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| Henry Scott Tuke Study for Morning Splendour 1921 oil on panel Royal Cornwall Polytechnic Society, Falmouth |
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| Nan West Model Posing in the Life Room at the Slade School, London ca. 1924 oil on canvas University College London Art Museum |
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| Ralph Chubb Contemplation 1925 oil on canvas Leamington Spa Art Gallery and Museum, Warwickshire |
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| Ernest Procter The Day's End 1927 oil on canvas New Walk Museum and Art Gallery, Leicester |
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| Walter Graham Grieve The Cribbage Players ca. 1933 oil on canvas Royal Scottish Academy of Art and Architecture, Edinburgh |
"In this painting [above] the same life models (from Edinburgh College of Art) have been used for more than one character. The female in the painting is the life model, Poppy Lowe."
– curator's notes from the Royal Scottish Academy of Art and Architecture
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| Mary Dudding A Lincoln Model ca. 1935 oil on canvas Usher Gallery, Lincoln |
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| Zdzislaw Ruszkowski Study for Boys Watering Horses 1938 oil on canvas Scarborough Art Gallery, Yorkshire |
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| John Richardson Gauld Resting Model ca. 1942 oil on canvas Laing Art Gallery, Newcastle-upon-Tyne |
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| Edwin Smith Boy Shapes 1944 oil on board Chelmsford Museum, Essex |
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| Harriet Kirkwood Tea in the Studio ca. 1945 oil on canvas Armagh County Museum, Northern Ireland |
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| Anonymous British Artist Reclining Figure ca. 1950 oil on canvas Laing Art Gallery, Newcastle-upon-Tyne |
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| Geoffrey Payne Bather ca. 1950 oil on board The Wilson, Cheltenham, Gloucestershire |
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| Gerard Dillon Circus Acrobats ca. 1955 oil on canvas Ulster Museum, Belfast |
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| Ian McKenzie Smith Académie ca. 1956 oil on board Robert Gordon University, Aberdeen |
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| Francis Bacon Lying Figure No. 1 1959 oil on canvas New Walk Museum and Art Gallery, Leicester |
"The artist has told me that his motives are purely aesthetic. That is, his obsession is with formal qualities, with forms at once concrete and dissolving, with the substance and texture of pigment, with the belief that every stroke of paint laid down ought to be a self-sufficient expression of the artist's idea. His reading, especially of Greek tragedy, has influenced his attitude and inevitably shaped his patterns; but he would have us judge his paintings simply as works of art without seeking to read into them a symbolism never consciously premeditated."
– Neville Wallis, in The Observer (1950), reviewing an exhibition of recent Francis Bacon paintings at Hanover Gallery, London