Dame Elisabeth Frink CH DBE RA (British, 1930-1993) |
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Elisabeth Frink was born in Suffolk in 1930 and studied at Guildford
School of Art and then at Chelsea School of Art. She later went on
to teach there as well as at St. Martins. She is widely recognised
as the greatest British Sculptor of her generation and established
as a printmaker of major importance. Today her prints are keenly sought-after
and are becoming incresingly scarce.
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Marsh Harrier
From the 'Birds of Prey' series
Etching with aquatint in colour
1974
signed and numbered from the edition of 50 by the artist in pencil
published by Leslie Waddington Prints
540 x 465 (plate); 920 x 648. (sheet)
SOLD
References: Recorded in the Catalogue raisonné by Caroline
Wiseman: Elisabeth Frink, Original Prints, no. 111.
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CAS Horse and Rider
Lithograph in 2 colours on T H Saunders paper
1971
signed and numbered from the edition of 70 by the artist in pencil
printed at Curwen Studio
589 x 783mm. (sheet)
SOLD
References: Recorded in the Catalogue raisonné by Caroline
Wiseman: Elisabeth Frink, Original Prints, no. 49.The full sheet
in fine condition.
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Head II
screenprint in 2 colours on BFK Rives paper
1988
signed and numbered from the edition of 70 by the artist in pencil
printed at Chilford Hall Press
108 x 74 cm. (sheet)
SOLD
References: Recorded in the Catalogue raisonné by Caroline
Wiseman: Elisabeth Frink, Original Prints, no. 144.The full sheet
in very good condition. A timeless image by Frink, captivating both for
its scale, power and serenity. The Print relates to the artist's numerous
projects for Amnesty International during the late 1980s. Human heads
continually fascinated Elisabeth Frink as she noted:
'Heads have always been very important to me as vehicules
for sculpture. A head is infinately variable. It's complicated and it's
extremely emotional. Everyone's emotions are in their faces. It's not
surprising that there are sculptures of massive heads going way back,
or that lots of other artists besides myself have found the subject
fascinating.' (Elisabeth Frink and Edward Lucie-Smith Frink: A Portrait,
1994.)
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The Prioress's Tale.
etching with aquatint in black
1972
from Limited Edition of 300
50 x 34 cm. (plate size), 76 x 58.5 cm.(within frame)
£450 (Framed and glazed in contemporary frame.)
This etching was published as a limited edition (some bound others loose,
signed and numbered on the limitation leaf by the artist. There was additionally
an edition of 63 individually numbered and signed examples).
References: Recorded in the Catalogue raisonné by Caroline
Wiseman: Elisabeth Frink, Original Prints, no. 64; Horne, Alan.
The Dictionary of 20th Century Illustrators: 203.
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Geoffrey Chaucer and Elisabeth Frink. The
Canterbury Tales: London: Waddington Galleries, 1972.First
Edition in this Format. Large Folio - over 12"
- 15" tall. Original Cloth. Limited Edition. Signed by Artist. Very
Good / N/A. ONE OF 50 COPIES, SIGNED AND NUMBERED BY
THE ARTIST, (TOTAL EDITION OF 300), THIS COPY IS ADDITIONALLY INSCRIBED
BY THE ARTIST ON THE F.F.E.P., 19 full-page etchings
with aquatint in black on J. Barcham Green paper, translation by Nevill
Coghill, original green cloth with design of eagle stamped in gilt to
upper cover, housed in original linen slipcase.References:
Recorded in the Catalogue raisonné by Caroline Wiseman: Elisabeth
Frink, Original Prints, nos. 58-76; Horne, Alan. The Dictionary
of 20th Century Illustrators: 203. Elizabeth Frink was born in Suffolk
in 1930 and became one of Britain's most eminent sculptors, known during
her lifetime as one of the most accomplished sculptors of animal and human
forms. She was widely read and went on to illustrate a number of classic
works, such as Homer's Odyssey (1974) and Iliad (1975),
Kenneth Mcleish's 'Children of the Gods (1983) and Chaucer's
The Canterbury Tales (1972.) Her evocations of these classic
narrative tales are striking in their originality and remain some of the
most enduring and powerful twentieth-century illustrations of classic
texts:
'Her Canterbury Tales contains nineteen etchings drawn directly
onto copper plates and etched by Frink, and the "book" was
issued in three limited editions. Her illustrations have been both excessively
praised as "amongst the most successful illustrations of the century,
encompassing the mood of the text in concise delineations and disarmingly
ribald humour."" (Sarah Kent quoted in Houfe 1994: 203).
