Lot 4

Private collection, New South Wales

Lindsay, R. and Holloway, M., George Baldessin: Sculpture and Etchings, National Gallery of Victoria, Melbourne, 1983, p. 79 (illus., another example)
Kolenberg., J., George Baldessin Estate: Prints 1963-1978, Australian Galleries, Melbourne, 1997, cat. no. 201 p. 51, (illus., back cover, another example)
Edquist, H., George Baldessin: Paradox & Persuasion, Australian Galleries, Melbourne, 2009, pp. 143, 249 (illus., p.151, another example)

In the 1970s, Baldessin's artistic creations consistently showcased the pear as a symbol that signifies both the pleasures of sensual enjoyment and physical desire. This fruit also served as a representation of women, within a broader context, the human body. In his earlier etchings, Baldessin had depicted hips and torsos in a more anatomical fashion, but as the 1970s progressed, his work evolved into a more abstract and refined form.

Another example of this print is held in the collection of the National Gallery of Australia, Canberra.

RELATED WORK:
George Baldessin, The Final Pear Version 1971-1972, cast polyurethane (11 pears), 149.4 x 172.2 x 60.9cm, The Collection of the Art Gallery of New South Wales, Sydney.

© George Baldessin/Copyright Agency, 2023