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Francis Bacon, Three Studies for a Portrait of John Edwards (Right Panel)

Francis Bacon

Three Studies for a Portrait of John Edwards (Right Panel)
Lithograph
94.6 × 67.9 cm
37.2 × 26.7 in
Edition of 150 with Roman numbering, together with 30 H.C proofs with Roman numbering together with 5 E.A proofs. All copies are signed in pencil on the bottom right.
Signed
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Three Studies for a Portrait of John Edwards (Right Panel) by Francis Bacon portrays the man who became the most stabilising presence in his final decade — a relationship that...
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Three Studies for a Portrait of John Edwards (Right Panel) by Francis Bacon portrays the man who became the most stabilising presence in his final decade — a relationship that produced some of the most quietly intimate portraits of his late career.

John Edwards was a bar manager from the East End of London who entered Bacon's life in the mid-1970s when Bacon was in his mid-sixties and had outlived most of those closest to him. Edwards was forty years younger, largely outside the art world, and entirely unintimidated by Bacon's reputation. What developed between them was neither romantic nor straightforwardly paternal — it was something rarer and harder to categorise, a closeness built on genuine understanding rather than desire or dependency. Bacon described Edwards as the person who knew him best. He eventually left his entire estate to him — a gesture that said more plainly than any interview what the relationship actually was.

Intimacy in Bacon's work had always been expressed through pressure — the face distorted, the body compressed, the subject submitted to an examination that was as much confrontation as portraiture. The Edwards portraits are different. The distortion is present but quieter, operating beneath the surface of the face rather than erupting through it. The features are displaced rather than destroyed. There is care in the looking — not tenderness in any sentimental sense, but the specific attention of someone who has spent years studying a face and knows exactly where it holds its weight and where it gives way.

The palette reinforces this. Subdued greys and muted flesh tones replace the hot oranges and burning reds of the Dyer years. The background is spare and dark, the figure isolated within it not as a specimen under examination but as a presence quietly insisted upon. Bacon worked from photographs throughout his career, and Edwards was his most instinctive collaborator in that process — providing reference material without agenda, understanding how Bacon used images, asking nothing of the results. That trust is what the image holds.

For more information or to buy Three Studies for a Portrait of John Edwards (Right Panel) by Francis Bacon, contact our specialists using the enquiry button above.

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