Three Studies Of The Human Body (central panel)
Three Studies Of The Human Body (central panel)
Signed Print
Francis Bacon
£8,000-£11,500
$16,000-$23,000 Value Indicator
$14,500-$21,000 Value Indicator
¥70,000-¥110,000 Value Indicator
€9,500-€14,000 Value Indicator
$80,000-$110,000 Value Indicator
¥1,550,000-¥2,230,000 Value Indicator
$10,000-$14,500 Value Indicator
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: 250
Year: 1980
Size: H 66cm x W 88cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| February 2024 | Cheffins | United Kingdom | |||
| September 2023 | Abell | United States | |||
| September 2023 | A.N. Abell Auction Company | United States | |||
| March 2023 | Sotheby's Online | United Kingdom | |||
| April 2021 | Christie's London | United Kingdom | |||
| March 2017 | Christie's London | United Kingdom | |||
| November 2014 | Swann Galleries | United States |
Meaning & Analysis
Three Studies Of The Human Body (central panel) by Francis Bacon was created in 1980. The piece is part of a triptych which demonstrates Bacon’s interest in the human form where his representations merge abstract and organic features to create a sense of vulnerability and discomfort. This signed lithograph print is part of an edition size of 250.
Flanked by a left and right panel that have mirroring compositions to each other - a rectangular table with a profile view of a male body sitting upright - this central panel has a different composition. A circular table is placed in the middle of the scene and a human body lies writhing on top in a muddle of body parts. A discomforting scene is created as the body’s features fade and fuse together as if the artist attempts to depict the figure in distress.
A black square is placed directly behind the central figure and table. The rest of the interior is in a contrasting and stunning orange, highlighting the orange hues of the body and contributing to the unease of the scene. The body is one of Bacon’s most harrowing depictions of the human form. The disjointed muscles bulge out from the skin and flail across the table helplessly. A face emerges at the foreground of the scene identifiable by a gaping mouth and teeth indicating that the figure is screaming.
