Woking, The Lightbox, 2D:3D – Discover the Art of Sculpture: Sculpture & Sculptors’ Drawings from The Ingram Collection, 1 February – 1 March 2008;
London, Sotheby’s, Sculpture and Sculptors’ Drawings from The Ingram Collection, 10 – 21 January 2011;
Guildford, Guildford Cathedral, January – December 2011;
London, Canary Wharf, Bronze Sculptures from The Ingram Collection, 16 September – 15 November 2013;
Woking, The Lightbox, The Ingram Collection: Where’s God Now? 18 July – 27 September 2015;
Nottingham, Djanogly Art Gallery, Nottingham Lakeside Arts, Elisabeth Frink, The Presence of Sculpture, 25 November 2015 – 28 February 2016;
London, Royal College of General Practitioners, Health and the Body, 3 March – 29 May 2016;
Hastings, Jerwood Gallery, Century: 100 Modern British Artists, 23 October 2016 – 8 January 2017;
London, Business Design Centre, London Art Fair Museum Partner, Ten Years – A Century of Art, 18 – 22 January 2017;
Cambridge, The Heong Gallery, Downing College, Elisabeth Frink: Larger Than Life, 4 November 2017 – 6 February 2018;
Kendal, Abbot Hall Art Gallery, Elisabeth Frink: Fragility and Power, 22 June – 29 September 2018;
Norwich, Sainsbury Centre for Visual Arts, Elisabeth Frink: Humans and Other Animals, 13 October 2018 – 24 February 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 (p. 195, no. 263);
A. Ratuszniak (ed.) Elisabeth Frink Catalogue Raisonne of Sculpture 1947-1993, London, 2013 (another cast illustrated, p. 148, no. FCR299)
In her fascination with the ‘otherness’ of men, Dame Elisabeth Frink rarely sculpted women. One of the editions of Walking Madonna stands alone, situated on the green outside Salisbury Cathedral. Frink positioned her Madonna outside the Cathedral and walking away from it – the artist herself had turned her back on established religion and was a vocal critic of many of its policies. Despite the sharp features and bold gait of the sculpture, Frink, educated in a Catholic convent, remembered with affection the rustling of the nuns’ skirts along the corridors.
