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Study for a Figure
Details
FRANCIS BACON (1909-1992)
Study for a Figure
oil on canvas
48 x 41in. (122 x 104cm.)
Painted circa 1945
Study for a Figure
oil on canvas
48 x 41in. (122 x 104cm.)
Painted circa 1945
Provenance
Robert Buhler, London.
Piccadilly Gallery, London.
Private Collection, Milan.
David Hughes, London.
Ivor Braka Ltd., London (acquired from the above in 1979).
Marlborough International Fine Art, Vaduz (acquired from the above in 1983).
Ivor Braka Ltd., London.
Acquired from the above by The Peter Simon Collection in 2000.
Piccadilly Gallery, London.
Private Collection, Milan.
David Hughes, London.
Ivor Braka Ltd., London (acquired from the above in 1979).
Marlborough International Fine Art, Vaduz (acquired from the above in 1983).
Ivor Braka Ltd., London.
Acquired from the above by The Peter Simon Collection in 2000.
Literature
R. Alley, Francis Bacon, London 1964, no. A3 (illustrated, p. 259; incorrectly dated 'circa 1944').
H. M. Davies, Francis Bacon: The Early and Middle Years, 1928-1958, New York 1978, pp. vii and 49, no. 38 (illustrated, p. 60; incorrectly dated 'circa 1944').
Francis Bacon, exh. cat., London, Tate Gallery, 1985, p. 16 (illustrated, p. 17; dated '1944-1945').
M. Peppiatt, Francis Bacon: Anatomy of an Enigma, London 1997, pp. 85 and 364 (incorrectly dated 'circa 1944').
M. Peppiatt, Francis Bacon: Anatomy of an Enigma, London 2008, p. 103.
K. L. Brintnall, Ecce Homo: The Male-Body-in-Pain as Redemptive Figure, Chicago 2011, p. 149 (incorrectly dated '1944').
R. Arya (ed.), Francis Bacon: Critical and Theoretical Perspectives, Bern 2012, pp. 148-149.
M. Hammer (ed.), Francis Bacon and Nazi Propaganda, London 2012, pp. 101-104, 106, 109 and 224, no. 58 (illustrated in colour, p. 105).
M. Harrison and R. Daniels (eds.), Francis Bacon: Catalogue Raisonné, Volume II, 1929-57, London 2016, pp. 150, 154 and 162, no. 45-06 (illustrated in colour, p. 163).
M. Harrison (ed.), Francis Bacon: La France et Monaco / France and Monaco, Paris 2016, p. 74.
Francis Bacon: Couplings, exh. cat., London, Gagosian, 2019, no. 3 (illustrated in colour, p. 29).
F. Pipe, M. Harrison, C. Bucklow et al., Inside Francis Bacon, London 2020, p. 91, no. 47 (illustrated in colour, p. 92).
L. Scalabrella Spada (ed.), Francis Bacon: Paintings. The Complete Collection, London 2025, p. 564 (illustrated in colour, p. 33).
H. M. Davies, Francis Bacon: The Early and Middle Years, 1928-1958, New York 1978, pp. vii and 49, no. 38 (illustrated, p. 60; incorrectly dated 'circa 1944').
Francis Bacon, exh. cat., London, Tate Gallery, 1985, p. 16 (illustrated, p. 17; dated '1944-1945').
M. Peppiatt, Francis Bacon: Anatomy of an Enigma, London 1997, pp. 85 and 364 (incorrectly dated 'circa 1944').
M. Peppiatt, Francis Bacon: Anatomy of an Enigma, London 2008, p. 103.
K. L. Brintnall, Ecce Homo: The Male-Body-in-Pain as Redemptive Figure, Chicago 2011, p. 149 (incorrectly dated '1944').
R. Arya (ed.), Francis Bacon: Critical and Theoretical Perspectives, Bern 2012, pp. 148-149.
M. Hammer (ed.), Francis Bacon and Nazi Propaganda, London 2012, pp. 101-104, 106, 109 and 224, no. 58 (illustrated in colour, p. 105).
M. Harrison and R. Daniels (eds.), Francis Bacon: Catalogue Raisonné, Volume II, 1929-57, London 2016, pp. 150, 154 and 162, no. 45-06 (illustrated in colour, p. 163).
M. Harrison (ed.), Francis Bacon: La France et Monaco / France and Monaco, Paris 2016, p. 74.
Francis Bacon: Couplings, exh. cat., London, Gagosian, 2019, no. 3 (illustrated in colour, p. 29).
F. Pipe, M. Harrison, C. Bucklow et al., Inside Francis Bacon, London 2020, p. 91, no. 47 (illustrated in colour, p. 92).
L. Scalabrella Spada (ed.), Francis Bacon: Paintings. The Complete Collection, London 2025, p. 564 (illustrated in colour, p. 33).
Exhibited
Milan, Luca Scacchi Gracco, Gianni Dova, Bacon, Moore, Valmier, Lam, Sutherland, Severini, Balla, Saint Phalle, Schiele, 1963, p. 51, no. 44 (illustrated in colour, p. 31; incorrectly titled ‘Woman and Flower’; incorrectly dated ‘1947’).
London, David W. Hughes, Nineteenth and Twentieth Century Paintings, Drawings and Sculpture, 1968, p. 2, no. 5 (illustrated in colour, p. 23; incorrectly dated 'circa 1944').
Colmar, Musée Unterlinden, Variations autour de la Crucifixion: Regards contemporains sur Grünewald, 1993, p. 54 (illustrated in colour, p. 55; installation view illustrated, p. 171; dated '1944-1945').
Dublin, Dublin City Gallery The Hugh Lane, Francis Bacon: A Terrible Beauty, 2009-2010, pp. 12 and 74, no. 4 (illustrated in colour, p. 13; dated ‘circa 1944-1945’). This exhibition later travelled to Warwickshire, Compton Verney as ‘Francis Bacon: In Camera’.
London, Royal Academy of Arts, Francis Bacon: Man and Beast, 2022, no. 4 (illustrated in colour, p. 71).
London, David W. Hughes, Nineteenth and Twentieth Century Paintings, Drawings and Sculpture, 1968, p. 2, no. 5 (illustrated in colour, p. 23; incorrectly dated 'circa 1944').
Colmar, Musée Unterlinden, Variations autour de la Crucifixion: Regards contemporains sur Grünewald, 1993, p. 54 (illustrated in colour, p. 55; installation view illustrated, p. 171; dated '1944-1945').
Dublin, Dublin City Gallery The Hugh Lane, Francis Bacon: A Terrible Beauty, 2009-2010, pp. 12 and 74, no. 4 (illustrated in colour, p. 13; dated ‘circa 1944-1945’). This exhibition later travelled to Warwickshire, Compton Verney as ‘Francis Bacon: In Camera’.
London, Royal Academy of Arts, Francis Bacon: Man and Beast, 2022, no. 4 (illustrated in colour, p. 71).
Brought to you by
Joseph Braka
Specialist