{"title":"Emblems \u0026 Ecstasies: The original graphics of George Baldessin and Brett Whiteley","description":"\u003cp\u003e\u003ci\u003eExhibition Closes April 18th.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLocation:\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e1\/165 Gertrude Street, Fitzroy\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eOpening hours: \u003c\/i\u003eMonday - Saturday 10am to 4pm. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSome artists describe the world. Others transfigure it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003eBaldessin and Whiteley make instinct intelligent, intellect incandescent. An experience of vision at full intensity. Yours to discover.\u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"whiteley-brett-undressing-9292","title":"Brett Whiteley 'Undressing'","description":"\u003cp\u003eBrett Whiteley is an icon of Australian art. Often fusing the abstract and the figurative, calm and chaos, Whiteley creates emotionally heightened worlds of ballooning forms and elongated figures. His imagery is always immediate, reflective of his pursuit for “beauty which can best be described as being on time for the appointment.”\u003c\/p\u003e\n\u003cp\u003ePivotal to the artist's visual lexicon is the female nude, a subject that he continued to visit throughout his career. Wrought in curves and sensually depicted, 'Undressing' showcases Whiteley's ability to create depth and motion in simple, fluid mark-making.\u003c\/p\u003e\n\u003cp\u003eWhiteley’s work is represented across Australian public collections and internationally at the Tate Gallery in London and MoMA in New York. An adjunct of the Art Gallery of New South Wales, his studio has become a permanent public gallery. For collector’s of important Australian art, Whiteley is a prize. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\" rel=\"noopener\" target=\"_blank\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'Undressing' 1973\u003cbr\u003elithograph on paper\u003cbr\u003eEdition of 50\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 77 x 55 cm\u003cbr\u003e\u003ci\u003eFramed Dimensions\u003c\/i\u003e: 99 x 78 x 4 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed lower right: Brett Whiteley, monogrammed lower right, editioned lower left\u003cbr\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLiterature: \u003cbr\u003eBrett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, cat. no. 12, p.110 (illus., p. 23, another impression). \u003cbr\u003eSutherland, K., Brett Whiteley: Catalogue Raisonne, Schwartz Publishing, Melbourne, 2020, vol. 5, cat. no. 47P, p. 34, (illus., another impression).\u003c\/p\u003e\n\u003cp\u003eAnother impression of this print is held in the permanent collection of the Auckland Art Gallery, Auckland.\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art’s image As New, but may show some small signs of surrounding wear. There are no tears to paper margin or disruption to paint surface. Image is in Fine condition.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/span\u003e\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":29220885037126,"sku":"","price":24000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-undressing-17649.jpg?v=1774314058"},{"product_id":"baldessin-george-untitled-the-bather-12120","title":"George Baldessin 'The Bather I'","description":"\u003cp\u003eGeorge Baldessin is one of Australia’s preeminent artists. During his lifetime he was considered on par with Brett Whiteley, with both artists eschewing the dominant mode of abstraction in favour of lyrical, figurative imagery.\u003c\/p\u003e\n\u003cp\u003eLike Whiteley, Baldessin’s work explored existentialism, sexuality, boundaries and split personality. Performers recur, twisting into shapes, their faces cloaked in shadow. A sense of mystery percolates. This underlies \u003cem\u003eThe Bather I\u003c\/em\u003e, a highly stylised portrait of a bather, hair spiked with water. The bather folds over herself, all limbs and sly eyes.\u003c\/p\u003e\n\u003cblockquote\u003e“What am I trying to express? – I think human weakness through the vulnerable figure without extracting its dignity no matter how uncertain… this is why distortion and the element of drama [are] ever present” – George Baldessin\u003c\/blockquote\u003e\n\u003cp\u003eBaldessin has been honoured with retrospective exhibitions at Heide Museum, the Art Gallery of NSW and alongside Brett Whiteley at the National Gallery of Victoria. He is represented in all regional and many state collections, as well as New York’s Museum of Modern Art. Perhaps however, Baldessin is best known for his sumptuous brass pears which stand guard to the National Gallery of Australia.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Bather I\u003c\/em\u003e is a museum-quality work with an impression represented at the National Gallery of Australia. It was also exhibited at the National Gallery of Victoria in 2018 for Baldessin\/Whiteley: Parallel Visions, curated by Sasha Grishin.\u003c\/p\u003e\n\u003cp\u003eFor collectors of important works on paper and modern art, \u003cem\u003eThe Bathers I\u003c\/em\u003e is a formidable find.\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/george-baldessin\"\u003eGeorge BALDESSIN\u003c\/a\u003e (1939 - 1978)\u003cbr\u003e'The Bather I' 1978\u003cbr\u003elithograph on paper\u003cbr\u003eEdition of 300\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 57 x 57 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 76 x 57 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Editioned below image, i\u003cspan data-mce-fragment=\"1\"\u003et was editioned by Druckma Press in accordance with an initialed Bon A Tirer print.\u003c\/span\u003e \u003cmeta charset=\"utf-8\"\u003e\u003cbr\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eLITERATURE:\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis work was featured in a review of \u003c\/span\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"https:\/\/www.smh.com.au\/entertainment\/art-and-design\/baldessin-revealed-in-joint-ngv-show-with-sydneys-flamboyant-whiteley-20180905-h14y5h.html\" data-mce-fragment=\"1\" target=\"_blank\"\u003eBaldessin\/Whiteley: Parallel Visions\u003c\/a\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan\u003eRELATED WORKS:\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan\u003e\u003c\/span\u003eAn Artist Proof impression of this work is represented at the National Gallery of Australia, Canberra. Accession no.: 84.1306.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eEXHIBITIONS:\u003c\/span\u003e\u003cbr\u003eAn impression of this work was exhibited at the National Gallery of Victoria's 2018 exhibition Baldessin\/Whiteley: Parallel Visions curated by Sasha Grishin.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) George Baldessin \/ Copyright Agency \u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":39765193261126,"sku":"","price":2750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/baldessin-george-untitled-the-bather-12120.jpg?v=1642741946"},{"product_id":"whiteley-brett-girl-warming-and-rea-12900","title":"Brett Whiteley 'Girl Warming and Reading'","description":"\u003cp\u003eBrett Whiteley had a unique understanding of the nude. His approach, likened by art historian Lou Klepac to a cellist, centred around impact. He struck a line, reverberating it into a curve that formed the boundary of the body, anchored by a muss of face or hair.\u003c\/p\u003e\n\u003cp\u003e‘Girl Warming and Reading’, limited to the extremely small edition size of ten, exemplifies this intuition. It is striking — emanating light and life in a medium, linocut, typically not prone to such expressiveness. Under Whiteley’s hand however, his subject turns symphonic. In 1989, he reflected that “The nude has been predominant really… a very major part of my work. Even when I was painting abstractions, in a way I was painting the nude”. Indeed, it seems to precede his very approach to art.\u003c\/p\u003e\n\u003cp\u003eAmong Australia’s most celebrated artists, Whiteley won the Art Gallery of NSW Archibald, Wynne and Sulman prizes several times. ‘Girl Warming and Reading’ is a sublime find for collectors of Whiteley and the nude. \u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\" target=\"_blank\" rel=\"noopener\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'Girl Warming and Reading' 1981\u003cbr\u003eLinocut on paper\u003cbr\u003eEdition of 10\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 30 x 30 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed and editioned in margin\u003cbr\u003eComes with Letter of Provenance\u003cbr\u003e\u003cbr\u003e\u003cem\u003eExhibited:\u003c\/em\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e- Brett Whiteley: Recent Nudes, The Artists Studio, Circular Quay, Sydney, 3 - 31 October 1981, cat. 48.\u003cbr\u003e- Brett Whiteley: The Complete Graphics, 1961-1982, Art Gallery of Western Australia, Perth, 30 March - 24 April 1983 (label attached verso). \u003cbr\u003e- Brett Whiteley: Review of Prints, 1976-1983, Chapman Gallery, Canberra, 13 November - 7 December 1983, cat. 10, titled Warming (another example). \u003cbr\u003e- Brett Whiteley Graphics, Rex Irwin Art Dealer, Sydney, 1997, cat. 28 (label attached verso).\u003cbr\u003e\u003cbr\u003e\u003cem\u003eLiterature:\u003c\/em\u003e \u003cbr\u003e- Sutherland, K, Brett Whiteley: Catalogue Raisonne, Schwartz Publishing, Melbourne.\u003cbr\u003e- Chris Deutscher, Brett Whiteley: the graphics 1961-1992, ‘Part one: editioned prints (1-111)’, pg. 11-99, Melbourne, 1995, p. 47 (colour illus.). cat.no. 37.\u003cbr\u003e\u003cbr\u003eAssociated Works: An impression of this work is represented at the Art Gallery of New South Wales, Accession No:212.2012.\u003cbr\u003e\u003cbr\u003eCondition: Excellent\u003cbr\u003e \u003cbr\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40150301835334,"sku":"","price":27500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-girl-warming-and-rea-12900.jpg?v=1774319139"},{"product_id":"whiteley-brett-sydney-harbour-bridg-12904","title":"Brett Whiteley 'Sydney Harbour Bridge'","description":"\u003cp\u003eOne of Australia’s most iconic artists, Brett Whiteley was deeply preoccupied with the relationship between self and place, often questioning the extent to which environment shapes identity. This inquiry is powerfully expressed in his depictions of Lavender Bay, the small Sydney suburb that housed his studio and home, where landscape becomes inseparable from lived experience.\u003c\/p\u003e\n\u003cp\u003eWhiteley's 1977 etching 'Sydney Harbour Bridge' engages directly with place. From an elevated vantage point, Whiteley looks down across the harbour, tracing its rhythms, signs of life, and sweeping curves. The bridge, monolithic in the landscape, appears not just as a landmark, but as a living, breathing form. This continues throughout the scene - the curve of the harbour, the boats, and city buildings are all animated by movement, rendered by Whiteley with a striking sense of intimacy.\u003c\/p\u003e\n\u003cp\u003eAmong Australia’s most celebrated artists, Whiteley won the Art Gallery of NSW Archibald, Wynne and Sulman prizes several times. ‘Sydney Harbour Bridge’ is a highly collectable etching that will delight Sydney-siders and admirers of Whiteley. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003cbr\u003eBrett WHITELEY (1962 - 1992)\u003cbr\u003e'Sydney Harbour Bridge' 1977\u003cbr\u003eetching on paper\u003cbr\u003eEdition of 60\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 60 x 45 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 75 x 53 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed and numbered below image\u003cbr\u003eComes with Letter of Provenance\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eLiterature:\u003c\/strong\u003e Mandy, R., Brett Whiteley: The Complete Graphics, 1961-1982, Art Gallery of Western Australia, Perth, 1983, p.30, cat.35 (illus., another example).\u003c\/p\u003e\n\u003cp\u003eBrett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995,p.112, cat.46 (illus. p.54, another example).\u003c\/p\u003e\n\u003cp\u003eSutherland, K., Brett Whiteley: Catalogue Raisonne, Schwartz Publishing, Melbourne, 2020, vol.5, p.71, cat.75P (illus., another example), vol.7, p.821.\u003cbr\u003e \u003cbr\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art’s image As New, but may show some small signs of surrounding wear. There are no tears to paper margin or disruption to paint surface. Image is in Fine condition.\u003cbr\u003e \u003cbr\u003e(c) Wendy Whiteley \/ Copyright Agency\u003cbr\u003e\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40150747643974,"sku":"","price":26000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-sydney-harbour-bridg-17654_f50d9374-38cf-434b-aa71-0a41341bf042.jpg?v=1774392690"},{"product_id":"whiteley-brett-lavender-bay-in-the-11315","title":"Brett Whiteley 'Lavender Bay In The Rain'","description":"\u003cp\u003eBrett Whiteley is one of Australia’s most celebrated artists. He won the Art Gallery of NSW Archibald, Wynne and Sulman prizes several times, and his artistic career was bolstered by his celebrity status in Australia and overseas. The subject of this highly collectable original screenprint is Lavender Bay on Sydney Harbour’s north shore.\u003c\/p\u003e\n\u003cp\u003eLavender Bay was the location of the home studio Brett shared with his wife Wendy and their daughter Arkie. Whiteley said that he liked to have his studio at home because “my best work is usually the last thing Ive done at night, and the first on waking next morning”. Whiteley rendered the views of Sydney Harbour with such a sensual eye and fluid hand that they have found their way into the Australian consciousness.