a base metal pieced and embossed table bell

A GROUP OF BOOKS INCLUDING DARWIN, BY EASTON PRESS Eight books, Easton Press, Norwalk Connecticut, USA leather bound and gilt, moire fabric end sheets, silk ribbon page markers, On The Origin of Species By Means of Natural Selection, by Charles Darwin, 1976 edition, some foxing, The Descent of Man by Charles Darwin, 1979, some foxing, The Essays of Ralph Waldo Emerson, 1979, silverfish damage to top front pages, The Rights of Man, by Thomas Paine, 1979, has foxing, The Essays of Sir Francis Bacon, 1980, small split section on lower front cover edge, The Confessions of Jean-Jacques Rousseau, 1980, The Way of All Flesh by Samuel Butler, 1980, minor foxing, A Journal of The Plague Year, 1665 by Daniel Defoe, 1978, The Pilgrim's Progress by John Bunyan, illustrated by William Blake, 1979 Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

Francis Bacon (Dublin 1909 – 1992 London). „Second Version of Painting 1946“. 1971Farboffsetlithografie auf Velin. 80,8 × 58,9 cm (31 ¾ × 23 ¼ in.). Signiert.Sabatier 31.–Einer von 150 nummerierten Abzügen. Düsseldorf, Städtische Kunsthalle, 1971. [3214]Zustandsbericht: Ex. 41/150. Schöner harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. Mit vereinzelten kleinen schwachen Dellen. Rückseitig im unteren Randbereich fingerfleckig. Entlang der Ränder umlaufend mit einem Rest braunen Papierklebestreifens.Wir berechnen auf den Hammerpreis 32% Aufgeld.

Francis Bacon (1909-1992) A surrealist style triptych print published in 1976. Frame size approx 33 x 16 inches. 

§ Roy De Maistre C.B.E. (Australian / British 1894-1968) Two Figures oil on board Dimensions:41cm x 33cm (16 1/8in x 13in) Provenance:ProvenanceCelia Broadbent (neé Keogh) and by direct descent to the present owner.LiteratureJohnson, Heather, Roy De Maistre: The English Years 1930-1968, Sydney: Craftsman House, 1995, p.27, plate 7, illustrated. Note: Celia Broadbent was de Maistre’s cousin once removed, and his executor and friend; her older sister, Camilla Margery Keogh, was the subject of ‘La Folie', considered one of de Maistre’s major works Roy de Maistre: ‘Fellas doing things to Fellas’Described as ‘the man who taught Francis Bacon to paint’ (Ronald Alley interviewed by Heather Johnson 1988), Roy de Maistre moved from his native Australia to London in 1930, where he lived for the rest of his life. He had trained at Sydney Art School and the Royal Art Society, had spent two years travelling in Europe between 1923 and 1925 and had had two solo exhibitions, at the Macquarie Galleries in Sydney in 1926 and 1928. Despite this successful start to his career, de Maistre looked to London for a more progressive art world into which he was immediately admitted. In his first year in the English capital, de Maistre had a solo show at the Beaux Arts Gallery and a joint exhibition of paintings and furniture with Francis Bacon, held in the latter’s studio at 7 Queensberry Mews.De Maistre’s friendship with Bacon was closest in the early 1930s, though they remained in contact until the former’s death in 1968. There is some debate as to whether they had studios in the same buildings but on different floors, but what is certain is de Maistre’s fascination with Bacon’s working spaces, which he painted on several occasions. As de Maistre’s biographer, Heather Johnson, has declared ‘the main importance of the association between de Maistre and Bacon is the influence on their respective work…in the early 1930s de Maistre had just as great or greater influence on Bacon.’ (Heather Johnson, Roy de Maistre: The English Years 1930-1968, Craftsman House, Roseville East, 1995, p.22).The 1930s were a particularly fertile period in de Maistre’s career; his work featured in cutting-edge publications, such as Herbert Read’s 1933 Art Now and in group exhibitions including at the Zwemmer Gallery and Leicester Galleries. He had solo exhibitions at the avant-garde Mayor Gallery in 1934 and at the Calmann Gallery four years later. In 1934 he established the School of Contemporary Painting and Drawing with Martin Bloch, with its stated aim acting as a manifesto for his own work, namely ‘to help the pupils to give expression to their enjoyment of the beauty and significance of things seen and experienced; to understand and appreciate the materials they use and to recognise the logic of the laws of colour and composition’ (see Johnson, op.cit., p.82).Two Figures dates from this important period. Johnson explained that in this painting, compared with other contemporary works, ‘de Maistre has…concentrated on a sensitive and intellectual rapport between the figures rather than a purely sexual one, the blending of the figures and their closeness is much more successful’ (Johnson, ibid., p.28). Two Figures is all the more significant given de Maistre’s instructions to his Executors that, following his death, ‘a large body of work, described as ‘fellas doing things to fellas’ be destroyed (see Johnson, ibid., p. 28). The two men are seen unclothed, caught in a moment of intimate relaxation – both have their eyes closed and are viewed in profile. Bold black outlining provides the structure of a pictorial design based on shallow depth, whilst a harmonious palette, direct technique and frank appreciation of the male form create an image which is at once sensual and bold.In contrast, Crucifixion of 1945, whilst based on earlier notes and studies, was painted in response to the dropping of the first atomic bomb, on Hiroshima on 6 August of that year. By this point in his career, de Maistre was becoming known as a modernist religious painter, not least with the acquisition in 1944 of a work of the same Biblical scene to Iona Abbey. De Maistre formally converted to the Roman Catholic faith in 1951. The 1940s saw him receive solo exhibitions in Leeds and Birmingham and culminated in one at Adams Gallery, London in 1950.The influence of Bacon’s working methods can arguably be detected in Man and Tree of 1959. Johnson posits that Bacon’s use of Portrait of Innocent X by Diego Velázquez in a series of works started in 1951, may have encouraged de Maistre to look to past masters for inspiration. Indeed, she established that Man and Tree is based on a work by Henri Matisse, reproduced in an article about Fauvism in the December 1934 issue of the D’Aci I D’Alla magazine, of which de Maistre owned a copy. (M. A. Cassanyes, ‘Fauvisme’, D’Aci D’Alla, no.179, vol. XXII, December 1934 see Johnson, ibid., pp.163 and 165). This work dates from the period during which de Maistre was preparing his retrospective exhibition at the Whitechapel Gallery, London, which opened in May 1960.All three of the works by de Maistre presented here formerly belonged to Celia Broadbent (née Keogh). She was a daughter of the artist’s cousin, Camilla Keogh (1866-1948) who was one of his most significant patrons and muses. Celia went on to support de Maistre herself, not least in asking him to design tapestry versions of some of his paintings, which she then stitched (see Johnson, ibid., p. 112).As de Maistre’s patron, Rab Butler, proclaimed: ‘His most impressive quality as an artist was his absolute integrity. He went through long periods of difficulty in earning his living from painting because he refused to conform to any standards other than those which he had rigorously laid down for himself.’ (quoted in Johnson, ibid. p.55)

