You know how some art partnerships just click? Francis Bacon and Eric Hall had that. Hall wasn't just some random art dealer - he was Bacon's patron, friend, and first serious collector when nobody else cared. I remember walking into a London gallery years ago and seeing one of their early collaborations. The raw energy hit me like a physical thing. Made me wonder how many masterpieces we'd have lost without Hall taking that gamble.

Eric Hall's Role in Francis Bacon's Career

This might surprise you, but Bacon was practically unknown before Hall stepped in. We're talking late 1930s, when Bacon was destroying more canvases than he kept. Eric Hall, this wealthy businessman with a sharp eye, saw something in Bacon's disturbing figures. He started buying works nobody else would touch. Paid Bacon a regular stipend too - £15 a week (about £1,000 today). Smartest art investment ever? Probably.

What Hall got that others missed? Bacon needed freedom. Financial pressure ruins artists. Hall gave him breathing room. There's a letter where Bacon writes, "Without Eric, I might have given up entirely." Chilling thought, right?

Notice how many ended up in major museums? Hall had vision. But here's the messy part: Their relationship wasn't all business. Rumors swirled about a romantic involvement. Bacon's biographer Peppiatt confirmed it - they were lovers during WWII. Complicates things, doesn't it? Makes you see those early purchases differently.

Why Hall Sold His Bacon Collection

Art world shocker: In 1950, Hall sold nearly his entire Bacon stash. Every last painting. Why? Theories range from financial pressure to personal fallout. My take? Bacon's rising fame made dealers circle like sharks. Sotheby's records show Hall got about £200 per work - peanuts compared to today's millions. Gut punch for art historians.

Funny how things turn out. Those same paintings Hall sold for pennies would now fund a small country. Take Painting 1946 - sold for £150 in 1950, auctioned for $26 million in 2008. Hall lived until 1962. Wonder if he regretted it?

Identifying Authentic Francis Bacon and Eric Hall Paintings

Thinking of buying? Slow down. The market's flooded with fakes. Real Bacon-Hall works have distinct markers:

• Backboard stamps: Hall marked canvases with "EH COLLECTION" or his London address
• 1940s materials: Artist-grade oil on coarse linen, never canvas board
• Provenance gaps: Any work missing 1945-1950 documentation is suspicious

Auction houses play dirty sometimes. Saw a "Bacon" at a Miami auction last year with wrong stretcher bars. Bacon used specific cross-braced ones. Obvious fake. Yet there it was with a $3 million estimate. Makes you furious.

Current Market Prices for Bacon-Hall Works

Prepare for sticker shock. Authentic Bacon-Hall paintings rarely surface. When they do:

Smaller works? Don't get excited. Fragments or studies start around $500,000. And condition matters. Bacon used unstable mixes. Saw one at Christie's with 60% repainting. Still sold for millions. Madness.

Where to View Francis Bacon and Eric Hall Paintings Today

Good news: You don't need millions to see them. Many are in public collections:

• Tate Britain, London: Hall's original "Three Studies" triptych. Free entry. Open daily 10am-6pm.
• MoMA, New York: "Figure in a Landscape" in Gallery 517. Timed tickets $25. Closed Tuesdays.
• Hugh Lane Gallery, Dublin: Bacon's reconstructed studio with early Hall-period sketches. €12 entry.

Pro tip: The Tate keeps Hall's Bacon letters in their archive. Need appointment access. Seeing Bacon's scrawled "For Eric" on sketches? Chills.

Exhibitions Featuring Bacon-Hall Works

Blockbuster shows come and go. Upcoming ones worth tracking:

Email alert tip: Set notifications for "Bacon" at Tate and MoMA sites. Their member previews let you see works without crowds. Worth the subscription.

Controversies and Authentication Challenges

Bacon's estate is a minefield. He left no catalogue raisonné. The Bacon Committee authenticates works, but they're picky. Only three experts worldwide can reliably date Bacon-Hall pieces. Cost? $15,000 just to look at your painting.