\u003c\/p\u003e\n\u003cp\u003eThis work of art, like the harbour itself, is sure to continue to bring inspiration for those that cherish the visual poetry of Brett Whiteley. Contact us for more information about this outstanding opportunity to be the custodian of such a iconic work of art.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\" rel=\"noopener\" target=\"_blank\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'Lavender Bay In The Rain' 1987\u003cbr\u003ecolour screenprint printed in 4 colours\u003cbr\u003eEdition of 75\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 101 x 75 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed, titled and editioned below image\u003cbr\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eReference: Deutscher, C., Brett Whiteley: The Graphics 1961 – 1992, Deutscher Fine Art, Melbourne, 1995, p. 92, cat. 97, p. 115. Please note that illustrated is another edition from the set. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: Excellent\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40611571073094,"sku":"","price":36000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/IMG_2463.jpg?v=1774400784"},{"product_id":"whiteley-brett-lavender-bay-wharf-14583","title":"Brett Whiteley 'Lavender Bay Wharf'","description":"\u003cp\u003eOne of Australia’s most iconic artists, Brett Whiteley was deeply preoccupied with the relationship between self and place, often questioning the extent to which environment shapes identity. This inquiry is powerfully expressed in his depictions of Lavender Bay, the small Sydney suburb that housed his studio and home, where landscape becomes inseparable from lived experience.\u003c\/p\u003e\n\u003cp\u003eIn 'Lavender Bay Wharf', this sense of intimacy is intricately conveyed. Using his signature elongated forms and figures, Whiteley's etching creates a delicate, monochromatic composition of his best-known subject.\u003c\/p\u003e\n\u003cp\u003eWhiteley said that he liked to have his studio at home because “my best work is usually the last thing I've done at night, and the first on waking next morning”. Whiteley rendered the views of Sydney Harbour with such a sensual eye and fluid hand that they have seamlessly found their way into the Australian consciousness. \u003c\/p\u003e\n\u003cp\u003eAmong Australia’s most celebrated artists, Whiteley won the Art Gallery of NSW Archibald, Wynne and Sulman prizes several times. This work of art, like the harbour itself, is sure to continue to bring inspiration for those that cherish the visual poetry of Brett Whiteley. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\" target=\"_blank\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'Lavender Bay Wharf' 1978\u003cbr\u003eetching on paper\u003cbr\u003eEdition of 90\u003cbr\u003e\u003cem\u003eImage Size: \u003c\/em\u003e64 x 52 cm\u003cem\u003e\u003cbr\u003eFramed Dimensions:\u003c\/em\u003e 83 x 70 x 5 cm\u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Editioned and signed 'brett whiteley' in margin.\u003cbr\u003eComes with a Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eLiterature:\u003cbr\u003e- Deutscher, C., Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, p.112, cat. no. 47 (illus., p.55, another impression);\u003cbr\u003e- Sutherland, K. Brett Whiteley: Catalogue Raisonne, Schwartz Publishing, Melbourne, 2019, cat 93P.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: Very Good. The work of art’s image is Excellent, but there may be minor signs of wear to the paper margin or frame. There are no tears to the paper margin or disruptions to the paint surface.\u003cstrong\u003e\u003cb id=\"docs-internal-guid-f50a4f53-7fff-5d17-4915-19e20d3796cf\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) Wendy Whiteley \/ Copyright Agency \u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40672756891718,"sku":null,"price":30000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-lavender-bay-wharf-114583.jpg?v=1774323445"},{"product_id":"whiteley-brett-towards-sculpture-1-15672","title":"Brett Whiteley 'Towards Sculpture 1 '","description":"\u003cp\u003eAfter reaching the echelons of Australian art, Brett Whiteley reflected that even when he was painting “abstractions, in a way I was painting the nude, just out of specific definition.” The nude is a pivotal form in Whiteley's lexicon, a woman who is wrought from curves, great sweeps of line that settle into a sublime topography. \u003c\/p\u003e\n\u003cp\u003eDated 1977, ‘Towards Sculpture 1’ is a testament to Whiteley’s mastery over the nude. An original, limited edition and hand-signed lithograph, it sees a body roll down the page like a river between mountains. The result is sensuous and quintessential Whiteley, born from his reflection that no body contains a straight line. For art historian Lou Klepac, his virtuosity lay in lines like these, at once sophisticated and sensitive. \u003c\/p\u003e\n\u003cp\u003eOne of Australia’s most celebrated artists, Whiteley was a multi-time winner of the Art Gallery of NSW Archibald, Wynne and Sulman prizes, featured in numerous monographs and survey exhibitions, reaching acclaim here and overseas. A prize for collectors of modern art and Whiteley, ‘Towards Sculpture 1’ is also, most vividly, a visual delight. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'\u003cem\u003eTowards Sculpture 1\u003c\/em\u003e' 1977\u003cbr\u003elithograph on paper\u003cbr\u003eEdition of 50\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 77 x 58 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 90 x 63 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Numbered, editioned and signed 'brett whiteley' in margin. Stamped upper right with artist's monogram\u003cbr\u003eComes with Letter of Provenance\u003cbr\u003e\u003cbr\u003eLiterature:\u003cbr\u003e- Deutscher, C., Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, p.111, cat. no. 28 (illus., p.38, another impression). \u003cbr\u003e- Sutherland, K. Brett Whiteley: Catalogue Raisonne, Schwartz Publishing, Melbourne, 2020, vol.5, p.78, cat 79P (illus. other examples), vol.7, p.823.\u003cbr\u003e\u003cbr\u003eCondition: \u003cstrong\u003eVery Good\u003cbr\u003e\u003c\/strong\u003e \u003cbr\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":41763387605062,"sku":null,"price":34000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-towards-sculpture-1-15672.jpg?v=1717030717"},{"product_id":"whiteley-brett-the-garden-in-sanur-14591","title":"Brett Whiteley 'The Garden in Sanur, Bali'","description":"\u003cp\u003eFor Brett Whiteley, Bali represented a paradise like Eden. First visiting in 1974 with Clifton and Albert Tucker, Whiteley soon felt an affinity with Balinese culture. The lush tropical setting represented a relief from the chaos of city living, addiction and fame. \u003cbr\u003e\u003cbr\u003e‘The Garden in Sanur, Bali’ is an image of bliss. Framed by a window, among Whiteley’s favoured motifs, is a thatching garden, spindly trees rearing over flowers, grasses and ferns. Despite its density, Whiteley’s image remains tranquil, captured with a sense of awe and peace. \u003cbr\u003e\u003cbr\u003eTwo years before this original etching was produced, Whiteley made history by winning the trifecta of the Archibald, Wynne and Sulman Prizes. For collectors of important landscapes, Whiteley or those seeking a reprieve from the doldrums, ‘The Garden in Sanur, Bali’ is paradise on paper. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'The Garden in Sanur, Bali' 1980\u003cbr\u003escreenprint with offset lithography\u003cbr\u003eEdition of 100\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 75 x 105 cm\u003cbr\u003e\u003ci\u003ePhysical Dimensions\u003c\/i\u003e: 89 x 119 x 4 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Editioned, titled and signed 'brett whiteley' in margin.\u003c\/p\u003e\n\u003cp\u003eLiterature:\u003cbr\u003e- Mandy, R., Brett Whiteley: The Complete Graphics, 1961-1982, Art Gallery of Western Australia, Perth, 1983, p.45, cat.60;\u003cbr\u003e- Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, p.13, cat.61 (illus. p.68, another example);\u003cbr\u003e- Sutherland, K., Brett Whiteley: Catalogue Raisonné, Schwartz Publishing, Melbourne, 2020, vol.5, p.117, cat.103P (illus., another example), vol.7, p.82\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRelated Works:\u003cbr\u003e- An impression of this work is represented at Cairns Art Gallery, Accession Number: 1999.42\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) Brett Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art and Collectors","offers":[{"title":"Default Title","offer_id":42109254598726,"sku":null,"price":18000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-the-garden-in-sanur-14591_2a772d24-1e14-432b-82ba-3e605d3be71e.jpg?v=1776132000"},{"product_id":"whiteley-brett-kookaburra-14587","title":"Brett Whiteley 'Kookaburra'","description":"\u003cp\u003eFor Brett Whiteley, birds represented both freedom and stability. As a child, he would steal eggs from their nests and as an adult, he depicted them in his work. Forever moving around, he often thought of the flight paths of birds, their ability to flee at the outstretch of their wings and build a home wherever, an entwined expansiveness and domesticity that he yearned for in his own life. \u003cbr\u003e\u003cbr\u003e‘Kookaburra’ is an original hand-signed screenprint. It is, as the best of Whiteley’s art is, a burst of energy, the beloved Australian bird pictured cackling in frenzied lines. Its caw can almost be heard, the quintessential canned laughter of the bush. On drawing animals, Whiteley once reflected that “...One has to work at white heat because they move so much.” \u003cbr\u003e\u003cbr\u003e‘Kookaburra’ is a museum-quality work. Impressions of it are represented at the Queensland Art Gallery of Modern Art and the Art Gallery of Western Australia, it has been published in three monographs on Whiteley and exhibited at the Art Gallery of Western Australia (another impression). From the echelons of Australian art, ‘Kookaburra’ is a commanding find for collectors of important works on paper, birds and Whiteley. Collect it and have the last laugh! \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'Kookaburra' 1983\u003cbr\u003escreenprint with offset lithography\u003cbr\u003eEdition of 50\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 85 x 66 cm\u003cbr\u003e\u003ci\u003eFramed Dimensions\u003c\/i\u003e: 116 x 95 x 5 cm\u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed lower right: brett whiteley, numbered lower left: 36\/50, stamped lower right with artist's monogram\u003cbr\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRelated Works:\u003cbr\u003e- An impression of this work is represented at QAGOMA, Accession Number: 2013.110;\u003cbr\u003e- An impression of this work is represented at the Art Gallery of Western Australia, Accession Number: 1983\/00Q1\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003eLiterature:\u003cbr\u003e- Mandy, R., Brett Whiteley: The Complete Graphics, 1961-1982, Art Gallery of Western Australia, Perth, 1983, p.69, cat.94 (illus., another example)\u003cbr\u003e- Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, p.114, cat.75 (illus. p.78, another example)\u003cbr\u003e- Sutherland, K., Brett Whiteley Catalogue Raisonné, Schwartz Publishing, Melbourne, 2020, vol.5, p.150, cat.126P (illus., another example), vol.7, p.835\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eExhibited:\u003cbr\u003e- Brett Whiteley: The Complete Graphics, 1961-1982, Art Gallery of Western Australia, Perth, 30 March - 24 April 1983 (another example)\u003cbr\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e- Life and Death: A Visual Experience in Opposites, Australian Galleries, Melbourne, 28 May - 18 June 1983 (not catalogued, another example)\u003cbr\u003e- Brett Whiteley: Some Recent Works: Birds (11), the Drought of 83 (7), Robin Gibson Gallery, Sydney, 30 July - 17 August 1983, cat.32 (another example)\u003cbr\u003e- Brett Whiteley: Review of Prints, 1976-1983, Chapman Gallery, Canberra, 13 November - 7 December 1983, cat.15 (another example)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art and Collectors","offers":[{"title":"Default Title","offer_id":42109261414470,"sku":null,"price":36000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-kookaburra-114587.jpg?v=1774322591"},{"product_id":"whiteley-brett-waves-17081","title":"Brett Whiteley 'Waves'","description":"\u003cp\u003eBrett Whiteley is an icon of Australian art. Often fusing the abstract and the figurative, calm and chaos, Whiteley creates emotionally heightened worlds of ballooning forms and elongated figures. His imagery is always immediate, reflective of his pursuit for “beauty which can best be described as being on time for the appointment.”\u003c\/p\u003e\n\u003cp\u003eBrett Whiteley’s ‘Waves’ teems with the artist’s talent — his feeling for line, shape and poetry distilled into an image. In strong swirling black lines, the influence of Japanese printmaking and Whiteley’s hero, Vincent Van Gogh, also emanates forth. Waves appear almost figurative, with rounded forms of the ocean reminiscent of bodily curves. Under his hand, Whiteley reminds us of the interconnectedness of life — the unity of person, land, sea, sky and feeling. In 1982, Whiteley reflected that “A good print should have the same feeling of “rightness” that a one-off drawing should have.” \u003c\/p\u003e\n\u003cp\u003eWhiteley’s work is represented across Australian public collections and internationally at the Tate Gallery in London and MoMA in New York. An adjunct of the Art Gallery of New South Wales, his studio has become a permanent public gallery. For collector’s of important Australian art, Whiteley is a prize.  \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'Waves' 1977\u003cbr\u003elinocut on paper\u003cbr\u003eEdition of 25 - (posthumous reprint for the Whiteley Estate)\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 21 x 15 cm \u003cbr\u003e\u003ci\u003eFramed Size: \u003c\/i\u003e43 x 37 x 2 cm\u003ci\u003e\u003cbr\u003eSigned\u003c\/i\u003e: editioned and signed with artist’s chop in margin: 17\/25. B\/W (as a red stamp) and signed verso, lower right: Wendy Whiteley\u003c\/p\u003e\n\u003cp\u003eLiterature: Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, p.112, cat.38 (illus. p.48 another example).\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good \u003c\/strong\u003edescribes a work of art's image as excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003c\/p\u003e\n\u003cp\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art and Collectors","offers":[{"title":"Default Title","offer_id":43693422837830,"sku":null,"price":5650.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-waves-17081_c1bd6958-c74c-4961-809b-d9efaac3687c.jpg?v=1774312808"},{"product_id":"whiteley-brett-flowers-on-the-table-17074","title":"Brett Whiteley 'Flowers on the Table'","description":"\u003cp\u003eBrett Whiteley’s art often balances chaos and calm - bursts of raw expression alongside moments of quiet reflection. 'Flowers on the Table' embodies this duality: a flower arrangement alive with energy, yet rooted in stillness.\u003cbr\u003e\u003cbr\u003eThrough the window lies a glimpse of the garden lovingly tended by Wendy Whiteley in Lavender Bay - a setting that inspired some of Brett’s most iconic visions of Sydney’s landscape. Here, domestic harmony prevails. The cut flowers, beautiful yet fleeting, speak to life’s impermanence.\u003cbr\u003e\u003cbr\u003eAfter Brett’s death in 1992, Wendy transformed the neglected government-owned land around her home into a lush public garden, finding solace in the healing power of plants. This work, too, carries that restorative spirit.\u003cbr\u003e\u003cbr\u003e'Flowers on the Table' is a coveted acquisition for collectors of Whiteley and significant works on paper.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'Flowers on the Table' 1977\u003cbr\u003elithograph on paper\u003cbr\u003eEdition of 75\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 75 x 55 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 95 x 75 x 2 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed and editioned in margin\u003cbr\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eExhibited:\u003cbr\u003e- The Entire Collection of the Graphics of Brett Whiteley 1961-1981, Australian Galleries, Melbourne, 20 July - 1 August 1981, cat.35\u003c\/p\u003e\n\u003cp\u003eReference:\u003cbr\u003e- Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, p.112, cat.36 (illus. p.46, another example) \u003cbr\u003e- Sutherland, K., Brett Whiteley: Catalogue Raisonné, Schwartz Publishing, Melbourne, 2020, vol.5, p.66, cat.72P (illus., another example), vol.7, p.821. Illustrated, another impression from the same edition.\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good: \u003c\/strong\u003eDescribes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003c\/p\u003e\n\u003cp\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":43770066763846,"sku":null,"price":15000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-flowers-on-the-table-17074_8adfc79f-4c81-4afe-9453-6bbc062f1eb8.jpg?v=1774319257"},{"product_id":"baldessin-george-night-personages-17133","title":"George Baldessin 'Night Personages'","description":"\u003cp\u003eGeorge Baldessin is one of Australia’s preeminent artists. During his lifetime, he was regarded on par with Brett Whiteley, with both artists rejecting the dominant mode of abstraction in favour of lyrical, figurative imagery.\u003cbr\u003e\u003cbr\u003eBaldessin’s work explored themes of existentialism, sexuality, boundaries, and fractured identity. Figures recur throughout his practice, twisting into contorted shapes, their faces often concealed or veiled in shadow. Mystery permeates his imagery. In Night Personages, a double-projected, dreamlike figure stretches through a window, embodying longing and disquiet rather than realism.\u003cbr\u003e\u003cbr\u003eTechnically, the work demonstrates Baldessin’s virtuosity in printmaking. It combines etching and aquatint, printed in black ink from a single plate, with layered colour created through multiple stencils. This interplay of techniques heightens the drama of the imagery, contrasting velvety depths with luminous tonal passages.\u003cbr\u003e\u003cbr\u003eBaldessin has been honoured with retrospective exhibitions at Heide Museum of Modern Art and the Art Gallery of New South Wales, and exhibited alongside Brett Whiteley at the National Gallery of Victoria. His works are represented in all major regional and many state collections, as well as internationally at the Museum of Modern Art, New York. He is perhaps best known for his sumptuous brass pears, which stand sentinel at the National Gallery of Australia.\u003cbr\u003e\u003cbr\u003eOther impressions of this print are held in the permanent collection of the Queensland Art Gallery | Gallery of Modern Art (Accession no: 2.0651).\u003cbr\u003e\u003cbr\u003eBaldessin sought to express human sensibility through the vulnerability of his figures, while preserving their dignity. Distortion and drama were his essential tools, capturing tension and dynamism in print. Encompassing this technical and expressive mastery, Night Personages represents a compelling acquisition for collectors of important works on paper and modern Australian modernism.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/george-baldessin\"\u003eGeorge BALDESSIN\u003c\/a\u003e (1939 - 1978)\u003cbr\u003e'Night Personages' 1970\u003cbr\u003eetching, aquatint and coloured stencil on paper\u003cbr\u003eEdition of 25\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 50 x 42 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 75 x 65 x 3 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: 'Night Personages' Ed 25 for Lloyd Capps with best wishes George Baldessin 70\u003cbr\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRelated works:\u003cbr\u003eOther impressions of this print are held in the permanent collection of Queensland Art Gallery Gallery of Modern Art Accession no: 2.0651.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eGood:\u003c\/strong\u003e This original graphic is in good condition for its age. The sheet presents well overall, with no significant structural issues, tears, or losses. The image retains strong integrity. The paper, however, may benefit from light conservation treatment to address its pH balance, ensuring long-term stability and preservation.\u003c\/p\u003e\n\u003cp\u003e(c) George Baldessin \/ Copyright Agency\u003c\/p\u003e","brand":"small","offers":[{"title":"Default Title","offer_id":43868140240966,"sku":null,"price":6950.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/baldessin-george-night-personages-17133.jpg?v=1759363598"},{"product_id":"baldessin-george-the-world-of-tinsel-17107","title":"George Baldessin 'The world of tinsel'","description":"\u003cp\u003eGeorge Baldessin is one of Australia’s leading modern artists. His work explored existentialism, sexuality, boundaries, and fractured identity. Figures recur throughout his practice, often biomorphic and contorted, their faces partially obscured, imbued with a sense of mystery. The World of Tinsel depicts an elongated, stylised figure reaching toward the unattainable.\u003cbr\u003e\u003cbr\u003eHe has been honoured with retrospectives at Heide Museum of Modern Art and the Art Gallery of New South Wales. His works are represented in all major state and regional collections, as well as internationally at New York’s Museum of Modern Art. He is perhaps best known for his iconic brass pears at the National Gallery of Australia.\u003cbr\u003e\u003cbr\u003e'The World of tinsel' is a museum-quality work, rare to market, with an impression held in the National Gallery of Australia. Through vulnerability, distortion, and dramatic form, Baldessin conveys human sensibility with dignity. Combining technical mastery and expressive power, this work represents a compelling acquisition for collectors of important works on paper and Australian modernism.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/george-baldessin\"\u003eGeorge BALDESSIN\u003c\/a\u003e (1939 - 1978)\u003cbr\u003e'The world of tinsel' 1966\u003cbr\u003eetching, aquatint and coloured stencil on paper\u003cbr\u003eEdition of 10\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 50 x 30 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 72 x 50 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: 5\/10 George Baldessin 66 and embossed stamp in margin \u003cbr\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRelated works:\u003cbr\u003eOther impressions of this print are held in the permanent collection of the National Gallery of Australia Accession no: 75.413 \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003c\/p\u003e\n\u003cp\u003e(c) George Baldessin \/ Copyright Agency\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":43868140306502,"sku":null,"price":7950.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/baldessin-george-the-world-of-tinsel-17107.jpg?v=1759363574"},{"product_id":"baldessin-george-performer-for-alison-17090","title":"George Baldessin 'Performer'","description":"\u003cp\u003eGeorge Baldessin is still regarded as one of Australia’s preeminent artists to this day. During his short but influential lifetime he was considered on par with Brett Whiteley, with both artists eschewing the dominant mode of abstraction in favour of lyrical, figurative imagery. Etching for Baldessin represented a field for innovation free of the physical and financial restraints of sculpture.\u003cbr\u003e\u003cbr\u003eA bold etching by Baldessin, 'Performer' is a pivotal work in his thematic exploration of performers and the body. The abstracted figure is contorted into a dynamic pose, yet her face remains firmly outward, pinning the viewer with a calculating, challenging gaze. The work recalls the scandalous directness of Édouard Manet’s Olympia, another commanding personage in the history of modernism, situating Baldessin’s figure within a lineage of provocative and confrontational imagery.\u003cbr\u003e\u003cbr\u003eBaldessin’s 'Performer' stands as a bold and pivotal etching within his exploration of the human figure and the theatre of performance. For collectors, Performer represents not only a striking example of Baldessin’s technical mastery and thematic depth, but also a rare opportunity to acquire a work that embodies his enduring contribution to Australian modernism.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/george-baldessin\"\u003eGeorge BALDESSIN\u003c\/a\u003e (1939 - 1978)\u003cbr\u003e'Performer' 1968\u003cbr\u003ecoloured etching and aquatint on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 38 x 50 cm \u003cbr\u003e\u003ci\u003eFramed Dimensions\u003c\/i\u003e: 61 x 72 x 3 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed, titled dated, and editioned 'Ed. 25 'Performer' George Baldessin 68' under image\u003cbr\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eLiterature: \u003cbr\u003eKolenberg., J., George Baldessin Estate: Prints 1963 - 1978, Australian Galleries, Melbourne, 1997, p.46, cat.163 (illus., another example).\u003cbr\u003eLindsay, R. \u0026amp; Holloway, M., George Baldessin: Sculpture and Etchings, National Gallery of Victoria, Melbourne, 1983, p.72, cat.51 (another example).\u003cbr\u003eEdquist., H., George Baldessin: Paradox \u0026amp; Persuasion, Australian Galleries, Melbourne, 2009, p.139 (illus. p.138, another example).\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: The work is in fair condition, consistent with its age and materials. There is some discolouration across the surface, along with areas of staining to the paper support. Overall, the work remains stable. While these condition issues are noted, conservation is considered straightforward with the expectation of a very  favourable outcome. We can assist with paper preservation if desired, including washing the sheet to reduce acidity and improve its long-term stability. \u003c\/p\u003e\n\u003cp\u003eThe frame is in fair condition, some damage to lower right.\u003c\/p\u003e\n\u003cp\u003e(c) George Baldessin \/ Copyright Agency\u003c\/p\u003e","brand":"small","offers":[{"title":"Default Title","offer_id":43868140339270,"sku":null,"price":9500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/baldessin-george-performer-17744_1.jpg?v=1774324294"},{"product_id":"baldessin-george-emblems-17087","title":"George Baldessin 'Emblems'","description":"\u003cp\u003eGeorge Baldessin is still regarded as one of Australia’s preeminent artists. During his short but influential lifetime, he was considered on par with Brett Whiteley, with both artists eschewing the dominant mode of abstraction in favour of lyrical, figurative imagery.\u003cbr\u003e\u003cbr\u003e'Emblems' exemplifies Baldessin’s distinctive blend of surrealism and personal symbolism. Executed in etching with aquatint, the work juxtaposes human forms and abstract structures within a muted, earthy palette. The composition explores themes of identity and spatial ambiguity—hallmarks of Baldessin’s mature printmaking period in the early 1970s. Its layered figures—a partially nude figure and a hat-clad figure—interact subtly with geometric constructions, evoking a contemplative narrative open to interpretation.