Elisabeth Frink Value: Top Prices Paid at Auction

Created in 1983, Seated Man achieved its record result at Christie's London in June 2014. This monumental bronze sculpture, the first in an edition of four, exemplifies Frink's mature style with its distinctive treatment of the male form - a weathered, textural surface combined with a powerful, almost primitive presence heavily influenced by her experiences in World War II. Notably, another cast from the same edition achieved £600,000 at Sotheby's in June 2016, demonstrating sustained market interest in Frink's most refined compositions.

Running Man (Front Runner) (1986) matched Frink's auction record when it sold at Christie's London in June 2019. This late-career masterpiece encapsulates Frink's enduring preoccupation with the male figure in motion, a theme she returned to throughout her career. The sculpture's dynamic pose and distinctive textural treatment of the bronze surface exemplify her unique ability to capture both physical movement and psychological tension. Viewers of the sculpture tend to be torn between seeing the figure’s strength and vulnerability - is he running towards or away from something?

Seated Man II (1986) achieved this notable result at Christie's London in July 2013. Created in the same year as Running Man (1986), this bronze represents Frink's return to the seated figure in her later career. The roughly textured surface, typical of Frink’s bronze work, adds depth and earthiness to the figure’s contemplative pose, enhancing its sense of presence and command of space. The sculpture's strong performance at auction highlighted growing market appreciation for pieces that reflect the culmination of Frink's artistic vision: her larger-than-life Riace figures, and her belief that man simultaneously embodies strength and vulnerability, power and fragility, and thought and reflection.

Horse (1980) achieved this impressive result at Christie's London in November 2018. This bronze is one of many equine sculptures Frink created, thanks to a fascination that developed during her childhood in Suffolk surrounded by horses. She was also heavily influenced by the ceramic horses of the Tang Dynasty, which prioritised capturing the essence and energy of the animal, rather than precise anatomical accuracy - Frink’s approach to form is almost architectural, capturing a sense of raw, muscular energy and an imposing scale. At 2.5 metres tall, Horse is one of her larger animal sculptures, showcasing the artist's sophisticated understanding of mass and movement, themes that would define her later practice.

Another of Frink's equine masterpieces, this 1978 bronze achieved its result at Christie's London in March 2022. While sharing thematic elements with her 1980 Horse, this earlier work reveals subtle differences in her evolving approach to the subject. This horse, for example, is depicted stationary, rather than walking, with a less rugged texture. Its shape, with a slightly over-large head and short legs, is reflective of the Carmague wild horses that Frink became familiar with when she lived in the French region between 1967 and 1970. The work’s successful sale during the post-pandemic market demonstrated continued collector confidence in Frink's most characteristic works. Her animal subjects consistently rank among her most sought-after pieces.

A representation of one of Frink’s long-standing interests - the relationship between the power of nature and the power of humanity - Horse And Rider (1974) achieved this result at Sotheby's London in July 2013. The work's dynamic composition, its scale, and the balance between the two figures are typical of Frink’s ability to create powerful, emotionally resonant sculptures. Frink created her bronze sculptures by first assembling a wire frame, and then building up the shape of her subject with plaster, before creating a cast for bronze. In the case of this particular work, although the sculpture was created in 1974, it was not cast in bronze (in an edition of three) until 1975.

Standing out on this list is Frink’s Walking Madonna (1981), which achieved its significant result at Christie's London in June 2018. This bronze represents a departure from Frink's typically male-dominated figurative works, offering a rare and powerful feminine subject. The rough surface and determined stride still embody Frink’s characteristic balance of strength and vulnerability. This representation of Mary, however, contrasted with traditional depictions - Frink’s Mary is older, weathered, with pursed facial features and square shoulders. Created for Salisbury Cathedral, the piece has an obvious religious significance that, although more direct than in her other works, aligns with the pervading sense of spirituality in her subjects. Walking Madonna is widely recognised as one of Frink’s most accomplished works, symbolising faith and human dignity in the face of injustice.

Eagle Lectern (1962) sold at Christie's London in November 2018, representing one of the earliest works in Frink's top 10 results. Created for the rebuilding of Coventry Cathedral after World War II, this bronze demonstrates an earlier involvement in commissioned religious works than Walking Madonna (1981). In fact, it was Frink’s first major commission. Its unique finish, with block-like feathers, is the result of the artist setting kindling into the plaster as she built up the eagle’s form. Unlike most of Frink’s works, the merits of Eagle Lectern extend beyond artistic beauty - the piece was designed to be functional, as something of a centrepiece in the Cathedral itself. The eagle represents John the Evangelist, a figure associated with bearing witness to God. Its interesting history likely contributed to its success at auction, exceeding its high estimate by 20%.

Achieving this result at Christie's London in November 2015, Protomartyr (1976) combines Frink’s exploration of religious and mythologic themes with her skill at emotively capturing the human form. The bronze's title refers to the first Christian martyr, St. Stephen. The expressive, almost primitive, way that Frink captures the male figure is even more striking in this work - Frink’s intention was to imbue the work with a sense of humanity’s capacity for cruelty. A cast from this edition (of only three) was displayed at the Elisabeth Frink: Natural Connection exhibition at the Yorkshire Sculpture Park in 2024.

First Man (1964) reached this price at Christie's London in November 2014. This earlier bronze shows Frink developing the male figure theme that would come to define her later work - it has a primitive yet dignified presence and a title that suggests both biblical and evolutionary references. At the time of its creation, Frink’s popularity in the UK and abroad was building momentum. She had already exhibited with the London Group, and was beginning to exhibit internationally. Its strong performance at auction reflects the enduring collector interest in Frink’s strong figurative work that defines this top 10 list.