Biggest headaches:

• Destroyed works: Bacon admitted torching "50+ early pieces." How many were Hall's? Unknown.
• Fake documentation: Forged gallery labels appear constantly. Saw one "1947 receipt" typed on 1980s paper.
• Overpainting disputes: Bacon often reworked canvases. When does "restoration" become fraud?

Remember the 2016 lawsuit? Collector sued dealer over a $6.8 million "Bacon" that turned out painted in 1995 - years after Bacon's death. Case settled secretly. Makes you distrust everyone.

Why Bacon-Hall Paintings Still Shock Viewers

Seventy years later, these works still divide crowds. Standing before "Three Studies" at Tate Britain last spring, I watched a woman walk out trembling. Bacon wanted that reaction. Hall understood it.

Three reasons they remain powerful:

1. Psychological nakedness: Bacon scraped humanity raw. No sugarcoating.
2. Technical innovation: His smear techniques? Still baffle conservators.
3. Historical weight: Created amidst London's Blitz ruins. You feel the despair.

Contemporary artists rip him off constantly. Most fail. You can't fake that trauma. Bacon lived through horrors - abusive father, wartime bombing, losing lovers to AIDS. Hall helped channel that pain onto canvas. Modern art owes them.

Frequently Asked Questions on Francis Bacon and Eric Hall Paintings

Did Eric Hall commission specific works from Bacon?

Absolutely. Records show Hall requested certain sizes and themes. "Figure in a Landscape" (1945) was made for Hall's country home. Bacon complained in letters about the "ridiculously precise dimensions." Still delivered. Wonder if he charged extra?

How many paintings did Hall own?

Best estimate? 40-50 major works. The exact number’s fuzzy because Bacon destroyed so many early pieces. Hall’s 1950 Sotheby’s sale listed 27 works. But private letters mention others kept "for sentimental reasons." Those vanished. Probably in some collector’s vault.

Can I buy a genuine Bacon-Hall painting today?

Possible but brutal. Only 3-4 surface at auction yearly. Dealers like Marlborough Fine Art get first dibos. Expect:

• Rigorous vetting (6-12 month process)
• 20% buyer's premium at auction
• Storage costs ($10,000+/year for climate control)

Alternative? Buy works Bacon gave Hall privately. Smaller sketches appear occasionally. A 1948 ink study sold privately last year for £350,000. Had "To E.H." in Bacon's scrawl. Still steep, but achievable.

Why did Bacon paint so few works during his Hall period?

Bacon was brutally self-critical. Told David Sylvester: "I destroyed anything Hall didn't take immediately." We're talking maybe 10 finished paintings yearly. Compare that to Picasso's 300+ annual output. Quality over quantity, I guess. Though dealers pulling their hair out.

Preservation Concerns for Existing Bacon-Hall Works

Here's what keeps conservators awake: Bacon mixed sand, dust, even blood into paints. His works literally crumble. Tate's team told me they spend 500+ hours annually stabilizing "Three Studies."

Major issues:

• Flaking paint: Oil never bonded properly to priming
• Discolored varnish: Bacon used cheap household varnishes
• Structural weakness: Stretchers warp under thick impasto

Private owners face nightmare costs. Climate-controlled framing alone runs $80,000+. One collector installed seismic sensors near his Bacon. Paranoia? Maybe. But when your painting's worth a football team, you get jumpy.

Final Thoughts on This Pivotal Art Partnership

Without Eric Hall's early faith, Bacon might've ended up a failed furniture designer. Scary thought. Their collaboration shows how patronage shapes art history. Yet Hall remains overlooked. Most catalogs just footnote him. Unfair.

Seeing a Bacon-Hall painting live changes you. The violence. The vulnerability. The sheer nerve of it. Hall recognized that genius in a bombed-out London studio. That's why these works still resonate. They're not just paint on linen - they're a testament to seeing potential where others see ruin.

Would Hall buy Bacon today? In our speculative art market? Doubt it. Too risky. Too raw. And that's exactly why these paintings matter more than ever.