A monumental book with superb full-page etchings by Elisabeth Frink depicting
the figures, animals and birds that characterise her work. The 310 gram
watermarked paper used was specially made by J Barcham Green of pure cotton,
the etchings were printed by Cliff White at White Ink Ltd., London. Frink's
19 etchings illustrate The Prologue, The Knight's Tale, The Miller's Tale
I, The Miller's Tale II, The Reeve's Tale, The Shipman's Tale, The Prioress's
Tale, Chaucer's Tale of Sir Topaz, The Nun's Priest's Tale, The Physician's
Tale, The Pardoner's Tale, The Wife of Bath's Tale, The Summoner's Tale,
The Clerk's Tale, The Merchant's Tale, The Squire's Tale, The Franklin's
Tale, The Second Nun's Tale and The Manciple's Tale. This book is in fine
condition and complete with its canvas-covered protective slipcase.
SOLD
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I flew through a black cloud and the winds came up from the hills below
me
Etching
signed, titled and numbered 18/48 by the artist
31 x 31 cm.
the full sheet on wove paper printed to the deckled edges in original
titled folder.
References: Recorded in the Catalogue raisonné by Caroline
Wiseman: Elisabeth Frink, Original Prints, no. 138.Published by
The Royal College of Art in 1987 in an edition of 48
SOLD
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Wild Boar
Original lithograph, printed at the Curwen Studio on J. Green mould-made
paper, published by Alistair McAlpine/ Waddington Galleries.
Signed and numbered from the edition of 25 by the artist in pencil
1967
78 x 59.4cm. (sheet)
References: Recorded in the Catalogue raisonné
by Caroline Wiseman: Elisabeth Frink, Original Prints, no. 18,
illustrated.
One of the best-loved prints from Frink's Images series which depicted
10 different animals, captured in a variety of startling and majestic
poses. The series was strictly limited to a very small edition of 25,
as Frink, together with Waddington's who then represented her decided
not to add to the print boom of the 1960s.This is an early Elisabeth Frink
print in a very small edition from 1967 (her earliest prints date from
1965). Here Frink was intent on capturing the spirit of each animal without
overstatement. The wild boar was an animal often depicted by the artist
There was a bronze boar in 1957 which was commissioned by Sir Frederick
Gibbard and partners for Harlow New Town, and a series of bronze boars
between 1967-8, one of which was commissioned by the Zoological Society
of London, hence its particular appeal as a print from the series. It
also features in her 1970 series of lllustrations for the Odyssey and
was an animal well-loved and often depicted by the artist. SOLD
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Lioness
Original lithograph, printed at the Curwen Studio on J. Green mould-made
paper, published by Alistair McAlpine/ Waddington Galleries.
Signed and numbered from the edition of 25 by the artist in pencil
1967
78 x 59.4cm. (sheet)
References: Recorded in the Catalogue raisonné by Caroline
Wiseman: Elisabeth Frink, Original Prints, no. 17, illustrated.
SOLD
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Petit Cheval Couché
Lithograph on Rives handmade paper, signed in pencil and numbered 38/70
by the artist
Printed by M. Dupont in Nimes and published by D. Cregut
1972
50.5 x 66cm. (sheet)The present example captures a resting horse. Horses
and horsemen began to appear in Frink's work from the end of the 1960s,
after she went to live in France. The Camargue region was celebrated for
its herds of semi-wild horses and it was these that Frink chose to sculpt
and draw:
"The horses of the Camargue, whose resemblance to those
in the cave paintings at Lascaux has often been remarked, made an indelible
imprint on her imagination. She liked their stocky bodies and large, heavy
heads." (Lucie-Smith, Edward, Elisabeth Frink: Sculpture since
1984 and Drawings, p.40.)
SOLD
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