Dame Elisabeth Frink R.A. (British, 1930-1993) Man with Goggles 108.3 cm. (42 5/8 in.) high (Conceived in 1969, the present work is an Artist's cast from the edition of 6)Dame Elisabeth Frink R.A. (British, 1930-1993)Man with Goggles signed and numbered 'Frink 0/0' (on the base)bronze with a dark brown patina108.3 cm. (42 5/8 in.) highConceived in 1969, the present work is an Artist's cast from the edition of 6ProvenanceWith Waddington Galleries, London, 7 December 1979, where acquired byThe Phyllis Newman and Adolph Green Collection, thence by family descentPrivate Collection, U.S.A.ExhibitedLondon, Waddington Galleries, Elisabeth Frink: Recent Work, 2-23 December 1969 (another cast)London, Waddington Galleries, Elisabeth Frink: Sculpture, 11 October-4 November 1972 (another cast)Washington, The National Museum for Women in the Arts, Elisabeth Frink: Sculpture and Drawings 1950-1990, 1990 (another cast)LiteratureEdwin Mullins, The Art of Elisabeth Frink, Lund Humphries, London, 1972, cat.no.112 (ill.b&w, another cast)Jill Willder (ed.), Elisabeth Frink, Sculpture, Catalogue Raisonné, Harpvale Press, Salisbury, 1984, p.176, cat.no.185 (ill.b&w, another cast)Annette Ratuszniak (ed.), Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.117, cat.no.FCR212 (col.ill., another cast)Frink's celebrated goggle men series refers to a select group of works dating from 1967-69. The group consists of several bust format heads, and five striding figures. The goggle heads take the role within Frink's work as aggressors, their emotion shielded from the viewer's gaze by their highly polished eyewear. In the standing variants however, Frink affords the figure a greater degree of emotion, and as such, humanity. In one, folded arms suggest pensiveness. In another, a forward leaning body and fleetness of foot, renders the figure hurried, fearful even.Standing at over a meter high, the present work represents the largest of the goggle men. Whilst slight in detail, the design is highly eloquent – an ability which few mastered as effectively as Frink. She presents the figure without arms, referencing classical sculpture, and the weight is borne by a single powerful leg with the other foot raised in anticipation of a purposeful forward stride. The posture is erect, the chest raised, and the head turned in a glance that is seemingly laser focused. Within his space the figure, like Frink, is in complete control.