§ Roy De Maistre C.B.E. (Australian / British 1894-1968) Crucifixion, 1945 signed (lower right), oil on canvas Dimensions:25cm x 20.5cm (9 7/8in x 8in) Provenance:ProvenanceCelia Broadbent (neé Keogh) and by direct descent to the present owner.Celia Broadbent was de Maistre’s cousin once removed, and his executor and friend; her older sister, Camilla Margery Keogh, was the subject of ‘La Folie', considered one of de Maistre’s major works. Note: with label signed and inscribed THIS CRUCIFIXION, painted from notes and studies made at St. Jean-de-Luz in 1932 was begun on the day after the first atomic bomb was dropped on Hiroshima - painted in Sorrow for the innocent victims and in condemnation of those politicians who perpetrated this appalling act of mass murder in defiance of Christian love and compassion. / 13 Eccleston Street, London, 1945. (to reverse) Roy de Maistre: ‘Fellas doing things to Fellas’Described as ‘the man who taught Francis Bacon to paint’ (Ronald Alley interviewed by Heather Johnson 1988), Roy de Maistre moved from his native Australia to London in 1930, where he lived for the rest of his life. He had trained at Sydney Art School and the Royal Art Society, had spent two years travelling in Europe between 1923 and 1925 and had had two solo exhibitions, at the Macquarie Galleries in Sydney in 1926 and 1928. Despite this successful start to his career, de Maistre looked to London for a more progressive art world into which he was immediately admitted. In his first year in the English capital, de Maistre had a solo show at the Beaux Arts Gallery and a joint exhibition of paintings and furniture with Francis Bacon, held in the latter’s studio at 7 Queensberry Mews.De Maistre’s friendship with Bacon was closest in the early 1930s, though they remained in contact until the former’s death in 1968. There is some debate as to whether they had studios in the same buildings but on different floors, but what is certain is de Maistre’s fascination with Bacon’s working spaces, which he painted on several occasions. As de Maistre’s biographer, Heather Johnson, has declared ‘the main importance of the association between de Maistre and Bacon is the influence on their respective work…in the early 1930s de Maistre had just as great or greater influence on Bacon.’ (Heather Johnson, Roy de Maistre: The English Years 1930-1968, Craftsman House, Roseville East, 1995, p.22).The 1930s were a particularly fertile period in de Maistre’s career; his work featured in cutting-edge publications, such as Herbert Read’s 1933 Art Now and in group exhibitions including at the Zwemmer Gallery and Leicester Galleries. He had solo exhibitions at the avant-garde Mayor Gallery in 1934 and at the Calmann Gallery four years later. In 1934 he established the School of Contemporary Painting and Drawing with Martin Bloch, with its stated aim acting as a manifesto for his own work, namely ‘to help the pupils to give expression to their enjoyment of the beauty and significance of things seen and experienced; to understand and appreciate the materials they use and to recognise the logic of the laws of colour and composition’ (see Johnson, op.cit., p.82).Two Figures dates from this important period. Johnson explained that in this painting, compared with other contemporary works, ‘de Maistre has…concentrated on a sensitive and intellectual rapport between the figures rather than a purely sexual one, the blending of the figures and their closeness is much more successful’ (Johnson, ibid., p.28). Two Figures is all the more significant given de Maistre’s instructions to his Executors that, following his death, ‘a large body of work, described as ‘fellas doing things to fellas’ be destroyed (see Johnson, ibid., p. 28). The two men are seen unclothed, caught in a moment of intimate relaxation – both have their eyes closed and are viewed in profile. Bold black outlining provides the structure of a pictorial design based on shallow depth, whilst a harmonious palette, direct technique and frank appreciation of the male form create an image which is at once sensual and bold.In contrast, Crucifixion of 1945, whilst based on earlier notes and studies, was painted in response to the dropping of the first atomic bomb, on Hiroshima on 6 August of that year. By this point in his career, de Maistre was becoming known as a modernist religious painter, not least with the acquisition in 1944 of a work of the same Biblical scene to Iona Abbey. De Maistre formally converted to the Roman Catholic faith in 1951. The 1940s saw him receive solo exhibitions in Leeds and Birmingham and culminated in one at Adams Gallery, London in 1950.The influence of Bacon’s working methods can arguably be detected in Man and Tree of 1959. Johnson posits that Bacon’s use of Portrait of Innocent X by Diego Velázquez in a series of works started in 1951, may have encouraged de Maistre to look to past masters for inspiration. Indeed, she established that Man and Tree is based on a work by Henri Matisse, reproduced in an article about Fauvism in the December 1934 issue of the D’Aci I D’Alla magazine, of which de Maistre owned a copy. (M. A. Cassanyes, ‘Fauvisme’, D’Aci D’Alla, no.179, vol. XXII, December 1934 see Johnson, ibid., pp.163 and 165). This work dates from the period during which de Maistre was preparing his retrospective exhibition at the Whitechapel Gallery, London, which opened in May 1960.All three of the works by de Maistre presented here formerly belonged to Celia Broadbent (née Keogh). She was a daughter of the artist’s cousin, Camilla Keogh (1866-1948) who was one of his most significant patrons and muses. Celia went on to support de Maistre herself, not least in asking him to design tapestry versions of some of his paintings, which she then stitched (see Johnson, ibid., p. 112).As de Maistre’s patron, Rab Butler, proclaimed: ‘His most impressive quality as an artist was his absolute integrity. He went through long periods of difficulty in earning his living from painting because he refused to conform to any standards other than those which he had rigorously laid down for himself.’ (quoted in Johnson, ibid. p.55)

