Primary Inscription: dated l.r. (in pencil) ‘1960’; stamped l.r. (in black ink) with artist’s monogram

Provenance: Whiteley Estate (BWS1263)

Exhibited: Brett Whiteley Drawings 1960–1973, Bonython Art Gallery, Sydney, 1974, cat. 1 (as Woman on the Boat Going to Italy 1960)

Literature: Borlase in The Bulletin, 19 January 1974, p. 38.
Sutherland, 2010, p. 232 (cat. C1).
Sutherland, 2020, vol. 7, Drawings, 1960; Portraits and People, p. 85.

Related Work: sculpture (bronze): Head of a Woman (Anna) (Rome) 1960 (cat. 3S)

Provenance: Beryl Whiteley, Sydney; Private collection, London, purchased from Beryl Whiteley in the early 1960s

Literature: Sutherland, 2020, vol. 1, p. 66 (illus.); vol. 7, Drawings, 1960; Portraits and People, p. 85

Provenance: Whiteley Estate (BWS1217)

Literature: Wilson, 2016, p. 43.
Sutherland, 2020, vol. 7, Drawings, 1960; Portraits and People, p. 85.

Note: In a letter dated 14 June 1960, Whiteley wrote to his friend Signora Rosina Tedeschi in Sydney ‘Have met the Marchese Fiovantti [sic] in Florence whom I am painting, also the Duke of Fragnito (near Naples) has invited me down to paint his portrait + stay in his castle’ (for portrait of Marchese Fioravanti, refer Sutherland cat. 56.60).

Provenance: Bonython Art Gallery, Sydney; Private collection

Exhibited: Brett Whiteley Drawings 1960–1973, Bonython, Sydney, 1974, cat. 6 (as Italian Kid 1960)

Literature: Sutherland, 2010, p. 234 (cat. C15).
Sutherland, 2020, vol. 7, Drawings, 1960; Portraits and People, p. 85.

Provenance: Whiteley Estate (BWS798)

Literature: Sutherland, 2020, vol. 7, Drawings, 1960; Portraits and People, p. 85

Primary Inscription: inscribed l.r. (in pencil) ‘PAUL 597.6761 / work 74 1643 / Burwood C.Y.SS.’

Provenance: Whiteley Estate (BWS1558)

Literature: Sutherland, 2020, vol. 7, Drawings, 1960; Portraits and People, p. 85

Note: Wendy Whiteley suggests that the contact details in the inscription belong to Paul Collins, a school friend from Scots College, Sydney, who was on the same ship as Wendy and travelled with her as far as Paris where she was reunited with Brett in 1960.

Primary Inscription: dated and inscribed beneath image (pen and black ink) ‘Visit to Giorgio Morandi in Grizzano [sic] Italy in 1960.... Renaissance Zen.'; inscribed l.r. (in pencil on sheet) ‘Morandi’; later stamped l.r. (in black ink) with artist’s] monogram (on cardboard)

Inscription: beneath image:
‘Visit to Giorgio Morandi in Grizzano [sic] Italy in 1960. Drove on a motor / scooter to Bologna and was directed on to Grizzano [sic] by his sister who / said that Giorgio had left Bologna because a developer had cut down / a pear tree in the back garden and this had upset him so…he / quit his apartment for ever. With Mick Johnson on the back of the / Vespa we drove to Grizzano [sic]. Two more sisters greeted us. / I expected a sort of Bonnard Tit-mouse but instead Giorgio / was tall, tough, almost rough, noisy but very kind. He spoke / no English I spoke little Italian so for an hour over a strong / yellow coloured liqiour [sic] the two admiring students registered / only that he had stopped working, was going blind, was / readying himself for death; had never visited Paris, / detested Picasso and was amazed that anyone from / Australia had ever heard of him. As we drove away / he stood + waved that wonderful Italian farwell [sic], the / hand opening + closing and slightly girating [sic] as if / to imply Bye-Bye but come again soon. He / lived another 4 years. What a wonderful painter, the simpler the more extraordinary. Renaissance Zen.’

Provenance: Whiteley Estate (BWS603)

Exhibited: Instantly: Whiteley with Words, BWS, 2000; Whiteley himself and Friends, BWS, December 2003–April 2004; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; OTHER PLACES: Somewhere else, BWS, December 2015–May 2016; Tributes, BWS, 2016

Literature: Sutherland, 2010, ref. p. 234 (cat. C14); p. 235 (illus.).
Sutherland, 2020, vol. 1, p. 61 (illus.); vol. 7, Drawings, 1960; Portraits and People, pp. 85–86.

Primary Inscription: stamped l.r. (in black ink) with artist’s monogram; inscribed verso ‘string / quartet / ink / (14)’; further inscribed verso ‘DRAWING CATALOGUE 86. / 1960 7″ x 10″’

Provenance: Whiteley Estate (BWS1200)

Exhibited: 162 Drawings: Brett Whiteley: 1960–85, Robin Gibson Gallery, Sydney, 1985, cat. 86 (as String Quartet, 1960); Rees: Whiteley: on the road to Berry, Museum of Modern Art at Heide, Bulleen, 1993, and AGNSW, Sydney, cat. 42; Tributes, BWS, 2016

Literature: McGrath, 1979, p. 224 (cat. 58) (as Quartet 1960) (illus.).
162 Drawings: Brett Whiteley: 1960–85, exhib. cat., Robin Gibson Gallery 1985, p. 51 (illus.).
Klepac, 1993, p. 16.
Sutherland, 2020, vol. 7, Drawings,1960; Portraits and People, p. 86.

Related Work: drawing: Quartet (1960) (cat. 9.60)

Provenance: Australian Galleries, Melbourne, 1975 (AG2303); Christie’s, Melbourne, 28 April l976, lot 114 (as Quartet) ($550); Private Collection, purchased at Christie’s

Exhibited: Australian Galleries, Melbourne, from August 1975; [probably] Brett Whiteley, Philip Bacon Galleries, Brisbane, 1976 (as Quartet)

Literature: Sutherland, 2010, p. 236 (cat. CC7).
Sutherland, 2020, vol. 7, Drawings, 1960; Portraits and People, p. 86.

Related Work: drawing: String Quartet 1960 (cat. 8.60)

Provenance: Private collection

Literature: McGrath, 1979, cat. 49, p. 223 (cat. 49) (as Two Nudes) (illus.).
Sutherland, 2010, p. 234 (cat. C7).
Sutherland, 2020, vol. 7, Drawings, 1960; The Nude, p. 86.

Related Work: drawing: Nude Twice 1960 (cat. 16.60)

Primary Inscription: signed

Provenance: James R. Lawson, Sydney, 19 June 1984, lot 83; 19 June 1984, lot 83; Private collection, purchased from Lawson’s

Exhibited: Brett Whiteley: Drawings 1960–1973, Bonython, Sydney, 1974, cat. 16 (as Nude Twice, ink, 43.0 x 68.0 cm)

Literature: Sutherland, 2010, p. 234 (cat. C8).
Sutherland, 2020, vol. 7, Drawings, 1960; The Nude, pp. 86–87.

Related Work: drawing: Nude Twice 1960 (cat. 15.60)

Provenance: Whiteley Estate (BWS1246)

Literature: Sutherland, 2010, p. 234 (cat. C10).
Sutherland, 2020, vol. 7, Drawings, 1960; The Nude, p. 87.

Provenance: McRoberts & Tunnard, London, 1960; whereabouts unknown

Exhibited: Tadashi Sato / America: Douglas Swan / Scotland: Philip Weichberger / Germany: Brett Whiteley / Australia, McRoberts & Tunnard, London, 20 July–1 September 1960, cat. 29

Literature: Sutherland, 2010, p. 232 (cat. C2).
Sutherland, 2020, vol. 7, Drawings, 1960; Landscapes; Italy, p. 87.

Primary Inscription: signed, dated and inscribed l.c. ‘Roma / Whiteley 60’

Provenance: Private collection, New South Wales; Sotheby’s, Melbourne, 26 November 2002, lot 87 (illus.); Art dealer, Melbourne, purchased from Sotheby’s; Private collection, Melbourne, purchased from an auction in Lorne, Victoria

Literature: Sutherland, 2010, p. 234 (cat. C5).
Sutherland, 2020, vol. 7, Drawings, 1960; Landscapes; Italy, p. 87.

Related Work: drawing: Roma 1960 (cat. 20.60)

Primary Inscription: signed l.r. with initials ‘BW’, inscribed and dated l.r. ‘Roma 60’

Provenance: Private collection, believed to have been purchased from the artist in Rome in 1960; Christie’s, Melbourne, 9 May 1989, lot 456; Alex Holland, Sydney, 1989–2007, purchased from Christie’s; Art Equity, Sydney; Private collection, purchased from Art Equity in 2009

Exhibited: Holland Fine Art, Sydney, 1990

Literature: Sutherland, 2010, p. 234 (cat. C6).
Sutherland, 2020, vol. 7, Drawings, 1960; Landscapes; Rome, p. 87.

Related Work: drawing: Roma 1960 (cat. 19.60)

Primary Inscription: signed l.l. (in pencil) with initials ‘BW’

Provenance: Private collection, New South Wales, a cousin on the maternal side of the Whiteley family

Literature: Sutherland, 2020, vol. 7, Drawings, 1960; Landscape; Italy, p. 87

Note: This is one of two sketches given as a wedding gift by the artist to his cousin in London in 1964.

Provenance: Whiteley Estate (BWS1173)

Literature: Sutherland, 2020, vol. 7, Drawings, 1960; Landscapes; Walled Cemetery, p. 87

Related Work: drawings: (View of Walled Cemetery) (1960) (cat. 26.60); Cemetery in Tuscany 1960 (cat. 27.60)

Primary Inscription: Whiteley Estate (BWS1172)

Literature: Sutherland, 2010, p. 234 (cat. C4).
Sutherland, 2020, vol. 7, Drawings, 1960; Landscapes; Walled Cemetery, p. 86.

Related Work: drawings: (View of a Walled Cemetery) (1960) (cat. 25.60); Cemetery in Tuscany 1960 (cat. 27.60)

Primary Inscription: stamped l.r. (in black ink) with artist’s monogram

Provenance: Estate of the artist; Frannie Hopkirk, New South Wales; Private collection

Exhibited: 162 Drawings: Brett Whiteley: 1960–85, Robin Gibson Gallery, Sydney, 1985, cat. 97 (Cemetery in Tuscany, 1960) [returned to artist]

Literature: Sutherland, 2020, vol. 7, Drawings, 1960; Landscapes; Cemetery in Sicily, p. 88

Related Work: drawings: (View of a Walled Cemetery) (1960) (cat. 25.60); (View of Walled Cemetery) (1960) (cat. 26.60)

Note: Two drawings dated 1960 and titled Cemetery in Tuscany were included in Robin Gibson’s drawings exhibition of 1985. This work appears in an installation photograph of that exhibition.

Primary Inscription: stamped l.r. (in black ink) with artist’s monogram

Inscription: with inscription on 2 labels verso [first label] ‘W1 Sicilian Cemetery Wall (573)’; [second label] ‘Museum 101 / Tuscany’

Provenance: Whiteley Estate (BWS1201)

Exhibited: 162 Drawings: Brett Whiteley: 1960–85, Robin Gibson Gallery, Sydney 1985 cat. 139 (as Cemetery in Tuscany 11 1960); Rees: Whiteley: on the road to Berry, Museum of Modern Art at Heide, Bulleen, 13 July–5 September 1993, then, AGNSW, Sydney, 17–14 November 1993, cat. 43 (as Cemetery in Tuscany 11); Brett Whiteley: Drawing is everything, AGNSW, December 2018–March 2019

Literature: 162 Drawings: Brett Whiteley: 1960–85, exhib. cat., Robin Gibson Gallery 1985, p. 41 (illus.).
Klepac, 1993, p. 16.
Sutherland, 2010, p. 232 (cat. C3).
Klepac, 2014, p. 41 (illus.).
Sutherland, 2020, vol. 1, p. 68 (illus.); vol. 7, Drawings, 1960; Landscapes; Cemetery in Sicily, p. 88.

Related Work: drawings: (View of a Walled Cemetery) (1960) (cat. 25.60); (View of Walled Cemetery) (1960) (cat. 26.60); Cemetery in Tuscany 1960 (cat. 27.60); (View of a Walled Cemetery, Tuscany) (1977), artist’s notebook ‘18’ (c. 1976–1980) (KS22); Drawing for ‘Cemetery in Sicily’ (c. 1986) (cat. 65.86); Cemetery in Sicily 1989, artist’s notebook (1989–91) (n.p.) (KS36); paintings: Cemetery in Sicily 1986 (cat. 82.86); View from a Bus Outside of Messina, Sicily 1959, 1986 (cat. 83.86)

Note: *Whiteley travelled to Italy on board the Fairstar which made a brief port of call at Messina before docking in Naples on 25 February 1960. The group of ‘walled cemetery drawings’ made at this time was a source of inspiration when Whiteley returned to the theme in 1986. The title, Cemetery in Tuscany, given to two of the drawings when they were exhibited in the 1985 exhibition, 162 drawings..., refers to a cemetery close to Arthur Boyd’s house near Pisa, where the Whiteleys stayed during a much later trip to Italy in 1977 (refer (View of Walled Cemetery) (1977) in artist’s notebook ‘18’ (c. 1976–1980) (KS23)). A conflation of these subjects and ideas informs the oil paintings of 1986.

Primary Inscription: signed and dated l.r. (in pencil) ‘brett whiteley 60’; stamped l.r. (in black ink) with artist’s monogram

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, Sydney, 2012, bequest of Beryl Whiteley (217.2012)

Exhibited: OTHER PLACES: Somewhere else, BWS, December 2015–May 2016

Literature: Sutherland, 2020, Drawings, 1960; Landscapes; France, p. 88

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, Sydney, 2012, bequest of Beryl Whiteley (219.2012)

Exhibited: OTHER PLACES: Somewhere else, BWS, December 2015–May 2016

Literature: Sutherland, 2020, vol. 7, Drawings, 1960; Landscapes; France, p. 88

Primary Inscription:
signed and dated l.r. (in pencil) ‘brett / whiteley 60’; dated u.l. (in pencil) ‘Paris April 60’; stamped l.r. (in black ink) with artist’s monogram

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, Sydney, 2012, bequest of Beryl Whiteley (216.2012)

Exhibited: OTHER PLACES: Somewhere else, BWS, December 2015–May 2016

Literature: Sutherland, 2020, vol. 1, p. 62 (illus.); vol. 7, Drawings, 1960; Landscapes; France, p. 89

Primary Inscription: signed and dated l.r. (in pencil) ‘brett whiteley 60’; stamped l.r. (in black ink) with artist’s monogram

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, Sydney, 2012, bequest of Beryl Whiteley (218.2012)

Literature: Sutherland, 2020, vol. 7, Drawings, 1960; Landscapes; France, p. 89

Primary Inscription: signed and dated l.r. (in pencil) ‘brett whiteley / 60’; stamped l.r. (in black ink) with artist’s monogram

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, Sydney, 2012, bequest of Beryl Whiteley (220.2012)

Exhibited: OTHER PLACES: Somewhere else, BWS, December 2015–May 2016

Literature: Sutherland, 2020, vol. 7, Drawings, 1960; Landscapes; France, p. 89

Primary Inscription: signed and dated l.r. (in pencil) ‘brett whiteley / 60’; stamped l.r. (in black ink) with artist’s monogram

Provenance:
Beryl Whiteley, Sydney; Art Gallery of New South Wales, Sydney, 2012, bequest of Beryl Whiteley (222.2012)

Exhibited: OTHER PLACES: Somewhere else, BWS, December 2015–May 2016

Literature: Sutherland, 2020, vol. 7, Drawings,1960; Landscapes; France, p. 89

Primary Inscription: signed and dated l.l. (in pencil) ‘brett whiteley 60’; stamped l.r. (in black ink) with artist’s monogram

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, Sydney, 2012, bequest of Beryl Whiteley (221.2012)

Exhibited: OTHER PLACES: Somewhere else, BWS, December 2015–May 2016

Literature: Sutherland, 2020, vol. 7, Drawings; Landscapes; France, p. 89

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, Sydney, 2012, bequest of Beryl Whiteley (229.2012)

Exhibited: Brett Whiteley: Drawing is everything, AGNSW, December 2018–March 2019

Literature: Sutherland, 2020, vol. 7, Drawings, 1960; Landscapes; France, p. 89

Provenance: whereabouts unknown

Literature: Sutherland, 2010, p. 238 (cat. D2).
Sutherland, 2020, vol. 7, Drawings, 1960; Still Life, p. 89.

