DAME ELISABETH FRINK, R.A. (1930-1993)
DAME ELISABETH FRINK, R.A. (1930-1993)
DAME ELISABETH FRINK, R.A. (1930-1993)
DAME ELISABETH FRINK, R.A. (1930-1993)
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Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM A DISTINGUISHED BRITISH COLLECTION
DAME ELISABETH FRINK, R.A. (1930-1993)

Barking Dog

Details
DAME ELISABETH FRINK, R.A. (1930-1993)
Barking Dog
signed and numbered 'Frink/ 5⁄6' (on the base)
bronze with a black patina
40 1⁄8 in. (102.5 cm.) long
Concieved in 1981.
Provenance
Acquired directly from the artist by the present owner.
Literature
S. Kent (intro.), exhibition catalogue, Elisabeth Frink: Sculpture and Drawings, Dorchester, County Museum, 1982, n.p., no. 32, another cast illustrated.
Exhibition catalogue, Elisabeth Frink: Open Air Retrospective, West Bretton, Yorkshire Sculpture Park, 1983, n.p., no. 19, another cast illustrated.
B. Robertson (intro.), Elisabeth Frink Sculpture Catalogue Raisonné, Salisbury, 1984, pp. 130, 194-195, cat. no. 261, another cast illustrated.
Exhibition catalogue, Elisabeth Frink: Sculpture and Drawings, Hong Kong, Exchange Square, 1989, n.p., exhibition not numbered, another cast illustrated.
Exhibition catalogue, Elisabeth Frink: Sculpture and Drawings (1965-1993), London, Lumley Cazalet, 1994, n.p., no. 13, another cast illustrated.
E. Lucie-Smith and E. Frink, Frink: A Portrait, London, 1994, n.p., another cast illustrated.
S. Gardiner, Frink: The Official Biography of Elisabeth Frink, London, 1998, p. 274, another cast.
A. Ratuszniak (ed.), Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, Farnham, 2013, p. 148, no. FCR296, another cast illustrated.
Exhibited
Winchester, Arts Council of Great Britain, Great Courtyard, Elisabeth Frink: Sculpture in Winchester, July - September 1981, exhibition not numbered, another cast exhibited.
London, Waddington Galleries, Elisabeth Frink: Recent Sculpture, Works on Paper, June 1981, ex. cat., another cast exhibited.
Dorchester, County Museum, Elisabeth Frink: Sculpture and Drawings, July - September 1982, no. 32, another cast exhibited.
West Bretton, Yorkshire Sculpture Park, Elisabeth Frink: Open Air Retrospective, July - November 1983, no. 19, another cast exhibited.
New York, Terry Dintenfass Gallery, Elisabeth Frink, 1983, another cast exhibited, catalogue not traced.
Bath, Beaux Arts, Elisabeth Frink, May - June 1986, exhibition not numbered, another cast exhibited.
Keele, University of Keele, Elisabeth Frink: Sculpture and Drawings, June - July 1988, exhibition not numbered.
Hong Kong, Exchange Square, Elisabeth Frink: Sculpture and Drawings, January - March 1989, exhibition not numbered, another cast exhibited.
London, Lumley Cazalet, Elisabeth Frink: Sculpture and Drawings (1965-1993), November - December 1994, no. 13, another cast exhibited.
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
This lot will be removed to our storage facility at Momart. Christie’s will inform you if the lot has been sent offsite. Our removal and storage of the lot is subject to the terms and conditions of storage which can be found at Christies.com/storage and our fees for storage are set out in the table below - these will apply whether the lot remains with Christie’s or is removed elsewhere. Please call Christie’s Client Service 24 hours in advance to book a collection time at Momart. All collections from Momart will be by pre-booked appointment only. Tel: +44 (0)20 7839 9060 Email: cscollectionsuk@christies.com. If the lot remains at Christie’s it will be available for collection on any working day 9.00 am to 5.00 pm. Lots are not available for collection at weekends.

Brought to you by

Elizabeth Comba
Elizabeth Comba Specialist

Lot Essay

Elisabeth Frink sought to convey a relationship between humanity and nature in her art, and animals, particularly horses and dogs, were a subject to which she frequently returned throughout her career. As a keen horsewoman, she was familiar with the form of the horse, but the dog fascinated her too 'because they’ve been man’s best friend for thousands of years’ (the artist quoted in A. Ratuszniak, op. cit., p. 4).

In 1957, Frink first explored the motif of a blind man following his dog, their tentative movements at the other extreme from her bronzes which celebrate the power and freedom of wild animals. Another early sculpture of a dog followed this work, exhibiting the same sensitivity as the dog's head is held alert, as though sniffing the air. His vulnerability is not displayed as weakness and the creature retains its poise and dignity.

The dog is frequently found in the artist's watercolours and drawings throughout the intervening period, but it was not until the final decade of her career that he reappears in her sculpture. Perhaps this reflected her way of life at Woolland House in Dorset, where her husband Alex Csáky kept a particular breed of gun dog, the Hungarian Vizsla, a red-coated, athletic hound, which bears a close resemblance to her sculpted dogs from the early 1980s, even though Frink considered these pieces to be generic rather than of a specific type. 

Frink’s dogs are always friendly creatures and loyal companions, in all their guises. She is never sentimental in her depictions, yet a sympathetic rendering of the interdependent relationship between man and dog is ever present. In this sculpture from 1981, just as Frink had returned to study the animal, the dog is barking but its raised head and body language, on a dynamic torso, show that it is also wagging its tail in greeting.

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