The Legacy
George Baldessin 1939 -1978
2 George Baldessin (1939–1978) was an Italian-Australian artist, printmaker and sculptor. His work features in most major private and public collections in Australia, and many overseas. A charismatic figure in the history of Australian art, especially in Melbourne in the 1970s, Baldessin was known for his generosity and encouragement to others’ creativity until his accidental death in 1978, at the age of 39. Tess Edwards Baldessin restored and reopened Baldessin’s original bluestone studio in 2001 as the Baldessin Press & Studio.
The Estate of George Baldessin is managed by Australian Galleries, which also published the monograph ‘George Baldessin: Paradox and Persuasion’ in 2009 by Harriet Edquist.
George Baldessin c.1972 in front of Personage, window and factory smoke 1972 three plate crayon and flat colour off-set lithograph
The
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Legacy
Published by Australian Galleries, 2022
© Baldessin Press & Studio Inc. 2022
This book is copyright. Apart from any use permitted under the Copyright Act 1968 and subsequent amendments, no part may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means whatsoever without prior permission of the copyright owners.
Designer: Stephanie Hall
Editor: Ingrid Oosterhuis
Printer: Ellikon Fine Printers
All photography by Silvi Glattauer, with the exception of historical photos.
Front cover: Interior, Baldessin Studio, June 2018
ISBN 978-0-6481162-7-1
Baldessin Studio
90 Shaftesbury Avenue, St Andrews, VIC, 3761 info@baldessinpress.com.au baldessinpress.com.au
A USTRALIAN G ALLERIES
The Legacy
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Baldessin Studio: The Legacy 9 Baldessin Studio: The Beginning 11 The Team 15 What We Do 18 Activities and Highlights 19 Conclusion 21 Exhibiting Artists 23 Acknowledgements 57 Contents Opposite: Mary Magdalene sculpture by George Baldessin
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L-R: Rob Hails, Tess Edwards Baldessin, Lloyd Godman
Baldessin Studio: The Legacy
“Reality exists only as a yearning”
…written in George’s hand, on a scrap of paper on his desk in the studio. I found it after his death in 1978, and it touched me deeply. I have never forgotten it, and as decades pass, I understand it more. I wonder how George, at the age of 39, had so much insight into the creative process and its purpose.
My return to St Andrews, alone, after 17 years in France, was due to this yearning, like a magnetic pull imbued with a sense of inevitability. I knew that I had a calling to do something related to George, the studio and the healing past, and it was indeed a sort of yearning for truth or reality.
The bringing back to life of George’s studio was what I had to do, there was no choice involved.
At the time I had no idea of how it could happen or what it would look like, but I knew it would have to be a worthy homage to George and our studio. Firstly, it would have to be a place for artists. Simple as that. A place where artists would feel comfortable and were able to attain the necessary state of creative surrender to make real art. Beyond that, there was no real plan, and it evolved as it has over 21 years and will no doubt continue to do so for a while yet.
On my return in 2000 the building resembled an abandoned junkshop, covered in cobwebs, dusty drapes, rat droppings, and yellow newspapers dated 1982. The big etching press was there, alongside all of George’s printmaking equipment. This included rickety wooden workbenches, pots of solid inks, and rollers and brayers, all melted à la Dalí, symbolic of time and gravity. After the indescribable process of cleaning and ordering the studio space, helped by many wonderful friends, the Baldessin Studio was a newly born entity.
Since those early years, the entity has grown in every way, and what we have now is truly a haven and favourite place for so many artists who come almost as a pilgrimage to use George’s press and make great prints.
The building itself, built by George and friends, is steeped in our DNA and literal blood, sweat and tears. But it is the people who come to this almost sacred space that make it so special. The commitment and passion of all the people involved over two decades are not to be underestimated, permeating the space and binding individuals into a real intentional creative community.
Artists are special people and Baldessin Studio welcomes them just as George did in his Winfield Building studio in the 1970s. Even without the master’s physical presence, there is an underlying seriousness of creative purpose among the light and cheerful atmosphere.
The team at Baldessin Studio understands and respects artists and their particular sensibility, it is the yearning for reality, which is itself the yearning.