Provenance: Whiteley Estate (BWS759)

Exhibited: Sydney Genesis and Beyond 1955–1965, BWS, 2005

Literature: Sutherland, 2010, p. 234 (cat. C12).
Sutherland, 2020, vol. 7, Drawings, 1960; Still Life, p. 90.

Provenance: Whiteley Estate (BWS456)

Exhibited: [probably] Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, cat. 23 (as ‘Untitled’); Aspects from the Estate, BWS, July 2002–February 2003; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005

Literature: Sutherland, 2010, p. 234 (cat. C11).
Sutherland, 2020, vol. 7, Drawings, 1960; Abstraction, p. 90.

Primary Inscription:
signed and dated l.c. ‘Whiteley 60’; inscribed u.r. ‘Painting / or drawings / u will be here / with Wendy / and no / other men / who will be here / we will be here’; stamped l.l. (in black ink) with artist’s monogram

Provenance: Whiteley Estate (BWS447)

Exhibited: [possibly] Brett Whiteley Drawings 1960–1973, Bonython, Sydney, 1974, cat. 15; [probably] Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, cat. 23 (as ‘Untitled’); Aspects from the Estate, BWS, July 2002–February 2003; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; Pathways to Figuration, BWS, March–October 2018

Literature: Sutherland, 2010, ref. pp. 46, 234 (cat. C16); p. 47 (illus.).
Sutherland, 2020, vol. 1, p. 64 (illus.); vol. 7, Drawings, 1960; Abstraction, p. 90.

Primary Inscription: signed and dated l.r. (in pencil) ‘Whiteley 1960’; stamped l.r. (in black ink) with artist’s monogram

Provenance: Whiteley Estate (BWS1247)

Exhibited: Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, cat. 22 (as Abstract)

Literature: Sutherland, 2010, p. 236 (cat. C20).
Sutherland, 2020, vol. 7, Drawings,1960; Abstraction, p. 90.

Primary Inscription: dated l.r. (in pencil) ‘1960’; stamped twice l.r. (in black ink) with artist’s monogram

Provenance: Whiteley Estate (BWS1448)

Exhibited: 162 Drawings: Brett Whiteley: 1960–1985, Robin Gibson Gallery, Sydney, 1985, cat. 128 (as Abstract 1960)

Literature: Krausmann, 1975, p. 53 (illus.).
Sutherland, 2010, p. 234 (cat. C13).
Sutherland, 2020, vol. 7, Drawings, 1960; Abstraction, p. 90.

Related Work: Refer Persistent Themes, Subjects and Motifs (nude in the bath) pp. 931–932

Note: Although previously titled ‘Abstract’, this drawing has been identified by Wendy Whiteley as a bathroom drawing. Clearly discernible is a figure in a bath, a mirror and an over-bath shelf – a device popular in the 60s that was clipped across the bath as a ‘hold-all’ for bathroom condiments.

Primary Inscription: dated l.r. ‘1960’; stamped l.l. (in black ink) with artist’s monogram

Inscription: inscribed u.r. ‘I owe Weetie Julius / £3.6.0. for serv … / rendered in … .Bret … [inscription cut off by mount board and some text crossed through]’

Provenance: Whiteley Estate (BWS455)

Exhibited: [probably] Brett Whiteley Drawings 1960–1973, Bonython, Sydney, 1974, cat 2 (as ‘Untitled Drawing’, 37 x 50 cm); Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, cat. 24; Aspects from the Estate, BWS, July 2002–February 2003; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; 9 Shades of Whiteley, BWS, December 2006–September 2007; Pathways to Figuration, BWS, March–October 2018

Literature: Sutherland, 2010, p. 236 (cat. C17).
Sutherland, 2020, vol. 7, Drawings. 1960; Abstraction, pp. 90–91.

Primary Inscription: signed and dated l.l. (in charcoal) ‘Brett / Whiteley 60’

Provenance: Whiteley Estate (BWS454)

Exhibited: [probably] Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, cat. 25 (as ‘Untitled’, 33.5 x 52 cm); [probably] Aspects from the Estate, BWS, July 2002–February 2003; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; 9 Shades of Whiteley, BWS, December 2006–September 2007; Pathways to Figuration, BWS, March–October 2018

Literature: Sutherland, 2010, p. 236 (cat. C18).
Sutherland, 2020, vol. 7, Drawings, 1960; Abstraction, p. 91.

Provenance: Whiteley Estate (BWS451)

Exhibited: Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, cat. 28 or 29 (35 x 25 cm); Aspects from the Estate, BWS, July 2002–February 2003; Fourth Veil, BWS, 2003; Sydney Genesis and Beyond 1955–1965, BWS, 2005; 9 Shades of Whiteley, BWS, December 2006–September 2007; Pathways to Figuration, BWS, March–October 2018

Literature: Sutherland, 2010, p. 236 (cat. C19).
Sutherland, 2020, vol. 7, Drawings, 1960; Abstraction, p. 91.

Related Work: painting: Untitled Warm Painting 1960–61 (cat. 97.60)

Provenance: Whiteley Estate (BWS448)

Exhibited: Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, cat. 30 (as ‘Untitled’); Aspects from the Estate, BWS, July 2002–February 2003; Fourth Veil, BWS, 2003; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, May–November 2005

Literature: Sutherland, 2010, p. 238 (cat. D3).
Sutherland, 2020, vol. 1, p. 65; vol. 7, Drawings, 1960; Abstraction, p. 91.

Related Work: Refer Persistent Themes, Subjects and Motifs (the crucifixion) pp. 927–928

Provenance: Whiteley Estate (BWS450)

Exhibited: Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, cat. 28 or 29 (both as ‘Untitled’, 35 x 25 cm); Fourth Veil, BWS, 2003; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, May–November 2005; 9 Shades of Whiteley, BWS, December 2006–September 2007; Pathways to Figuration, BWS, March–October 2018

Literature: Sutherland, 2010, p. 240 (cat. E5).
Sutherland, 2020, vol. 7, Drawings; 1960; Abstraction, p. 91.

Primary Inscription: signed and dated verso (in pencil) ‘Brett Whiteley 1960’

Provenance: Private collection, London; Private collection, London, acquired by descent; Bonhams, Sydney, 11 May 2022, lot 4 (illus.); Private collection, Sydney

Literature: addendum to Sutherland, 2020, Drawings 1960; Abstraction, cat. 54.60

Primary Inscription: signed u.r. ‘whiteley’

Provenance: Private collection, Sydney, purchased by the parents of the present owner, around 1961, [probably] from Clem Whiteley

Literature: Sutherland, 2010, ref. p. 236 (cat. CC4); p. 235 (illus.).
Sutherland, 2020, vol. 1, p. 67 (illus.); vol. 7, Paintings, 1960; Portraits and People, pp. 91–92.

Primary Inscription: signed and dated u.r. (in ink) ‘Brett Whiteley 60’

Provenance: Private collection; Philip Bacon Galleries, Brisbane; Private collection, Gold Coast, Queensland, purchased from PB in 1997 ($7,500); Philip Bacon Galleries, Brisbane, 2017; Private collection

Literature: Sutherland, 2010, p. 236 (cat. CC5).
Wilson, 2016, p. 43.
Sutherland, 2020, vol. 7, Paintings, 1961; Portraits and People, p. 92.

Note: Whiteley refers to this commissioned portrait in a letter dated 14 June 1960 to his friend in Sydney, Signora Rosina Tedeschi (refer Note: cat. 3.60) (unpublished letter, private collection, Sydney). According to Wendy Whiteley, the artist also drew a portrait of the Marchesa’s son during this period in Italy.

Primary Inscription: signed, dated and inscribed l.r. ‘brett whiteley 60 / Pedro at Guitar Lesson’; stamped u.r. with artist’s monogram

Provenance: Peter Holt* a gift from the artist; Private collection, acquired by the father of the present owner from Peter Holt around 1982 ($2,500); Private collection, a gift from the parents of the current owner

Exhibited: Rotary Art Show, Berowra Community Centre, Berowra, NSW (c. 1980) [unsold]

Literature: Addendum to Sutherland, 2020, Paintings, 1960; Portraits and People, cat. 58.60

Note: *Peter Holt, was a nephew of the late Harold Holt, a former Prime Minister of Australia. He and Whiteley were school friends of similar age. In 1980 or thereabouts, Peter Holt took the painting to Whiteley at his Lavender Bay studio and, knowing that his friend was short of funds, he signed, inscribed and stamped it in readiness for sale. It was first offered at the Rotary Club’s Art sale in Berowra for $3,000 but failed to sell and was purchased later (c. 1981) by the current owner’s father.

Primary Inscription: signed and dated l.r. (pen and ink) ‘whiteley 60’; further signed, dated, inscribed with title and framing instructions verso

Provenance: Sotheby’s, Melbourne, 31 July 1985, lot 26 ($14,000) (illus.); Private collection, Melbourne, purchased from Sotheby’s

Sketchbook: (Nude) pen and ink drawing in artist’s notebook (1960–61) (KS7)

Literature: Sutherland, 2010, p. 236 (cat. CC6).
Sutherland, 2020, vol. 7, Paintings, 1960; The Nude, p. 92.

Related Work: drawing: (Standing Nude) 1959 (cat. 11.59)

Primary Inscription: signed l.l. (in pencil) with initials ‘BW’

Provenance: Private collection (Whiteley’s maternal cousin)

Literature: Sutherland, 2020, vol. 7, Paintings,1960; Landscape, p. 92

Related Work: painting: The Vatican from the River Tiber, Rome (1960) (cat. 61.60)

Note: This is one of two sketches given to Judith Nicol as a wedding gift from the artist in London in 1964.

Primary Inscription: signed l.r. (in pencil) ‘Whiteley’

Provenance:
Beryl Whiteley, Sydney; David Chandler, Sydney, acquired from Beryl Whiteley; [Art Section], Vickers & Hoad Auctioneers, Sydney, from the estate of David Chandler, 14 October 2012, lot 374 (illus.); Private collection, New South Wales

Literature: Sutherland, 2020, vol. 1, p. 69 (illus.); vol. 7, Paintings, 1961; Landscapes, p. 92

Related Work: painting: (The Vatican from the River Tiber) (1960) (cat. 60.60)

Primary Inscription: signed l.c ‘Whiteley’

Provenance: Frannie Hopkirk, the artist’s sister; Private collection, New Zealand, purchased from Frannie Hopkirk in 1981; Private collection, Sydney, acquired by descent; Menzies Art Brands, Melbourne, 11 December 2014, lot 6 (illus.); Savill Galleries, Sydney (gallery label attached verso (stock no. 610324); ‘The Denis Savill Collection of Australian Art, Sotheby’s Australia, Sydney, 10 May 2016, lot 94 (illus.); Private collection, Melbourne

Literature: Sutherland, 2010, pp. 42*, 236, refer ‘Note CC1’.
Sutherland, 2020, vol. 1, p. 70 (illus.); vol. 7, Paintings, 1960; Landscapes, pp. 92–93.

Related Work: painting: The Spanish Steps, Rome 1960 (cat. 63.60)

Note: *It is not known whether Beryl Whiteley’s anecdote refers to Study for ‘The Spanish Steps’ (cat. 62.60) or to The Spanish Steps, Rome 1960 (cat. 63.60). (Refer Sutherland, 2010, p. 42)

Primary Inscription: signed and dated l.l. ‘Brett Whiteley 60’; titled on gallery label verso

Provenance: Fischer Fine Art, London, 1960; Blue Boy Gallery, South Yarra, Melbourne; Private collection, Melbourne, since mid-1970s; Christie’s, Melbourne, 2 May 2002, lot 41 (illus.); Private collection, New South Wales

Sketchbook: The Spanish Steps, photog. in artist’s notebook (1960–61); (KS7)

Exhibited: Fischer Fine Art, London, 1960; Selected Australian Works of Art, Lauraine Diggins Fine Art, Melbourne, 1986, p. 63 (illus.); Lauraine Diggins Fine Art at Australian Antique & Fine Art Dealer’s Fair, Royal Hall of Industries, Sydney Showgrounds, Sydney, c. 1996; 19th & 20th century Australian Painting, Sculpture and Decorative Arts, Lauraine Diggins Fine Art, 1996, cat. 110 (illus.)

Literature: Pearce and contributors, 2007 (photog. in artist’s notebook 1960–61) p. 128 (illus.).
Pearce, 1995, p. 19.
Sutherland, 2010, ref. pp. 42*, 236 (cat. cc1); p. 43 (illus.).
Sutherland, 2020, vol. 1, p. 71 (illus.); vol. 7, Paintings, 1960; Landscapes, p. 93.

Related Work: painting: Study for ‘The Spanish Steps’ 1960 (cat. 62.60)

Note: *It is not known whether Beryl Whiteley’s anecdote refers to Study for ‘The Spanish Steps’ (cat. 62.60) or to The Spanish Steps, Rome 1960 (cat. 63.60). (Refer Sutherland, 2010, p. 42)

Provenance: Whiteley Estate (BWS1078)

Literature: Sutherland, 2020, vol. 7, Paintings, 1960; Still Life, p. 93

Note: This work has been dated by Wendy Whiteley.

Provenance: Whiteley Estate (BWS452)

Exhibited: Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; Pathways to Figuration, BWS March–October 2018

Literature: Sutherland, 2010, p. 232 (cat. BB14).
Sutherland, 2020, vol. 7, Paintings, 1960; Abstraction, p. 93.

Primary Inscription: signed and dated l.l. ‘Brett Whiteley 60’; signed, dated and inscribed l.r. ‘Roma / Whiteley 60’

Provenance: Robin Gibson Gallery, Sydney; Private collection, London; Sotheby’s Australia, Sydney, 9 April 2019, lot 2 (illus.); Private collection, Sydney, purchased from Sotheby’s

Literature: Sutherland, 2010, p. 236 (cat. CC3).
Sutherland, 2020, vol. 7, Paintings, 1960; Abstraction, p. 93.

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, Sydney, 2012, a bequest of Beryl Whiteley (228.2012)

Literature: Sutherland, 2020, vol. 7, Paintings, 1960; Abstraction, p. 93

Primary Inscription: signed and dated l.c. ‘Whiteley 60’

Provenance: Rudy Komon, Sydney; Art Gallery of New South Wales, Sydney, gift of the Rudy Komon Memorial Fund in 1985 (8.1985)

Exhibited:
Rees: Whiteley: on the road to Berry, Museum of Modern Art at Heide, Bulleen, 13 July–5 September 1993, cat. 41 (as Black Landscape 1960); Great Gifts, Great Patrons, AGNSW, 17 August–19 October 1994; Australian Watercolours 1880s to 1990s, AGNSW, 18 November 1995–14 January 1996, then toured to City of Ballarat Fine Art Gallery and Tasmanian Museum and Art Gallery in 1996; Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, cat. 26; Sydney Genesis and Beyond 1955–1965, BWS, 2005; Pathways to Figuration, BWS, March–October 2018

Literature: Klepac, 1993, p. 16.
Pearce, 2000, p. 302; p. 246 (illus.).
Klepac, 2014, p. 39 (as Black Landscape) (illus.).
Sutherland, 2010, ref. p. 236 (cat. CC9); p. 237 (illus.).
Sutherland, 2020, vol. 1, p. 72 (illus.); vol. 7, Paintings, 1960; Abstraction, p. 94.

Primary Inscription: signed and dated verso (pen and ink) ‘Brett Whiteley 60’ and inscribed verso ‘Untitled Gouache’

Inscription: with inscriptions (in chalk) ‘171 + 727 RB /Mar 1–68’ and stencilled (in black paint) ‘727RB’

Provenance: Whitechapel Art Gallery, London (label attached verso); Joseph Brown Gallery, Melbourne, 1977; Private collection; Australian Art Auctions, Sydney, 8–10 March 1980, cat. 112; Elinor and Fred Wrobel, Sydney; Andrea Wrobel, acquired by descent from her mother

Exhibited: Winter Exhibition 1977: Recent Acquisitions, Joseph Brown Gallery, Melbourne, 4–14 July 1977, cat. 119 (as The Kitchen, incorrectly dated); Brett Whiteley Retrospective, AGNSW, 1995, no. 6 (as The Kitchen), then toured to state galleries, December 1995–November 2006, no. 6; Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, cat. 7

Literature: Winter Exhibition 1977: Recent Acquisitions, exhib. cat., Joseph Brown Gallery 1977 (n.p.) (illus.).
Pearce, 1995, ref. p. 226; pl. 7 (illus.).
Sutherland, 2010, ref. pp. 45, 238 (cat. CC11); p. 239 (illus.).
Sutherland, 2020, vol. 1, p. 74 (illus.); vol. 7, Paintings, 1960; Abstraction, p. 94.

