“Whether the distortions which I think sometimes bring the image over more violently are damage is a very questionable idea. I don’t think it is damage. You may say it’s damaging if you take it on the level of illustration. But not if you take it on the level of what I think of as art. One brings the sensation and the feeling of life over the only way one can. I don’t say it’s a good way, but one brings it over at the most acute point one can…”
“[W]hen you’re outside a tradition, as every artist is today, one can only want to record one’s own feelings about certain situations as closely to one’s own nervous system as one possibly can.” –Francis Bacon
FIRST EDITION OF BACON’S MOST REVEALING BOOK, AN ASSOCIATION COPY, INSCRIBED BY BACON ON HALF-TITLE: “For Erica Spender / with all my best wishes / Francis Bacon”.
Interviews with Francis Bacon is the most important source we have for understanding Bacon’s art and philosophy. Through Bacon’s responses to the influential art critic and Bacon scholar David Sylvester’s provocative questions, we gain invaluable insight into the one of the greatest artistic minds of the twentieth century.
An important association copy:
This copy was given by Bacon to Erica (Erika) Haarman Spender. Erica Spender was the widow of Michael Spender (1906-1945) and sister-in-law of the poet Stephen Spender. Stephen Spender was a prominent figure in Francis Bacon's circle and Erica Spender was first introduced to Francis Bacon by him.
Erica Spender later joined Marlborough Fine Art, in London, to run its the Antiquarian Book Department. At that time Francis Bacon was represented by Marlborough Fine Art and it was during this period that Erica Spender became Bacon’s friend, sharing a commonality of cultural, artistic and philosophical interests. Bacon was represented by Marlborough Fine Art from 1958 until his death in 1992. The relationship was greatly beneficial to Bacon, as Marlborough worked closely with the artist to successfully enhance his international reputation.
Complete with 94 black-and-white illustrations. London: Thames and Hudson, 1975. Quarto (8x11 in; 20.5x27.5 cm), original pictorial stiff covers. A few tiny creases to cover, a hint of toning to rear panel (as often); generally a fine copy. RARE SIGNED.
Price: $5,000 .