Woking, The Lightbox, 2D:3D – Discover the Art of Sculpture: Sculpture & Sculptors’ Drawings from The Ingram Collection, 1 February – 1 March 2008;
Woking, The Lightbox, The Ingram Collection: The Human Face, 22 July – 28 September 2008;
Woking, The Lightbox, The Ingram Collection: The Impact of War, 15 October 2014 – 4 January 2015;
London, Royal College of General Practitioners, Health and the Body, 3 March – 29 May 2016;
Somerset, Hestercombe Gallery, Shifting Ground, 11 November 2016 – 26 February 2017;
Bristol, RWA, Frink-Blow-Lawson, 16 December 2017 – 11 March 2018;
Kendal, Abbot Hall Art Gallery, Elisabeth Frink: Fragility and Power, 22 June – 29 September 2018;
Woking, The Lightbox, Elisabeth Frink: A Collector’s Passion, 13 October 2018 – 6 January 2019;
Hull, Ferens Art Gallery, Reflection: British Art in an Age of Change, 17 August 2019 – 5 January 2020
Literature:
B. Robertson, Elisabeth Frink Sculpture, Catalogue Raisonne, Salisbury, 1984, pp. 162-63, no. 118; A. Ratuszniak (ed.) Elisabeth Frink Catalogue Raisonne of Sculpture 1947-1993, p. 95, no. FCR142, another cast illustrated
Soldier’s Head II, a portrait of Ted Pool, Dame Elisabeth Frink’s second husband, is known as ‘Tedhead’. Its cauliflower ear, gouged eyes and broken nose make the sculpture quite startling. Frink modelled Pool’s bushy beard into the jaw of the Soldier’s Head and Goggle Head sculptures. His shrapnel injuries fuelled her hatred of the brutality of war. Frink’s studies of male figures are radically different from classical ideals. The protruding jaw, large chin, and tiny forehead of this sculpture are a rejection of classical proportion. Incidentally, in the title of the work, Soldier’s Head, we see Frink presenting us not with a man, but with a soldier, shell-shocked by war.
