Elisabeth Frink, ‘Man and Horse II; Reclining Horse; and Scalpay’, 1971; 1972-76; and 1963, Phillips

No Reserve; Property Subject to the Artist's Resale Right (see Conditions of Sale for further information)

Frink both images: various sizes, largest sheet: 59.5 x 79.5 cm (23 3/8 x 31 1/4 in.)
Scott Sheet: 50 x 65.5 cm (19 5/8 x 25 3/4 in.)

Signature: The Frinks signed and numbered 27/70 and 65/70 in pencil respectively (there were also 5 artist's proofs for the first), published by Leslie Waddington Prints, Ltd., London and Daniéle Crégut, Nimes, the Scott signed, dated and numbered 'X/XXXV' in pencil (one of 35 artist's proofs, the edition was 65), published by Galerie Wolfgang Ketterer, Munich, all framed.

Caroline Wiseman 51 (Man and Horse II)
Archeus 18 (Scalpay)

About Elisabeth Frink

About William Scott

William Scott stayed true to his love of modernism and his roots in a European artistic tradition, painting celebrated still lifes, nudes, landscapes, and abstractions. “I find beauty in plainness, in a conception which is precise,” he once said. Although he also made prints, Scott concentrated on painting, working in oil on canvas and gouache on paper. Throughout his career, he oscillated between abstraction and representation, often merging these styles in a single composition. Scott drew inspiration from prehistoric art and the unstudied drawings of children, as well as from artists such as Jean-Siméon Chardin, Henri Matisse, Paul Cézanne, and Amedeo Modigliani. Scott is best known for his still life paintings of flattened tabletops, which feature spare arrangements of such humble kitchen items as frying pans, pears, and plates, some of which have sexual overtones. These paintings served as vehicles for Scott to explore his overarching interests in space, form, and color.

British, 1913-1989, Belfast, United Kingdom