Tess Edwards Baldessin, August, 2022
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Baldessin Studio: The Beginning
George Baldessin’s studio is still alive and buzzing with creative energy, forty-four years after the artist’s abrupt and tragic departure. George died at the age of just 39, but left behind him a substantial legacy. This was not only his exquisitely poignant works of art, but also his hand built stone studio furnished with choice printmaking equipment including his iconic motorised etching press. As well as this material legacy, he left us a wealth of goodwill, generosity of spirit and enthusiasm for making art, especially prints. Those who remember George often remark about his incredible creative energy and love of friendship, fun, community, food and wine, exchanging of ideas and above all, the camaraderie of artists.
The beginnings of the Baldessin Studio in its current iteration were established in 2001 by George’s widow, Tess, once she had returned from France after 17 years in chosen exile. The Baldessin presence was reawakened on all fronts, led by Tess and greatly assisted by Stuart Purves of Australian Galleries. Here was an opportunity to reanimate the studio that had slumbered since 1978 under its growing cloak of cobwebs and dust.
Designed and run by artists, for artists, the studio operates as a not-for-profit organisation that values its enduring role in the arts community as a centre for ideas and production. George’s legacy of cultivating creative experiences lives on in the studio in the bush at St Andrews, which continues to welcome artists every day of the week.
Above: Building the Studio, 1970 Opposite: The Baldessin Studio, 2022
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Robert Hails, Les Kossatz and Doug Hails building the studio
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Centre left: Roger Kemp, John Olsen, George Baldessin and Anne Purves; Centre right: George Baldessin at Atelier Lacouriere-Fre laut, Paris 1976; Bottom left: George, Greg Moncrieff and Les Kossatz; Bottom right: Doug Hails, Gabriel Baldessin, George, Robert Hails 1977
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The Team
When Silvi Glattauer joined Tess and brothers Doug and Robert Hails in 2001, there was the beginning of a committee of management and a level of professionalism which had been until then, rather ad hoc in concept and organisation. As a not-for-profit incorporated association, everyone was a volunteer, and the place was truly founded on goodwill and a belief in the cause!
Over the years we have had help and support from so many people, all willing to pitch in, whether it be for a one-off working bee or a responsible admin job on a short or long term ‘contract’.
These days we have a fully professional organisation, with a Committee of Management comprising Tess Edwards Baldessin as President, Silvi Glattauer as Studio Manager, Ros Muston as Secretary, Rob Hails as Treasurer, and Members Nicole Bowller and Gabriel Baldessin. Many amazing volunteers include Kate Shearer, Kate Zizys, Etienne Mantelli, and Elizabeth Haigh.
Today the Studio is a well-oiled machine, thanks to all members and volunteers.
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Above: Inside Studio View
Opposite:
L-R
–
Silvi Glattauer, Rob Hails, Tess Edwards Baldessin and Lloyd Godman
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Top left; Rob Hails and Neil Wallace; Top right: Petanque tournament; Centre right: Indra Kurzeme (SLV), N. Stairmand, Rick Amo r, Tess Edwards Baldessin; Bottom left: Picnic paellas; Bottom right: Doug Hails, Silvi Glattauer, Tess Edwards, Robert Hails 200 1
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Top right: Silvi Glattauer; Centre left: Jock Clutterbuck teaching Bottom left: The Press Gang Band at the Printmakers’ Picnic; Bottom right: The Artists’ Garret
18 The remit of our studio is as follows: To provide a professional printmaking space and quality equipment for artists, that is conducive to deep engagement and creative experimentation. We have five presses which are available each day for artists to book to use. To offer excellent teaching workshops/courses in various printmaking techniques with highly experienced tutors and technicians. To offer artists expert advice, mentoring, individual tuition, and editioning. To accommodate artists on site for retreats and residencies, facilitating complete immersion to allow extended levels of concentration. To offer high level technical collaboration between artist and master printer. What We Do
Activities and Highlights
Over the years, the Baldessin Studio has facilitated and supported numerous group exhibitions of works printed on our presses, artists’ talks, participation in many national and international printmaking events, including IMPACT Melbourne and Spain, the NGV art book fair, Sydney Contemporary, and the Australian Print Triennial. Silvi, being an expert in photo based printmaking, is much in demand, and has been invited to teach workshops in Spain, Morocco, New Zealand, Argentina, as well as national collaborations with sister studios, namely Megalo, Warringah, Inkmasters, and Mildura.