Provenance: Whiteley Estate (BWS453)

Exhibited: [probably] Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, cat. 21 (as ‘Untitled’, c. 60, 44 x 29 cm); Aspects from the Estate, BWS, July 2002–February 2003; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; Pathways to Figuration, BWS, March–October 2018

Literature: Sutherland, 2010, p. 232 (cat. BB15).
Sutherland, 2020, vol. 7, Paintings, 1960; Abstraction, p. 94.

Related Work: painting: Gold-mining 1960 (cat. 76.60)

Primary Inscription: signed, dated and inscribed verso ‘Whiteley 60 / Goldmining’

Provenance: Private collection, New South Wales

Exhibited: The Artists of Hill End: Art, Life and Landscape, AGNSW, 29 July–17 September 1995; toured to regional galleries in New South Wales and Victoria, 6 October 1995–29 July 1996;Brett Whiteley Retrospective, AGNSW, 1995, no. 7 (as Gold Mining); Brett Whiteley: Aspects & Insights: The Art Gallery of New South Wales Regional Tour, July 1996–March 1997, no. 2; Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, cat. 8

Literature: Pearce, 1995, ref. p. 226; pl. 8 (illus.).
Wilson, 1995, p. 102 (illus.).
Sutherland, 2010, ref. pp. 45, 238 (cat. CC10); p. 44 (illus.).
Sutherland, 2020, vol. 1, p. 75 (illus.); vol. 7, Paintings, 1960, Abstraction, p. 94.

Related Work: painting: (Untitled) (c. 1960) (cat. 75.60)

Primary Inscription: signed and inscribed verso (in pencil) ‘“THE HILL” / for S.A. / Brett Whiteley’

Provenance: Barry Stern Gallery, Sydney, 1991; Holland Fine Art, Sydney; Private collection, Sydney, purchased from Holland Fine Art in 1991; Deutscher and Hackett, Melbourne, 26 November 2014, lot 30 (illus.); Art Nomad, Brighton; Private collection, Sydney, purchased from Art Nomad in 2017

Exhibited: Art Nomad, Brighton, Victoria, 2017

Literature: Sutherland, 2020, vol. 1, p. 76 (illus.); vol. 7, Paintings, 1960; Abstraction, p. 95

Primary Inscription: signed and dated l.c. ‘Brett Whiteley 60’

Provenance: Private Collection, Sydney; Private Collection, New South Wales, acquired by descent from the former owner; Fine Asian Australian & European Arts & Design, Sotheby’s Australia, 18 July 2018, lot 27 (illus.); Private collection, Melbourne, 2018

Literature: Sutherland, 2020, vol. 1, p. 73 (illus.); vol. 7, Paintings, 1960; Abstraction, p. 95

Related Work: painting: (Untitled) (1960) (cat. 79.60)

Primary Inscription: signed with initials l.r. ‘BW’

Provenance: The Colman Family, London; Jonathan Clark Fine Art, London; Private collection, Western Australia, purchased from Jonathan Clark Fine Art

Literature: Sutherland, 2010, p. 236 (cat. CC2).
Sutherland, 2020, vol. 7, Paintings, 1960; Abstraction, p. 95.

Related Work: painting: (Untitled) 1960 (cat. 78.60)

Primary Inscription: signed and dated verso (in black ink) ‘Brett Whiteley 60’; further signed and dated verso on stretcher (in pencil) ‘Brett Whiteley 60’

Provenance: Private collection United Kingdom, acquired from the artist; Nicholson’s Auctioneers, Surrey, England, 5 November 2010, lot 1120 (illus.); Private collection, United Kingdom, purchased from Nicholson’s online auction

Literature: Sutherland, 2020, vol. 7, Paintings, 1960; Abstraction, p. 95

Note: This is the first in a sequence of four small abstracts of similar size, each dated 1960. Refer cat. nos. 80.60–83.60.

Primary Inscription: signed and dated verso (in black ink) ‘Brett Whiteley 60’; further signed and dated on stretcher (in pencil) ‘Brett Whiteley 60’

Provenance: Private collection United Kingdom, acquired from the artist; Nicholson’s Auctioneers, Surrey, England, 5 November 2010, lot 1119 (illus.); Private collection United Kingdom, purchased from Nicholson’s online auction

Literature: Sutherland, 2020, vol. 7, Paintings, 1960; Abstraction, p. 95

Note: This is the second painting in a sequence of four small abstracts of similar size, each dated 1960. Refer cat. nos. 80.60–83.60.

Primary Inscription: signed and dated verso (in black ink) ‘Brett Whiteley 60’

Provenance: Private collection United Kingdom, acquired from the artist; Nicholson’s Auctioneers, Surrey, England, 15 November 2010, lot 1121 (illus.); Private collection, Melbourne

Literature: Sutherland, 2020, vol. 7, Paintings, 1960; Abstraction, p. 95

Note: This is the third painting in a sequence four small abstracts of similar size, each dated 1960. Refer cat. nos. 80.60–83.60.

Primary Inscription: signed and dated verso (in ink) ‘Brett Whiteley 60’; further signed on the stretcher bar (in pencil) ‘Brett Whiteley’

Provenance: Private collection, United Kingdom, acquired from the artist; Nicholson’s Auctioneers, Surrey, England, 15 November 2010, lot 2057 (illus.)

Literature: Sutherland, 2020, vol. 7, Paintings, 1960; Abstraction, p. 96

Note: This is the fourth painting in a sequence of four small abstracts of similar size, each dated 1960. Refer cat. nos. 80.60–83.60.

Provenance: Beryl Whiteley, Sydney, on loan from the artist; Estate of the artist; (BWS1806; L2011.90)

Exhibited: Brett Whiteley Retrospective, AGNSW, 1995, no. 10 (as Untitled Abstract); Genesis of a Painter – The Early Abstraction of Brett Whiteley, Whiteley Studio, Sydney, August 1998–January 1999, cat. 9; BWS, Blue, July 2011–July 2012; The London Years, 1960–67, BWS, July 2012–April 2013; Pathways to Figuration, BWS, March–October 2018; Brett Whiteley: Chapters 1959–1969, BWS, August 2023–June 2024

Literature: Pearce, 1995, ref. p. 226; pl. 12 (illus.).
Sutherland, 2010, p. 238 (cat. CC12).
Sutherland, 2020, vol. 7, Paintings, 1960; Abstraction, p. 96.

Provenance: Private collection, France; Christie’s, South Kensington, 1 December 1988, lot 88; Philip Bacon Galleries, Brisbane, purchased from Christie’s; Private collection, Singapore, purchased from Philip Bacon Galleries

Literature: Sutherland, 2010, p. 240 (cat. DD5).
Sutherland, 2020, vol. 7, Paintings, 1960; Abstraction, p. 96.

Primary Inscription: signed, dated and inscribed verso on board (black ink/paint) ‘BLUE PAINTING CAT / NO 17’; “‘BLUE [word crossed through] PAINTING / PICTURE” / [line of words crossed through] (POSSIBLY A PAINTING ABOUT WATER) / Brett Whiteley / Brett Whiteley 1960 / TEMPERA + / MIXED MEDIA’; further inscribed on frame verso “‘PAINTING” CAT NO 17

Inscription: with owner’s name inscribed on frame verso

Provenance: Matthiesen Gallery, London, 1962; Private collection, London, purchased from Matthiesen Gallery in 1962; Sotheby’s Australia, Sydney, 27 August 2019, lot 1 (illus.); Private collection, Sydney (BWS1865)

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 20 (as Blue Painting); Brett Whiteley: Blue and White [ceramics], BWS, April–November 2022

Literature: Sutherland, 2010, ref. p. 238 (cat. CC14); p. 49 (illus.).
Sutherland, 2020, vol. 1, p. 80 (illus.); vol. 7, Paintings, 1960; Abstraction, p. 96.

Inscription: signed l.r. (in pencil) ‘whiteley’

Provenance: Christies, Sydney, 3 October 1972, l06 361 (as ‘Figures on the Beach, Naples’) $280); Private collection, Sydney, purchased from Christie’s; Private collection, acquired by descent

Literature: Sutherland, 2020, vol. 1, p. 77 (illus.); vol. 7, Paintings, 1960; Abstraction, p. 96

Related Work: Refer Persistent Themes, Subjects and Motifs (bather by the sea) pp. 929–931

Primary Inscription: signed and dated on secondary support verso (in green ink) ‘Brett Whiteley 60’; further signed and dated verso, also on secondary support, (in pencil) ‘Brett Whiteley 61’

Provenance: Heal’s, London, November 1963 (£63); Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand, purchased from an exhibition of Australian art at Heal’s, London, in November 1963

Exhibited: Picture of the Month, National Art Gallery, Wellington, New Zealand, December 1968 (as Red gouache)

Literature: Sutherland, 2010, ref. p. 240 (cat. DD7); p. 241 (illus.).
Sutherland, 2020, vol. 1, p. 81 (illus.); vol. 7, Paintings, 1960; Abstraction, pp. 96–97.

Note: An undated document, signed by the artist and written at 18a Melbury Rd., London, W.14, assigns copyright of Red Gouache to the National Art Gallery, Wellington.

Provenance: Private collection, Queensland, a gift from the artist in the early 1960s

Literature: [Article on William Scott] Motif 8 Winter 1961, Shenval Press, London, 1961 (illus.).
Sutherland, 2020, vol. 7, Paintings; Abstraction, p. 97.

Note: This work is preparatory to Untitled Red Painting 1960 in the collection of the Tate Gallery (cat. 95.60)

Provenance: McRoberts & Tunnard Gallery, London; Private collection, United Kingdom; Nevill Keating Pictures, London; Philip Bacon Galleries, Brisbane, acquired 1987 from Nevill Keating Pictures; Corporate collection, 1987–2004, purchased from Philip Bacon Galleries; Philip Bacon Galleries, 2004; Private collection, purchased from Philip Bacon Galleries in 2004

Exhibited: Tadashi Sato / America: Douglas Swan / Scotland: Philip Weichberger / Germany: Brett Whiteley / Australia, McRoberts & Tunnard Gallery, London, 20 July–1 September 1960, no. 27 (as August) (£18); Visions of Australia: 1950–2000 (group exhibition), Nevill Keating Pictures Ltd, London, 2000, cat. 6 (illus.)

Literature: Sutherland, 2010, ref. p. 236 (cat. CC8); p. 237 (illus.).
Sutherland, 2020, vol. 1, p. 86 (illus.); vol. 7, Paintings, 1960; Abstraction, p. 97.

Primary Inscription: signed, dated and inscribed verso (fibre-tipped pen) “‘UNTITLED RED LANDSCAPE” / Brett Whiteley 60 / tempera’

Provenance: Private collection, Queensland, a gift from the artist in the early 1960s; Private collection, London

Literature: Sutherland, 2020, vol. 7, Paintings, 1960; Abstraction, p. 97

Primary Inscription: signed, dated and inscribed l.r. (pen and black ink) ‘“Preliminary for Untitled / Red” Tate Gallery London / brett whiteley 1961 / Florence – London.’

Provenance: Whiteley Estate (BWS1771)

Exhibited: Brett Whiteley Retrospective, AGNSW, 1995, no. 8; Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, cat. 11 (illus.); Affinities: Brett Whiteley & Lloyd Rees, BWS, 2001; The London Years, 1960–67, BWS, July 2012–April 2013; Pathways to Figuration, BWS, March–October 2018; Brett Whiteley: Chapters 1959–1969, BWS, August 2023– June 2024; Brett Whiteley: Inside the Studio (touring exhibition), toured to: Logan Art Gallery, Logan, Queensland; John Curtin Gallery, Bentley, Western Australia; Orange Regional Gallery, Orange, New South Wales; Shepparton Art Museum, Shepparton, Victoria from July 2024–October 2025

Literature: ‘Shades of Whiteley’ in Vogue Living, August–September 1995, p. 121 (illus.) (interior setting of the Whiteley home at Lavender Bay, Sydney).
Pearce, 1995, ref. p. 226; pl. 9 (illus.).
Sutherland, 2010, ref. pp. 45, 46, 60, 238 (cat. DD2); p. 47 (illus.).
Sutherland, 2020, vol. 1, p. 82 (illus.); vol. 7, Paintings,1960; Abstraction, p. 97.

Related Work: painting: Untitled Red Painting 1960 (cat. 95.60)

Note: Whiteley dated this painting on its completion in 1961, but the inscription confirms that the composition was begun in Florence in 1960.

Primary Inscription: signed, dated and inscribed verso ‘Brett Whiteley 60’ and (with arrows) ‘TOP’

Provenance: Whitechapel Art Gallery, London, 1961; Tate Gallery, London, purchased from Whitechapel Art Gallery in 1961

Exhibited: Recent Australian Painting, Whitechapel Art Gallery London 1961, 1961, cat. 108 (as Untitled Red Painting, 2 June–July 1960, tempera and collage on board) (£93 6s 8d); Brett Whiteley Retrospective, AGNSW, 1995, no. 9

Literature: Robertson (essay) in Brett Whiteley: Recent Paintings and Drawings, exhib. cat., Fischer Fine Art Limited, 1977 (n.p.)
books
Rothenstein, 1962, p. 262 (illus.).
Pringle, 1963, p. 88 (illus.).
McGrath, 1979, p. 35.
Alley, 1981, pp. 762–763 (illus.).
Pearce, 1995, ref. p. 226; pl. 10 (illus.).
Strickland, 2010, pp. 36–37 (illus.).
Sutherland, 2010, ref. pp. 54, 60, 63, 238 (cat. CC13); pp. 50–51 (illus.).
Pierse, 2012, p. 115, 117–118; 6.3 (photog.); pl. 13 (illus.).
Wilson, 2016, pp. 63, 66–67, 68; p. 88 [ii] (illus.).
Grishin and contributors, 2018, p. 11; p. 10 (illus.).
Sutherland, 2020, vol. 1, pp. 84–85 (illus.); vol. 7, Paintings, 1960; Abstraction, pp. 97–98.

Related Work: paintings: Untitled Red Landscape 1960 (cat. 93.60); Preliminary for ‘Untitled Red Painting’ 1960–61 (cat. 94.60)

Reference: Reviews of Whitechapel exhibition: (from our Art Critic) The Times, London, 3 June 1961, p. 4 Nash, John, M., ‘Australian Art ‘Arrives’ in Yorkshire Post, Leeds, 9 June 1961

Primary Inscription: signed l.c. (white paint) ‘Whiteley’

Provenance: Edith Cowan University, Mount Lawley, Western Australia (formerly Collection of Western Australian College of Advanced Education), Perth, acquired 1980 (accn. no. 872)

Literature: Selected Australian Works from the Collection of the Western Australian College of Advanced Education, 1986, cat. 32 p. 17 (illus.)
Bromfield, David, Waves, Research online, Edith Cowan University, Perth Western Australia, 2009, p. 75 (illus.)
Sutherland, 2010, ref. p. 238 (cat. DD1); p. 239 (illus.)
Sutherland, 2020, vol. 1, p. 83 (illus.); vol. 7, Paintings, 1960; Abstraction, p. 98

Primary Inscription: verso: signed, dated and inscribed u.l. (in black ink) ‘Brett Whiteley 61 / [crossed through] “UNTITLED WARM /PAINTING” / 48″ x 60″ / OIL TEMPERA AND COLLAGE’; signed again [faintly] c.l. (in brown paint) ‘Brett Whiteley’; inscribed u.r. [circled] ‘NOTE REVISED PRICE 176 GNS STERLING’; further signed, inscribed and dated u.r. ‘UNTITLED WARM PAINTING’ 1960 / BRETT WHITELEY / 48″ x 60″ / OIL + COLLAGE / BURR EXHIBITION / CALIFORNIA.’

Provenance: Bonython Art Gallery, Sydney; National Gallery of Australia, Canberra, purchased 1964 (NGA 64.5) from Bonython

Exhibited: Australian Artists’ Exhibition, Raymond Burr Galleries, Beverly Hills, California, USA, November 1961–(?)1962 (as Untitled Warm Painting)

Literature: Sutherland, 2010, ref. pp. 63, 240 (cat. DD3); p. 59 (illus.).
Sutherland, 2020, vol. 1, p. 87 (illus.); vol. 7, Paintings, 1960; Abstraction, p. 98.