UNITED KINGDOM. Britannia Commemorative Society. Silver medal set, 1966-1970. Britannia Commemorative Society. 20 silver medals.The Britannia Commemorative Society was founded in the late 60s and sold silver medals to its members. 1st - William I9th - Queen Victoria13th - Dunkirk14th - Captain Cook18th - Elizabeth I20th - Isaac Newton25th - Geoffrey Chauncer31st - Benjamin Disraeli33rd - John and Sarah Churchill35th - Francis Bacon37th - Boadicea39th - Westminster Abbey40th - Gilbert and Sullivan41st - Black Prince42nd - Royal Navy46th - Gordon & Kitchener47th - First Plantagenets48th - Christopher Marlowe and Ben Johnson53rd - Clive of India56th - Rudyard Kipling57th - Jonathan Swift59th - Henry VWeight: 906 g.Composition: 999.0/1000 Silver.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.

FRANCIS BACON, portrait of George Dyer, three off set lithographs, 1966, printed by Maeght, 33cm x 25cm each. (3)

FRANCIS BACON, portrait of George Dyer talking, off set lithograph, 1966, printed by Maeght, 33cm x 25cm.

FRANCIS BACON, portrait of Isabel Rawsthorne, off set lithograph, 1966, printed by Maeght, 33cm x 25cm.

Francis Bacon “Study from the Human Body, Figure in Movement, 1982†PrintMeasures (approx): 10.5 x 7.5.Mounted to archival quality paper.Verso is blank.Printed circa 1980’s.

Francis Bacon “A Piece of Waste Land, 1982†PrintMeasures (approx): 10.5 x 7.5.Mounted to archival quality paper.Verso is blank.Printed circa 1980’s.

"Francis Bacon (1909-1992) was an Irish-born British painter known for his bold, figurative, and emotionally charged artworks. He is considered one of the most significant painters of the 20th century and a leading figure of the post-war art movement. Bacon was born in Dublin, Ireland, and spent much of his life in London. His early artistic pursuits were influenced by Surrealism, but he developed a distinct style characterized by distorted, often grotesque, and raw representations of the human figure. Bacon's paintings often depicted isolated and anguished figures, exploring themes of existentialism, the human condition, and the fragility of the body. He sought to capture the essence of human emotion and the complexities of human existence. His works are notable for their visceral and unsettling qualities, often reflecting pain, violence, and psychological turmoil. One of Bacon's most famous series is his Screaming Popes, which drew inspiration from Diego Velázquez's portrait of Pope Innocent X. Bacon reimagined the figure with contorted features and expressive brushwork, infusing it with a sense of torment and existential anguish. Bacon's technique involved using bold brushstrokes, thick layers of paint, and a distinctive color palette that emphasized harsh contrasts and vibrant tones. His compositions often had a sense of confinement or claustrophobia, with figures trapped within undefined or abstracted spaces. During his career, Bacon received numerous accolades and had major retrospectives at prestigious institutions, including the Tate Britain in London and the Museum of Modern Art in New York. His contributions to the art world were widely recognized, and he became known as one of the most influential painters of his time. Francis Bacon's artistic legacy continues to have a profound impact on contemporary art. His raw and emotionally charged paintings continue to provoke and engage viewers, challenging conventional notions of representation and inviting contemplation on the human condition. Measures 6.77 x 9.24 Printed Circa 1960's> Verso is blank.Mounted to archival quality paper."""

Francis Bacon (1909-1992) was an Irish-born British painter known for his bold, figurative, and emotionally charged artworks. He is considered one of the most significant painters of the 20th century and a leading figure of the post-war art movement. Bacon was born in Dublin, Ireland, and spent much of his life in London. His early artistic pursuits were influenced by Surrealism, but he developed a distinct style characterized by distorted, often grotesque, and raw representations of the human figure. Bacon's paintings often depicted isolated and anguished figures, exploring themes of existentialism, the human condition, and the fragility of the body. He sought to capture the essence of human emotion and the complexities of human existence. His works are notable for their visceral and unsettling qualities, often reflecting pain, violence, and psychological turmoil. One of Bacon's most famous series is his Screaming Popes, which drew inspiration from Diego Velázquez's portrait of Pope Innocent X. Bacon reimagined the figure with contorted features and expressive brushwork, infusing it with a sense of torment and existential anguish. Bacon's technique involved using bold brushstrokes, thick layers of paint, and a distinctive color palette that emphasized harsh contrasts and vibrant tones. His compositions often had a sense of confinement or claustrophobia, with figures trapped within undefined or abstracted spaces. During his career, Bacon received numerous accolades and had major retrospectives at prestigious institutions, including the Tate Britain in London and the Museum of Modern Art in New York. His contributions to the art world were widely recognized, and he became known as one of the most influential painters of his time. Francis Bacon's artistic legacy continues to have a profound impact on contemporary art. His raw and emotionally charged paintings continue to provoke and engage viewers, challenging conventional notions of representation and inviting contemplation on the human condition. Measures 7.02 x 9.24 Printed Circa 1960's> Verso is blank.Mounted to archival quality paper.

