• Horse in the Rain  - Elizabeth Frink, Bowman Sculpture Ltd
  • Horse in the Rain  - Elizabeth Frink, Bowman Sculpture Ltd
  • Horse in the Rain  - Elizabeth Frink, Bowman Sculpture Ltd
  • Horse in the Rain  - Elizabeth Frink, Bowman Sculpture Ltd
  • Horse in the Rain  - Elizabeth Frink, Bowman Sculpture Ltd
  • Horse in the Rain  - Elizabeth Frink, Bowman Sculpture Ltd
  • Horse in the Rain  - Elizabeth Frink, Bowman Sculpture Ltd
  • Horse in the Rain  - Elizabeth Frink, Bowman Sculpture Ltd
  • Horse in the Rain  - Elizabeth Frink, Bowman Sculpture Ltd
  • Horse in the Rain  - Elizabeth Frink, Bowman Sculpture Ltd
  • Horse in the Rain  - Elizabeth Frink, Bowman Sculpture Ltd
  • Horse in the Rain  - Elizabeth Frink, Bowman Sculpture Ltd
  • Horse in the Rain  - Elizabeth Frink, Bowman Sculpture Ltd
Click image to enlarge

Horse in the Rain

Elizabeth Frink

(British, 1930-1992)

Signed and numbered 'Frink 6/9' (underneath)
Bronze with a brown patina
Height: 5 1/2" (13.2 cm)

Conceived in 1976, and cast in the artist's lifetime
Edition 6 of 9


One of the leading lights of the post-war school of British sculptors, Elizabeth 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 purchased one work, entitled Bird. This marked the beginning of a highly-acclaimed career in which Frink was awarded Honorary Doctorates by the University of Surrey (1977), Open University (1983), University of Warwick (1983), University of Cambridge (1988), University of Exeter (1988), University of Oxford (1989) and University of Keele (1989). She also received official recognition, being awarded the CBE in 1969, and in 1982 she was created Dame of the British Empire. 

Frink’s work is characterised by her scarred surfaces created by repeatedly coating an armature with wet plaster; each coating is distressed and broken, eliminating detail and generalising form.

Frink is famed for her depictions of horses, most well-known is the monumental Horse and Rider on New Bond Street, London.

Sarah Kent, author of Elizabeth Frink: Sculpture, comments: ‘For her [Frink], horses represent a multiplicity of meanings – masculine, feminine, sexuality, wildness, unusual sensitivity and freedom from mental and physical constraint.’ Frink’s affection for horses stemmed from her country childhood in Suffolk where she rode from the age of four; her father was a brilliant horseman, a good polo player and an amateur jockey. Horses and horsemen first made their appearance as a subject-matter for Frink’s work at the end of the 1960’s, shortly after her move to the Camargue, France. This area is celebrated for its herds of semi-wild horses. These primitive types of horse attracted her aesthetically and made an indelible imprint on her imagination. The equine subject matter was to prove a major thread of continuity throughout Frink’s career.

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