George
Baldessin (1939–1978)
“Figure in Circle”, 1967 (note that the National Gallery
attributes the execution of this print to 1972, but this in incorrect as verified
by the artist’s dating of this impression: https://www.artgallery.nsw.gov.au/collection/works/308.1991/),
from a hand-signed edition of 25 impressions.
Etching and aquatint on silver foil (“JAC”) laminated on heavy
wove paper, pencil signed, with wide margins.
Size: (sheet) 42.9 x 43.1 cm; (plate) 22.5 x 22.5 cm
Hand inscribed in pencil below the plate mark: (left) “Edition 25”;
(centre) “figure & circle”; G Baldessin 67”
Kolenberg 1997 148 (Julianna Kolenberg 1997, “George Baldessin
Prints 1963-1978” [catalogue raisonné], with essays by Elizabeth Cross and Jan
Senbergs, Melbourne and Sydney, Australian Galleries, no. 148, p. 44).
The British Museum offers the following description of this print:
“Plump young female nude lying within a circle and facing left, her
hair obscuring her eyes.”
Also offered in the above description, the curator of the British
Museum provides the following insights about this print extracted from Stephen
Coppel’s 2011, “Out of Australia: Prints and Drawings from Sidney Nolan to
Rover Thomas”, BMP, no.57:
“The female nude is positioned within a roundel echoing the form
of a mirror. Her eyes are obscured by the fall of her heavy black hair.
Although she cannot see herself, the mirror form and the reflective surface of
the background silver foil suggest a metaphorical link with the traditional
symbol of vanity. The model is Joan Healey, who had recently succeeded Ruth
McNicoll as director of the Argus Gallery, which had given Baldessin his debut
exhibition in 1964. This is the first occasion Baldessin used silver foil as a
background to his prints. The metallic sheen of the foil, which was laminated
to the paper as the etching plate passed through the press, reinforced the
sculptural dimensions of his printmaking and brought the two sides of his
practice closer together. Baldessin has dated this impression to 1968, although
an earlier date of 1967 is recorded by Kolenberg for the edition of 25. The cancelled
plate is held by the National Gallery of Australia” (op.cit.).
See also Harriet Edquist’s 2009, “George Baldessin, Paradox and
Persuasion”, Melbourne, Australian Galleries, p. 137.
Condition: well printed impression in near pristine condition
(i.e. there are no tears, folds, holes, abrasions, stains or foxing) with
generous margins (as editioned) and remnants of archival mounting tape (verso).
Note: the silver foil has the usual age-related degeneration (often called “worms”
in silver foil prints) seen mainly towards the lower quarter of the sheet.
I am selling this important
etching—the first of Baldessin’s prints to employ silver laminated paper—in the
very small edition of 25 impressions and executed by one of Australia’s most
famous printmakers, for AU$5000— the current market value of this print from the
artist’s estate is AU$7000—in total (currently US$3564.55/EUR3107.93/GBP2810.01
at the time of posting this listing) including postage and handling to anywhere
in the world (but not, of course, any import duties/taxes imposed by some
countries).
If you are interested in purchasing this major print that is a
portrait of the director of the Argus Gallery, Joan Healey (Edquist 2009, p.
137), please contact me (oz_jim@printsandprinciples.com) and I will send you a
PayPal invoice to make the payment easy.
Note: the surface of the print is silver foil and the colours are reflections
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