Francis Bacon (1909-1992) was an Irish-born British painter known for his bold, figurative, and emotionally charged artworks. He is considered one of the most significant painters of the 20th century and a leading figure of the post-war art movement. Bacon was born in Dublin, Ireland, and spent much of his life in London. His early artistic pursuits were influenced by Surrealism, but he developed a distinct style characterized by distorted, often grotesque, and raw representations of the human figure. Bacon's paintings often depicted isolated and anguished figures, exploring themes of existentialism, the human condition, and the fragility of the body. He sought to capture the essence of human emotion and the complexities of human existence. His works are notable for their visceral and unsettling qualities, often reflecting pain, violence, and psychological turmoil. One of Bacon's most famous series is his Screaming Popes, which drew inspiration from Diego Velázquez's portrait of Pope Innocent X. Bacon reimagined the figure with contorted features and expressive brushwork, infusing it with a sense of torment and existential anguish. Bacon's technique involved using bold brushstrokes, thick layers of paint, and a distinctive color palette that emphasized harsh contrasts and vibrant tones. His compositions often had a sense of confinement or claustrophobia, with figures trapped within undefined or abstracted spaces. During his career, Bacon received numerous accolades and had major retrospectives at prestigious institutions, including the Tate Britain in London and the Museum of Modern Art in New York. His contributions to the art world were widely recognized, and he became known as one of the most influential painters of his time. Francis Bacon's artistic legacy continues to have a profound impact on contemporary art. His raw and emotionally charged paintings continue to provoke and engage viewers, challenging conventional notions of representation and inviting contemplation on the human condition. Measures 7.5 x 9.24 Printed Circa 1960's> Verso is blank.Mounted to archival quality paper.

Francis Bacon (1909-1992) was an Irish-born British painter known for his bold, figurative, and emotionally charged artworks. He is considered one of the most significant painters of the 20th century and a leading figure of the post-war art movement. Bacon was born in Dublin, Ireland, and spent much of his life in London. His early artistic pursuits were influenced by Surrealism, but he developed a distinct style characterized by distorted, often grotesque, and raw representations of the human figure. Bacon's paintings often depicted isolated and anguished figures, exploring themes of existentialism, the human condition, and the fragility of the body. He sought to capture the essence of human emotion and the complexities of human existence. His works are notable for their visceral and unsettling qualities, often reflecting pain, violence, and psychological turmoil. One of Bacon's most famous series is his Screaming Popes, which drew inspiration from Diego Velázquez's portrait of Pope Innocent X. Bacon reimagined the figure with contorted features and expressive brushwork, infusing it with a sense of torment and existential anguish. Bacon's technique involved using bold brushstrokes, thick layers of paint, and a distinctive color palette that emphasized harsh contrasts and vibrant tones. His compositions often had a sense of confinement or claustrophobia, with figures trapped within undefined or abstracted spaces. During his career, Bacon received numerous accolades and had major retrospectives at prestigious institutions, including the Tate Britain in London and the Museum of Modern Art in New York. His contributions to the art world were widely recognized, and he became known as one of the most influential painters of his time. Francis Bacon's artistic legacy continues to have a profound impact on contemporary art. His raw and emotionally charged paintings continue to provoke and engage viewers, challenging conventional notions of representation and inviting contemplation on the human condition. Measures 7.02 x 9.24 Printed Circa 1960's> Verso is blank.Mounted to archival quality paper.

"Francis Bacon (1909-1992) was an Irish-born British painter known for his bold, figurative, and emotionally charged artworks. He is considered one of the most significant painters of the 20th century and a leading figure of the post-war art movement. Bacon was born in Dublin, Ireland, and spent much of his life in London. His early artistic pursuits were influenced by Surrealism, but he developed a distinct style characterized by distorted, often grotesque, and raw representations of the human figure. Bacon's paintings often depicted isolated and anguished figures, exploring themes of existentialism, the human condition, and the fragility of the body. He sought to capture the essence of human emotion and the complexities of human existence. His works are notable for their visceral and unsettling qualities, often reflecting pain, violence, and psychological turmoil. One of Bacon's most famous series is his Screaming Popes, which drew inspiration from Diego Velázquez's portrait of Pope Innocent X. Bacon reimagined the figure with contorted features and expressive brushwork, infusing it with a sense of torment and existential anguish. Bacon's technique involved using bold brushstrokes, thick layers of paint, and a distinctive color palette that emphasized harsh contrasts and vibrant tones. His compositions often had a sense of confinement or claustrophobia, with figures trapped within undefined or abstracted spaces. During his career, Bacon received numerous accolades and had major retrospectives at prestigious institutions, including the Tate Britain in London and the Museum of Modern Art in New York. His contributions to the art world were widely recognized, and he became known as one of the most influential painters of his time. Francis Bacon's artistic legacy continues to have a profound impact on contemporary art. His raw and emotionally charged paintings continue to provoke and engage viewers, challenging conventional notions of representation and inviting contemplation on the human condition. Measures 8 x 9.23 Printed Circa 1960's> Verso is blank.Mounted to archival quality paper.

