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Dame Elisabeth Frink CH DBE RA (British, 1930-1993) |
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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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