Last updated: February 2026

Data note: This analysis draws on public auction results for Antony Gormley from 2018–2025 (price, date, location, medium, status, title), supplemented by current market research. It focuses on trends relevant to collectors considering a sale in the next 3–12 months. Numeric statements are grounded in that auction data, while broader market observations reflect widely reported industry commentary and gallery activity.

In this article

• Recent auction trends for Gormley’s work, including sell-through rates, price ranges, top sales and shifts in demand.
• What sells and what doesn’t, examining which types of Gormley pieces buyers reward and which tend to struggle, including a case study of a standout sale.
• How the artist’s market is structured, including the role of galleries, authenticity documentation, institutional exhibitions and key series that function as market barometers.
• Private sales vs auctions, outlining the main routes collectors use to sell Gormley works and the considerations behind each approach.
• A “sell now or wait” framework, offering guidance based on a work’s profile and recent market trends.
• Next steps, outlining how collectors can obtain a valuation and explore a sale through Artscapy.

Looking to sell your Gormley? Start with Artscapy valuation. Get a price range in about 60 seconds.

If it looks right, we’ll talk you through the routes that actually make sense for your Gormley, whether that’s a private placement approach designed for lead-and-straw material realities, or a public auction strategy when the work is strong enough to justify the spotlight.

Antony Gormley, ANOTHER TIME VI 2007. Installation view, Image: © ALLERIA CONTINUA / Ela Bialkowska

Auction market snapshot: strong demand with shifting tides

Antony Gormley’s auction market has shown robust demand in recent years, with sell-through rates hovering around 90% of lots finding buyers. This sustained liquidity reflects the artist’s status as a leading contemporary sculptor. Auction results show a pattern of gradual upward momentum with few prolonged downturns in prices.

In practical terms, roughly nine out of ten Gormley works offered at auction sell, a level of consistency few artists achieve over extended periods. Even as the broader art market has fluctuated, Gormley’s sculptures have maintained collector interest, supported by his international reputation, institutional exhibitions and long-term gallery representation.

Volume and momentum

The number of Gormley works coming to auction rose sharply in 2022, when volume nearly doubled compared with pre-2020 levels. That year more than 60 works were offered, compared with roughly 30 works in 2018. This increase reflected sellers responding to strong post-pandemic demand.

Total auction value followed a similar trajectory. Sales rose from roughly $6 million in 2021 to over $8 million in 2022, eventually reaching nearly $12.8 million in 2024 before declining in 2025 as fewer major works were consigned.

This pattern suggests a shift between 2022 and 2024. In 2022 the market saw a surge of lower-priced material, particularly prints and small editions, which increased transaction volume but reduced median prices. By 2023–2024, higher-value sculptures again dominated the supply mix, lifting median results until consignment levels eased in 2025.

Overall, Gormley’s market reached a recent peak in both value and activity by 2024, followed by a modest cooling as fewer major works appeared.

Price distribution

Auction prices for Gormley span a wide range. Minor works on paper can sell for under $1,000, while major sculptures reach multi-million-dollar results.

Since 2018, roughly half of auction results have fallen below $50,000, typically works on paper or prints. Around one third fall within the mid-six-figure range for sculptures. Only 2–3% of works exceed $1 million, illustrating how limited the very top of the market remains.

The overall median auction price sits in the mid five-figures, reflecting the balance between accessible works and rarer sculptures.

In practical terms, most collectors transact between five and low six figures, while exceptional sculptures occasionally reach seven-figure territory.

Antony Gormley, Body, 2014. Image: © lilfordgallery

Top sales and records

Gormley’s auction record stands at £5.3 million, achieved in October 2017 for A Case for an Angel I (1989). The monumental sculpture established a benchmark for the artist’s most ambitious works.

Although no auction has surpassed that result since, the market has approached it. In April 2024, a bronze model of Angel of the North (1997), from an edition of 12, sold for $3.27 million at Sotheby’s New York. It was the highest auction result for a Gormley work in nearly a decade.