Baldessin Studio is proud of its liaison since 2014 with the State Library Victoria Creative Fellowship Awards of which there are two, providing studio access, accommodation and support:
1. The Amor Printmaking Fellowship, sponsored by the artist Rick Amor.
2. The Tate Adams Memorial Fellowship for Artists Books, sponsored by Morag Fraser AM.
The annual award winners have brought much new energy and interest into our program, and we are grateful to all who make this possible.
In 2016 our Memorial Folio fundraiser ‘Baldessin and Friends’ brought seven major artists together to remember and celebrate the memory of George Baldessin. The resulting splendid folio of full-sized prints by Rick Amor, G.W. Bot, George Baldessin, Jock Clutterbuck, Imants Tillers, Jan Senbergs, Michael Leunig and John Wolseley was accompanied by a catalogue with text by Professor Sasha Grishin AM FAHA, who launched the folio at a gala event at the State Library of Victoria.
Our doors are open to the public for three weekends per year in May and November as part of the Nillumbik Open Studio program. During this time the general public can experience live demonstrations at the studio and browse artwork for sale at studio prices.
We wind up every year with the Printmakers’ Picnic in the grounds and surrounding bushland at Baldessin Studio. This is an iteration of the 1970s annual Artists vs Writers Cricket Match that George Baldessin and friends organised at St Andrews. These days, cricket has been replaced by a hard fought pétanque championship to win the crown of recycled copper etching plate and felt blanket made by Etienne Mantelli. Music is supplied by various talented musician-printmakers, including the rock band ‘The Press Gang’, with specially crafted and hilarious printmakers’ lyrics to old favourites. Much dancing, eating (giant paellas), drinking and good fun is had, in and outside the studio building on the last Sunday of November. All printmakers and their families and friends are welcome.
Opposite: Artist Sarah McConnell working in the Studio
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Top & centre left & right: Interior, Baldessin studio; Bottom Left: The Press Gang Band at the Printmakers’ Picnic; Bottom right: The Artists’ Garret
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Top left: Launch Baldessin and Friends Folio at State Library Victoria; John Wolseley, Deanna Hitti (printer), Jan Senbergs, Ri ck Amor, Jock Clutterbuck, Sasha Grishin and Tess Edwards Baldessin; Letter press printer at the studio door Centre right: Picnic fun; Bottom right: Tess Edwards Baldessin and Silvi Glattauer
Conclusion
The studio is now open to artists seven days per week, and the five presses are in hot demand. Very often there are one or two artists-in-residence in the accommodation that is available on the property. There have been many international printmakers over the years, including from Chile, Lithuania, Denmark, Germany, and New Zealand, all of whom had a great time kangaroo spotting while networking ideas! Many interstaters also use the accommodation so they can immerse themselves in printmaking day and night.
The most important thing of all about this place is the incredible volunteer workforce that makes it all happen, day in and day out. The sense of commitment and dedication, especially from Silvi Glattauer and Ros Muston, is remarkable.
To think that for twenty-one years this studio has continued to grow and flourish is quite a feat, and we are pleased to congratulate ourselves; Baldessin Studio has come of age!