Provenance: whereabouts unknown

Literature: Robertson, Russell, and Snowdon 1965, p. 269 (detail, illus.).
Sutherland, 2010, p. 240 (cat. DD4).
Sutherland, 2020, vol. 7, Paintings, 1960; Abstraction, p. 97.

Primary Inscription: signed and dated l.c (in grey pencil) ‘Brett Whiteley 61’

Inscription: with stamp by HM Customs and Excise dated 13 August 1963

Provenance: Whitechapel Art Gallery, London, 1961; Contemporary British Art Society, England, 1961, purchased from Whitechapel Art Gallery in 1961; Hatton Gallery Collection, Newcastle University, Newcastle upon Tyne, England (OP:0083), gift of the Contemporary British Art Society in 1964

Exhibited: Recent Australian Painting, Whitechapel Art Gallery London 1961, 2 June–July 1961, cat. 109 (as Untitled White Painting, 1960, oil on board) (illus.) (£133.6.8); Recent Australian Painting, Arts Council of Great Britain, Walker Art Gallery, Liverpool from March 1962, and touring the provinces 1962, cat. 41; Deuxième Biennale de Paris, Musée d’Art Moderne, Paris, 29 September–5 November 1961, no. 41 (as ‘Peinture en blanc’ 1960, Contemporary Art Society); Englische Malerei der Gegenwart, Helmhaus, Zurich, 29 August–14 September 1963, cat. 81 (dated 1962) (lent by the Contemporary British Art Society) (illus); Hatton Gallery, Newcastle University, Newcastle Upon Tyne, England, 2007–2008

Literature: Robertson (essay) in Brett Whiteley: Recent Paintings and Drawings, exhib. cat., Fischer Fine Art Limited, 1977 (n.p.).
Hoff in Art and Australia, Sydney, December 1978, p. 176.
McGrath, 1979, p. 35.
Hilton & Blundell, 1996, p. 46.
Sutherland, 2010, ref. pp. 54, 63, 240 (cat. DD6); pp. 52–53 (illus.).
Pierse, 2012, 6.3. (photog.) (illus.).
Wilson, 2016, pp. 63, 66, 68 [titled incorrectly].
Sutherland, 2020, vol. 1, pp. 78–79 (illus.); vol. 7, Paintings, 1960; Abstraction, pp. 98–99.

Note: The exhibition, Englische Malerei der Gegenwart, held in Zurich in 1963, was part of British Painting in the Sixties, organised by the Tate and Whitechapel Galleries in 1963. This painting was exhibited in Zurich but not at the British venues, Tate Gallery and Whitechapel Gallery. Compositionally, this painting belongs to the group of works painted in 1960–61.

Primary Inscription: signed verso (pen and ink) ‘Brett Whiteley’; signed, dated and inscribed verso (white paint) ‘BRETT / WHITELEY / “UNTITLED / BLACK PAINTING 1960” / TEMPERA + OIL / [scored out] 70 ʺ x 30ʺ’; further inscribed verso [circled] CAT NO / 10’; inscribed verso (in pencil) ‘so I returned[?] and the afternoon went on’

Inscription: bears inscription on frame verso ‘E8965 LYNN WELO X MATTHIESEN’

Provenance: Matthiesen Ltd, London (gallery label attached verso); Karen Lynn Welo, USA, purchased from Matthiesen on 12 December 1961; Private collection, USA, acquired by descent; Menzies Art Brands, Sydney 9 April 2025, cat. 36 (illus.); Private collection, Sydney

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 2 (as The Black of Anxiety) (£250); Ayrton, Daws, Smith, Vaughan, Whiteley, Sorsbie Gallery, Nairobi, Kenya, East Africa, March–April 1963, cat. 52 (as The Black of Anxiety)

Literature: Sutherland, 2010, pp. 60, 250 (cat. EE38).
Wilson, 2016, p. 76.
Sutherland, 2020, vol. 7, Paintings, 1960; Abstraction, cat. 68.61 [dated 1961], p. 112.

Primary Inscription: dated and inscribed l.r. (in pencil) ‘1961 Rome’; stamped u.r. (in black ink) with artist’s monogram; dated and inscribed l.r. (in pencil) ‘1961 Rome’; stamped u.r. (in black ink) with artist’s monogram; further signed, inscribed with title, dated and dedicated verso (in black Conté crayon) ‘Italian boy / Rome / brett whiteley /given to Ning /1985’

Inscription: ’

Provenance: Whiteley Estate (BWS279)

Exhibited: 162 Drawings: Brett Whiteley: 1960–85, Robin Gibson Gallery, Sydney, 1985, cat. 89 (as Italian boy, dated 1966; Rees: Whiteley: on the road to Berry, Museum of Modern Art at Heide, Bulleen, 13 July–5 September 1993, then, AGNSW, Sydney, 17–14 November 1993, cat. 44; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; 9 Shades of Whiteley, BWS, December 2006–September 2007

Literature: 162 Drawings: Brett Whiteley: 1960–85, exhib. cat., Robin Gibson Gallery 1985, p. 42 (illus.).
Klepac, 1993, p. 19.
Sutherland, 2010, ref. p. 238 (cat. D1); p. 43 (illus.).
Klepac, 2014, p. 40.
Sutherland, 2020, vol. 1, p. 91 (illus.); vol. 7, Drawings and Works on paper; Portraits and People, p. 99.

Related Work: For drawings on the theme of ‘Italian Boy’, refer cat. nos. 43.77–46.77

Note: Whiteley lived in Rome from March to May 1960.

Provenance: Whiteley Estate (BWS1013)

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; Portraits and People, p. 99

Primary Inscription: stamped l.r. (in black ink) with artist’s monogram

Provenance: Private collection, Sydney

Exhibited: Brett Whiteley Drawings 1960–1973, Bonython, Sydney, 1974, cat. 60 (as Portrait of Dick Watkins, 1961); Portraits, BWS, 2014; Tributes, BWS, 2016

Literature: McGrath, 1979, p. 227 (cat. 97) (as Portrait of Dick Watkins 1961); p. 277 (illus.).
Sutherland, 2010, p. 240 (cat. E2).
Sutherland, 2020, vol. 7, Drawings and Works on paper; Portraits and People, p. 99.

Note: From November 1961, Brett and Wendy Whiteley lived in a third storey apartment at 129 Ladbroke Grove, London, W.11, where fellow artists, Michael Johnson and Dick Watkins were also residents.

Provenance: Estate of the artist; Arkie Whiteley, Sydney, by descent; Private collection, a bequest from the estate of Arkie Whiteley; Private collection, Sydney

Literature: McGrath, 1979, p. 228 (cat. 107) (as Doing her Nails 1961) (illus.).
Sutherland, 2010, p. 240 (cat. E3).
Klepac, 2014, p. 48 (illus.).
Sutherland, 2020, vol. 1, p. 92 (illus.); vol. 7, Drawings and Works on paper; Portraits and People, p. 99.

Related Work: ceramic: Doing her Nails 1989, plate (cat. 123C)

Primary Inscription: dated l.r. (pen and ink) ‘5[?]/8/1961’; inscribed l.l. (sideways in pencil) ‘the rape’

Provenance: Whiteley Estate (BWS1250)

Sketchbook: (Rape Scenes [?] (c. 1961), crayon and gouache in artist's notebook '21' (1961, 1963) (KS8)

Literature: Sutherland, 2010, ref. pp. 126, 240 (cat. E1); p. 127 (illus.).
Sutherland, 2020, vol. 1, ref. p. 20, p. 110 (illus.); vol. 5, p. 8 (illus.); vol. 7, Drawings and Works on paper; The Nude, p. 100.

Related Work: screenprint: Figures on an Ochre Background 1961 (cat. 2P); drawings: Christie and Kathleen Maloney 1964 (cat. 41.64); Preliminary Sketch for Christie Murder Series (Kathleen Maloney) 1965 (cat. 17.65); painting: Christie and Kathleen Maloney 1964 (cat. 81.64)
Refer Persistent Themes, Subjects and Motifs (Christie and rape) p. 914

Primary Inscription: signed u.r. ‘Whiteley’

Inscription: bears artist’s name and title on label verso

Provenance: Bonython Art Gallery, Adelaide; Mr and Mrs John D Murchison, Texas, USA, purchased from Bonython in 1966; Sotheby’s, Sydney, from the Murchison Estate, 28 August 2006, lot 72 (illus.); Private collection, Victoria; Lawson–Menzies, Sydney, 13 September 2007, lot 214 (illus.); Art dealer, Victoria; Private collection, Victoria

Exhibited: [possibly] Annual Christmas Exhibition at the Bonython Art Gallery, Bonython, North Adelaide, 9–24 December 1963, cat. 42 or 43 (as ‘Figure’; 35 guineas)

Literature: Sutherland, 2010, ref. p. 240 (cat. E6); p. 241 (illus.).
Sutherland, 2020, vol. 1, p. 94 (illus.); vol. 7, Drawings and Works on paper; The Nude, p. 100.

Note: It is understood that Mr and Mrs Murchison purchased Study for Untitled White Painting (1961) together with Untitled White Painting 1961 from Bonython Art Gallery in 1966 (cat. 39.61).

Provenance: Beryl Whiteley, Sydney; Art & Books, Leonard Joel, Sydney, 21 November 2010, lot 250 (various works from the Estate of the late Beryl Whiteley); Savill Galleries, Sydney (gallery label verso); Davidson Auctions, Sydney, 30 April 2017, lot 201 (illus.); Private collection

Sketchbook: (Vi

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; The Nude, p. 100

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, Sydney, bequest of Beryl Whiteley in 2012 (225.2012)

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; The Nude, p. 100

Primary Inscription: signed l.c. (in pencil) ‘whiteley’

Provenance: Private collection, [probably] USA; Private collection, Queensland, purchased in a New York bookshop in 1989, from the estate [a library] of previous owner
Menzies Art Brands, Melbourne, 22 November 2018, lot 121 (illus.); Private collection, Melbourne, purchased through Menzies private treaty sale in 2023

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; The Nude, p. 100

Related Work: drawing: (Crouching Nude) 1962 (cat. 24.62)

Provenance: Whiteley Estate (BWS1631)

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; Abstraction, p. 101

Provenance: Whiteley Estate (BWS1567)

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; Abstraction, p. 101

Provenance: Private collection, Queensland, acquired from the artist

Literature: Sutherland, 2020, vol. 7, Paintings; Abstraction; Untitled Gouaches, p. 101

Note: The imagery of this work makes a connection with Sidney Nolan’s Moonboy c. 1940 (see Sutherland, 2010, p. 60).

Primary Inscription: signed and dated l.r. ‘Brett Whiteley 61’; inscribed with title verso

Provenance: Matthiesen Gallery, London, 1962; Mrs Geoffrey Colman, London, purchased from Matthiesen Gallery on 7 March 1962 (£90.0.0.); Private collection, London;
Mrs Geoffrey Colman, London, acquired through a transfer within the family; Private collection, by succession to a sister; The Colman Family; Jonathan Clark Fine Art, London; Private collection, London, purchased from Jonathan Clark Fine Art in 2007

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, March 1962, cat. 19 (as Untitled Orange Gouache) (£90.0.0); Loan Exhibition of American, Australian and British Paintings, ‘Framingham Chase’, Norwich, Norfolk, England, from 25 May 1962, cat. 13; Fine Paintings from East Anglia (a loan exhibition), Norwich Castle Museum, 30 May–30 August 1964, cat. 76; Modern British Art, Jonathan Clark Fine Art, London, Autumn 2003, no. 47

Literature: Sutherland, 2010, ref. p. 248 (cat. EE30); p. 70 (illus.).
Sutherland, 2020, vol. 1, p. 95 (illus.); vol. 7, Paintings; Abstraction; Untitled Gouches p. 101.

Note: ‘Framingham Chase’ was the home of Lettice Colman who was the first chair of the Norfolk Contemporary Art Society. She held small exhibitions, meetings and lectures there.

Primary Inscription: signed and dated l.c. ‘Brett Whiteley’; signed, dated and inscribed on backing board verso (brush and ink) ‘CAT NO 20 / “UNTITLED GOUACHE” / Brett Whiteley 1961 / TEMPERA’

Provenance: South Yarra Gallery, Melbourne; Dunedin Public Art Gallery, Dunedin, New Zealand, purchased from above gallery in 1973

Exhibited: [probably] Brett Whiteley/Paintings and Gouaches, Matthiesen Gallery, London, 1962, cat. 23; Seldom Seen, Dunedin Public Art Gallery, 19 December 1998–11 April 1999; Big Country: Australian Landscape from the Dunedin Public Art Gallery Collection, Dunedin Public Art Gallery, 1 August 2003–24 October 2004; Beloved: Works from the Dunedin Public Art Gallery, Dunedin Art Gallery, Dunedin, 12 December 2009–1 April 2012

Literature: Notman, Robyn and Cullen, Lynda (eds.), Beloved: Works from the Dunedin Public Art Gallery, Dunedin Art Gallery, New Zealand, 2009.
Sutherland, 2010, p. 250 (cat. EE31).
Sutherland, 2020, vol. 7, Paintings; Abstraction; Untitled Gouches, p. 101.

Primary Inscription: signed and dated l.r. ‘brett whiteley 61’; signed, inscribed and dated verso (on backing board) ‘“UNTITLED GOUACHE” / Brett Whiteley / GOUACHE + MIXED MEDIA / 1961 MOLTON–GALLERY / LONDON’

Inscription: label attached verso certifies that this painting was signed by the artist in the presence of Barry Stern and Christian Quintas on 29/3/79

Provenance: Molton Gallery, London, 1961; Joseph Brown Gallery, Melbourne, 1970; Geoff K. Gray [auctions], Sydney, 29 May 1979, lot 199; Barry Stern Gallery, Sydney, 1979[?]; Beryl Whiteley, Sydney; Christie’s, Melbourne, 27 August 2002, lot 25 (illus.); Ronald Coles Investment Gallery, New South Wales; Private collection, Sydney, purchased from Ronald Coles Gallery; Sotheby’s, Sydney, 26 August 2014, lot 66 (illus.); Private collection, Sydney, purchased at Sotheby's

Exhibited: Recent Acquisitions: Winter–1970, Joseph Brown Gallery, Melbourne, 17 June–2 July 1970, cat. 45 (as ‘Untitled’) (illus.)

Literature: Sutherland, 2010, p. 242 (cat. EE1).
Sutherland, 2020, vol. 1, p. 96 (illus.); vol. 7, Paintings; Abstraction; Untitled Gouaches, pp. 101–102.

Inscription: bears inscription ‘Untitled white painting, 1962, Ref C505, £95.00’ on label affixed verso

Provenance: Private collection, United Kingdom; Nevill Keating Pictures, London; Private collection, United Kingdom, acquired in 2003 from Nevill Keating

Literature: Sutherland, 2010, p. 258 (cat. HH11) (dated 1962).
Sutherland, 2020, vol. 7, Paintings; Abstraction, White Paintings; p. 102.

Related Work: painting; Untitled White Painting II (1961) (cat. 28.61)

Primary Inscription: signed and dated verso 'Brett Whiteley / 1961'

Provenance: Matthiesen Gallery, London; [probably] Molton Gallery, London; Lex Aitken and Alfredo (Bouret) Gonzalez, Sydney, purchased around 1961 from a small gallery near Marble Arch, London; Deutscher and Hackett, Sydney, 28 August 2013, lot 14 (illus.); Private collection, Sydney

Literature: Sutherland, 2010, p. 242 (cat. EE7)
Sutherland, 2020, vol. 1, p. 98 (illus.); vol. 7, Paintings; Abstraction, White Paintings; p. 102.

Related Work: paintings: White Paintings 1961 (cat. nos. 25.61–35.61; cat. nos. 37.61–42.61)

Inscription: bears inscription ‘Untitled white painting, 1962, Ref C505, £95.00’ on label affixed verso

Provenance: Private collection, United Kingdom; Nevill Keating Pictures, London; Private collection, United Kingdom, acquired in 2003 from Nevill Keating

Literature: Sutherland, 2010, p. 258 (cat. HH11) (dated 1962).
Sutherland, 2020, vol. 7, Paintings; Abstraction, White Paintings; p. 102.

