Horse and Rider

細節

Dame Elisabeth Frink, R.A. (1930-1993)
Horse and Rider
signed and numbered 'Frink 7/7' (on the front of the base)
bronze with a light brown patina
12½ in. (32 cm.) high
Conceived in 1969.

出版

B. Robertson, Elisabeth Frink Sculpture, Salisbury, 1984, p. 176, no. 189, another cast illustrated.

注意事項

Prospective purchasers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to coral, ivory and tortoiseshell. Accordingly, prospective purchasers should familiarize themselves with relevant customs regulations prior to bidding if they intend to import this lot into another country.

拍品專文

Elisabeth Frink went to live in Cevennes in the South of France from 1969 until 1973. Two themes developed while she lived there: heads and horses. The horses were begun in 1969 and 'Horse and Rider' and its maquette are the first treatment of a theme which Frink developed throughout the 1970s. The wild horses of the Camargue were the inspiration for the beasts and the artist describes them as 'the spirit of horses rather than the beasts themselves'. The riders celebrate the empathy between man and beast, and by implication between man and nature, and it is the horse's sensitivity to its environment that will sense any impending danger and protect the man. Bryan Robertson perceives that the horse and rider 'are a unit personifying the most desirable masculine qualities. Between them they offer speed, resilience, intelligence, loyalty, affection, courage, sensitivity, beauty and free sensuality. At one extreme, her thugs and mercenaries epitomize the stunted macho personality, while at this idealized end of the spectrum, horse and rider represent the fully-integrated and mature personality' (B. Robertson, op. cit., p. 67).