Several other sculptures have achieved prices between $1 million and $1.4 million, including cast-iron body forms such as Stand III and GUT VI. These results confirm that seven-figure prices remain achievable when a work combines scale, rarity and recognisable subject matter.

Even smaller sculptures frequently reach mid-six-figure results during periods of strong demand.

Overall, auction results through 2024 showed steady upward momentum, driven by high-quality consignments. The slight softening seen in 2025 appears primarily linked to reduced supply rather than declining demand.

Regime shifts to watch

The period from 2022 to 2025 illustrates how supply composition can influence the market.

In 2022, a large number of prints and editions entered the market. While sell-through remained high, the influx temporarily lowered median prices. By contrast, 2024 saw fewer lots but several significant sculptures from major collections, pushing overall values higher.

For sellers, this highlights the importance of timing and comparables. When many similar works appear simultaneously, prices may plateau. When supply tightens or a particular series gains attention, bidding activity can strengthen.

As of early 2026, Gormley’s market appears relatively selective. High-quality works attract strong interest, while routine examples require realistic expectations. Demand remains geographically broad, with collectors active in the UK, United States, Europe and Asia.

What do collectors value? Liquidity hotspots vs overlooked corners

Understanding where liquidity sits within Gormley’s market helps sellers assess their work’s prospects. Broadly speaking, collectors favour sculptures that embody the artist’s exploration of the human body in space, particularly those from recognised series or of significant scale.

Works that fall outside this narrative or appear in large numbers tend to attract less attention.

The two-tier market: sculptures vs prints

Gormley’s market operates in two clear tiers.

At the top are sculptures, usually cast metal figures or installations. These works form the foundation of his reputation and typically exist as unique pieces or small editions. Even relatively modest sculptures frequently reach six-figure results.

Alongside them is a large body of prints and works on paper, including drawings, etchings and lithographs. These trade at far lower price levels and appeal to a wider audience of collectors.

Most prints typically sell for £500 to £5,000 on the secondary market. This accessibility creates steady demand but also leads to higher volume and occasional oversupply when similar prints appear simultaneously.

For sellers, the implication is straightforward. Sculptures sit in the most resilient part of the market. Prints remain active but require careful positioning and realistic expectations.

 Antony Gormley, OPEN STRESS , 2023. Image: © ALLERIA CONTINUA / Stephen White & Co

What buyers reward

Within sculpture, several series function as informal market benchmarks. These include Gormley’s cast-iron human figures, often titled with single words and Roman numerals such as Body, Stand, Cast, Meme or Insider.

Collectors value these works because they represent the core of Gormley’s practice. Many were produced in relatively small editions, which supports scarcity.

Figures from the MEME series, for example, have appeared regularly at auction and typically sell in the low- to mid-six-figure range.

These works effectively serve as market barometers. When they sell at or above estimate, confidence in the broader Gormley market tends to be strong.

Collectors also place significant weight on provenance and documentation. Works accompanied by certificates, gallery invoices or clear ownership histories generally attract greater confidence.

What gets ignored

Certain parts of Gormley’s output receive less enthusiasm at auction. This often includes more abstract constructions that depart from the familiar human figure motif.

Examples involving complex steel structures or conceptual installations have sometimes struggled to find buyers when offered outside their original installation context.

Mass-produced items such as posters or exhibition ephemera also attract little interest. Even when associated with the artist, they lack the status of original artworks and often fail to meet modest estimates.

Barometer series

Small-to-mid-size iron standing figures, typically between one and two metres tall, remain the clearest barometer of the artist’s market.

These sculptures appear regularly at auction in London, New York and Hong Kong and usually sell when priced in line with recent results. Prices commonly range from £100,000 to £300,000, depending on size and edition.

Recent data suggests sell-through remains strong, although bidding has become somewhat more disciplined than during the peak years of 2021–2022.

Case study: when an iconic angel took flight

In spring 2024, Sotheby’s New York offered a bronze model of Angel of the North (1997), a scaled version of Gormley’s landmark public sculpture.