\u003cbr\u003e\u003cbr\u003eBaldessin was a leading figure in the Australian printmaking scene, renowned for his integration of etching, aquatint, and linocut techniques. 'Emblems' demonstrates his mastery of spatial tension and symbolic content, making it a significant example of his print oeuvre and a compelling acquisition for collectors of culturally important works on paper.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/george-baldessin\"\u003eGeorge BALDESSIN\u003c\/a\u003e (1939 - 1978)\u003cbr\u003e'Emblems' 1972\u003cbr\u003ecoloured etching on paper\u003cbr\u003eEdition of 25\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 47 x 44 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 78 x 71 x 2 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed, titled, dated and editioned 'Edition 25 'Emblems' George Baldessin 72'' under image \u003cbr\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRelated works:\u003cbr\u003eOther impression of this print is held in the permanent collection of the National Gallery of Australia Accession no: 75.453\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eGood: \u003c\/strong\u003eFoxing and discolouration is evident across the surface of the work. The work would benefit for light conservation treatment. The mountboard and frame are in fine condition.\u003c\/p\u003e\n\u003cp\u003e(c) George Baldessin \/ Copyright Agency\u003c\/p\u003e","brand":"small","offers":[{"title":"Default Title","offer_id":43868140634182,"sku":null,"price":4950.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/baldessin-george-emblems-17087.jpg?v=1759363494"},{"product_id":"baldessin-george-bather-17077","title":"George Baldessin 'The Bather I'","description":"\u003cp\u003eGeorge Baldessin is one of Australia’s preeminent artists. During his lifetime, he was considered on par with Brett Whiteley, with both artists eschewing the dominant mode of abstraction in favour of lyrical, figurative imagery.\u003cbr\u003e\u003cbr\u003eBaldessin’s work explored existentialism, sexuality, boundaries, and fractured identity. Figures recur throughout his practice, twisting into contorted shapes, their faces often concealed or veiled in shadow. A sense of mystery permeates his work, underscoring The Bather I - a stylised portrait of a lone bather, her water-slicked hair obscuring much of her face. The figure folds inward upon herself, a tangle of limbs and sly, watchful eyes.\u003cbr\u003e\u003cbr\u003eBaldessin has been honoured with retrospective exhibitions at Heide Museum of Modern Art, the Art Gallery of New South Wales, and, alongside Brett Whiteley, at the National Gallery of Victoria. His work is represented in all regional and most state collections, as well as in New York’s Museum of Modern Art. Perhaps, however, he is best known for his sumptuous brass pears, which stand sentinel at the National Gallery of Australia. The Bather I is a museum-quality work, with an impression held in the NGA collection. It was also exhibited at the National Gallery of Victoria in 2018 for Baldessin\/Whiteley: Parallel Visions, curated by Sasha Grishin.\u003cbr\u003e\u003cbr\u003eBaldessin sought to express human sensibility through the vulnerability of his figures, while preserving their dignity. Distortion and drama were his essential tools, capturing tension and dynamism within his prints. Exemplifying this technical and expressive power, The Bather I represents a compelling acquisition for collectors of significant works on paper and modern Australian art.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/george-baldessin\"\u003eGeorge BALDESSIN\u003c\/a\u003e (1939 - 1978)\u003cbr\u003e'The Bather I' 1965\u003cbr\u003eetching and aquatint on paper\u003cbr\u003eEdition of 10\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 30 x 30 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 62 x 55 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Unsigned. Inscribed in margin: 1965 'Bather' -10 and embossed GB. Australian Galleries sticker verso AG 100957\u003cbr\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: Very Good\u003c\/p\u003e\n\u003cp\u003e(c) George Baldessin \/ Copyright Agency\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":43868140666950,"sku":null,"price":6500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/baldessin-george-bather-17077_33b08701-a5a5-490b-a092-ff379ddcdf18.jpg?v=1759363478"},{"product_id":"baldessin-george-the-n-m-remnant-17078","title":"George Baldessin 'The N. M. Remnant'","description":"\u003cp\u003eGeorge Baldessin is still regarded as one of Australia’s preeminent artists. During his short but influential lifetime, he was considered on par with Brett Whiteley, with both artists eschewing the dominant mode of abstraction in favour of lyrical, figurative imagery.\u003cbr\u003e\u003cbr\u003e'The N. M. Remnant' is a rare and compelling example of Baldessin’s mid-1970s oeuvre, showcasing his richly expressive intaglio etching technique and the textured handling of plate surfaces. His deft combination of etching and aquatint underscores the technical innovation of this period. The work’s dramatic scale and ambiguous title invite layered interpretation, elevating its symbolic resonance and impact.\u003cbr\u003e\u003cbr\u003eBaldessin remains one of Australia’s most influential post-war printmakers. 'The N. M. Remnant' represents a mature expression of his symbolic vision and technical mastery, making it a standout acquisition for collectors of Australian modernist printmaking and works on paper.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/george-baldessin\"\u003eGeorge BALDESSIN\u003c\/a\u003e (1939 - 1978)\u003cbr\u003e'The N. M. Remnant' 1973\u003cbr\u003eetching and aquatint on paper\u003cbr\u003eEdition of 25\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 30 x 55 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 75 x 104 x 4 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Editioned, titled, signed and dated in margin: Artist proof for Alan 'N M Remnant' George Baldessin 73 \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eExhibited: \u003cbr\u003eOpening Exhibition, Crossley Gallery, Melbourne, November 1973 (another example)\u003cbr\u003eGeorge Baldessin: Complete Etchings, Mornington Peninsula Art Centre, Victoria, 3 October - 17 November 1974, cat. 202 (another example)\u003cbr\u003eGeorge Baldessin: Sculpture and Etchings, National Gallery of Victoria, Melbourne, 8 August - 18 September 1983, cat. 52 (another example).\u003c\/p\u003e\n\u003cp\u003eLiterature:\u003cbr\u003eLindsay, R., and Holloway, M., George Baldessin: Sculpture and Etchings, National Gallery of Victoria, Melbourne, 1983, cat. 52, cover (illus.,another example), pp. 72, 73 (illus., another example)\u003cbr\u003eEdquist, H., George Baldessin: Paradox \u0026amp; Persuasion, Australian Galleries Publishing, Melbourne, 2009, pp. 140 (illus., another example), 141, 249. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRelated Works: \u003cbr\u003eAnother example of this etching is held in the collection of Queensland Art Gallery | Gallery of Modern Art, Brisbane accession no 1990.016 and the National Gallery of Australia accession no 83.1734.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eGood: \u003c\/strong\u003eThis original graphic is in good condition for its age. The sheet presents well overall, with no significant structural issues, tears, or losses. The image retains strong integrity. The paper, however, may benefit from light conservation treatment to address its pH balance, ensuring long-term stability and preservation.\u003c\/p\u003e\n\u003cp\u003e(c) George Baldessin \/ Copyright Agency\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":43868140699718,"sku":null,"price":9500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/baldessin-george-the-n-m-remnant-17078.jpg?v=1759363425"},{"product_id":"baldessin-george-performance-17088","title":"George Baldessin 'Performance'","description":"\u003cp\u003eGeorge Baldessin is still regarded as one of Australia’s preeminent artists. During his short but influential lifetime, he was considered on par with Brett Whiteley, with both artists eschewing the dominant mode of abstraction in favour of lyrical, figurative imagery.\u003cbr\u003e\u003cbr\u003eBaldessin was renowned for his masterful use of etching and aquatint, merging figuration with abstraction to create charged atmospheres that explored themes of desire, vulnerability, and identity. The Performance series is regarded as a cornerstone of his oeuvre, bridging his sculptural sensibility with the expressive possibilities of printmaking. These works encapsulate the theatrical intensity and emotional edge that defined his most sought-after creations.\u003cbr\u003e\u003cbr\u003eAs one of the most influential Australian printmakers of the 20th century, Baldessin’s works are highly prized by both institutions and private collectors. His Performance prints, produced in small editions, are particularly coveted for their technical innovation and symbolic power. This work of art is rare to market and embodies the enduring significance of Baldessin’s practice. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/george-baldessin\"\u003eGeorge BALDESSIN\u003c\/a\u003e (1939 - 1978)\u003cbr\u003e'Performance' \u003cbr\u003ecoloured etching and aquatint on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 30 x 22 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 87 x 117 x 3 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed, titled and editioned 'Artist Proof 'Performance' George Baldessin' under image\u003cbr\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e The work is float mounted in the frames, allowing for the edges of the paper to be visible. This adds to the unique quality of the presentation of this artwork and artists intention. The mountboard and frame are in fine condition.\u003c\/p\u003e\n\u003cp\u003e(c) George Baldessin \/ Copyright Agency\u003c\/p\u003e","brand":"small","offers":[{"title":"Default Title","offer_id":43870328029254,"sku":null,"price":7500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/baldessin-george-performance-117088.jpg?v=1759363846"},{"product_id":"baldessin-george-personage-and-entran-17145","title":"George Baldessin 'Personage and Entrances'","description":"\u003cp\u003eGeorge Baldessin is still regarded as one of Australia’s preeminent artists. During his short but influential lifetime, he was considered on par with Brett Whiteley, with both artists eschewing the dominant mode of abstraction in favour of lyrical, figurative imagery. Etching, for Baldessin, represented a field of innovation free from the physical and financial restraints of sculpture.\u003cbr\u003e\u003cbr\u003eBaldessin’s 'Personage and Entrances' series extends his fascination with the human figure as both subject and actor. The “personage” appears caught in moments of transition—stepping through thresholds, framed by doorways, or poised at the edge of visibility—in this case casting a fleeting glance during a moment of preparation in a mirror. The mirror, an “entrance,” serves as a metaphor for both exposure and concealment, drawing the viewer into the charged drama of encounter while simultaneously dividing and obscuring the composition.\u003cbr\u003e\u003cbr\u003eThe etching is celebrated for its compositional tension, balancing distortion with an underlying humanity. Technically bold and conceptually ambitious, 'Personage and Entrances' offers collectors the chance to secure a work from one of Baldessin’s most significant and recognisable themes—compositions that remain highly sought after in both private and institutional collections of modern Australian art and printmaking.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/george-baldessin\"\u003eGeorge BALDESSIN\u003c\/a\u003e (1939 - 1978)\u003cbr\u003e'Personage and Entrances' 1974\u003cbr\u003ecoloured etching and aquatint on paper (diptych)\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 101 x 106 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 125 x 130 x 5 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed, titled dated, and editioned 'Ed. 25 'Performer' for Alison George Baldessin 68' under image\u003cbr\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e The work remains in its original frame and is in good condition for its age. A future custodian may wish to undertake conservation treatment—such as rebalancing the paper’s pH, giving the sheet an aqueous bath, and setting the print at a safer distance from the glass—to further preserve and enhance its longevity.\u003c\/p\u003e\n\u003cp\u003e(c) George Baldessin \/ Copyright Agency\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":43870357323846,"sku":null,"price":14750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/baldessin-george-personage-and-entran-17145.jpg?v=1759364539"},{"product_id":"baldessin-george-personage-windows-b-17209","title":"George Baldessin 'Personage, Windows \u0026 Books'","description":"\u003cp\u003eGeorge Baldessin is still regarded as one of Australia’s preeminent artists. During his short but influential lifetime, he was considered on par with Brett Whiteley, with both artists eschewing the dominant mode of abstraction in favour of lyrical, figurative imagery. For Baldessin, etching represented a field for innovation, free from the physical and financial restraints of sculpture.\u003cbr\u003e\u003cbr\u003eBaldessin’s Personage series emerged as one of his most recognisable motifs, embodying the tension, vulnerability, and theatricality that defined his practice. Figures appear flattened, distorted, or fragmented, often juxtaposed against architectural elements such as windows, or framed by books—symbols representing knowledge, enclosure, and the passage of time.