Related Work: paintings: White Paintings 1961 (cat. nos. 25.61–35.61; cat. nos. 37.61–42.61)

Provenance: Matthiesen Gallery, London, 1962; Private collection, London, purchased on 7 March 1962 from Matthiesen; Christie’s, Sydney, Christie’s, Sydney, 5 October 1971, lot 374; Rudy Komon Art Gallery, Sydney (stock no. 3023), purchased from Christie’s; The University of Queensland Art Gallery, Queensland, purchased from Rudy Komon Art Gallery in 1980

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 22 (as Untitled White Painting II) (£90.0.0.); Brett Whiteley Retrospective, AGNSW, 1995, no. 17 (dated 1962); Brett Whiteley: Aspects & Insights: The Art Gallery of New South Wales Regional Tour, July 1996–March 1997, no. 6

Literature: Pearce 1995, p. 226; pl. 17 (illus.).
Sutherland, 2010, p. 242 (cat. EE5).
Sutherland, 2020, vol. 7, Paintings; Abstraction, White Paintings, pp. 102–103.

Related Work: paintings: Untitled White Painting (1962) (27.61); Untitled White Painting III 1961 (29.61); Untitled Cream Painting 1962 (cat. 70.62)

Note: Matthiesen 1962 catalogue states that all the paintings and gouaches in the catalogue were made in 1961.

Primary Inscription: signed, dated and inscribed verso ‘CAT NO 23 / “UNTITLED WHITE PAINTING 3” / Brett Whiteley 61 / TEMPERA + COLLAGE’

Inscription: with (typed) cataloguing details (cat. 26) on Matthiesen gallery label affixed verso

Provenance: Matthiesen Gallery, London, 1962; Private collection, London, purchased on 7 March 1962 from Matthiesen; Sotheby’s Australia, Sydney, 27 August 2019, lot 2 (illus.);
Private collection, Melbourne

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 26 (as Untitled White Painting III) (£50.0.0.)

Literature: Sutherland, 2010, ref. p. 242 (cat. EE6); p. 243 (illus.).
Sutherland, 2020, vol. 1, p. 97 (illus.); vol. 7, Paintings; Abstraction, White paintings; p. 103.

Related Work: paintings: Untitled White Painting II (1961) (cat. 28.61)

Note: Both catalogue and invoice record this painting as catalogue 26 in the Matthiesen exhibition

Primary Inscription: signed and dated l.c. (pen and black ink) ‘Brett Whiteley September / 61’

Provenance: Matthiesen Gallery, London, March 1962; Christie’s, South Kensington, 29 May 1984, lot 162 (illus.) (£5,500); [probably] Andrew Ivanyi, Melbourne, 1970s; Private collection, Melbourne, [probably] purchased from Andrew Ivanyi; Ian Rogers Fine Art, Melbourne, 2008; Bruce Heiser, Queensland; Private collection, Queensland, purchased from Bruce Heiser in 2008

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 28 (as Untitled Collage); Ian Rogers Fine Art, Melbourne, 2008

Literature: Sutherland, 2010, pp. 73, 244 (cat. EE9); p. 72 (illus.).
Wilson, 2016, p. 76.
Sutherland, 2020, vol. 1, p. 100 (illus.); vol. 7, Paintings; Abstraction, White Paintings, p. 103.

Primary Inscription: inscribed verso (white paint) ‘“UNTITLED / COLLAGE” / mixed media / Brett Whiteley 61’

Provenance: Private collection, London; Private collection, London, acquired by descent

Exhibited: Ayrton, Daws, Smith, Vaughan, Whiteley, Sorsbie Gallery, Nairobi, Kenya, East Africa, March–April 1963, cat. 44 (as Untitled Collage 1961)

Literature: Sutherland, 2010, p. 244 (cat. EE11).
Sutherland, 2020, vol. 7, Paintings; Abstraction, White Paintings, p. 103.

Primary Inscription: signed and dated l.c. ‘Whiteley 61’; inscribed l.r. ‘To arrive at a point of Cubelessism’; stamped l.r. (in black ink) with artist’s monogram

Provenance: Whiteley Estate (BWS45)

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 25 (as Untitled Painting with Headline); Ayrton, Daws, Smith, Vaughan, Whiteley, Sorsbie Gallery, Nairobi, Kenya, East Africa, March–April 1963, cat. 43 (as Untitled Painting with Headline); Brett Whiteley Retrospective, AGNSW, 1995, no. 13 (as To Arrive at a Point of Cubelessism), then toured to state galleries, December 1995–November 1996, no. 7; Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, cat. 13 (illus.); Aspects from the Estate, BWS, July 2002–February 2003; Fourth Veil, BWS, 2003; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; Blue, BWS, July 2011–July 2012; The London Years, 1960–67, BWS, July 2012–April 2013; Pathways to Figuration, BWS, March–October 2018; Brett Whiteley: Chapters 1959–1969, BWS, August 2023–June 2024; Brett Whiteley: Inside the Studio (touring exhibition), toured to: Logan Art Gallery, Logan, Queensland; John Curtin Gallery, Bentley, Western Australia; Orange Regional Gallery, Orange, New South Wales; Shepparton Art Museum, Shepparton, Victoria from July 2024–October 2025

Literature: Cormack in The Arts Review, London, March l962, p. 9 (as Painting with Headline).
Reichardt in Apollo, London, March 1962, pp. 72–73 (illus.).
Pearce, 1995, p. 226; pl. 20 (illus.).
Sutherland, 2010, pp. 68, 244 (cat. EE10); p. 69 (illus.).
Wilson, 2016, p. 76.
Sutherland, 2020, vol. 1, p. 99 (illus.); vol. 7, Paintings; Abstraction, White Paintings, p. 103.

Related Work: paintings: White Paintings 1961 (cat. nos. 25.61–35.61; cat. nos. 37.61–42.61

Note: Whiteley titled this work To Arrive at a Point of Cubelessism at a later date, changing it from the original Untitled Painting with Headline.

Primary Inscription: signed and dated l.l. ‘61 / Whiteley’; inscribed on a backing board verso ‘CAT NO 14 / SUMMER 1 / Brett Whiteley / 1961 / tempera + collage’

Provenance: Matthiesen Gallery, London; Lex Aitken and Alfredo (Bouret) Gonzalez, Sydney, purchased from Matthiesen Gallery, London in 1962; D and H, Sydney, 28 August 2013, lot 15 (illus.); Private collection, Canada; Sotheby’s Australia, Sydney, November 2018 [sale by private treaty]; Private collection, Sydney (BWS1885)

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 17 (as Summer I) (illus.)*

Literature: Sutherland, 2010, pp. 73, 244 (cat. EE13).
Klepac, 2014, p. 43 (as Summer 1) (illus.).
Sutherland, 2020, vol. 1, p. 101 (illus.); vol. 7, Paintings; Abstraction, White Paintings, p. 104.

Related Work: painting; Summer II (1961) (cat. 34.61)

Note: *This painting is incorrectly identified as ‘White Summer, cat. 2’, on the Matthiesen label attached verso and the number under the illustration in the Matthiesen catalogue is incorrectly stated as 21 rather than 17.

Primary Inscription: signed, dated and inscribed verso ‘CAT NO 15’ / “Summer 2” / Brett Whiteley / 1961 / TEMPERA’

Provenance: Matthiesen Gallery, London, 1962; Alex Bortignon, WA; Kalamunda Gallery of Man, Kalamunda, WA , 1986; Private collection, Victoria

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 18 (as Summer II); Masterpieces of Australian Art, Kalamunda Gallery of Art, Kalamunda, WA

Literature: Art and Australia, Spring 1986, p. 113 [advertisement].
Sutherland, 2010, p. 244 (cat. EE14).
Sutherland, 2020, vol. 7, Paintings, p. 104.

Related Work: painting: Summer I 1961 (cat. 33.61)

Provenance: Rudy Komon Gallery, Sydney; Mr Ba[r?]ker, purchased from Rudy Komon Art Gallery, Sydney, in 1963

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 21 (as White Summer)*; Brett Whiteley, Rudy Komon Art Gallery, Sydney, 1963, cat. 8 (100 guineas); [possibly] Brett Whiteley Drawings 1960–1973, Bonython, Sydney, 1974, cat. 8 (as ‘Landscape’, oil on paper, 64.0 x 56.0 cm)

Literature: Cormack in The Arts Review, London, March l962, p. 9 (illus.).
Sutherland, 2010, p. 244 (cat. EE15).
Sutherland, 2020, vol. 7, Paintings, Abstraction, White Paintings, p. 104.

Related Work: *This work is not illustrated in the Matthiesen catalogue. The work illustrated is Summer I, 1961 (Matthiesen, cat. 17). (see cat. 33.61).

Provenance: whereabouts unknown

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 29 (as Landscape); Ayrton, Daws, Smith, Vaughan, Whiteley, Sorsbie Gallery, Nairobi, Kenya, East Africa, March–April 1963, cat. 45 (dated 1962)

Literature: Sutherland, 2010, p. 244 (cat. EE12).
Sutherland, 2020, vol. 7, Paintings; White Paintings, p. 104.

Primary Inscription: signed, dated and inscribed with title verso

Provenance: Rudy Komon Gallery, Sydney; Gordon Douglas, purchased from Rudy Komon Art Gallery, Sydney, in 1963; Private collection, Sydney, believed to have been purchased from Kym Bonython during mid 1960s

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 24 (as The Diary); Brett Whiteley, Rudy Komon Art Gallery, Sydney, 1963, cat. 9 (100 guineas)

Literature: Sutherland, 2010, p. 250 (cat. EE36); p. 71 (illus.).
Wilson, 2016, p. 76.
Sutherland, 2020, vol. 1, p. 102 (illus.); vol. 7, Paintings: Abstraction, White Paintings, p. 104

Primary Inscription: signed and dated verso ‘Brett Whiteley 61’

Provenance: Private collection, Sydney, acquired from the artist; James R Lawson, Sydney, 28 July 1998, cat. 154 (illus.); John Playfoot Fine Art, Melbourne; Gould Galleries, Melbourne (gallery label attached verso), 2000; Private collection, Sydney / USA; Shapiro Auctioneers, Sydney, 8 May 2002, lot 39; p. 32 and cat. cover (illus.); John Playfoot Fine Art, Melbourne; Melbourne Fine Art, Melbourne; Private collection, New South Wales, purchased from Melbourne Fine Art

Exhibited: [probably] Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962; Brett Whiteley, Gould Galleries, Sydney, 2000, no. 3 (as ‘Untitled White Abstract’); Melbourne Fine Art, a mixed exhibition held in Sotheby’s exhibition space, Sydney, 9–13 October 2002

Literature: Sutherland, 2010, p. 242 (cat. EE2 (as ‘Untitled’); p. 56 (illus.).
Sutherland, 2020, vol. 1, p. 103 (illus.); vol. 7, Paintings; Abstraction, White Paintings, p. 105.

Primary Inscription: verso: signed c.l. (in black ink) ‘Brett Whiteley’, inscribed c. (in pencil) ‘“UNTITLED WHITE” / PAINTING / 60″x 60″ / OIL TEMPERA / COLLAGE’; further signed and inscribed u.l. (in grey paint) ‘Whiteley [partially obscured by stretcher bar] / untitled white painting’; u.l. (in white paint) ‘B WHITELEY’; dated and inscribed and c.r. (in white paint) ‘“UNTITLED / WHITE / PAINTING” / 1961’

Inscription: verso continued, further inscribed u.r. (in black ink) [words crossed through] ‘THE / MATTHIESEN / GALLERY / LONDON; COLL. [white ink] THE / ARTIST’. with 3 typed labels affixed verso: Biennale de Paris, with inscription (in pencil) ‘X WHITECHAPEL’; exhibition label, Australian Painting; owner’s label, Mr and Mrs John Murchison, Addison, Texas, numbered ‘66.24’ and titled ‘“Untitled” (Drawing)’

Provenance: Private collection; Geoff K Gray [auctions], Sydney, 22 May 1964, lot 176 (illus.); Bonython Art Gallery, Adelaide; Mr and Mrs John D Murchison, Dallas, Texas (label verso), purchased from Bonython in 1966; The Murchison Estate, USA; Private collection, London, acquired from the Murchison Estate in 2002

Exhibited: Deuxième Biennale de Paris, Musée d’Art Moderne, Paris, 29 September–5 November 1961, no. 41 (incorrectly as ‘Peinture en rouge’, 1961, oil and collage, 152.0 x 152.0 cm) (label attached verso); Australian Painting: Colonial / Impressionist / Contemporary, (a travelling exhibition selected by the Commonwealth Art Advisory Board) previewed at Art Gallery of South Australia (Adelaide Festival of Arts), Adelaide, 17–1 March 1962 and Art Gallery of Western Australia, Perth, 24 September–24 October 1962, then toured to Tate Gallery, London, 24 January – 3 March 1963, National Gallery of Canada, Ottawa, 11 April–5 May 1963 and Vancouver Art Gallery, Vancouver, Canada, 6–22 June 1963, contemporary cat. 210 (as Untitled White Painting) (lent by the artist) (exhibition label attached verso) *; [probably] Annual Christmas Exhibition at the Bonython Art Gallery, North Adelaide, 9–24 December 1963, cat. 41 (as Untitled White Painting; 375 guineas)

Literature: Turnbull, Young & Thomas, 1962, p. 75 (illus.).
Sutherland, 2010, p. 242 (cat. EE3); p. 57 (illus.).
Sutherland, 2020, vol. 1, p. 106 (illus.); vol. 7, Paintings; Abstraction, White Paintings, p. 105.

Note: *There were two versions of the catalogue accompanying the 1963 travelling exhibition of Australian Painting, published in 1962. (refer Bibliography.)
It is understood that the Murchisons purchased Untitled White Painting, 1961, and a drawing, Study for Untitled White Painting (1961), from Bonython Art Gallery in 1966. (cat.10.61)

Provenance: whereabouts unknown

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 9 (as Untitled White Painting I); [possibly] Ayrton, Daws, Smith, Vaughan, Whiteley, Sorsbie Gallery, Nairobi, Kenya, East Africa, March–April 1963, cat. 50 (as Untitled Painting, oil, tempera and collage on board, 122 x 122 cm)

Literature: Sutherland, 2010, p. 242 (cat. EE4).
Sutherland, 2020, vol. 7, Paintings; Abstraction, White Paintings, p. 105.

Primary Inscription: signed, inscribed and dated verso (in black oil) ‘Brett Whiteley / WHITE PAINTING WITH COLLAGE / 1961’

Provenance: Rudy Komon Art Gallery, Sydney; Mr and Mrs S. I. Rapotec, Sydney, purchased from Rudy Komon in 1963; Estate of Stanislaus Rapotec (1997); Private collection, Melbourne; Charles Nodrum Gallery, Melbourne; John Playfoot Fine Art, Melbourne, purchased from Charles Nodrum Gallery; Gould Galleries, Sydney, 2000; Private collection, Melbourne; Sotheby’s, Melbourne, 26 November 2001, lot 47 (illus.); Private collection, London

Exhibited: Brett Whiteley, Rudy Komon Art Gallery, Sydney, 1963, cat. 2 (as White Painting with Collage) (220 guineas); Australian Painting Today: A Survey of the Past Ten Years, QAG, 19 September–20 October 1963, then toured in State art galleries until July 1964, cat. 76, then toured in Europe (Brussels, Breda, Essen, Copenhagen, Gothenburg, Munich, Parma and Belgrade) as: De Hedendaagse Schilderkunst in Australië: Een overzicht van de laatste tien jaar (Australian Painting Today: An overview of the last ten years), 1964–65, cat. 78 (lent by Mr and Mrs S. I. Rapotec); Christie’s, Melbourne, 14 March 1972, lot 84 ($2,400); Brett Whiteley Retrospective, AGNSW, 1995, no. 14, then toured to state galleries, December 1995–November 1996, no. 8; Genesis of a Painter – The Early Abstraction of Brett Whiteley, BWS, August 1998–January 1999, cat. 14; Selected Paintings 1990–1999, Charles Nodrum Gallery, Melbourne, 29 May–19 July 1999, cover (illus.); Brett Whiteley, Gould Galleries, Sydney, 2000, no. 1

Literature: Cormack in The Arts Review, London, March l962, p. 9.
Hughes, 1986, pp. 297–279, pl. 125.
Pearce, 1995, p. 226; pl. 19 (illus.).
Sutherland, 2010, p. 244 (cat. EE8); p. 245 (illus.).
Sutherland, 2020, vol. 1, p. 104 (illus.); vol. 7, Paintings; Abstraction, White Paintings, pp. 105–106.

