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Triptych 1974-77 is regarded as a seminal artwork showing his lover writhing on a near deserted beach overlooked by the spectre of two terrifying monochrome Orwellian witnesses, and became the centrepiece of an exhibition at the Metropolitan Museum of Art in New York. [Francis Bacon] painted it for the show as a tribute to [George Dyer]. Pilar Ordovas, head of post-war and contemporary art at Christie's, said it was one of the finest and most mysterious Bacon paintings from the 1970s, produced when the artist was at the height of his powers. \"The other three have very sombre black backgrounds and while this is very tortured and incredibly strong, there is also some sort of hope, with the sea and the horizon in the background,\" she added.

The couple's troubles began after Kim Yong-chul, the former head of the legal department of the Samsung Group Restructuring Office, called a series of press conferences unleashing the slew of allegations concerning a slush fund which, he claimed, was kept in the accounts of various Samsung executives. The fund, he alleged, was used to purchase millions of dollars worth of art for the chairman's wife and other members of his family. Mr Kim released a list of artworks bought including Roy Lichtenstein's Happy Tears, which was sold at Christie's New York in 2002 for $7,159,500, a record price for the artist at the time, Barnett Newman's White Fire I, David Hockney's Portrait of Nick Wilder, Ed Ruscha's Desire, Gerhard Richter's Abstract and works by Donald Judd and Agnes Martin.

To celebrate the centenary of [George Rodger]'s birth, the museum, in Manchester, is to present a major exhibition of his wartime work, a few miles from his birthplace in Cheshire. \"Contact: George Rodger's War Photographs\", which opens next month, showcases 100 works by the self-taught press photographer. The images convey Rodger's compassion for the victims of war while also giving a sense of war's absurdity. One picture shows a group of people at the entrance of a public shelter watching enemy planes over London, with some pointing their walking sticks at the sky in wonder. Rodger had been travelling the world to capture scenes of war through the lens of his Leica IIIa camera since the start of the Second World War. He shot everything from war graves in the Egyptian desert and wounded soldiers in Burma, to London in the Blitz and De Gaulle's celebration parade in Paris.

\"The central character is a girl called Gussie, who has the same heart disease [as [Nathan]] and has to have a heart and lung transplant,\" she said. \"When I started writing the story about Gussie, I was stuck in a cliff-side house in Cornwall in a dreadful winter, because I was ill. I began seeing everything through Nathan's eyes. He made the absolute best of his life. I wanted to capture his spirit in her character. It was not supposed to help me grieve, but it has.\" Meanwhile, Catherine O'Flynn, who took the first novel award, worked as a postwoman while writing What Was Lost, which is set in a shopping centre. \"I had quite low expectations of it being published,\" she said. \"It is based on experiences that maybe a lot of us have, where we go from being children with a lot of energy to losing our way as an adult.\"

The Hall's chief executive, David Elliott, said: \"Five or 10 years ago, everyone was predicting the demise of the live concert but the opposite has happened. The O2 has just had a series of headline acts but some of those artists would probably never play here and some prefer the intimate feel of the Royal Albert Hall.\" Ticket prices, which are normally set by the artist rather than the venue, are rising. For the Hush series, the Hall aims to keep prices at 17 to 20 but big-name acts can command 70 for the best seats. Mr Elliott justified the pricing structure, saying people were happy to spend on the higher end tickets. \"Prices are creeping up north of 50 even for non-charity events so the big question is whether audiences hold up. It amazes me they keep on buying and it's the most expensive tickets that sell first,\" he said.

Despite the Norwegian origin of the chessmen, Mr [Alex Salmond] insisted they should be returned to Scotland, since they had spent most of their existence there. \"I find it utterly unacceptable that the Lewis Chessmen are scattered around Britain in a bizarre parody of the Barnett Formula,\" he told a gathering of Gaelic campaigners recently. \"I will continue campaigning for a united set in an independent Scotland.\" Alex MacDonald, the convener of Lewis Council, said: \"We welcome this move and it is significant for us that the First Minister believes that the Chessmen should be returned to the islands. My preference would be for some to be in Edinburgh, some in Stornoway [the capital of the Western Isles]and some in Uig, where they were originally found.\"

The 13th century map, regarded as an outstanding treasure of the medieval world and the largest surviving example of its kind, has been added tothe United Nations Educational, Scientific and Cultural Organisation's Memory of the World International Register, where it will be cited alongside the Bayeux Tapestry, The Endeavour Journal of James Cook and the correspondence of Hans Christian Andersen. It is kept at Hereford Cathedral. \"It represents the sum total of these scholars' knowledge of the world, distilled on to one sheet. It has Europe, Africa and Asia drawn on it with Jerusalem at its centre and nothing going past the equator, with Christ in majesty and the Day of Judgement illustrated on top of the world. This move means that it is recognised as an object of international significance and importance to be preserved for the future of our civilisation,\" he said.

Watermans, in Hounslow, west London, which is regarded as one of the most important theatrical venues for British Asian drama, and the London Disability Arts Forum, said they would be mounting campaigns to appeal against Arts Council England's (ACE) proposals to end their funding.

These first four works, which will be exhibited at [Tate] Britain by next spring, are The Acquired Inability to Escape, which was included in his first solo exhibition at the Institute of Contemporary Arts in 1992; Life Without You, from 1991, a companion to the cabinet piece Forms Without Life which is already in Tate's collection; one of the first of [Damien Hirst]'s dead fly paintings entitled Who is Afraid of the Dark?; and the exhibition copy of Mother and Child Divided, which is currently on display at Tate Britain and is a version of the original installation for which he won the Turner Prize in 1995.

The Tate Modern gallery has been promised a 50m grant from the Government which will enable it to expand and become the world's premier institution for contemporary and modern art before the 2012 London Olympics. The grant, which is the largest single lump sum to be given to a cultural institution since the 1970s, will enable Tate Modern to create a spectacular new building housing hundreds of pieces that have until now been kept in storage. These include works by Damien Hirst, Mark Rothko, Bill Viola, Bruce Nauman and Olafur Eliasson. Designed by the architects Herzog & de Meuron, who created the vision for Beijing's Olympic stadium, it will see different kinds of galleries built to showcase large-scale installations, including works such as Hirst's Pharmacy, a room-sized piece with cabinets containing prescription drugs, and Bruce Nauman's Mapping the Studio II, a sprawling new media recreation of studio space. Currently, only around 40 per cent of the gallery's overall collection is shown due to a lack of space. Anna Somers Cocks, editorial director of The Art Newspaper, said [Tate] had been central in transforming the idea of visiting art galleries into a popular activity.