\u003cbr\u003e\u003cbr\u003eIn 'Personage, Windows and Books', windows act as both a portal and threshold—separating interior and exterior worlds—while the recurring motif of books speaks to the weight of tradition and understanding. Baldessin’s personages are not portraits per se in the conventional sense but dramatic archetypes. Vulnerable and enclosed within the oval window, their veiled distortion heightens the psychological tension within the composition.\u003cbr\u003e\u003cbr\u003e'Personage, Windows and Books' encapsulates the hallmarks of Baldessin’s practice—distortion, drama, and psychological depth—within one of his most sought-after series. Works from this series demonstrate his technical brilliance in printmaking and his ability to invest archetypal figures with enduring humanity. For collectors, they represent not only a key moment in Baldessin’s oeuvre but also an essential touchstone in the story of Australian modernism.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/george-baldessin\"\u003eGeorge BALDESSIN\u003c\/a\u003e (1939 - 1978)\u003cbr\u003e'Personage, Windows \u0026amp; Books' 1973\u003cbr\u003ecoloured etching and aquatint on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 78 x 53 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 101 x 80 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed, titled dated, and editioned 'Ed. 25 'Personage, Windows \u0026amp; Books' George Baldessin 73' under image\u003cbr\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eCondition: Very Good. This work has been carefully conserved, including treatment to restore its optimal pH balance, ensuring it will remain in excellent condition for years to come.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) George Baldessin \/ Copyright Agency\u003c\/p\u003e","brand":"small","offers":[{"title":"Default Title","offer_id":43905033863238,"sku":null,"price":5500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/baldessin-george-personage-windows-b-17209.jpg?v=1760318008"},{"product_id":"baldessin-george-the-bather-i-black-a-17093","title":"George Baldessin 'The Bather I (Black and White)'","description":"\u003cp\u003eGeorge Baldessin is one of Australia's preeminent artists. During his lifetime, he was considered on par with Brett Whiteley, with both artists eschewing the dominant mode of abstraction in favour of lyrical, figurative imagery.\u003cbr\u003e\u003cbr\u003eBaldessin's work explored existentialism, sexuality, boundaries, and split personality. Figures recur in Baldessin's work, twisting into contorted shapes, their faces often concealed or veiled in shadow. A sense of mystery percolates his practice, underscoring The Bather I - a stylised portrait of a lone bather, her water-spiked obscuring most of her face. The figure folds inward upon herself, a tangle of limbs and sly, watchful eyes.\u003cbr\u003e\u003cbr\u003eBaldessin has been honoured with retrospective exhibitions at Heide Museum, the Art Gallery of NSW, and alongside Brett Whiteley at the National Gallery of Victoria. He is represented in all regional and many state collections, as well as New York's Museum of Modern Art. Perhaps, however, Baldessin is best known for his sumptuous brass pears, which stand guard at the NGA. Indeed, The Bather I is a museum-quality work with an impression represented at the National Gallery of Australia. It was also exhibited at the National Gallery of Victoria in 2018 for Baldessin\/Whiteley: Parallel Visions, curated by Sasha Grishin.\u003cbr\u003e\u003cbr\u003eBaldessin sought to express human sensibility through the vulnerability of his figures, while preserving dignity. Distortion and drama were his essential tools, capturing tension and dynamism within his print works. Encompassing this technical prowess, The Bather I represents a compelling and important acquisition for collectors of significant works on paper and modern Australian modernism.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/george-baldessin\"\u003eGeorge BALDESSIN\u003c\/a\u003e (1939 - 1978)\u003cbr\u003e'The Bather I (Black and White)' \u003cbr\u003elithograph on paper\u003cbr\u003eEdition of 300\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 57 x 57 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 88 x 84 x 4 cm \u003cbr\u003eInscribed in margin: '177\/300, JR.' Printed in 1978 by John Robinson at Druckma Press\u003cbr\u003eComes with Letter of Provenance\u003cbr\u003eThis work has been editioned by Druckma Press in accordance with an initialed Bon A Tirer print.\u003c\/p\u003e\n\u003cp\u003eAn Artist Proof impression of this work is represented at the National Gallery of Australia, Canberra. Accession no.: 84.1306.\u003c\/p\u003e\n\u003cp\u003eExhibited: An impression of this work was exhibited at the National Gallery of Victoria s 2018 exhibition Baldessin\/Whiteley: Parallel Visions curated by Sasha Grishin. \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eCondition\u003cstrong\u003e: Very Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e(c) George Baldessin \/ Copyright Agency\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":43919001256006,"sku":null,"price":2950.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/baldessin-george-the-bather-i-black-a-17093.jpg?v=1760734246"},{"product_id":"whiteley-brett-self-portrait-one-of-17295","title":"Brett Whiteley 'Self Portrait, One of a Dozen Glimpses 1983 (Another Way of Looking at Vincent Van Gogh)'","description":"\u003cp\u003eWhen Brett Whiteley was thirteen years old, he found a tiny book on Vincent Van Gogh lying on the floor of St Stephen’s Church in Bathurst. The moment was catalytic. Despite existing in a time and place far removed from rural New South Wales, he immediately resonated with Van Gogh. Like the latter, Whiteley perceived the world with a unique intensity he identified as “expandingness”. \u003cbr\u003e\u003cbr\u003eIn this work, Whiteley pays homage to his artistic hero. Almost vibrating beneath the eye, it captures Van Gogh’s creative fervour. It also, however, hints at his sadness. This duality is core to Whiteley’s talent and life. At once lively and fraught, it sees the Dutch master as a surrogate for Whiteley himself. \u003cbr\u003e\u003cbr\u003eAmong Australia’s most celebrated artists, Whiteley won the Art Gallery of NSW Archibald, Wynne and Sulman prizes several times. 'Self Portrait, One of a Dozen Glimpses 1983 (Another Way of Looking at Vincent Van Gogh)' is a moving find for passionate collectors of iconic Australian art, Whiteley and impressionism. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'Self Portrait, One of a Dozen Glimpses 1983 (Another Way of Looking at Vincent Van Gogh)' 1983\u003cbr\u003eetching on paper\u003cbr\u003eEdition of 100\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 26 x 21 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 48 x 40 x 3 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: signed lower right Brett\u003cbr\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eExhibited:\u003cbr\u003e- Brett Whiteley: The Complete Graphics 1961-1982, Art Gallery of Western Australia, Perth, 30 March - 24 April 1983 (other examples)\u003cbr\u003e- Another Way of Looking at Vincent van Gogh 1888-1889 by Brett Whiteley 1968-1983, Art Gallery of New South Wales, Sydney, 4 July - 21 August 1983 (other examples)\u003cbr\u003e- An Exhibition by Brett Whiteley - Eden and Eve, Australian Galleries, Melbourne, 12-28 July 1984, [additional to catalogue] cat.60 (other examples, as set of 3 etchings with book)\u003c\/p\u003e\n\u003cp\u003eLiterature:\u003cbr\u003e- Mandy, R., Brett Whiteley: The Complete Graphics, 1961–1982, Art Gallery of Western Australia, Perth, 1983, p.65, cat. no.81 (illustrated, another impression);\u003cbr\u003e- Deutscher, C., Brett Whiteley: The Graphics 1961–1992, Deutscher Fine Art, Melbourne, 1995, p.114, cat. no.72 (illustrated p.75, another impression);\u003cbr\u003e- Sutherland, K., Brett Whiteley Catalogue Raisonné, Schwartz Publishing.\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) Brett Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art and Collectors","offers":[{"title":"Default Title","offer_id":44064397852742,"sku":null,"price":11000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-self-portrait-one-of-17295.jpg?v=1762733177"},{"product_id":"whiteley-brett-the-back-of-the-asyl-17296","title":"Brett Whiteley 'The Back of the Asylum, St Remy (Another Way of Looking at Vincent Van Gogh)'","description":"\u003cp\u003eWhen Brett Whiteley was thirteen years old, he found a tiny book on Vincent Van Gogh lying on the floor of St Stephen’s Church in Bathurst. The moment was catalytic. Despite existing in a time and place far removed from rural New South Wales, he immediately resonated with Van Gogh. Like the latter, Whiteley perceived the world with a unique intensity he identified as “expandingness”. \u003cbr\u003e\u003cbr\u003eIn this work, Whiteley pays homage to his artistic hero. It also, however, hints at his sadness. This duality is core to Whiteley’s talent and life. At once lively and fraught, it sees the Dutch master as a surrogate for Whiteley himself. \u003cbr\u003e\u003cbr\u003eAmong Australia’s most celebrated artists, Whiteley won the Art Gallery of NSW Archibald, Wynne and Sulman prizes several times. ‘The Back of the Asylum, St Remy’ is a moving find for passionate collectors of iconic Australian art, Whiteley and impressionism. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'The Back of the Asylum, St Remy (Another Way of Looking at Vincent Van Gogh)' 1983\u003cbr\u003eetching on paper\u003cbr\u003eEdition of 100\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 21 x 37 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 42 x 57 x 3 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: brett whiteley lower right\u003cbr\u003eComes with a Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eExhibited:\u003cbr\u003e- Brett Whiteley: The Complete Graphics 1961-1982, Art Gallery of Western Australia, Perth, 30 March - 24 April 1983 (other examples)\u003cbr\u003e- Another Way of Looking at Vincent van Gogh 1888-1889 by Brett Whiteley 1968-1983, Art Gallery of New South Wales, Sydney, 4 July - 21 August 1983 (other examples)\u003cbr\u003e- An Exhibition by Brett Whiteley - Eden and Eve, Australian Galleries, Melbourne, 12-28 July 1984, [additional to catalogue] cat.60 (other examples, as set of 3 etchings with book)\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eReference:\u003cbr\u003e- Mandy, R., Brett Whiteley: The Complete Graphics, 1961-1982, Art Gallery of Western Australia, Perth, 1983, p.65, cats.80, 81, 82 (illus., other examples)\u003cbr\u003e- Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, pp.76-77, cats.72, 73, 74 (illus., other examples)\u003cbr\u003e- Sutherland, K., Brett Whiteley: Catalogue Raisonné, Schwartz Publishing, Melbourne, 2020, vol.4, p.214 (image (ii) illus., another example), vol.5, pp.144, 145, 147, cats.121P, 122P, 123P (illus., other examples), vol.7, pp.833-834\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art and Collectors","offers":[{"title":"Default Title","offer_id":44064397885510,"sku":null,"price":11000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-the-back-of-the-asyl-17296.jpg?v=1762733243"},{"product_id":"whiteley-brett-hullo-cockatoo-17297","title":"Brett Whiteley 'Hullo (Cockatoo)'","description":"\u003cp\u003eBirds recur throughout Brett Whiteley’s work. As a child, he would steal eggs from nests and as an adult, paint them in his work. Forever moving around, he often thought of the flight paths of birds, his representations of them tinged with yearning for freedom and domestic stability. \u003cbr\u003e\u003cbr\u003e‘Hullo (Cockatoo)’ is a portrait of Australia’s most talkative bird, the cockatoo. It knocks at the cage, addressing the viewer with a “hullo”. From one perspective, it is a warm and humorous image, a revelry of the thespian avian. From another perspective, the cockatoo becomes a surrogate for its creator — a creature trapped, longing to connect. \u003cbr\u003e\u003cbr\u003eAmong Australia’s most celebrated artists, Whiteley won the Art Gallery of NSW Archibald, Wynne and Sulman prizes several times. ‘Hullo (Cockatoo)’ is a highly collectable etching. Collector want a Whiteley? \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1962 - 1992)\u003cbr\u003e'Hullo (Cockatoo)' 1980\u003cbr\u003eetching on paper\u003cbr\u003eEdition of 80\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 25 x 20 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 57 x 46 x 4 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: numbered and signed 'brett whiteley' below image\u003c\/p\u003e\n\u003cp\u003ePrinted by Diana Davidson and James Whitington, Whaling Road Studio, Sydney and Published by Port Jackson Press, Sydney\u003c\/p\u003e\n\u003cp\u003eLiterature: Deutscher, C., Brett Whiteley, The Graphics 1961 - 1992, Deutscher Fine Art, Melbourne, 1995, p. 113, cat. No. 56, (illus page 63., another example).\u003c\/p\u003e\n\u003cp\u003eCondition is \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"small","offers":[{"title":"Default Title","offer_id":44064504512582,"sku":null,"price":12950.