Edition of 100 with Arabic numbering, 45 with Roman numbering, 10 E.A. (artist proofs) with Arabic numbering. Inspired by the painting of the same title in the collection of the Abello Collection, Madrid, Spain.

Francis Bacon and Peter Beard first met in the mid-1960s, either at London's Clermont Club during Beard's book launch, *The End of the Game*, or at a Marlborough Gallery exhibition of Bacon's work. Though the exact meeting details are uncertain, their connection was immediate and profound, grounded in a shared fascination with mortality, decay, and the primal forces of nature. Bacon was especially drawn to Beard’s haunting photographs of dead African elephants, which resonated with his own exploration of existential themes in his art. These images deeply influenced Bacon, evidenced by the over 200 of Beard's photographs found in his studio after his death.

Their relationship went beyond artistic inspiration; it was intellectually rich, as both men sought to confront life’s darker realities. Bacon’s portraits of Beard, including nine major pieces, reflect his unique ability to deconstruct his subjects, focusing on the raw and unsettling aspects of their identity. His work on Beard, particularly in an aquatint portrait, goes beyond likeness to explore Beard’s inner psyche, capturing his engagement with life’s existential themes in a layered, introspective manner.

For further information on the original painting please visit the Francis Bacon Estate page: https://www.francis-bacon.com/artworks/paintings/three-studies-portrait-peter-beard-0