Set of 4 Seabirds

by Dame Elisabeth Frink

£16,000

DIMENSIONS: (sight) 24 x 18.5 inches (61 x 47 cm)
SIGNATURE: Signed ‘Frink’ (lower right);
Blind stamp (lower right);
Edition number 39 /15
MEDIUM: Lithograph

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    Born in Thurlow, Elisabeth Frink (who went on to become Dame Elisabeth Frink CH DBE RA) spent her childhood in rural Suffolk, and subsequently developed an inherent affection for animals and wildlife. This thoroughly informed Frink’s artistic career as a sculptor and printmaker, as well as a fascination for human nature and form. Here we see 4 birds in various positions, closely observed and admired by Frink.

    Private collection, United Kingdom

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    Born in Thurlow, Elisabeth Frink spent her childhood in rural Suffolk, and subsequently developed an inherent affection for animals and wildlife. This thoroughly informed Frink’s artistic career as a sculptor and printmaker, as well as a fascination for human nature and form.

    She studied at the Guildford School of Art (1946-49), under Willi Soukop, and at the Chelsea School of Art (1949-53). Frink was part of a postwar group of British sculptors, dubbed the Geometry of Fear School – that included Reg Butler, Bernard Meadows, Kenneth Armitage and Eduardo Paolozzi.

    The Royal Academy hosted a retrospective for Frink in 1982, in the same year that a Catalogue Raisonné was published. The show was a success and the following year Frink’s work was celebrated with four solo exhibitions and several group shows. Elisabeth Frink produced a vast portfolio, both for such exhibitions and for commissions.

    Having been elected a full Academician at the Royal Academy in 1979, there were moves to make the 54-year-old sculptor the first female President of the Academy; Frink however did not want the post and it went instead to Roger de Grey. Her final work, Risen Christ, a sculpture made for Liverpool Cathedral, is emblematic of her powerful spirit and devotion to her art – having completed the monumental sculpture during a battle with cancer. Frink’s work can now be found in a number of public institutions and due to a renewed interest in modern British sculpture making her works more popular than ever.

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