Provenance: whereabouts unknown

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 8 (as Untitled White and Pink Painting); Ayrton, Daws, Smith, Vaughan, Whiteley, Sorsbie Gallery, Nairobi, Kenya, East Africa, March–April 1963, cat. 53 (illus.)

Literature: Sutherland, 2010, p. 248 (cat. EE29).
Sutherland, 2020, vol. 7, Paintings; Abstraction, White Paintings, p. 106.

Primary Inscription: signed u.l. ‘Brett Whiteley’; signed, inscribed and dated verso ‘1961 / Brett Whiteley / Somewhere in Summer 1961 / 72˝x 84˝’; signed u.l. ‘Brett Whiteley’; signed, inscribed and dated verso ‘1961 / Brett Whiteley / Somewhere in Summer 1961 / 72˝x 84˝’

Inscription: bears inscription on gallery label affixed verso ‘John Moores Liverpool / Exhibition /1963 / Junior Section / oil + tempera £450 / No. 347’

Provenance: Matthiesen Gallery, London; Private collection, London, purchased from Matthiesen Gallery, London, in 1962; Private collection, Sydney; Private collection, Sydney (BWS1754)

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 1 (as Somewhere in Summer) (illus.); Australian Painting: Colonial / Impressionist / Contemporary, (a travelling exhibition selected by the Commonwealth Art Advisory Board) previewed at the Art Gallery of South Australia (Adelaide Festival of Arts), Adelaide, 17–1 March 1962 and Art Gallery of Western Australia, Perth, 24 September–24 October 1962, then toured to Tate Gallery, London, 24 January–3 March 1963 and National Gallery of Canada, Ottowa, 11 April–5 May 1963, Vancouver Art Gallery, Vancouver, Canada, 6–22 June 1963, contemporary cat. 211 (as ‘Somewhere in Sumer [sic]’) (lent by the artist); John Moores 4 exhibition, Junior Section, Liverpool, 1963, no. 347 (exhibition label attached verso); Australian Bicentennial Exhibition, Fischer Fine Art, London, 29 June–3 September 1988, cat. 1 (on loan) (illus.); Brett Whiteley Retrospective, AGNSW, 1995, no. 12, then toured to regional galleries, December 1995–November 1996, no. 9; Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, cat. 12; 9 Shades of Whiteley, BWS, December 2006–September 2007; Brett Whiteley: Connections, TarraWarra Museum of Art, Healesville, Victoria, November–March 2011; The London Years, 1960–67, BWS, July 2012–April 2013; Pathways to Figuration, BWS March–October 2018; Brett Whiteley: Chapters 1959–1969, BWS, August 2023– June 2024; Brett Whiteley: Inside the Studio (touring exhibition), toured to: Logan Art Gallery, Logan, Queensland; John Curtin Gallery, Bentley, Western Australia; Orange Regional Gallery, Orange, New South Wales; Shepparton Art Museum, Shepparton, Victoria from July 2024–October 2025

Literature: Pearce 1995, p. 226; p. 57, pl. 6 (illus.).
Sutherland, 2010, pp. 63, 246 (cat. EE16); p. 247 (illus.).
Wilson, 2016, p. 76.
Sutherland, 2020, vol. 1, p. 105 (illus.); vol. 7, Paintings; Abstraction, Red Paintings, p. 106.

Provenance: Matthiesen Gallery, London; Lex Aitken and Alfredo (Bouret) Gonzalez, Sydney, purchased from Matthiesen Gallery, London, 1962; Deutscher and Hackett, Sydney, 28 August 2013, lot 13 (illus.); Private collection, Sydney

Exhibited: Matthiesen Gallery, London, 1961

Literature: Sutherland, 2010, p. 246 (cat. EE17).
Sutherland, 2020, vol. 1, p. 107 (illus.); vol. 7, Paintings; Abstraction, Red Paintings, p. 106.

Related Work: paintings: paintings: Untitled Red Paintings 1961 (cat. nos. 46.61–-52.61 )

Note: Whiteley and Michael Johnson were introduced to Lex Aitken when they first arrived in London. In 1963 Aitken travelled to Folkestone in the company of Kenneth Clark who opened Australian Painting and Sculpture in Europe Today, an exhibition hosted by the Arts Council, which included exhibits by Whiteley.

Primary Inscription: signed and dated (indistinctly) l.r. ‘Whiteley 61’; signed and inscribed verso ‘Brett / Whiteley / Untitled / Painting’

Inscription: bears inscription ‘Red Painting’ on gallery label affixed verso

Provenance: Matthiesen Gallery, London; Private collection, USA, purchased from Matthiesen Gallery in 1962 (£250); Beryl Whiteley, Sydney, a gift from the previous owner; Christie’s, Melbourne, 6 May 2003, lot 16 (illus.), consigned by Beryl Whiteley; Private collection, New South Wales, purchased from Christie’s in 2003

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 6 (as Untitled Red Painting); English Contrasts, Peintres et Sculpteurs Anglais, 1950–60, Artcurial, Paris, September–November 1984; Recalling the Fifties: British Painting and Sculpture 1950–1960, Arts Council of Great Britain, Serpentine Gallery, London, February–March 1985; Genesis of a Painter / The Early abstractions of Brett Whiteley, AGNSW, 29 August 1998–31 January 1999, cat. 17 (as ‘Red Painting’)

Literature: Hopkirk, 1996, p. 141.
Pearce, Barry (essay), 9 Shades of Whiteley, online education Kit, AGNSW, 2007, p. 5.
Sutherland, 2010, pp. 63, 246 (cat. EE18); p. 61 (illus.).
Sutherland, 2020, vol. 1, p. 120 (illus.); vol. 7, Paintings; Abstraction, Red Paintings, p. 107.

Related Work: paintings: Untitled Red Paintings 1961 (cat. nos. 46.61–-52.61 )

Primary Inscription: signed, dated and inscribed verso (in black oil) ‘UNTITLED RED / OIL AND COLLAGE /ON BOARD, / Brett Whiteley 1961 / MATTHIESEN / LONDON / SOLD / CAT NO 3'

Inscription: ’with gallery labels, as listed below, affixed verso

Provenance: Fischer Fine Art Limited, London, 1961 (gallery label attached verso); Matthiesen Gallery, London, 1962; Blue Boy Gallery, Melbourne; Private collection, Melbourne
Lauraine Diggins Fine Art, Melbourne, 1986 (gallery label attached verso); Private collection, Melbourne, purchased from Lauraine Diggins Fine Art c. 1986

Sketchbook: (Visceral abstraction) (c. 1961), crayon and ink, artist's notebook '21' (1961, 1963) (KS8)

Exhibited: Fischer Fine Art Limited, London, 1961, cat. 1; Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 3 (as Untitled Red Painting 1); Selected Australian Works of Art, Lauraine Diggins Gallery, Melbourne, 30 June–11 July 1986, cat. 61 (illus.); On Loan Private Collection, Bendigo Art Gallery, Bendigo, Victoria, 10 December 2005–7 May 2006 [on continuous loan since 1985]

Literature: Reed, 1963, p. 45 (illus.).
Pearce, 1995, ref. p. 226; pl. 15 (illus.).
Sutherland, 2010, ref. pp. 63, 246 (cat. EE19); p. 62 (illus.).
Sutherland, 2020, vol. 1, pp. 108–109 (illus.); vol. 7, Paintings; Abstraction, Red Paintings, p. 107.

Related Work: paintings: Untitled Red Paintings 1961 (cat. nos. 46.61–-52.61 )

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, Sydney, Sydney, from the estate of Beryl Whiteley (BWS1807)

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 14 (as Untitled Red Painting II) (illus.); Ayrton, Daws, Smith, Vaughan, Whiteley, Sorsbie Gallery, Nairobi, Kenya, East Africa, March–April 1963, cat. 46 (as ‘Untitled Red Painting’ [measurements reversed]); Genesis of a Painter: The Early Abstractions of Brett Whiteley, AGNSW, 29 August 1998–31 January 1999, cat. 10 (as Untitled Red Painting 2, 1960); Blue, BWS, July 2011–July 2012; The London Years, 1960–67, BWS, July 2012–April 2013; Pathways to Figuration, BWS, March–October 2018; Brett Whiteley: Chapters 1959–1969, BWS, August 2023–June 2024

Literature: Robertson, The New Generation: 1964, exhibition catalogue, Whitechapel Gallery, London, 1964. (photog. by Axel Poignant (c. 1962) of the artist in his studio with the painting (Reproduced in Pearce, 1995).
Sutherland, 2010, pp. 63, 246 (cat. EE20); p. 58 (illus.).
Sutherland, 2020, vol. 1, p. 122 (illus.); vol. 7, Paintings; Abstraction, Red Paintings, p. 107.

Related Work: paintings: Untitled Red Paintings 1961 (cat. nos. 46.61–-52.61 )

Primary Inscription: signed, dated and inscribed verso (in white paint) ‘“UNTITLED / RED PAINTING 3” / Brett Whiteley / OIL / 1961’

Inscription: bears inscription on backing verso ‘X / MATTHIESON [sic] / E9437; bears inscription on label attached verso ‘Miss Welo’

Provenance: Matthiesen Ltd, London (stock no. E9457); Karen L Welo, England, purchased from Matthiesen on 12 December 1961; Private collection, USA, acquired by descent; Menzies Art Brands, Sydney, 9 April 2025, lot 35 (illus.); Private collection, Melbourne

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 13 (as Untitled Red Painting III)

Literature: Sutherland, 2010, p. 246 (cat. EE21).
Sutherland, 2020, vol. 7, Paintings; Abstraction, Red Paintings, p. 107.

Related Work: paintings: Untitled Red Paintings 1961 (cat. nos. 46.61–-52.61 )

Provenance: whereabouts unknown

Literature: Sutherland, 2020, vol. 7, Paintings; Abstraction, Red Paintings, p. 108

Related Work: paintings: Untitled Red Paintings 1961 (cat. nos. 46.61–-52.61 )

Provenance: whereabouts unknown

Exhibited: House Show [group exhibition], Matthiesen, London, 8 February–3 March 1962, cat. 37 (as Untitled Red Painting 5); Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 7 (as Untitled Red Painting V); Ayrton, Daws, Smith, Vaughan, Whiteley, Sorsbie Gallery, Nairobi, Kenya, East Africa, March–April 1963, cat. 51 (as Untitled Red Painting 5)

Literature: Sutherland, 2010, p. 246 (cat. E22).
Wilson, 2016, p. 76.
Sutherland, 2020, vol. 7, Paintings; Abstraction, Red Paintings, p. 108.

Related Work: paintings: Untitled Red Paintings 1961 (cat. nos. 46.61–-52.61 )

Primary Inscription: signed, dated and inscribed verso ‘“UNTITLED / ORANGE / PAINTING’ 48ʺ x 60ʺ / OIL AND TEMPERA / BRETT WHITELEY’ / MOLTON GALLERY / LONDON; further inscribed verso ‘I /61 / II / 26 – XX1 – 1/61'

Inscription: with exhibition label attached verso

Provenance: Molton Gallery, London; [probably] John Buckley, Melbourne; Private collection, Melbourne

Exhibited: Internationale malerei 1960–61, Wolframs–Eschenbach Gallery, Aschaffenburg, Germany, 15 July–24 September 1961 (exhibition label attached verso)

Literature: Sutherland, 2020, vol. 1, p. 118 (illus.); vol. 7, Paintings; Abstraction, Red Paintings, p. 108

Primary Inscription: signed, dated and inscribed with title and dedication verso (in blue pen) ‘Brett /Whiteley 61 / “Untitled / Landscape”/ For Georges’

Provenance: George Sheridan, France; Private collection, France

Literature: Sutherland, 2010, p. 250 (cat. EE39).
Sutherland, 2020, vol. 7, Paintings; Abstraction, Untitled Paintings, p. 108.

Primary Inscription: signed, dated and inscribed verso (in black oil) ‘“UNTITLED / PAINTING” 1961 / [words blacked out] / Brett Whiteley 61 / 60´ x 60´ / OIL TEMPERA / AND COLLAGE’; further inscribed ‘UNTITLED / PAINTING / 60״ x 60״ / Brett Whiteley / MATTHIESEN GALLERY / 142 NEW BOND ST, LONDON W1’

Inscription: bears inscription on typed and printed Adelaide Festival of Arts label affixed verso ‘PETER STUYVESANT COLLECTION / CAT. No. 24 / UNTITLED / BRETT WHITELEY / LENT BY The Turmac n.v. Zevaanar, Holland’

Provenance: Matthiesen Gallery, London, 1962; The Peter Stuyvesant Foundation, London, 1962, purchased from Matthiesen in 1962; The Turmac n.v. Zevaanar, Holland; Adrian Mibus, London; Bridget McDonnell Gallery, 1985; Private collection, Melbourne, purchased from Bridget McDonnell Gallery on 24 January 1985 ($32,000); Deutscher Fine Art, Melbourne, 1986; Private collection, Melbourne, purchased from Deutscher Fine Art; Lauraine Diggins Fine Art, Melbourne, 1996; Art Gallery of New South Wales, Sydney, purchased from Lauraine Diggins in 1996 (272.1996)

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 5 (as Untitled Painting I); Peter Stuyvesant Collection, Stedelijk Museum, Amsterdam, 18 January–12 February 1961 and Berlin World Fair, Berlin, West Germany, 1962; Australian Painting and Sculpture in Europe Today, New Metropole Arts Centre, Folkestone, 20 April–26 May 1963, cat. 4 (as ‘Untitled Painting No. 1’), then toured to Stedelijk Museum, Amsterdam in June 1963 and Städel’sches Kunstinstitut (Städel Museum), Frankfurt, 4 July–11 August 1963, cat. 4; Peter Stuyvesant Collection: Australian Tour, 1964/5: (for Adelaide Festival of Arts), AGSA, 7 March–5 April 1964, cat 24; then toured nationally from 16 April–February 1965; then toured to New Zealand and Canada (exhibition label attached verso); Australian Art: Colonial to Modern, Deutscher Fine Art, Perth, 20–25 August and Sydney, 5–13 September 1986, cat. 90 (illus.); Brett Whiteley Retrospective, AGNSW, 1995, no. 11, then toured to regional galleries, December 1995–November 1996, no. 10; Genesis of a Painter: The Early Abstractions of Brett Whiteley, August 1998–January 1999, cat. 15, cover (illus.); Australian Icons: Twenty Artists from the Collection, AGNSW, 4 August–3 December 2000; Sydney Genesis and Beyond 1955–1965, BWS, 2005; 9 Shades of Whiteley, BWS, December 2006–September 2007; 9 Shades of Whiteley, regional galleries touring exhibition, July 2008–August 2009; Brett Whiteley: Connections, TarraWarra Museum of Art, Healesville, Victoria, November–March 2011; The London Years, 1960–67, BWS, July 2012–April 2013; Pathways to Figuration, BWS, March–October 2018

Literature: Kouwenaar, Gerrit, ‘Abstracte kunst in sigarettewierook’ in Het Vriie Volk, 31 January 1962 (page unknown) (illus.),
Spencer in Studio, London, January 1963, p. 21 (illus.),
Peter Stuyvesant Collection, exhib. cat., Adelaide Festival of Arts, Adelaide 1964, cat. 24,
Pearce, 1995, ref. p. 226; pl. 11 (illus.),
19th & 20th Century Australian Painting, Sculpture and Decorative Arts, Lauraine Diggins Fine Art, exhib. cat., 1996, cat. 108 (illus.),
Ingram, ‘Whiteley work bound for NSW’ in The Australian Financial Review, 30 May 1996, p. 45 (illus.) Pearce, 2000, p. 302; p. 247 (illus.),
Klepac (ed.), Pearce (essay), 2000, p. 234 (illus.),
Sutherland, 2010, ref. pp. 73, 248 (cat. EE24); p. 64 (illus.),
Sutherland, 2020, vol. 1, p. 112 (illus.); vol. 7, Paintings; Abstraction, Untitled Paintings, pp. 108–109,

Related Work: paintings: Untitled Painting II (cat. 57.61); Untitled Painting III (1961) (cat. 58.61); Untitled Painting IV (1961) (cat. 59.61); Untitled Painting V 1961 (cat. 60.61)

Note: Although this work was included in the Lauraine Diggins exhibition catalogue in 1996 it was on loan to the Art Gallery of New South Wales during this period, touring to regional galleries as part of the 1995–96 retrospective exhibition.