Francis Bacon (1909-1992) was an Irish-born British painter known for his bold, figurative, and emotionally charged artworks. He is considered one of the most significant painters of the 20th century and a leading figure of the post-war art movement. Bacon was born in Dublin, Ireland, and spent much of his life in London. His early artistic pursuits were influenced by Surrealism, but he developed a distinct style characterized by distorted, often grotesque, and raw representations of the human figure. Bacon's paintings often depicted isolated and anguished figures, exploring themes of existentialism, the human condition, and the fragility of the body. He sought to capture the essence of human emotion and the complexities of human existence. His works are notable for their visceral and unsettling qualities, often reflecting pain, violence, and psychological turmoil. One of Bacon's most famous series is his Screaming Popes, which drew inspiration from Diego Velázquez's portrait of Pope Innocent X. Bacon reimagined the figure with contorted features and expressive brushwork, infusing it with a sense of torment and existential anguish. Bacon's technique involved using bold brushstrokes, thick layers of paint, and a distinctive color palette that emphasized harsh contrasts and vibrant tones. His compositions often had a sense of confinement or claustrophobia, with figures trapped within undefined or abstracted spaces. During his career, Bacon received numerous accolades and had major retrospectives at prestigious institutions, including the Tate Britain in London and the Museum of Modern Art in New York. His contributions to the art world were widely recognized, and he became known as one of the most influential painters of his time. Francis Bacon's artistic legacy continues to have a profound impact on contemporary art. His raw and emotionally charged paintings continue to provoke and engage viewers, challenging conventional notions of representation and inviting contemplation on the human condition. Measures 7.26 x 10.27 Printed Circa 1960's> Verso is blank.Mounted to archival quality paper.

Francis Bacon (1909-1992) was an Irish-born British painter known for his bold, figurative, and emotionally charged artworks. He is considered one of the most significant painters of the 20th century and a leading figure of the post-war art movement. Bacon was born in Dublin, Ireland, and spent much of his life in London. His early artistic pursuits were influenced by Surrealism, but he developed a distinct style characterized by distorted, often grotesque, and raw representations of the human figure. Bacon's paintings often depicted isolated and anguished figures, exploring themes of existentialism, the human condition, and the fragility of the body. He sought to capture the essence of human emotion and the complexities of human existence. His works are notable for their visceral and unsettling qualities, often reflecting pain, violence, and psychological turmoil. One of Bacon's most famous series is his Screaming Popes, which drew inspiration from Diego Velázquez's portrait of Pope Innocent X. Bacon reimagined the figure with contorted features and expressive brushwork, infusing it with a sense of torment and existential anguish. Bacon's technique involved using bold brushstrokes, thick layers of paint, and a distinctive color palette that emphasized harsh contrasts and vibrant tones. His compositions often had a sense of confinement or claustrophobia, with figures trapped within undefined or abstracted spaces. During his career, Bacon received numerous accolades and had major retrospectives at prestigious institutions, including the Tate Britain in London and the Museum of Modern Art in New York. His contributions to the art world were widely recognized, and he became known as one of the most influential painters of his time. Francis Bacon's artistic legacy continues to have a profound impact on contemporary art. His raw and emotionally charged paintings continue to provoke and engage viewers, challenging conventional notions of representation and inviting contemplation on the human condition. Measures 7.02 x 9.24 Printed Circa 1960's> Verso is blank.Mounted to archival quality paper."

