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Lin jammet cause of death

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Having begun her education at a convent in Exmouth, Frink studied at Guildford and Chelsea schools of art between 1947 and 1953, where Bernard Meadows and Willi Soukop were her tutors. She herself went on to teach at Chelsea (1953-60) and St Martin's School of Art (1955-7).

 

Frink came to maturity as a young sculptor in the mid-Fifties, encouraged from the very outset of her professional career by the attentive if not always respectful climate of support established for British sculpture internationally by Henry Moore. Before the Second World War, the only sculptures broadly visible to the general public in England were war memorials, equestrian statues or the occasional commemorative municipal plaque. Artists like Jacob Epstein, Moore, Barbara Hepworth, Maurice Lambert, Frank Dobson and Leon Underwood were confined to very small dealers' galleries, a tiny public and the odd leaden spoof among the cartoons in Punch.

Frink achieved commercial success at a young age when, in 1952, Beaux Arts Gallery in London held her first major solo exhibition and the Tate Gallery purchas

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Elisabeth Frink

English sculptor and printmaker

Dame Elisabeth Jean FrinkCH DBE RA (14 November 1930 – 18 April 1993) was an English sculptor and printmaker. Her Times obituary noted the three essential themes in her work as "the nature of Man; the 'horseness' of horses; and the divine in human form".[1][2]

Early life

Elisabeth Frink was born in November 1930 at her paternal grandparents' home The Grange in Great Thurlow, a village and civil parish in the St Edmundsbury district of Suffolk, England. Her parents were Ralph Cuyler Frink and Jean Elisabeth (née Conway-Gordon). Captain Ralph Cuyler Frink, was a career officer in the 4th/7th Royal Dragoon Guards[3] and among the men of the cavalry regiment evacuated from Dunkirk in the early summer of 1940.[4] She was raised in a Catholic household.[4]

The Second World War, which broke out shortly before Frink's ninth birthday, provided context for some of her earliest artistic works.[5] Growing up near a military airfield in Suffolk, she heard

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  • Man and Bull, 1968

  • Horse and Rider, 1969£ 4,850.00Sold

  • Wild Boar, from Images, 1967£ 4,850.00

  • Bull, from Images, 1967£ 3,750.00Sold

  • Dog, from Images, 1967£ 3,200.00Sold

  • Baboon, 1990£ 2,500.00Sold

  • Horse's Head, 1970£ 2,500.00Sold

  • The Canterbury Tales II, Tale of Sir Thopas, 1971-2£ 675.00Sold

  • The Canterbury Tales II, The Miller's Tale I, 1971-2£ 675.00Sold

  • The Canterbury Tales II, The Reeve's Tale, 1971-2£ 675.00Sold

  • The Canterbury Tales II, The Wife of Bath's Tale, 1971-2£ 675.00Sold

  • The Canterbury Tales II, The Merchant's Tale, 1971-2£ 675.00Sold

  • The Canterbury Tales II, The Physician's Tale, 1971-2£ 675.00Sold

  • The Canterbury Tales II, The Prioress' Tale, 1971-2£ 675.00Sold

  • The Canterbury Tales II, The Nun's Priest's Tale, 1971-2£ 675.00Sold

  • The Canterbury Tales II, The Second Nun's Tale, 1971-2£ 675.00Sold

  • The Canterbury Tales II, The Manciple's Tale, 1971-2£ 675.00Sold

  • The Canterbury Tales II, The Clerk's Tale, 1971-2£ 675.00Sold

  • The Canterbury Tales II, Prologue, 1971-2£ 675.00Sold

  • The Canterbury Tales II, The Miller'

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