Primary Inscription: signed, dated and inscribed verso (in black oil) ‘Brett Whiteley 61 / oil and mixed media /cat no. 2 / Untitled painting 2’

Provenance: Matthiesen Gallery, London, 1962 (gallery label affixed verso); Art Gallery of New South Wales, Sydney, purchased from Matthiesen Gallery, London in 1962 (OA19.1962)

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 4 (as Untitled Painting II), cover (illus.); Acquisitions 1962, AGNSW, 10 April–12 May 1963, no. 29; Young Australian Painters, Kyoto Municipal Museum, Kyoto, Keio Department Store, Tokyo, Japan, 1 April–1 May 1965, then, AGNSW, 4–8 August 1965; Canadian Pacific Airlines Convention Exhibition, Vancouver Art Gallery, Vancouver, 1969; Twentieth Century Australian Masterworks from the Art Gallery of New South Wales and the Fred Williams Pilbara series from the Collection of CRA Limited, Tokyo Metropolitan Teien Art Museum, Tokyo, 4 October–November 1985, cat. 29; Brett Whiteley Retrospective, AGNSW, 1995, no. 15; Brett Whiteley: Aspects & Insights: The Art Gallery of New South Wales Regional Tour, July 1996–March 1997, no. 3 (illus.); Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, cat. 16; Brett Whiteley – The Genius, Moree Plains Gallery, Moree, November 1999–January 2000, cat. 1; Sydney Genesis and Beyond 1955–1965, BWS, 2005; 9 Shades of Whiteley, BWS, December 2006–September 2007; 9 Shades of Whiteley, regional galleries touring exhibition, July 2008–August 2009; Brett Whiteley: Connections, TarraWarra Museum of Art, Healesville, Victoria, November 2010–March 2011; The London Years, 1960–67, BWS, July 2012–April 2013; Pathways to Figuration, BWS, March–October 2018; Brett Whiteley: Chapters 1959–1969, BWS, August 2023–June 2024

Literature: Pearce, Barry and McCaughey, Patrick, Twentieth Century Australian Masterworks from the Art Gallery of New South Wales and the Fred Williams Pilbara series from the Collection of CRA Limited, Tokyo Metropolitan Teien Art Museum, Tokyo, Japan, 1985, p. 48 (cat. 29) (illus.).
Pearce 1995, p. 226; pl. 13 (illus.).
Sutherland, 2010, p. 248 (cat. EE25), p. 67 (illus.).
Wilson, 2016, p. 76.
Sutherland, 2020, vol. 1, p. 113 (illus.); vol. 7, Paintings; Abstraction, Untitled Paintings, p. 109.

Related Work: paintings: Untitled Painting 1 (cat. 56.61); Untitled Painting III (1961) (cat. 58.61); Untitled Painting IV (1961) (cat. 59.61); Untitled Painting V 1961 (cat. 60.61)

Primary Inscription: signed l.r. ‘Whiteley’; signed and inscribed verso on frame ‘“UNTITLED PAINTING 3” / brett whiteley’

Provenance: Matthiesen Gallery, London, 1962; Private collection, Scotland, purchased from Matthiesen in 1962; Bonhams, Sydney, 25 November 2020, lot 33 (illus.); Private collection, Sydney (BWS1864)

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 10 (as Untitled Painting III) (illus.); Bonhams & Goodman, Melbourne, 26 August 2008, lot 47 (illus.); Brett Whiteley: Chapters 1959–1969, BWS, August 2023–June 2024

Literature: Sutherland, 2010, p. 248 (cat. EE26); p. 249 (illus.).
Sutherland, 2020, vol. 1, p. 114 (illus.); vol. 7, Paintings; Abstraction, Untitled Paintings, p. 109.

Related Work: paintings: Untitled Painting 1 (cat. 56.61); Untitled Painting II (cat. 57.61); Untitled Painting IV (1961) (cat. 59.61); Untitled Painting V 1961 (cat. 60.61)

Provenance: whereabouts unknown

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 16 (as Untitled Painting IV)

Literature: Sutherland, 2010, p. 248 (cat. EE27).
Sutherland, 2020, vol. 7, Paintings; Abstraction, Untitled Paintings, p. 109.

Related Work: paintings: Untitled Painting 1 (cat. 56.61); Untitled Painting II (cat. 57.61); Untitled Painting III (1961) (cat. 58.61); Untitled Painting V 1961 (cat. 60.61)

Primary Inscription: signed, dated and inscribed with title verso (on the stretcher) ‘1961 “UNTITLED PAINTING 5”/ Brett Whiteley’

Provenance: Private collection; Sotheby’s, Melbourne, 17 April 1989, lot 469 (illus.); Company collection, Melbourne, purchased from Sotheby’s; Leonard Joel, Melbourne, 26 July 1989, lot 258 (illus.); Private collection, Melbourne; Private collection, Sydney (BWS1767)

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 15 (as Untitled Painting V); Horsham Regional Art Gallery, Horsham, long-term loan until 2008; The London Years, 1960–67, BWS, July 2012–April 2013; Pathways to Figuration, BWS, March–October 2018; Brett Whiteley: Chapters 1959–1969, BWS, August 2023–June 2024

Literature: Sutherland, 2010, p. 248 (cat. EE28); p. 62 (illus.).
Sutherland, 2020, vol. 1, p. 115 (illus.); vol. 7, Paintings; Abstraction, Untitled Paintings, p. 109.

Related Work: paintings: Untitled Painting 1 (cat. 56.61); Untitled Painting II (cat. 57.61); Untitled Painting III (1961) (cat. 58.61); Untitled Painting IV (1961) (cat. 59.61)

Literature: photograph: Sutherland, 2010, pp. 40-41 (illus.); Sutherland, 2020, vol. 1, p. 116 (illus.)

Primary Inscription: signed l.r. ‘Brett Whiteley’; thrice signed verso on backing board ‘Brett Whiteley’; further signed and inscribed with title on distressed label affixed to backing board ‘Brett Whiteley / Untitled Painting’; inscribed (in ink) on Matthiesen Gallery label affixed verso ‘Untitled Warm Painting’ and ‘NR3’ and, in another hand, ‘(64)’

Inscription: with two Rudy Komon Art Gallery labels affixed verso; one with typed inscription, ‘Untitled Warm Painting’, dated ‘1962’; the other with Rudy Komon Art Gallery stock number stock number ‘4698’

Provenance: Rudy Komon Art Gallery, Sydney (4698); Leonard Hessing, Sydney, purchased from Rudy Komon Art Gallery, Sydney, in 1963; Gallery A, Sydney, 1970, 1978; James R Lawson, Sydney, 24 October 1978, lot 37 (illus.) ($7,500); Rudy Komon Art Gallery, Sydney, 1978–79; The Pioneer International Collection, Sydney (Sir Tristan Antico), purchased from Rudy Komon Gallery, 1978–79; Sotheby’s, Sydney, 15 August 2000, lot 15 (illus.); John Playfoot Fine Art, Melbourne, purchased from Sotheby’s August 2000; Christie’s, Melbourne, 27 November 2001, lot 55 (illus.); Mrs Eva Besen and Mr Marc Besen AO, Melbourne, purchased November 2001; TarraWarra Museum of Art, Healesville, Victoria, gift of Eva and Marc Besen AO in 2003

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 11 (as Untitled Warm Painting) (exhibition label attached verso); Brett Whiteley, Rudy Komon Art Gallery, Sydney, 1963, cat. 3 (as Untitled Warm Painting) ($220 guineas); Gallery A, Sydney, 1970; Nineteenth Anniversary Exhibition, Rudy Komon Art Gallery, Sydney, December 1978, cat. 28 (as ‘Warm Painting’); Stock Upstairs in Gallery, Rudy Komon Art Gallery, Sydney, 8 December 1979, cat. 17; Brett Whiteley: Connections, TarraWarra Museum of Art, Healesville, 2011; Baldessin / Whiteley: Parallel Visions, NGV, 31 August 2018–29 January 2019

Literature: McIntyre, Arthur in The Australian, 6 January 1978, p. 8 (illus.).
McGrath, 1979, pp. 32, 33, (dated 1961) (detail, illus.).
Pearce, 1995, photog. of Untitled Warm Painting (1961) in the artist’s studio (n.p.).
Hopkirk, 1996, photog. of Untitled Warm Painting (1961) with artist in his London studio (n.p.).
Sutherland, 2010, pp. 73, 250 (cat. EE32); p. 65 (illus.).
Strickland in The Weekend Australian Financial Review, Sydney, 6–7 November 2010, p. 37 (illus.).
Klepac, 2014, p. 11 (illus.).
Grishin and contributors, 2018, p. 193; frontispiece and p. 38 (illus.).
Sutherland, 2020, vol. 1, p. 117 (illus.); vol. 7, Paintings; Abstraction, Warm Paintings, p. 109.

Related Work: paintings: Untitled Warm Paintings 1961 (cat. nos. 62.61 -–65.61)

Note: The Matthiesen catalogue reads: ‘All Paintings and Gouaches were made in 1961’.

Primary Inscription: signed, dated and inscribed verso ‘UNTITLED / WARM PAINTING / 1 / Brett Whiteley / 1961 / TEMPERA + COLLAGE / cat no (8)’

Inscription: with gallery and exhibition labels (noted below), and a distressed label numbered ‘25’ affixed verso

Provenance: Rudy Komon Art Gallery, Sydney (gallery label attached verso); Collection Commonwealth Art Advisory Board, purchased on 25 May 1963 from Rudy Komon;
National Gallery of Australia, Canberra (46037/63.20)

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 12 (as Untitled Warm Painting 1); Brett Whiteley, Rudy Komon Art Gallery, Sydney, 1963, cat. 4 [incorrectly as ‘Untitled Warm Painting II’, 1962] (220 guineas); Australian Painting: Yesterday & Today, Festival of Auckland, Auckland City Art Gallery, Auckland, New Zealand, May–June 1964, and then on tour, cat. 107 [incorrectly as ‘Untitled Warm Drawing’] (exhibition label attached verso); Australian Embassy, Tokyo (on loan) during the 1960s; Australian Paintings, Expo-67, Montreal, Canada, 10 March–16 April 1967, cat. 17 [incorrectly as ‘Warm Painting II’]; Contemporary Australian Painting, India and Pakistan, November 1967–1968, no. 33 [incorrectly as ‘Warm Painting II’]; Baldessin / Whiteley: Parallel Visions, NGV, 31 August 2018–29 January 2019

Literature: [Exhibition Commentary] Art and Australia, August 1963, p. 124 [incorrectly as ‘Untitled Warm Painting 11’] (illus.).
McGrath, 1979 [incorrectly as ‘Untitled Warm Painting II’], p. 31 (illus.).
Sutherland, 2010, p. 250 (cat. EE33); p. 251 (illus.).
Grishin and contributors, 2018, p. 37 (illus.).
Sutherland, 2020, vol. 1, p. 119 (illus.); vol. 7, Paintings; Abstraction, Warm Paintings, p. 111.

Related Work: paintings: Untitled Warm Paintings 1961 (cat. nos. 62.61 -–65.61)

Note: This was the first work by Whiteley acquired by the Commonwealth Art Advisory Board. It was selected by Russell Drysdale, who was a board member at that time. When the National Gallery of Australia opened, many CAAB works were transferred to the national collection.

Primary Inscription: signed l.c. ‘Brett Whiteley’

Provenance: Private collection, Australia

Exhibited: House Show [group exhibition], Matthiesen, London, 8 February–3 March 1962, cat. 38 (as Untitled Warm Painting 2) (illus.); Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962, cat. 27 (as Untitled Warm Painting II)

Literature: McGrath, 1979, p. 30 (illus.) [image reversed and incorrectly titled ‘Untitled Gouache’].
Sutherland, 2010, p. 250 (cat. EE34).
Sutherland, 2020, vol. 7, Paintings; Abstraction, Warm Paintings, p. 111.

Related Work: paintings: Untitled Warm Paintings 1961 (cat. nos. 62.61 -–65.61)

Primary Inscription: inscribed verso ‘UNTITLED “WARM” PAINTING 1961 / BRET WHITELEY / EXHIB. MATTHIESEN LONDON / 1962 / CAT. NO. / SIGNED LOWER LEFT’

Provenance: Matthiesen Gallery, London, 1962; Philip Bacon Gallery, Brisbane; Nevill Keating Pictures, London; Private collection, Indonesia, purchased from Nevill Keating Pictures in 1996; Christie’s, Modern and Contemporary Australian Art with works by 20th Century African Artists, sale 3622, South Kensington, London, 11 October 2011, lot 34 (illus.); Private collection, Melbourne, purchased from Christie’s

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen Gallery, London, 1962

Literature: Sutherland, 2010, p. 250 (cat. EE35).
Sutherland, 2020, vol. 1, p. 111 (illus.); vol. 7, Paintings; Abstraction, Warm Paintings, p. 111.

Related Work: paintings: Untitled Warm Paintings 1961 (cat. nos. 62.61 -–65.61)

Primary Inscription: signed, dated and inscribed with title verso (white paint) ‘“UNTITLED / BLACK COLLAGE” / Brett Whiteley 61’

Provenance: Matthiesen Gallery, London, 1962 (gallery label attached verso); G Milman, Southport, England, purchased from Matthiesen; David Hughes of Whitford and Hughes, London;
Edward and John Barkes, Sydney and London; Bridget McDonnell Gallery, Melbourne, 1995; John Playfoot Fine Art, Melbourne, purchased from Bridget McDonnell Gallery on 3 April 1998; Gould Galleries, Sydney, 2000; Melbourne Fine Art, Melbourne, 2006; Private collection, Melbourne, purchased from Melbourne Fine Art

Exhibited: Brett Whiteley: Paintings and Gouaches, Matthiesen, London, 1962 [exhibited but not catalogued]; John Glover to Brett Whiteley, Joseph Brown Galleries, Melbourne, 7–18 April 1969, no. 36 (as Black Collage, 1961); Modern Australian Paintings, Bridget McDonnell Gallery, Melbourne, 19 July–12 August 1985, cat. 29 (illus.); Modern Australian Paintings, Bridget McDonnell Gallery, Melbourne, 1–24 November 1995, cat. 26 (illus.); Brett Whiteley, Gould Galleries, Sydney, 2000, no. 2; Melbourne Fine Art, a mixed exhibition held in Sotheby’s exhibition space, Sydney, 9–13 October 2002

Literature: Cormack in The Arts Review, London, March l962, p. 9 (as ‘Black Collage’).
Sutherland, 2010, p. 250 (cat. EE37); p. 251 (illus.).
Sutherland, 2020, vol. 1, p. 123 (illus.); vol. 7, Paintings; Abstraction, Black Paintings, pp. 111–112.

Primary Inscription: signed and dated verso (in charcoal) ‘Brett Whiteley / 1961’; inscribed and dated verso ‘UNTITLED / DARK / PAINTING 1961 / TEMPERA / +MIXED MEDIA’

Provenance: Whiteley Estate (BWS49)

Exhibited: Survey of Recent Australian Painting, Whitechapel Art Gallery, London, 2 June–July 1961, cat. 110 (as Untitled Dark Painting 1961, tempera and oil on board, 54″ x 75″ (137.2 x 190.5 cm) (lent by the artist and marked ‘not for sale’); Recent Australian Painting, Arts Council of Great Britain, Walker Art Gallery, Liverpool, from March 1962 and touring the provinces, 1962, cat. 42; Deuxième Biennale de Paris, Musée d’Art Moderne, Paris, 29 September–5 November 1961, no. 41 (as ‘Peinture sombre’, 1961, tempera and oil, 138 x 191 cm); The English Eye, Marlborough–Gerson Gallery, New York, November–December 1965, cat. 93 (as Untitled Dark Painting, 1961, tempera and oil on hardboard, 137 x 190.5 cm) (illus.); Brett Whiteley Retrospective, AGNSW, 1995, no. 16; Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998– January 1999, cat. 19 (dated 1962); Aspects from the Estate, BWS, July 2002–February 2003; Key Works from the Studio, BWS, July–September 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; Blue, BWS, July 2011–July 2012; The London Years, 1960–67, BWS, July 2012–April 2013; Pathways to Figuration, BWS, March–October 2018; Brett Whiteley: Chapters 1959–1969, BWS, August 2023–June 2024

Literature: Millen, ‘Paris Seen’ in Art and Australia, November l963, p. 187 (as Untitled Dark Painting, 1961), p. 187 (illus.).
Pearce, 1995, pp. 10 (essay by Robertson), p. 226; pl. 18 (illus.).
Sutherland, 2010, pp. 54, 60; p. 55 (illus.).
Pierse, 2012, pp. 117–118; (6.8) (illus.).
Wilson, 2016, p. 63.
Sutherland, 2020, vol. 1, p. 121 (illus.); vol. 7, Paintings; Abstraction, Black Paintings, p. 112.