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-hullo-cockatoo-17297.jpg?v=1762736253"},{"product_id":"whiteley-brett-the-lovers-17298","title":"Brett Whiteley 'Lovers'","description":"\u003cp\u003eBrett Whiteley’s ‘Lovers’ is a vision of erotic passion. Its creator was a true bohemian, a diplomat of the free love movement that redefined Australian art. He even spent time at the Chelsea Hotel among Bob Dylan, Mark Rothko and Irish poet Brendan Behan. \u003cbr\u003e\u003cbr\u003eThe counter-cultural infused Whiteley’s art. ‘Lovers’ is an expression of this — without shame or coyness, he envisions sex, a wild, embodied, exaltation. \u003cbr\u003e\u003cbr\u003eAmong Australia’s most celebrated artists, Whiteley won the Art Gallery of NSW Archibald, Wynne and Sulman prizes several times. ‘Lovers’ is the prize piece for any bedroom, a scintillating screenprint from a lover not a fighter. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'Lovers' 1973\u003cbr\u003escreenprint on paper\u003cbr\u003eEdition of 75\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 50 x 63 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 72 x 92 x 3 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Brett Whiteley lower right, editioned 68 of 75 and artist monogram in margin\u003cbr\u003eComes with a Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eLiterature: Sutherland, K., Brett Whiteley: Catalogue Raisonne, Schwartz Publishing, Melbourne, Deustcher Brett Whiteley The Graphics 1961-1992\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as excellent, but may show some small signs of surrounding wear to the frame.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"small","offers":[{"title":"Default Title","offer_id":44064512901190,"sku":null,"price":16000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-the-lovers-17298.jpg?v=1762737823"},{"product_id":"baldessin-george-emblems-and-chair-17433","title":"George Baldessin 'Emblems and Chair'","description":"\u003cp\u003eGeorge Baldessin is one of Australia’s preeminent artists. During his lifetime, he was regarded on par with Brett Whiteley, with both artists rejecting the dominant mode of abstraction in favour of lyrical, figurative imagery.\u003cbr\u003e\u003cbr\u003eIn 'Emblems and Chair', Baldessin constructs a scene populated by angular, minimalist shapes. A notably abstracted work, this etching shows Baldessin reducing his emblems down to their most basic form. These fragmented silhouettes, composed in an ambiguous landscape, are emblematic of Baldessin's artistic range and endless pursuit of new modes of expression.\u003cbr\u003e\u003cbr\u003eBaldessin has been honoured with retrospective exhibitions at Heide Museum of Modern Art and the Art Gallery of New South Wales, and exhibited alongside Brett Whiteley at the National Gallery of Victoria. His works are represented in all major regional and many state collections, as well as internationally at the Museum of Modern Art, New York. He is perhaps best known for his sumptuous brass pears, which stand sentinel at the National Gallery of Australia.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/george-baldessin\"\u003eGeorge BALDESSIN\u003c\/a\u003e (1939 - 1978)\u003cbr\u003e'Emblems and Chair' 1974\u003cbr\u003eetching\u003cbr\u003eEdition of 25\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 90 x 60 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 108 x 77 x 3 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: signed and dated lower right: George Baldessin 74, titled lower centre, editioned lower left\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eExhibited: : George Baldesin: Complete Etchings, Mornington Peninsula Art Centre, Victoria, 3 October - 17 November 1974, cat. no. 210 (another example).Literature: Kolenberg, J., George Baldessin Estate: Prints 1963-1978, Australian Galleries, Melbourne, 1997, p. 55, cat. no. 236 (illus., another example).\u003c\/p\u003e\n\u003cp\u003eOther Notes: Other examples of this print are held in the collections of the National Gallery of Australia, Canberra; and Deakin University Art Gallery, Melbourne\u003cbr\u003eCondition:Very Good.\u003c\/p\u003e\n\u003cp\u003e(c) George Baldessin \/ Copyright Agency\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":44353423441990,"sku":null,"price":6750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/baldessin-george-emblems-and-chair-17433-framed.jpg?v=1766019002"},{"product_id":"whiteley-brett-lipstick-17645","title":"Brett Whiteley 'Lipstick'","description":"\u003cp\u003eBrett Whiteley is an icon of Australian art. Often fusing the abstract and the figurative, calm and chaos, Whiteley creates emotionally heightened worlds of ballooning forms and elongated figures. His imagery is always immediate, reflective of his pursuit for “beauty which can best be described as being on time for the appointment.”\u003cbr\u003e\u003cbr\u003eHis 1981 colour lithograph 'Lipstick' is quintessential Whiteley. With tantalising long limbs, the female nude at the centre of Whiteley's 'Lipstick' is shrouded in an otherworldly sensuality. The nude is a pivotal form in Whiteley's lexicon. After reaching the echelons of Australian art, Whiteley reflected that even when he was painting “abstractions, in a way I was painting the nude, just out of specific definition.” 'Lipstick' intrinsically embodies the artist's approach to nude - from the the great sweeping lines of her body and the curves of her form emerges a divine topography. \u003cbr\u003e\u003cbr\u003eOne of Australia’s most celebrated artists, Whiteley was a multi-time winner of the Art Gallery of NSW Archibald, Wynne and Sulman prizes, featured in numerous monographs and survey exhibitions, reaching acclaim here and overseas. With other impressions held in the collections of the National Gallery of Victoria and the Queensland Art Gallery, 'Lipstick' is a prize for lovers of Whiteley and collectors of important Australian works on paper. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'Lipstick' 1981\u003cbr\u003eColour Lithograph\u003cbr\u003eEdition of 50\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 107 x 75 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 160 x 110 x 6 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: signed and titled lower centre: lipstick brett whiteley, numbered lower left.\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eOther examples of this work are held in the collections of the National Gallery of Victoria, Melbourne and Queensland Art Gallery \/ Gallery of Modern Art, Brisbane\u003c\/p\u003e\n\u003cp\u003eExhibited:\u003c\/p\u003e\n\u003cp\u003e-Brett Whiteley: The Complete Graphics 1961-1982, Art Gallery of Western Australia, Perth, 1983 (another example),\u003c\/p\u003e\n\u003cp\u003e-Brett Whiteley - Recent Graphics, Philip Bacon Galleries, Brisbane, 22 July - August 1983 (illus. exhibition catalogue, another example),\u003c\/p\u003e\n\u003cp\u003e-Brett Whiteley: Review of Prints 1976 - 1983, Chapman Gallery, Canberra, 13 November - 7 December 1983, cat.12 (illus. exhibition catalogue, another example),\u003c\/p\u003e\n\u003cp\u003e-Baldessin\/Whiteley: Parallel Visions, The Ian Potter Centre, National Gallery of Victoria, Melbourne, 31 August 2018 - 28 January 2019 (illus. exhibition catalogue, another example).\u003c\/p\u003e\n\u003cp\u003eReference: Mandy, R., Brett Whiteley: Graphics 1961-1982, Art Gallery of Western Australia, Perth, 1983, p.44, cat.67 (illus., another example), From the Lithographers Workshop: Lithographs by Australian Artists, Art Gallery of New South Wales, Sydney, 1993, cat.42 (illus. front cover, another example), Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, p.113, cat.62 (illus. p.69, another example), Sutherland, K., Brett Whiteley: Catalogue Raisonné, Schwartz Publishing, Melbourne, 2020, vol.5, p.138, cat.117P (illus., another example), vol.7, p.832.\u003c\/p\u003e\n\u003cp\u003eCondition:\u003cb\u003e Very good \u003c\/b\u003econdition overall; minor scattered foxing visible to the paper, commensurate with age.\u003c\/p\u003e\n\u003cp\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":44796948480070,"sku":null,"price":75000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-lipstick-117645.jpg?v=1774400445"},{"product_id":"whiteley-brett-the-willow-17657","title":"Brett Whiteley 'The Willow'","description":"\u003cp\u003eBrett Whiteley is an icon of Australian art. Often fusing the abstract and the figurative, Whiteley creates emotionally heightened worlds of ballooning forms and elongated lines. His imagery is always immediate, reflective of his pursuit for “beauty which can best be described as being on time for the appointment.”\u003cbr\u003e\u003cbr\u003eIn his 1988 screenprint on paper, Whiteley represents the silhouette of a willow tree against an ambiguous horizon. Using broad, gestural brushstrokes of bold dark ink, Whiteley's work creates the impression of immediacy and motion, with the large branches of the tree seemingly swaying in the wind. Blending abstraction with figurative representation, Whiteley composes a scene that is instantly atmospheric.\u003cbr\u003e\u003cbr\u003eWhiteley’s work is represented across Australian public collections and internationally at the Tate Gallery in London and MoMA in New York. An adjunct of the Art Gallery of New South Wales, his studio has become a permanent public gallery. For collector’s of important Australian art, Whiteley is a prize. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'The Willow' 1988\u003cbr\u003eScreenprint on paper\u003cbr\u003eEdition of 75\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 52 x 60 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 120 x 99 x 4 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Editioned, titled and signed in margin: 57\/75 the willow brett whiteley. Stamped lower left with artist's monogram: B\/W.\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eReference: Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1992, p.115, cat.101 (illus. p.95, another example). Sutherland, K., Brett Whiteley: Catalogue Raisonne, Schwartz Publishing, Melbourne, 2020, vol.5, p.191, cat.157P (illus., another example), vol.7, p.841\u003c\/p\u003e\n\u003cp\u003eCondition:\u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003c\/p\u003e\n\u003cp\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":44796948840518,"sku":null,"price":15000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-the-willow-117657.jpg?v=1774400016"},{"product_id":"whiteley-brett-palm-tree-2-17655","title":"Brett Whiteley 'Palm Tree 1'","description":"\u003cp\u003eBrett Whiteley is an icon of Australian art. Often fusing the abstract and the figurative, Whiteley creates emotionally heightened worlds of ballooning forms and elongated lines. His imagery is always immediate, reflective of his pursuit for “beauty which can best be described as being on time for the appointment.”\u003cbr\u003e\u003cbr\u003eIn his 1975 screenprint on paper, Whiteley creates an impression of a palm tree in a grassy landscape. Rendered using only black ink, Whiteley's ability to create depth and detail is impressive. As with many of his works, the artist creates a scene that is immersive and atmospheric - with simple mark-making, fronds move in the wind, branches sway. \u003cbr\u003e\u003cbr\u003eWhiteley’s work is represented across Australian public collections and internationally at the Tate Gallery in London and MoMA in New York. An adjunct of the Art Gallery of New South Wales, his studio has become a permanent public gallery. For collector’s of important Australian art, Whiteley is a prize. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'Palm Tree 1' 1975\u003cbr\u003escreenprint on paper\u003cbr\u003eEdition of 50\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 81 x 60 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 108 x 83 x 2 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Editioned and signed in margin: brett whiteley. Stamped lower left with artists monogram BW..\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eExhibited: Brett Whiteley: Recent Paintings and Drawings, Fischer Fine Art, London, September 1977, cat.70 (another example).\u003c\/p\u003e\n\u003cp\u003eReference: Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1992, p.111, cat.19 (illus. p.30, another example) McGrath, S., Brett Whiteley, Bay Books, Sydney, 1992, p.224, cat.54 (illus., another example) Sutherland, K., Brett Whiteley: Catalogue Raisonné, Schwartz Publishing, Melbourne, 2020, vol.5, p.49, cat.60P (illus., another example), vol.7, p.818\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003c\/p\u003e\n\u003cp\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":44796948938822,"sku":null,"price":18000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-palm-tree-2-117655.jpg?v=1774399926"},{"product_id":"whiteley-brett-torajaland-celebes-17653","title":"Brett Whiteley 'Torajaland (Celebes)'","description":"\u003cp\u003eBrett Whiteley is an icon of Australian art. Often fusing the abstract and the figurative, calm and chaos, Whiteley creates emotionally heightened worlds of ballooning forms and elongated figures. His imagery is always immediate, reflective of his pursuit for “beauty which can best be described as being on time for the appointment.”\u003cbr\u003e\u003cbr\u003eWhiteley's 1974 screenprint of 'Torajaland' emerges from a formative period in the artist's life. Visiting Bali and other Indonesian islands with fellow artists Albert Tucker and Clifton Pugh, Whiteley soon felt an affinity with Balinese culture. The lush tropical setting represented a relief from the chaos of city living, addiction and fame. This sense of Eden is captured within his impression of 'Torajaland', an area of the Indonesian island of Sulawesi inhabited by the indigenous Torajan people. With sweeping hills and luscious foliage, Whiteley's lyrical mark-making creates a vibrant sense of place. \u003cbr\u003e\u003cbr\u003eWhiteley’s work is represented across Australian public collections and internationally at the Tate Gallery in London and MoMA in New York. An adjunct of the Art Gallery of New South Wales, his studio has become a permanent public gallery. For collector’s of important Australian art, Whiteley is a prize. