L12142

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Lot 216
  • 216

Dame Elisabeth Frink, D.B.E., R.A.

Estimate
70,000 - 100,000 GBP
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Description

  • Dame Elisabeth Frink, D.B.E., R.A.
  • Horseman
  • signed and numbered 0/0
  • bronze
  • height: 42cm.; 16½in.
  • Conceived in 1979 the present work is an artist's proof for the later edition of 9.

Provenance

The Artist
Private Collection, Sydney, by the late 1980s

Exhibited

London, Tate Gallery, Elisabeth Frink, Sculpture and Drawing 1952 - 1984, 8th February - 24th March  1985, cat.no.73 (another cast), where lent by the Artist.

Literature

Bryan Robertson (intro.), Elisabeth Frink Sculpture, Harpvale Books, Salisbury, 1984, cat. no.246, illustrated p.190 (another cast).

Condition

Structurally sound. There is minor surface dirt and tiny isolated flecks of surface matter to the work, with small, isolated areas of very slight oxidisation appearing, most notably around the hooves and base of the work, and in a fleck to the left side of the horses' neck. This excepting the work appears in be in excellent condition. Please telephone the department on +44 (0) 207 293 6424 if you have any questions regarding the present work.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

In 1967 Frink moved to the Camargue, a region in southern France celebrated for its herds of semi-wild horses. Inspired by these magnificent animals, equestrian subjects began to appear more frequently in her work, and even after her return to England, horses, both with and without riders, remained a constant preoccupation for the remainder of her life.

A keen rider, Frink understood horses thoroughly, and her sculptures are notable for their capacity for capturing the spirit and mood of the subject. The horse is a longstanding motif in Western art but Frink was keen to express a more personal view in her approach. More than simply a subject, Frink animates her sculptures through their various postures, be that the resignation of a horse in the rain, or the unrestrained joy of rolling and streching. Where Frink introduces a rider, she is able to show the intimate link with, and dependence on, human beings.

Frink's horsemen have a distinct feeling of existing out of time, echoing the long history of mankind's connection with the horse. Stripped of trappings and dress that would tie it to an era, Horseman tells us of the journeys taken throughout time, the trust and dependance between horse and rider.