cat., Solomon R.Guggenheim, New York 1963, pp.13, 22-3 Ronald Alley, Francis Bacon: Catalogue Raisonné and Documentation, London 1964, pp.11, 12, 33-5, repr. 1963, p.101 Lawrence Alloway, ‘Introduction’, Francis Bacon, exh. pp.16-7 John Russell, ‘Peer of the Macabre: Francis Bacon’, Art in America, vol.51, no.5, Oct. cat., Kunsthaus, Zurich 1962, p.13 David Sylvester, ‘Francis Bacon’, New Statesman, vol.53, no.1632, 22 June 1962, p.916 Ronald Alley, ‘Francis Bacon’, Cimaise (Special Issue: Art Today in Great Britain), vol.10, no.1, Jan.-Feb. cat., Kunsthaus, Zurich 1962, pp.7-8 Stephen Spender, ‘Francis Bacon’, Francis Bacon, exh.
cat., Tate Gallery, London 1962, John Rothenstein, ‘Introduction’, Francis Bacon, exh. 1956, p.67 Luigi Carluccio, ‘Bacon: il potere e la gloria’, Bacon, exh.cat., Galleria Civica d’Arte Moderna, Turin 1962, p.13 John Rothenstein, ‘Introduction’, Francis Bacon, exh. 1954, pp.24-5 David Sylvester, ‘At the Tate Gallery’, Encounter, no.7, Sept. p.13 David Sylvester, ‘Francis Bacon’, Britain Today, no.214, Feb. pp.84-5) Literature: Michael Ayrton, ‘Art’, Spectator, vol.174, no.6094, 13 April 1945, p.335 Raymond Mortimer, ‘At the Lefevre’, New Statesman and Nation, vol.29, no.738, 14 April 1945, p.239 “Perspex”, ‘Current Shows and Comments: On the Significance of a Word’, Apollo, vol.41, no.231, May 1945, p.108 Robin Ironside, Painting Since 1939, London 1947, p.37, republished in Arnold Haskell, Dilys Powell, Rollo Myers and Robin Ironside, Since 1939: Ballet, Films, Music, Painting, London 1948, p.183 Sam Hunter, ‘Francis Bacon: The Anatomy of Horror’, Magazine of Art, New York, vol.95, no.1, Jan. p.96, fig.28) Francis Bacon, Musée national d’art moderne, Centre Georges Pompidou, Paris, June-Oct. pp.14-15, details pp.8-9) Corps crucifiés, Musée Picasso, Paris, Nov. p.76, pl.84) Francis Bacon: Paintings Since 1944, Tate Gallery Liverpool, Feb. in col.) A Paradise Lost: The Neo-Romantic Imagination in Britain 1935-55, Barbican Art Gallery, London, May-July 1987 (22, right hand panel repr. 1980 (24, repr.) Suffering Through Tyranny 1933-1953, Tate Gallery, London, display, Dec.1984-May 1985 (no number) Francis Bacon, Tate Gallery, London, May-Aug. p.90) Bilder vom Menschen in der Kunst des Abendlandes, Nationalgalerie, Berlin, July-Sept. 1973, as part of Europalia 73 Great Britain (72, repr. p.5) Henry Moore to Gilbert and George: Modern British Art from the Tate Gallery, Palais des Beaux Arts, Brussels, Sept.-Nov. 1972, Kunsthalle, Dusseldorf, March-May 1972 (1, repr. 1963 (5, outer panels repr.) Francis Bacon, Galeries nationales du Grand Palais, Paris, Oct. pl.2), Stedelijk Museum, Amsterdam, Jan.-Feb. (5, repr.), Galleria Civica d’Arte Moderna, Turin, Sept.-Oct.
1959 (Bacon 2) Francis Bacon, Tate Gallery, London, May-June 1962 (5, repr.), Kunsthalle, Mannheim, July-Aug. 1954 (British pavilion 54-6, as ‘ Three Studies for a Larger Composition ’) V Bienal do Museu de Arte de São Paulo, São Paulo, Sept.-Dec. 1949 (1-3, as Study I, Study II and Study III ) Nicholson, Bacon, Freud, XXVII Venice Biennale, June-Oct. 1946 (6-8, as ‘ Studies for figures at the base of a crucifix ’) Francis Bacon: Paintings Robin Ironside: Coloured Drawings, Hanover Gallery, London, Nov.-Dec. BACOn | PETERSFIEL’ up left side to top of board printed Lefevre Gallery label with typed inscription: ‘STUDY FOR CRUCIFIXION | by | FRANCIS BACON’ removed from back of right panel Presented by Eric Hall 1953 Provenance: Purchased from the artist by Eric Hall, 1945 Exhibited: Recent Paintings by Francis Bacon, Frances Hodgkins, Henry Moore, Matthew Smith, Graham Sutherland, Lefevre Gallery, London, April 1945 (2, as ‘ Three Studies for Figures, at the Base of a Crucifixion ’) Seventh Exhibition: Adler, Bacon, Colquhoun, Hubert, MacBryde, Trevelyan, Anglo-French Art Centre, London, Nov.-Dec. 1943-4 N06171 Oil and pastel on board Left panel 940 x 737 (37 x 29), centre panel 940 x 738 (37 x 29), right panel 940 x 734 (37 x 28 7/8) Left panel inscribed on back in orange oil paint ‘ LEFT ’ top centre, (?in another hand) in chalk ‘BACON’ middle centre strip of masking tape inscribed in black waxy crayon ‘NO 1’ removed from back Central panel inscribed on back in orange oil paint ‘CENTER’ top centre, in chalk ‘No2’ centre upside down strip of masking tape inscribed in black waxy crayon ‘NO 2’ removed from back Right panel inscribed on back in orange oil paint ‘RIGHT’ top centre, in black crayon ‘F. Francis Bacon 1909-1992 Three Studies for Figures at the Base of a Crucifixion, c.