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'Torajaland (Celebes)' 1974\u003cbr\u003escreenprint on paper\u003cbr\u003eEdition of 50\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 68 x 57 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 87 x 74 x 5 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Numbered, signed and dated below image '38\/50, Brett Whiteley' stamped lower left corner with artist's monogram\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eLiterature: Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, p.111, cat.15 p.26, Sutherland, K., Brett Whiteley: Catalogue Raisonne, Schwartz Publishing, Melbourne, 2020, vol.5, p.46, cat.54P vol.7, p.817\u003c\/p\u003e\n\u003cp\u003eCondition:\u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003c\/p\u003e\n\u003cp\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art and Collectors","offers":[{"title":"Default Title","offer_id":44796948971590,"sku":null,"price":18000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-torajaland-celebes-117653.jpg?v=1774399819"},{"product_id":"whiteley-brett-arc-de-triomphe-17658","title":"Brett Whiteley 'Arc de Triomphe'","description":"\u003cp\u003eBrett Whiteley is an icon of Australian art. Renowned for ability to create atmospheric and motion-filled landscapes, his imagery is always immediate, reflective of his pursuit for “beauty which can best be described as being on time for the appointment.”\u003cbr\u003e\u003cbr\u003eWhiteley's 1990 etching 'Arc de Triomphe' emerges from his series, titled 'Paris: regarde de côté', that was the last of his career. Inspired by his 1989 stay in the French capital, Whiteley set himself the ambitious task of creating 60 works on paper in just 60 days. In 'Arc de Triomphe', Whiteley uses enigmatic and lyrical mark-making to create a work that is instantly atmospheric. Representing a scene and landmark that is quintessentially Parisian, Whiteley infuses this etching with his own distinct experience, an intimate reflection of the French city through the artist's lens.\u003cbr\u003e\u003cbr\u003eWhiteley’s work is represented across Australian public collections and internationally at the Tate Gallery in London and MoMA in New York. An adjunct of the Art Gallery of New South Wales, his studio has become a permanent public gallery. For collector’s of important Australian art, Whiteley is a prize. \u003cbr\u003e\u003cbr\u003eThis work is accompanied by a deluxe signed and editioned copy of Brett Whiteley's 1990 book 'Paris: regarde de côté'.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'Arc de Triomphe' 1990\u003cbr\u003eetching on paper\u003cbr\u003eEdition of 75\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 20 x 24 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 53 x 55 x 4 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Editioned and signed in margin: 5\/75 brett whiteley\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003ePresented in the deluxe signed edition (no.5\/75) of Whiteley, B., Paris Regard de Cote, Australian Galleries, Melbourne, 1990, 20.5 x 24.5 cm (image).\u003c\/p\u003e\n\u003cp\u003eExhibited:\u003c\/p\u003e\n\u003cp\u003e-Regard de Cote, Art Gallery of New South Wales, Sydney, 1 March - 6 May 1990 (another example).\u003c\/p\u003e\n\u003cp\u003e-Brett Whiteley: Paris - The Complete Regard de Cote Series Shown at the Art Gallery of New South Wales in 1990 Plus Works from Other Visits 1982-1992, Australian Galleries, Melbourne, 20 July - 8 August 1992 (another example).\u003c\/p\u003e\n\u003cp\u003eReference: Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, p.115, cat.106 (illus. p.97, another example). Sutherland, K., Brett Whiteley: Catalogue Raisonne, Schwartz Publishing, Melbourne, 2020, vol.5, p.195, cat.159P (illus., another example), vol.7, p.842\u003c\/p\u003e\n\u003cp\u003eCondition:\u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003c\/p\u003e\n\u003cp\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":44796949004358,"sku":null,"price":10000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-arc-de-triomphe-17658.jpg?v=1774399759"},{"product_id":"whiteley-brett-nectar-addiction-por-17660","title":"Brett Whiteley 'Nectar (addiction), Portrait of Paul Verlaine'","description":"\u003cp\u003eBirds recur throughout Brett Whiteley’s work, functioning as both motif and metaphor. As a child, he would steal eggs from nests and as an adult, paint them in his work. Forever moving around, he often thought of the flight paths of birds, his representations of them tinged with yearning for freedom and domestic stability. \u003cbr\u003e\u003cbr\u003eIn 'Nectar', the artist creates an intimate and restrained etching of a bird drinking from a small flower. With simple mark-making, Whiteley's bird is infused with personality - his beady pupils dilate, his claws sink into the branch. With a title humorously referring to Paul Verlaine, a 19th century French artist known for his scandalous and addiction-heavy lifestyle, Whiteley ascribes this small bird with human-like characteristics and dependencies.\u003cbr\u003e\u003cbr\u003eWhiteley’s work is represented across Australian public collections and internationally at the Tate Gallery in London and MoMA in New York. An adjunct of the Art Gallery of New South Wales, his studio has become a permanent public gallery. For collector’s of important Australian art, Whiteley is a prize.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'Nectar (addiction), Portrait of Paul Verlaine' 1979\u003cbr\u003eetching on paper \u003cbr\u003eEdition of 75\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 60 x 45 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 84 x 67 x 3 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed and editioned in margin: 44\/75 brett whiteley\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eCondition:\u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003c\/p\u003e\n\u003cp\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":44796949037126,"sku":null,"price":12000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-nectar-addiction-por-17660.jpg?v=1774399560"},{"product_id":"whiteley-brett-swinging-monkey-2-17661","title":"Brett Whiteley 'Swinging Monkey 2 '","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAt just 26, newly a father and immersed in the cultural intensity of London, Brett Whiteley stood at a formative threshold when he created ‘Swinging Monkey 2’ (1965). This work marks his first sustained engagement with screenprinting, developed in collaboration with master printer Chris Prater, who was concurrently working with David Hockney, Andy Warhol and Bridget Riley - placing Whiteley directly within a moment of radical experimentation in photographic printmaking.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAt the very moment Warhol was translating photographic imagery into the flattened repetitions of works such as ‘Flowers’ and the ‘Jackie’ series, Whiteley was pushing the same medium in a markedly different direction. Where Warhol tested its boundaries through repetition and the language of mass imagery, Whiteley’s approach feels far more intimate and psychologically charged -  yet no less contemporary.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e‘The Regent’s Park Zoo Series’, to which this work belongs, emerged from Whiteley’s frequent visits to Regent’s Park Zoo, often with his infant daughter Arkie. Here, observation becomes projection: the animals are not merely subjects but vessels through which Whiteley explores energy, confinement, and the strange theatre of being alive. The influence of Francis Bacon lingers in the caged primate - tense, aware, almost uncomfortably sentient - transforming what begins as a moment of looking into something far more visceral and psychologically immediate.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAnd yet 'Swinging Monkey 2' resists heaviness. It is, unmistakably, a work of wit. The outstretched hand reaching through the mesh - animated, almost cheeky - carries a playful immediacy. The handwritten “DO NOT FEED” sign reads as both instruction and irony, heightening the sense that the viewer, too, is implicated in the exchange. There is a looseness here, a kind of visual mischief, that offsets the underlying tension.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis duality reflects the broader context of Whiteley’s 1965 Marlborough exhibition, where the Zoo works were shown alongside the darker Christie series. If those works confront the extremes of human behaviour, the Zoo images feel instinctive - alive with curiosity and a distinctly lyrical humour.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHeld in major public collections across Australia and internationally, including the Tate and MoMA, Whiteley remains a touchstone of postwar Australian art. ‘Swinging Monkey 2’ captures him at a moment of emergence: technically exploratory, culturally attuned, and already unmistakably himself - serious in intent, yet delighting in the strange, animated theatre of the world.\u003c\/span\u003e\u003cb id=\"docs-internal-guid-83b61702-7fff-2f0b-ec38-d543610a7b6e\"\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'Swinging Monkey 2 ' 1965\u003cbr\u003eColour Screenprint\u003cbr\u003eEdition of 70\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 81 x 59 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 109 x 80 x 5 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Editioned and signed Brett Whiteley in margin\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eRelated Works: Other examples of this work are held in the collections of the National Gallery of Australia, Canberra; National Gallery of Victoria, Melbourne and Art Gallery of New South Wales, Sydney.\u003c\/p\u003e\n\u003cp\u003eExhibited:\u003cbr\u003e-Brett Whiteley, Marlborough New London Gallery, London, 5-30 October 1965, cat.6 (another example),\u003cbr\u003e-Recent Works from London by Brett Whiteley, Bonython Art Gallery, Adelaide, 31 January - 17 February 1966; Kym Bonythons Hungry Horse Gallery, Sydney, 7-24 March 1966, cat.9 (another example),\u003cbr\u003e-Purchases and Acquisitions for 1966, Art Gallery of New South Wales, Sydney, 27 April 1967 - 7 May 1967,\u003cbr\u003e-Animals on Paper: from the Australian Collection of Prints, Drawings and Watercolours, Art Gallery of New South Wales, Sydney, 5 September - 5 October 1992;\u003cbr\u003e-Controversy: The Power of Art, Mornington Peninsula Regional Gallery, Victoria, 21 June - 12 August 2012.\u003c\/p\u003e\n\u003cp\u003eReference: Mandy, R. Brett Whiteley: Graphics, 1961-1982, Art Gallery of Western Australia, Perth, 1983, p.11, cat.6 (illus. another example), Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, p.110, cat.6, (illus. p.17, another example), Sutherland, K. Brett Whiteley: A Sensual Line 1957-67, Macmillan Art Publishing, Melbourne, 2010, p.324, cat.W12, Sutherland, K. Brett Whiteley Catalogue Raisonné, Schwartz Publishing, Melbourne, 2020, vol.5, p.17, cat.8P (illus. another example), vol.7, p.809.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":44796949069894,"sku":null,"price":12000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-swinging-monkey-2-117661.jpg?v=1774415496"},{"product_id":"whiteley-brett-swinging-monkey-3-17663","title":"Brett Whiteley 'Swinging Monkey 3' - collected by Vaughan","description":"\u003cp\u003eThe zoo was a sacred place for Brett Whiteley. An anonymous voyeur among the animals, he found truths about human nature here, a release from city life and infinite formal inspiration.\u003cbr\u003e\u003cbr\u003eWhiteley's 'Swinging Monkey 3' is immediately intriguing. Blending abstraction and figurative representation, Whiteley creates the impression of a monkey, suspended in an uncertain terrain. \u003cbr\u003e\u003cbr\u003eWhiteley first exhibited images of the zoo in 1965 London alongside his famed Christie series, a confronting body of work about the serial killer John Christie. In contrast to the violent imagery of Christie, his images of zoo life were palette cleaners, encapsulations of immediacy, energy and character. \u003cbr\u003e\u003cbr\u003eWhiteley’s work is represented across Australian public collections and internationally at the Tate Gallery in London and MoMA in New York. An adjunct of the Art Gallery of New South Wales, his studio has become a permanent public gallery. For collector’s of important Australian art, Whiteley is a prize.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'Swinging Monkey 3' 1965\u003cbr\u003eColour Screenprint on paper\u003cbr\u003eEdition of 70\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 81 x 59 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 108 x 85 x 3 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Editioned and signed in margin.\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eRelated Works: Other examples of this work are held in the collections of the National Gallery of Australia, Canberra; Art Gallery of New South Wales, Sydney and National Gallery of Victoria, Melbourne\u003c\/p\u003e\n\u003cp\u003eExhibited:\u003c\/p\u003e\n\u003cp\u003e-Recent Works from London, Bonython Art Gallery, Adelaide; Kim Bonythons Hungry Horse Gallery, Sydney, January - March 1966, no.10 (as Swinging Monkey III, another example).\u003c\/p\u003e\n\u003cp\u003e-Recent Original Prints by International Artists, Gallery A, Melbourne and Sydney, 1966, cat.42 (another example).\u003c\/p\u003e\n\u003cp\u003e-Graphics: Boyd, Hockney, Whiteley, Clune Galleries, Sydney, February 1966 (another example).