Sarah Kent observes that for Frink ‘horse and rider are a unit personifying the most desirable masculine qualities … reliance, intelligence, loyalty, free sensuality’ (Sarah Kent, ‘A Bestiary for Our Time’, quoted in Elisabeth Frink, Sculpture: Catalogue Raisonné, Wiltshire, Harpvale, p.67). Indeed, the horse and rider is a recurrent theme throughout Frink’s career with examples dating from one of her earliest recorded sculptures in 1950 through to the late 1980s. In common with her contemporaries, Reg Butler and Lynn Chadwick, Frink’s sculptures of the 1950s are geometric and demonstrate a sense of angst, perhaps unsurprising for those who had lived through the war years. Her later work by contrast is softer and is more physically and emotively tactile as a result of Frink’s process of hand working and layering her clay cast. Frink often spoke of her profound admiration for men. In each iteration of the theme of horse and rider she offers a different and positive representation of masculinity and the male psyche. Perhaps as a result of her riders being naked there is a sense of empathy and mutual cooperation between man and horse which places these works in stark contrast to her representation of restrictive macho identity in her thugs, bikers and mercenaries series.
Horseman demonstrates Frink’s emotive and psychological investment in the subject, her interest in the ageless essence of the horse, and the changing relationship between horse and man. Her figures are at once individuals and can be understood as ciphers for the evolving symbiotic relationship between horse and rider.
Please call 1-800-555-5555 to order a print catalog for this sale.
Online Registration to Bid is Closed for this Sale. Would you like to watch the live sale?Watch Live Sale