Sotheby’s October auction unites four masterworks by Francis Bacon and Auguste Rodin, showcasing a century of revolutionary figurative art.
This October, Sotheby’s presents an extraordinary selection of four works that trace an artistic dialogue between Francis Bacon and Auguste Rodin, spanning almost a century.
Coming from a single private collection, these pieces will headline the Contemporary Evening Auction on 16 October during Frieze Week, with a combined estimate of up to £17 million.
Collectors are offered a rare opportunity to see how two of the most influential artists of their time explored the human form in radically different ways, yet with remarkable shared concerns.
A Private Collection’s Journey
Bacon’s two paintings, Portrait of a Dwarf and Study for Self-Portrait, were acquired directly from the artist and have remained in the same private hands for more than forty years.
Portrait of a Dwarf, estimated at up to £9 million, is among Bacon’s most enigmatic and psychologically charged paintings, while Study for Self-Portrait, with an estimate of up to £6 million, shows a quieter, more reflective side of the artist.
The auction also includes two monumental Rodin bronzes: Pierre de Wissant and Jean de Fiennes, cast from the artist’s final iterations of the Burghers of Calais series.
Each is estimated at £600,000–900,000 and demonstrates Rodin’s ability to capture both heroic narrative and profound human emotion in sculpture.
Two Centuries, One Vision
Alex Branczik, Sotheby’s Chairman and Head of Modern and Contemporary Art, EMEA & Asia, said: “Though separated by nearly a century and working in different media, Rodin and Bacon share an extraordinary understanding of the human form. Both transformed it into a vessel for psychological exploration, influencing generations of artists.”
Both artists moved away from idealised depictions of the body. Instead, they highlighted vulnerability and authenticity.
Their work challenged conventional representation and opened new avenues for figurative art that continue to resonate today.
Bacon’s Connection to Rodin
Bacon’s admiration for Rodin was clear. He once declared: “There are only three: Michelangelo, Rodin and Brancusi.”
In London during the 1920s, the young Bacon frequently visited Rodin sculptures at the Victoria and Albert Museum, where his uncle’s position allowed him special access.
Later, his time in Paris deepened this engagement, with repeated visits to the Musée Rodin in Meudon.
His studio was filled with Rodin monographs, photographs, and notes, including a reproduction of The Thinker, demonstrating how central Rodin’s work remained to his practice.
Portrait of a Dwarf
Portrait of a Dwarf is a particularly important work in Bacon’s oeuvre. Art historian Eddy Batache observed: “It has such a presence… You cannot escape it.”
Unlike most of Bacon’s works, which were quickly sent to his dealer, he retained this painting for years, exhibiting it himself, including at Galerie Claude Bernard in Paris in 1977.
The painting draws from multiple influences: the head references both Peter Beard and George Dyer, the torso evokes Lucian Freud via John Deakin’s photography, and the lower figure relates to Bacon’s own self-portraits.
Bacon’s engagement with art history also shaped the work. He admired Diego Velázquez, whose depictions of court dwarfs informed Bacon’s psychological approach, and he drew inspiration from an Egyptian sculpture of Seneb, encountered during a 1951 visit to Cairo.
This blending of personal and historical references created a work that is both intimate and universal.
Study for Self-Portrait
In contrast, Study for Self-Portrait is a soft, tender and introspective piece that is exceptionally intimate. Bacon described it as part of “my Impressionist period,” acknowledging the influence of Parisian masters.
The painting softens his features with a blue haze, evoking memory and emotion, and represents one of his last self-portraits.
It offers a rare glimpse into the artist’s reconciled view of himself, combining gentleness with psychological intensity.
Rodin’s Burghers of Calais
The Rodin bronzes depict Pierre de Wissant and Jean de Fiennes from the Burghers of Calais, commemorating six citizens who offered themselves as hostages in 1347 to save their city.
Rodin rejected heroic idealisation, instead portraying anguish, resignation, and internal conflict.
These monumental bronzes are recognised globally, with examples in the Musée Rodin, Norton Simon Museum, Israel Museum, LACMA, and Brooklyn Museum, among others.
Branczik commented: “The two extraordinary Rodin bronzes – overwhelming in scale and presence – stand independently as expressive distillations of strength, character, and dignity.” Their ability to communicate directly with viewers remains intact, despite their size.
A Shared Artistic Vision
Bacon and Rodin both transformed the human form into a medium for exploring existential and psychological truths.
By emphasising imperfection and vulnerability over idealisation, they created a visual language that challenged traditional norms and continues to influence contemporary practice.
Global Exhibition and Auction
Before the sale, the works will be shown globally: in London until 16 September, Hong Kong from 22–26 September, 1 from 29 September–2 October, and finally back in London for the auction opening on 9 October.
This international presentation underlines the works’ importance and allows collectors and art enthusiasts worldwide to experience them firsthand.
A Century of Influence
The four works in this sale highlight over a century of innovation in figurative art. Bacon and Rodin explored human vulnerability and authenticity with extraordinary insight.
The auction offers more than a commercial transaction; it provides a rare chance to witness the dialogue between two of art’s most significant figures and to appreciate the enduring relevance of their vision in today’s world.