"Francis Bacon (1909-1992) was an Irish-born British painter known for his bold, figurative, and emotionally charged artworks. He is considered one of the most significant painters of the 20th century and a leading figure of the post-war art movement. Bacon was born in Dublin, Ireland, and spent much of his life in London. His early artistic pursuits were influenced by Surrealism, but he developed a distinct style characterized by distorted, often grotesque, and raw representations of the human figure. Bacon's paintings often depicted isolated and anguished figures, exploring themes of existentialism, the human condition, and the fragility of the body. He sought to capture the essence of human emotion and the complexities of human existence. His works are notable for their visceral and unsettling qualities, often reflecting pain, violence, and psychological turmoil. One of Bacon's most famous series is his Screaming Popes, which drew inspiration from Diego Velázquez's portrait of Pope Innocent X. Bacon reimagined the figure with contorted features and expressive brushwork, infusing it with a sense of torment and existential anguish. Bacon's technique involved using bold brushstrokes, thick layers of paint, and a distinctive color palette that emphasized harsh contrasts and vibrant tones. His compositions often had a sense of confinement or claustrophobia, with figures trapped within undefined or abstracted spaces. During his career, Bacon received numerous accolades and had major retrospectives at prestigious institutions, including the Tate Britain in London and the Museum of Modern Art in New York. His contributions to the art world were widely recognized, and he became known as one of the most influential painters of his time. Francis Bacon's artistic legacy continues to have a profound impact on contemporary art. His raw and emotionally charged paintings continue to provoke and engage viewers, challenging conventional notions of representation and inviting contemplation on the human condition. Measures 7.5 x 9.02 Printed Circa 1960's> Verso is blank.Mounted to archival quality paper.

Francis Bacon (1909-1992) was an Irish-born British painter known for his bold, figurative, and emotionally charged artworks. He is considered one of the most significant painters of the 20th century and a leading figure of the post-war art movement. Bacon was born in Dublin, Ireland, and spent much of his life in London. His early artistic pursuits were influenced by Surrealism, but he developed a distinct style characterized by distorted, often grotesque, and raw representations of the human figure. Bacon's paintings often depicted isolated and anguished figures, exploring themes of existentialism, the human condition, and the fragility of the body. He sought to capture the essence of human emotion and the complexities of human existence. His works are notable for their visceral and unsettling qualities, often reflecting pain, violence, and psychological turmoil. One of Bacon's most famous series is his Screaming Popes, which drew inspiration from Diego Velázquez's portrait of Pope Innocent X. Bacon reimagined the figure with contorted features and expressive brushwork, infusing it with a sense of torment and existential anguish. Bacon's technique involved using bold brushstrokes, thick layers of paint, and a distinctive color palette that emphasized harsh contrasts and vibrant tones. His compositions often had a sense of confinement or claustrophobia, with figures trapped within undefined or abstracted spaces. During his career, Bacon received numerous accolades and had major retrospectives at prestigious institutions, including the Tate Britain in London and the Museum of Modern Art in New York. His contributions to the art world were widely recognized, and he became known as one of the most influential painters of his time. Francis Bacon's artistic legacy continues to have a profound impact on contemporary art. His raw and emotionally charged paintings continue to provoke and engage viewers, challenging conventional notions of representation and inviting contemplation on the human condition. Measures 7 x 9.23 Printed Circa 1960's> Verso is blank.Mounted to archival quality paper.

Francis Bacon (1909-1992) was an Irish-born British painter known for his bold, figurative, and emotionally charged artworks. He is considered one of the most significant painters of the 20th century and a leading figure of the post-war art movement. Bacon was born in Dublin, Ireland, and spent much of his life in London. His early artistic pursuits were influenced by Surrealism, but he developed a distinct style characterized by distorted, often grotesque, and raw representations of the human figure. Bacon's paintings often depicted isolated and anguished figures, exploring themes of existentialism, the human condition, and the fragility of the body. He sought to capture the essence of human emotion and the complexities of human existence. His works are notable for their visceral and unsettling qualities, often reflecting pain, violence, and psychological turmoil. One of Bacon's most famous series is his Screaming Popes, which drew inspiration from Diego Velázquez's portrait of Pope Innocent X. Bacon reimagined the figure with contorted features and expressive brushwork, infusing it with a sense of torment and existential anguish. Bacon's technique involved using bold brushstrokes, thick layers of paint, and a distinctive color palette that emphasized harsh contrasts and vibrant tones. His compositions often had a sense of confinement or claustrophobia, with figures trapped within undefined or abstracted spaces. During his career, Bacon received numerous accolades and had major retrospectives at prestigious institutions, including the Tate Britain in London and the Museum of Modern Art in New York. His contributions to the art world were widely recognized, and he became known as one of the most influential painters of his time. Francis Bacon's artistic legacy continues to have a profound impact on contemporary art. His raw and emotionally charged paintings continue to provoke and engage viewers, challenging conventional notions of representation and inviting contemplation on the human condition. Measures 7.77 x 10.26 Printed Circa 1960's> Verso is blank.Mounted to archival quality paper.