Estimated at $2.5–3.5 million, the sculpture sold for $3.27 million including fees, comfortably above the low estimate.

Several factors contributed to the result: the work’s recognisable subject, limited edition size and strong provenance from the Maharam family collection.

The sculpture had previously sold in 2018 for approximately £2.8 million, meaning the 2024 result represented solid appreciation.

The case illustrates a consistent pattern in Gormley’s market. When an artwork combines recognisable imagery, strong provenance and limited supply, collectors compete even during cautious market periods.

Antony Gormley, Angel of the North, 1998. Image: © Sotheby's

The private sale route: galleries, networks and discreet deals

While auctions receive the most visibility, a significant portion of Gormley’s market operates privately.

Private sales allow collectors to transact directly with buyers through galleries, brokers or specialist platforms. These transactions prioritise discretion and negotiated pricing rather than public competition.

Artist representation and the primary market

Gormley is represented by major international galleries, most prominently White Cube, which has worked with the artist since the early 1990s. These galleries manage the primary market, placing new works with collectors and institutions.

Recent gallery sales suggest significant sculptures continue to trade privately in the high six-figure range.

Private collector networks

A wider ecosystem of brokers, advisors and specialist platforms facilitates private sales. These intermediaries maintain networks of collectors actively seeking particular artists or series.

Private transactions often provide greater control over pricing and confidentiality.

Market structure and routing

Gormley’s market broadly operates across three levels:

Top tier: monumental or historically significant sculptures.

Middle tier: established sculptural editions and major works.

Entry tier: prints and smaller works on paper.

Choosing the appropriate sale route depends on the work’s rarity, value and buyer audience.

Sell now or wait? a decision framework for Gormley owners

Whether to sell now or hold depends on both market conditions and the characteristics of the work.

Identify your work’s tier: Determine whether the work sits in the top tier, mid-tier, or entry-level segment of the market.

Assess recent comparables: Recent auction results for similar works provide the most reliable indicator of demand.

Consider upcoming catalysts: Museum exhibitions, institutional acquisitions or major public commissions can reinforce an artist’s visibility and collector interest.

Balance financial needs and timing: Collectors with a specific financial objective may prioritise certainty over waiting for market shifts.

Avoid unnecessary risk: Public auctions establish permanent price records. Testing demand privately can sometimes reduce risk before committing to an auction.

Overall, as of early 2026, Gormley’s market appears stable. High-quality works continue to attract strong interest, though buyers have become more selective than during earlier peak periods.

Antony Gormley,  Resting Place II, 2024. Installation view, Image: © ALLERIA CONTINUA / Huang Shaoli

Selling through Artscapy

Collectors considering a sale can obtain a valuation and explore potential buyer interest through Artscapy.

• Request a valuation: Submit details of the work, including medium, dimensions, edition and provenance. A valuation is provided based on recent comparable sales.
• Choose a sale route: Depending on the work and timeline, sales may be pursued through private placement or broader market exposure.
• Review offers or strategy: Collectors can consider offers from buyers or review recommended sale strategies.
• Complete the transaction: If a sale proceeds, Artscapy will manage payment, logistics and documentation. Sellers pay no commission to Artscapy.

References

[1] Antony Gormley auction price records and market commentary

[2] Auction result for A Case for an Angel I (1989)

[3] Christie’s London contemporary art sale records

[4] Sotheby’s New York Contemporary Day Auction results, 2024

[5] Market guides to Antony Gormley prints and edition values

[6] Secondary-market print turnover data

[7] Auction unsold-rate analysis for Gormley prints

[8] Artist authentication practices and print certification

[9] Sotheby’s catalogue entry for Angel of the North (1997)

[10] Artist biography and gallery representation history

[11] Gallery exhibition records

[12] Art fair sales reports for recent Gormley sculptures

[13] Secondary-market listings for Gormley works

[14] Private brokerage commentary on Gormley prints

[15] Christie’s private sale documentation

[16] Auction house fee structures

[17] Nasher Sculpture Center exhibition records

[19] Institutional exhibition reviews