\u003c\/p\u003e\n\u003cp\u003eReference: Mandy, R., Brett Whiteley: Graphics, 1961-1982, Art Gallery of Western Australia, Perth, 1983, p.11, cat.7 (illus., another example). Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, p.110, cat.7 (illus. p.18, another example). Sutherland, K., Brett Whiteley: A Sensual Line 1957-67, Macmillan Art Publishing, Melbourne, 2010, p.324, cat.W13. Sutherland, K., Brett Whiteley: Catalogue Raisonne, Schwartz Publishing, Melbourne, 2020, vol.5, p.18, cat.9P (illus., another example), vol.7, p.809.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003c\/p\u003e\n\u003cp\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":44796949102662,"sku":null,"price":12000.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-swinging-monkey-3-117663.jpg?v=1774399365"},{"product_id":"whiteley-brett-chimp-taronga-park-z-17666","title":"Brett Whiteley 'Chimp: Taronga Park Zoo, Sydney'","description":"\u003cp\u003eWhiteley first exhibited images of the zoo in 1965 London alongside his famed Christie series, a confronting body of work about the serial killer John Christie. In contrast to the violent imagery of Christie, his images of zoo life were palette cleaners, encapsulations of immediacy, energy and character. \u003cbr\u003e\u003cbr\u003eWhen Whiteley returned to Australia, he lived within walking distance of Taronga Zoo and would often go there to draw. His 1979 etching 'Chimp: Taronga Park Zoo, Sydney' emerges from this period. In lyrical black mark-making, the animal's intricately-rendered face is an intimate portrayal of Whiteley's personal perspective. In many ways, the strong black bars obscuring its face are a visual shock, a stark contrast to the softness of the animal's features.\u003cbr\u003e\u003cbr\u003eThe zoo was a sacred place for Brett Whiteley. An anonymous voyeur among the animals, he found truths about human nature here, a release from city life and infinite formal inspiration.\u003cbr\u003e\u003cbr\u003eWhiteley’s work is represented across Australian public collections and internationally at the Tate Gallery in London and MoMA in New York. An adjunct of the Art Gallery of New South Wales, his studio has become a permanent public gallery. For collector’s of important Australian art, Whiteley is a prize.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'Chimp: Taronga Park Zoo, Sydney' 1979\u003cbr\u003eEtching on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 24 x 20 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 59 x 48 x 5 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed and editioned in margin. Book signed and numbered on title page.\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eCopy of Brett Whiteleys Zoo included with work.\u003c\/p\u003e\n\u003cp\u003eLiterature: Mandy, R. Brett Whiteley: The Complete Graphics, 1961-1982, Art Gallery of Western Australia, Perth, 1983, p.40, cat.53 (illus. another example, as Zoo). Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, p.113, cat.55 (illus. p.62, another example, as (Monkey)). Sutherland, K. Brett Whiteley: Catalogue Raisonne, Schwartz Publishing, Melbourne, 2020, vol.5, pp.106, cat.96P (illus. another example), vol.7, p.826.\u003c\/p\u003e\n\u003cp\u003eCondition: Excellent\u003c\/p\u003e\n\u003cp\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":44796949168198,"sku":null,"price":10000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-chimp-taronga-park-z-17666.jpg?v=1774399113"},{"product_id":"whiteley-brett-brett-whiteley-and-j-17668","title":"Brett Whiteley 'Brett Whiteley and Joel Elenberg' - Collected","description":"\u003cp\u003eBrett Whiteley is an icon of Australian art. Often fusing the abstract and the figurative, calm and chaos, Whiteley creates emotionally heightened worlds of ballooning forms and elongated figures. His imagery is always immediate, reflective of his pursuit for “beauty which can best be described as being on time for the appointment.”\u003cbr\u003e\u003cbr\u003eIn this poster signed by Whiteley himself, the artist stands with Joel Elenberg, a fellow Australian artist known for his modernist sculptures. Captured intimately here within Whiteley's studio, the two artists were known to be close friends, with Elenberg being the focus of several Whiteley portraits, many of which are held in national institutions.\u003cbr\u003e\u003cbr\u003eThis poster is both a piece of art and a rare form of documentation of the artist's artistic and personal relationship. For collectors of Whiteley and lovers of Australian art history, this poster is a resonant find. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'Brett Whiteley and Joel Elenberg'\u003cbr\u003eOffset lithographic (poster) on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 70 x 55 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 87 x 72 x 4 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed lower right: brett whiteley\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003c\/p\u003e\n\u003cp\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":44796949200966,"sku":null,"price":1600.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-brett-whiteley-and-j-17668.jpg?v=1774398996"},{"product_id":"whiteley-brett-towards-sculpture-8-17646","title":"Brett Whiteley 'Towards Sculpture 8 '","description":"\u003cp\u003eBrett Whiteley is an icon of Australian art. Often fusing the abstract and the figurative, calm and chaos, Whiteley creates emotionally heightened worlds of ballooning forms and elongated figures. His imagery is always immediate, reflective of his pursuit for “beauty which can best be described as being on time for the appointment.”\u003cbr\u003e\u003cbr\u003ePivotal to the artist's visual lexicon is the female nude, a subject that he continued to visit throughout his career. Wrought in curves and sensually depicted, 'Towards Scultpure 8' showcases Whiteley's ability to create depth and motion in simple, fluid mark-making. \u003cbr\u003e\u003cbr\u003eWhiteley’s work is represented across Australian public collections and internationally at the Tate Gallery in London and MoMA in New York. An adjunct of the Art Gallery of New South Wales, his studio has become a permanent public gallery. For collector’s of important Australian art, Whiteley is a prize. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'Towards Sculpture 8 ' 1977\u003cbr\u003elithograph on paper\u003cbr\u003eEdition of 50\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 85 x 59 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 122 x 90 x 5 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed lower right: brett whiteley, monogrammed upper right, editioned lower left\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eLiterature: Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1992, cat. no. 25, p. 112 (illus., p. 45 another impression). Another impression of this print is held in the permanent collection of the National Gallery of Australia, Canberra.\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003c\/p\u003e\n\u003cp\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art and Collectors","offers":[{"title":"Default Title","offer_id":44796949233734,"sku":null,"price":38000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-towards-sculpture-8-117646.jpg?v=1774398843"},{"product_id":"whiteley-brett-light-globe-17648","title":"Brett Whiteley 'Light Globe'","description":"\u003cp\u003eBrett Whiteley had a unique understanding of the nude. His approach, likened by art historian Lou Klepac to a cellist, centred around impact. He struck a line, reverberating it into a curve that formed the boundary of the body, anchored by a muss of face or hair. \u003cbr\u003e\u003cbr\u003eThis appears profoundly in his 1981 linocut 'Light Globe'. Alive with contrast and bold mark-making, this sensual image appears to radiate light. In 1989, he reflected that “The nude has been predominant really… a very major part of my work. Even when I was painting abstractions, in a way I was painting the nude”. Indeed, it seems to precede his very approach to art. \u003cbr\u003e\u003cbr\u003eAmong Australia’s most celebrated artists, Whiteley won the Art Gallery of NSW Archibald, Wynne and Sulman prizes several times. ‘Girl Warming and Reading’ is a sublime find for collectors of Whiteley and the nude. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'Light Globe' 1981\u003cbr\u003elinocut on paper\u003cbr\u003eEdition of 10\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 30 x 30 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 88 x 78 x 4 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Numbered, signed and stamped with monogram below image 'AP, Brett Whiteley, BW'\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eExcellent:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":44796949266502,"sku":null,"price":20000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-light-globe-17648.jpg?v=1774398759"},{"product_id":"whiteley-brett-back-i-17650","title":"Brett Whiteley 'Back I'","description":"\u003cp\u003eBrett Whiteley is an icon of Australian art. His work, varied yet always distinctly his, was informed by his travels, the Vietnam War, Sydney, bohemia and Vincent Van Gogh and Francis Bacon. \u003cbr\u003e\u003cbr\u003eIn exploring these worlds, Whiteley fused the abstract and figurative, creating emotionally heightened worlds of ballooning forms and elongated lines. His imagery is always immediate, reflective of his pursuit for “beauty which can best be described as being on time for the appointment.”\u003cbr\u003e\u003cbr\u003ePivotal to the artist's visual lexicon is the female nude, a subject that he continued to visit throughout his career. Wrought in curves and sensually depicted, 'Back I' showcases Whiteley's ability to create depth and motion in simple, fluid mark-making. \u003cbr\u003e\u003cbr\u003eWhiteley’s work is represented across Australian public collections and internationally at the Tate Gallery in London and MoMA in New York. An adjunct of the Art Gallery of New South Wales, his studio has become a permanent public gallery. For collector’s of important Australian art, Whiteley is a prize. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'Back I' 1981\u003cbr\u003elithograph on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 95 x 60 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 121 x 86 x 2 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed lower right: brett whiteley. Editioned lower left: AP III \/ V\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eReference: Deutscher Fine Art, Brett Whiteley The Graphics 1961-1992, Deutscher Art Pty Ltd, Melbourne, 1995, pl. no. 63 (illus). Kathie Sutherland, Brett Whiteley: Catalogue Raisonne, Schwartz Publishing, Melbourne, 2020, cat. 113P; vol. 5, p. 130 (illus. another example)\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003c\/p\u003e\n\u003cp\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":44796949299270,"sku":null,"price":20000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-back-i-117650.jpg?v=1774398700"},{"product_id":"whiteley-brett-towards-sculpture-6-14582","title":"Brett Whiteley 'Towards Sculpture 6 '","description":"\u003cp\u003eBrett Whiteley is an icon of Australian art. Often fusing the abstract and the figurative, calm and chaos, Whiteley creates emotionally heightened worlds of ballooning forms and elongated figures. His imagery is always immediate, reflective of his pursuit for “beauty which can best be described as being on time for the appointment.”\u003cbr\u003e\u003cbr\u003ePivotal to the artist's visual lexicon is the female nude, a subject that he continued to visit throughout his career. Wrought in curves and sensually depicted, 'Towards Sculpture 6' showcases Whiteley's ability to create depth and motion in simple, fluid mark-making.\u003cbr\u003e\u003cbr\u003eWhiteley’s work is represented across Australian public collections and internationally at the Tate Gallery in London and MoMA in New York. An adjunct of the Art Gallery of New South Wales, his studio has become a permanent public gallery. For collector’s of important Australian art, Whiteley is a prize. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/brett-whiteley\"\u003eBrett WHITELEY\u003c\/a\u003e (1939 - 1992)\u003cbr\u003e'Towards Sculpture 6 ' 1977\u003cbr\u003elithograph on paper\u003cbr\u003eEdition of 50\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 90 x 63 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 124 x 96 x 3 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Numbered, editioned and signed 'brett whiteley' in margin. Stamped upper right with artist's monogram\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eLiterature: Deutscher, C., Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, p.111, cat. no. 28 (illus., p.38, another impression). Sutherland, K. Brett Whiteley: Catalogue Raisonne, Schwartz Publishing, Melbourne, 2020, vol.5, p.78, cat 84P (illus. other examples), vol.7, p.824.Other examples of this print are held in the collections of the Tate Gallery, London and the National Gallery of Australia, Canberra\u003cbr\u003eCondition:Very Good.\u003c\/p\u003e\n\u003cp\u003e(c) Wendy Whiteley \/ Copyright Agency\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":44796949332038,"sku":null,"price":30000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/whiteley-brett-towards-sculpture-6-114582.jpg?v=1774398635"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/collections\/WhiteleyBaldessin_-_Exhibition_Page_425a8540-2018-43a5-a65b-a8643f6e3569.png?v=1772674216","url":"https:\/\/artandcollectors.com\/collections\/emblems-ecstasies-baldessin-whiteley.oembed?page=2","provider":"Art and Collectors","version":"1.0","type":"link"}