Tate Gallery Exhibition Poster Francis Bacon, 22nd May - 18th August 1985 Framed and glazed Overall size 79 x 54cm Together with four other exhibition posters

GÜNTHER FÖRG (1952-2013)Untitled 2008 signed and dated 08oil and acrylic on canvas 120.5 by 160.2 cm. 47 7/16 by 63 1/16 in. Footnotes:This work is recorded in the archive of the Estate Günther Förg, Frankfurt under no. WVF.08.B.0087 We thank Mr. Michael Neff from the Estate of Günther Förg for the information he has kindly provided on this work.ProvenanceGalerie Elisabeth & Klaus Thoman, Innsbruck (För/M 080006)Galerie Lelong, ZürichMassimo De Carlo, MilanPrivate Collection, Los Angeles Acquired from the above by the present ownerExhibitedInnsbruck, Galerie Elisabeth & Klaus Thoman, GÜNTHER FÖRG - Die Trilogie der Tatzen, 2009Untitled from 2008 is a superbly luminous example from the internationally celebrated and highly coveted Tupfenbilder (Spot Paintings) series that Günther Förg created between 2005 and 2010. By displaying an abstract array of vibrant colour, ranging from deep greens to light pinks, applied with different densities, Förg created the harmonious and playful composition seen in the present work. The Tupfenbilder series was initially inspired by a photograph of Francis Bacon's studio, which, in an attempt to remove excess paint from his paintbrush, Bacon had covered wall to ceiling in scribbles of paint; a process that was very familiar to Förg. In this manner, Förg gives the viewer an insight into an artist's intimate practice of cleaning their brush, and makes the unseen seen in a daring reversal of an age old artistic practice; a true glimpse at an artist's 'behind the scenes'. This beautifully composed work carries with it a full range of intoxicatingly compelling characteristics. The spots of various colours, together formulate an ornamental melody of light. While Förg never created a formal pattern, the present work contains an underlying geometric characteristic to it, generating a strange balance of loose and whimsical colours with intricate patches of brushwork. Decisive, emotive, controlled, haphazard and temperamental, Förg's technique of applying tone to the plain canvas worked towards averting a recognisable pattern. The brushstroke itself becomes the focus of the work, or the leading role, expressing Förg's method of tackling the very limits of composition and colour. By applying paint on the canvas in a rhythmic fashion, as if painting a wall – up and down – yet with varying speed, pressure and even thickness of the paint, Förg created a musical symphony with elusive energy and simultaneous casual looseness. Art Historian Christian Malycha puts him into context as follows: 'Günther Förg pushed himself to the brink of discord—but only to preserve art in a precarious state of balance: Balance between the traditions of the past and the needs of the present. Balance between austere rationalism and ardent sensuality. Balance between rigor and wit. Balance between composition and turmoil. Balance between pure artistic means and societal representation. Balance between conceptualism and corporeality.' (Christian Malycha in: Hauser & Wirth, Günther Förg Tupfenbilder, hauserwirth.com, 2023)In order to release the energy of the brushstrokes and their respective colours onto the canvas, figuration had to be permanently removed, allowing for the purest form, energy and colour to appear. Often compared to Piet Mondrian, with his grids of vibrant colours, Mondrian used his abstraction to create clean and beautiful purity, by removing completely the link to figuration. Similarly, Förg strove solemnly for this pure representation of colour and gesture. As said by the artist himself, 'For me, abstract art today is what one sees and nothing more' (the artist in: Newport Beach, Günther Förg: Painting/Sculpture/Installation, California 1989, p. 6)Considered today as one of the most important artists in Germany's Post-War generation, Förg studied at the Academy of Fine Art in Munich, where his practice developed almost exclusively in grey and black monochrome. Throughout the five decades of his career, Förg's work spanned an extremely wide range of practices where he swiftly moved between mediums and series, constantly wrestling with the feeling of disillusionment with painting and his unbreakable ties to modernism. The initiation of his practice through a focus on monochromatic minimalism is a clear representation of the foundation for which Förg formulated his oeuvre. His early concentration on his Gitter (grid) paintings demonstrate the start of his lifelong dedication to conceptualism. Today, works by Günther Förg are held in collections worldwide such as the Hamburger Bahnhof in Berlin, the Kunstmuseum Bonn, the Museum of Modern Art in New York and the Museum Für Moderne Kunst in Frankfurt among others. Untitled from 2008 is a masterful composition and a whimsical paradigm of Günther Förg's oeuvre, with its lyrical brushstrokes and array of expressive colours, it serves as a true testament to Förg's artistic genius, captivating audiences globally.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com