Above: Bush view from the Studio Opposite: Artwork by Brian Che
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25 ú Exhibiting Artists Rick Amor Benjamin Armstrong Rosalind Atkins Susan Baran Katie Breckon Andrew Browne August Carpenter Angela Coombs Matthews Zo Damage Lana de Jager Kasia Fabijanska Dianne Fogwell Belinda Fox Silvi Glattauer Brent Harris Kate Hudson Kyoko Imazu Chris Ingham Christine Johnson Martin King Barbie Kjar Judith Martinez Estrada Simon Normand Monty Osewald Jenny Robinson Heather Shimmen Sophia Szilagyi Carmel Wallace Kate Zizys
26 The ruin 2016 drypoint etching 57 x 38 cm edition 5 Rick Amor
Benjamin
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Armstrong To Crave and to have (part I, II & III) 2022 etching on ink jet print 76 x 56 cm (each panel) edition 10 Courtesy of the artist and Tolarno Galleries, Melbourne
Rosalind
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Atkins Considering the tree 2020 engraving 80 x 60 cm edition 8
Susan
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Baran Alhambra palace 2020 photopolymer photogravure with handcolouring 57 x 123 cm edition 5
Kimberley termite mound
etching printed on Hahnemuhle bright white 350gsm
x 45 cm edition
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2022 copper
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25 Katie Breckon
Andrew
Shoegazer 2021 photogravure chine-collé on vintage 1970 Japanese silver paper from the Estate of George Baldessin, mounted on Fabriano paper 24 x 17.5 cm edition 20 Courtesy of the artist and Tolarno Galleries, Melbourne
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Browne
Lines after storms
chine-collé
Arches
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2022 etching,
on 250gsm Velin
38 x 28 cm edition 8 August Carpenter
33 Intimations 2022 monoprint 76 x 56 cm unique Angela Coombs Matthews
34 Across a synapse II 2022 photogravure on paper 50 x 40 cm edition 3 Zo Damage
Repose
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2022 solarplate etching, à la poupée and watercolour 80 x 146 cm edition 20 E.V. Lana de Jager
Kasia
36 Night flight 2020 etching and aquatint 29.5 x 88.5 cm edition 12 ú
Fabijanska
37 Abores 53 2022 linocut 56 x 76 cm edition 20 Dianne Fogwell
In the balance
- C 2021
point and monotype
x 50 cm unique
Belinda
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I
dry
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Fox
39 Tidal flats 3 2022 photogravure 40 x 60 cm edition 5 Silvi Glattauer
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The stations 2021 14 polymer gravure etchings with watercolour each image size: 47.5 x 37.5 cm each sheet size: 71.5 x 56 cm dimensions variable edition 20 Courtesy of the artist and Tolarno Galleries, Melbourne
Brent
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Harris
Kate
42 Pardalotes & eucalyptus 2022 reduction linocut 22 x 22.5 cm edition 25
Hudson
43 Passionfruit 2021 etching and aquatint 12.5 x 11 cm edition 25 Kyoko Imazu
The
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garden path 2022 line etching, sugar lift aquatint and chine-collé 80 x 80 cm edition 3 Chris Ingham
45 Saltbush 2021 solarplate engraving and archival pigment print 35 x 27 cm edition 30 Christine Johnson
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47 Flow IV - the way out 2022 etching 17.5 x 136 cm edition 30 Martin King
48 Lucy with bull kelp 2022 drypoint and wood relief stencil 56 x 38 cm edition 15 Barbie Kjar
49 The weight of light IV 2019 photogravure 55 x 38 cm edition 10 Judith Martinez Estrada
Simon
50 Leichhardt and the giant cycads 2021 hand coloured drypoint and etching 26 x 56 cm edition 25
Normand
51 KIKX seated 2022 monoprint and inkjet print 76 x 56.5 cm unique Monty Osewald
52 Lines of containment 2021 drypoint 140 x 119 cm edition 6 Jenny Robinson
53 Crossing the gully 2022 linocut and ink on paper 120 x 80 cm edition 10 Heather Shimmen
Into the cave – no.3 2022 monoprint and linocut 76 x 56 cm unique
Heather Shimmen & Carmel Wallace
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55 Wanderings III 2022 photogravure with chine-collé 70 x 100 cm edition 3 Sophia Szilagyi
Resonance 2: Fossil (heart urchin) 2022 monotype, watercolour and etching ink on paper, stencil and letterset 110 x 76 cm unique
Carmel
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Wallace
57 Double 2022 multi-plate monotype 36 x 58 cm unique Kate Zizys
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Acknowledgements
Our special thanks go to the following supporters of Baldessin Studio, without whom we could not function as we do.
Australian Galleries - Stuart Purves and team State Library Victoria Rick Amor
Morag Fraser AM Prof. Sasha Grishin Nillumbik Shire Council Peter and Jane Crone Print Council of Australia Committee of Management
Tess Edwards Baldessin (President) Silvi Glattauer (Studio Manager) Ros Muston (Secretary)
Robert Hails (Treasurer) Committee members past and present Volunteers
A VERY special thank you to all the enthusiastic volunteers who have contributed to creating the Baldessin Studio in every way, small and large, over the 21 years of existence. They are far too many to name.
Tess Edwards Baldessin, 2022
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