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Dame Elisabeth Frink R.A. (British, 1930-1993) Man with Goggles 108.3 cm. (42 5/8 in.) high (Conceived in 1969, the present work is an Artist's cast from the edition of 6.) image 1

Lot 44^*,AR

Dame Elisabeth Frink R.A.
(British, 1930-1993)
Man with Goggles 108.3 cm. (42 5/8 in.) high

30 June 2021, 14:00 BST

London, New Bond Street

£60,000 - £80,000

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Dame Elisabeth Frink R.A. (British, 1930-1993)

Man with Goggles
signed and numbered 'Frink 0/0' (on the base)
bronze with a dark brown patina
108.3 cm. (42 5/8 in.) high
Conceived in 1969, the present work is an Artist's cast from the edition of 6.

Footnotes

Provenance
With Waddington Galleries, London, 7 December 1979, where purchased by
The Phyllis Newman and Adolph Green Collection, thence by family descent
Private Collection, U.S.A.

Exhibited
London, Waddington Galleries, Elisabeth Frink: Recent Work, 2-23 December 1969 (another cast)
London, Waddington Galleries, Elisabeth Frink: Sculpture and Prints and Drawings from Chaucer, 11 October-4 November 1972 (another cast)
Washington, The National Museum for Women in the Arts, Elisabeth Frink: Sculpture and Drawings 1950-1990, 1990 (another cast)

Literature
Edwin Mullins, The Art of Elisabeth Frink, Lund Humphries, London, 1972, cat.no.112 (ill.b&w, another cast)
Jill Willder, Elisabeth Frink, Sculpture, Catalogue Raisonné, Salisbury, 1984, p.176, cat.no.185 (ill.b&w, another cast)
Annette Ratuszniak, Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, Farnham, 2013, p.117, cat.no.FCR212 (col.ill., another cast)

Frink embarked on one of her most famous motifs, the 'Goggle Heads', following a move to France in 1967. These heads, and subsequent figures, were partially inspired by the Moroccan leader General Mohammad Oufkir, who rose to power in the 1960s and became the heart of Moroccan government. His reputation was somewhat infamous and as a member of Amnesty International, Frink strongly identified with human rights issues. Having seen images of Oufkir in his trademark dark glasses, she was compelled to use his features in her work. 'These goggle heads became for me a symbol of evil and destruction in North Africa and, in the end, everywhere else' (Elisabeth Frink in conversation in Jill Willder, Elisabeth Frink, Sculpture, Catalogue Raisonné, 1984, p.38)

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