Note: Untitled Dark Painting, 1961, was one of three paintings that Whiteley exhibited in the Survey of Recent Australian Painting held at the Whitechapel Gallery in 1961. The other works, Untitled Red Painting 1960, and Untitled White Painting 1960–61, were both incorrectly described as works on board, rather than on canvas. Untitled Dark Painting was incorrectly described as ‘on hardboard’ when exhibited at Marlborough-Gerson in 1965.
According to Wendy Whiteley the dark shape in this composition represents the lake at Sigean which confirms that this work was not finally completed until 1962.

Primary Inscription: c.r. ‘Me / Maybe I should / have stayed in commercial art? / I am not a very strong character.. sometimes? I feel I am a lion / (without a red eye) / ripping off emmotional [sic] Himseys [?]. THERE [sic] NOT RIGHT / THEY WONT LAST THE YEAR / sometimes I feel … Why aggrevate [sic] my / desire for a more powerful art than representations / stop … [? word illegible] with this trivia and start painting me. / Rothko says big things to me right now … how far removed he is from this. / You! How easy it would be to join the broken thinkers … with pigment? as easy to apply as F.H. or T.G. but not E.R. (yes even him) / whether I find the answer to my life through studying Mondrian and Kandinsky / or go on from Bratby … well for sure that’s not to answer Herbert Reed [sic] says they’re folded … but theres [sic] definitely a! / Broken, yet real, cool not hot, real surfaces of emmotional [sic] interest suggestive enough / to explore – Jackson P … that’s what I think I want. Tomorrow I will / set up a still life and do something about it’

Provenance: Mr Prizcak, gift of the artist; Private collection, a bequest of Mr Prizcak in 1970; Theodore Bruce Auctions, Adelaide, 26 September 2010, lot 100; Private collection, Sydney
BWS1868)

Exhibited: Brett Whiteley Eternity is Now, BWS, December 2022–August 2023 [portraits]

Literature: Sutherland, 2010, p. 252 (cat. G1); p. 253 (illus.).
Sutherland, 2020, vol. 1, p. 127 (illus.); vol. 7, Drawings; Self-portraits, p. 113.

Related Work: Refer Persistent Themes, Subjects and Motifs (self-portraits) pp. 921–922

Provenance: Private collection, acquired from the artist in London in the early 1960s; Christie’s, Sydney, 28 August 2001, lot 385 (as Portrait) (illus.); Private collection, New South Wales

Literature: Sutherland, 2020, vol. 7, Drawings; Self-portraits, p. 113

Related Work: Refer Persistent Themes, Subjects and Motifs (self-portraits) pp. 921–922

Note: Authentication of this work was confirmed by Wendy Whiteley on 7 August 2014.

Primary Inscription: signed and inscribed l.r. ‘brett whiteley / pub portrait London’; stamped l.r. (in black ink) with artist’s monogram

Provenance: Whiteley Estate (BWS631)

Exhibited: Whiteley himself and Friends, BWS, December 2003–April 2004; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, November 2005; Brett Whiteley Eternity is Now, BWS, December 2022–August 2023

Literature: Sutherland, 2010, p. 252 (cat. G3).
Sutherland, 2020, vol. 7, Drawings; Portraits and People, p. 113.

Related Work: Refer Persistent Themes, Subjects and Motifs (musicians) pp. 919–920

Primary Inscription: stamped l.r. (in black ink) with artist’s monogram

Provenance: Robin Gibson Gallery, Sydney, 1985; Private collection, Sydney; Bruce Robertson, New South Wales; Shapiro Auctioneers, Sydney, from the estate of Bruce Robertson, Naremburn, 9 December 2012, lot 263 (illus.); Private collection, Sydney

Exhibited: 162 Drawings: Brett Whiteley: 1960–1985, Robin Gibson Gallery, Sydney, 1985, cat. 124 (as Portrait of Kasmin the Dealer 1962)

Literature: Sutherland, 2010, p. 252 (cat. G5).
Sutherland, 2020, vol. 7, Drawings; Portraits and People, pp 113–114.

Note: Paul Kasmin, a well-known British art dealer, promoted British and American Pop artists, including David Hockney, during the 1960s.

Provenance: Whiteley Estate (BWS1104)

Literature: Sutherland, 2020, vol. 7, Drawings; Portraits and People, p. 114

Related Work: drawing: ‘Wystan’: Portrait of W.H. Auden, Stephen Spender’s Cocktail Party, The Albany, London 1962 (cat. 8.62)

Primary Inscription: signed, dated and inscribed verso “WYSTON’[sic] / “Portrait of W. H. AUDEN.” / Stephen spender’s cocktail / party, the Albany London / 1962. / brett whiteley 1962 or 3. brush ink drawing’; stamped l.l. (in black ink) with artist’s monogram

Provenance: Whiteley Estate (BWS586)

Exhibited: 162 Drawings: Brett Whiteley: 1960–85, Robin Gibson Gallery, Sydney, 1985, cat. 17 (as W. H. Auden, incorrectly dated 1985); Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; Whiteley himself and Friends, BWS, December 2003–April 2004; Ink: Whiteley and Others, BWS, 2006; Tributes, BWS, 2016

Literature: 162 Drawings: Brett Whiteley: 1960–85, Sydney, 1985, p. 12 (illus.).
Sutherland, 2010, p. 252 (cat. G7).
Sutherland, 2020, vol. 7, Drawings; Portraits and People, p. 114.

Related Work: Study for Portrait of W. H. Auden (c. 1962) (cat. 7.62)

Primary Inscription: dated l.r. ‘1962–1973’, inscribed l.r. ‘everybody can only do / what they can do’ / ‘Study for a portrait of / Hitler’; stamped l.l. (in black ink) with artist’s monogram

Provenance: Whiteley Estate (BWS1640)

Literature: McGrath, 1979, p. 226 (cat. 90) (as Study for a portrait of Hitler [incorrectly dated] (illus.).
Sutherland, 2010, ref. pp. 198, 252 (cat. G6).
Sutherland, 2020, vol. 7, Drawings; Portraits and People, p. 114.

Related Work: Related theme: painting: Portrait of Hitler; Tears Tears, London (1963–64) (cat. 46.63); drawing: Adolf Hitler – Memory from Childhood 1970–71 (cat. 9.70)
Refer Persistent Themes, Subjects and Motifs (Hitler and the nature of power) p. 916

Primary Inscription: signed, dated and inscribed l.r. (in pencil) ‘study for Ping-Pong Match 1962 brett whiteley’

Provenance: Private collection, Sydney

Literature: Sutherland, 2020, vol. 7, Drawings; Interiors, p. 114

Primary Inscription: signed and dated l.l. ‘1962 / brett whiteley’

Provenance: Whiteley Estate (BWS1520)

Literature: Sutherland, 2010, p. 254 (cat. G8).
Sutherland, 2020, vol. 7, Drawings; Interiors, p. 114.

Related Work: For Pembridge Crescent Interiors, 1963, refer cat. nos. 37.63–41.63

Primary Inscription: inscribed and dated l.r. (pen and ink) ‘Snowing in London / Dec 62’; stamped l.r. and l.l. (in black ink) with artist’s monogram

Provenance: Arkie Whiteley, London; Private collection, Sydney, acquired by succession (BWS1900)

Exhibited: Brett Whiteley: Drawings 1960–1973, Bonython, Sydney, 1974, cat. 4 (as Snowing in London 1962)

Literature: Sutherland, 2010, p. 252 (cat. G2).
Sutherland, 2020, vol. 7, Drawings; Interiors, p. 115.

Primary Inscription: dated l.r. ‘1962’; stamped l.r. (in black ink) with artist’s monogram

Provenance: Whiteley Estate (BWS1363)

Exhibited: Brett Whiteley Drawings 1960–1973, Bonython, Sydney, 1974, cat. 7 (as Notre Dame 1962)

Literature: McGrath, 1979, p. 221 (cat. 13) (as Notre Dame, Paris) (illus.).
Sutherland, 2010, p. 252 (cat. G4).
Sutherland, 2020, vol. 7, Drawings; Landscapes, p. 115.

Related Work: Refer Persistent Themes, Subjects and Motifs (Notre-Dame Cathedral) pp. 954–955

Provenance: Rudy Komon Art Gallery, Sydney; Ms Lisa[?] Carlisle, purchased from Rudy Komon in 1963

Exhibited: Brett Whiteley, Rudy Komon Art Gallery, Sydney, 1963, cat. 7 (as Study for Sculpture II) (75 guineas)

Literature: Sutherland, 2010, p. 256 (cat. H20)
Sutherland, 2020, vol. 7, Drawings; Studies for Sculpture, p. 115

Primary Inscription: signed, dated and inscribed l.c. (in pencil) ‘For Bernhard.BrettWhiteley 62’

Provenance: Bernhard and Anne Baer, London, a gift from the artist; Private collection, United Kingdom

Literature: Sutherland, 2020, vol. 7, Drawings; The Nude, p. 115

Provenance: Marlborough Fine Art, London, 1964; whereabouts unknown

Exhibited: [possibly] Brett Whiteley, Marlborough New London Gallery, London, 1964, cat. 22 (as Page out of a Notebook, charcoal, 29.0 x 21.0 cm) [returned to artist 1968]

Literature: Spencer, ‘To Abstract Art’ in The Artist, 1 January 1964, p. 98 (illus.).
Sutherland, 2010, p. 270 (cat. L7).
Sutherland, 2020, vol. 7, Drawings; The Nude, p. 115.

Primary Inscription: signed l.r. ‘Whiteley’

Provenance: Pro Hart, Broken Hill, New South Wales; Deutscher and Hackett, Sydney, from the estate of Pro Hart, 2 December 2015, lot 137 (illus.); Private collection, Melbourne, purchased from D and H

Literature: Sutherland, 2020, vol. 7, Drawings; The Nude, p. 115

Primary Inscription: signed and inscribed u.l. ‘Brett / Whiteley / for whatever /a name / means / ?’

Provenance: Bourne End Auction Rooms, Buckinghamshire, England, 1 May 2013, lot 59; Private collection, Queensland; Lawson–Menzies, Sydney, 21 November 2013, lot 199; Private collection, Canberra

Literature: Sutherland, 2020, vol. 7, Drawings; The Nude, p. 116

Provenance: Private collection, acquired from the artist; Christie’s, Melbourne, 19 April 2005, lot 386A; Private collection, Sydney, purchased at Christie's

Literature: Sutherland, 2010, p. 254 (cat. H12).
Sutherland, 2020, vol. 7, Drawings; Summer at Sigean, p. 116.

Related Work: drawings: (Reclining Nude, Sigean) (1962) (cat. 32.62) (Reclining Female Nude) (1962) (cat. 33.62)

Note: Wendy Whiteley and Wendy Paramor, a friend who worked at Harvey Nichols department store in London, were models for this group of drawings (Sutherland, 2010, p. 74).

Primary Inscription: signed l.l. ‘Whiteley’

Provenance: Private collection, acquired from the artist; Christie’s, Melbourne, 19 April 2005, lot 372 (illus.); Private collection, New South Wales

Literature: Sutherland, 2010, p. 256 (cat. H13).
Sutherland, 2020, vol. 7, Drawings; Summer at Sigean, p. 116.

Related Work: drawings: (Nude Studies, Sigean) (1962) (cat. 31.62); (Reclining Female Nude) (1962) (cat. 33.62)

Note: Wendy Whiteley and Wendy Paramor, a friend who worked at Harvey Nichols department store in London, were models for this group of drawings (Sutherland, 2010, p. 74).

Primary Inscription: signed l.l. (charcoal) ‘whiteley’

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, 2012, bequest of Beryl Whiteley (215.2012)

Exhibited: Brett Whiteley: Chapters 1959–1969, BWS, August 2023– June 2024

Literature: Sutherland, 2020, vol 1, p. 130 (illus.); vol. 7, Drawings; Summer at Sigean, p. 116

Related Work: drawings: (Nude Studies, Sigean) (1962) (cat. 31.62); (Reclining Nude, Sigean) (1962) (cat. 32.62)

Note: Wendy Whiteley and Wendy Paramor, a friend who worked at Harvey Nichols department store in London, were models for this group of drawings (Sutherland, 2010, p. 74).

Primary Inscription: signed l.c. ‘Whiteley’

Provenance: [probably] Rudy Komon Art Gallery, Sydney, 1963; [probably] Christie’s, Sydney, 4 October 1977, lot 142 ($550); Company collection, 2000; Dunbar Sloane, (auctioneers), Auckland, 28 April 2004, lot 60; Private collection, New Zealand; Private collection, Melbourne; Deutscher–Menzies, Melbourne, 9 December 2004, lot 241 (illus.); Private collection, Melbourne; Leonard Joel, Melbourne, 26 March 2007, lot 157 (illus.); Art trade buyer, Melbourne; Private collection

Exhibited: *[probably] Brett Whiteley, Rudy Komon Art Gallery, Sydney, 1963, cat. 14 (as Sigean Drawing II, 48.9 x 69.2 cm; 75 guineas)

Literature: Sutherland, 2010, p. 254 (cat. H2).
Sutherland, 2020, vol 1, p. 130 (illus.); vol. 7, Drawings; Summer at Sigean, p. 116.

Provenance: Rudy Komon Art Gallery, Sydney; Private collection

Exhibited: Brett Whiteley, Rudy Komon Art Gallery, Sydney, 1963, cat. 12 (as Untitled Drawing; 100 guineas); Fourth Anniversary Show, Rudy Komon Art Gallery, Sydney, 1963; A Selection from the Rudy Komon Collection, Gallery A, South Yarra, Melbourne [no date given]

Literature: Sutherland, 2010, p. 254 (cat. H7).
Sutherland, 2020, vol. 7, Drawings; Summer at Sigean, pp. 116–117.

Provenance: Rudy Komon Art Gallery, Sydney; Mr Chisholm, purchased from Rudy Komon in 1963

Exhibited: Brett Whiteley, Rudy Komon Art Gallery, Sydney, 1963, cat. 11 (as Summer Drawing) (100 guineas)

Literature: Sutherland, 2010, p. 254 (cat. H8).
Sutherland, 2020, vol. 7, Drawings; Summer at Sigean, p. 117.

Provenance: Rudy Komon Art Gallery, Sydney; Ms Virginia Osborne, purchased from Rudy Komon in 1963

Exhibited: Brett Whiteley, Rudy Komon Art Gallery, Sydney, 1963, cat. 18 (as Summer Drawing II) (50 guineas)

Literature: Sutherland, 2010, p. 254 (cat. H9).
Sutherland, 2020, vol. 7, Drawings; Summer at Sigean, p. 117.

Primary Inscription: signed and dated l.l. ‘brett whiteley 62’

Provenance: Private collection

Exhibited: Australian Galleries (AG7731), Melbourne [consigned in 1990 and returned to owner in 1991]

Literature: Sutherland, 2010, ref. p. 254 (cat. H10); p. 255 (illus.).
Sutherland, 2020, vol. 1, p. 128 (illus.); vol. 7, Drawings; Summer at Sigean, p. 117.

Related Work: painting: Summer Garden (1962) (cat. 62.62)

Provenance: whereabouts unknown

Exhibited: Ayrton, Daws, Smith, Vaughan, Whiteley, Sorsbie Gallery, Nairobi, Kenya, East Africa, March–April 1963, cat. 49 (as The Terrace 1962)

Literature: Sutherland, 2010, p. 254 (cat. H11).
Sutherland, 2020, vol. 7, Drawings; Summer at Sigean, p. 117.

Primary Inscription: [later] signed, dated and inscribed on mount (in pencil) ‘Sigean brett whiteley 63’

Inscription: bears inscription on label affixed verso

Provenance: Whiteley Estate (BWS396)

Exhibited: Brett Whiteley Retrospective, AGNSW, 1995, no. 23, then toured to state galleries, December 1995–November 1996, no. 18; Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, cat. 35 (dated 1962); Whiteley & Rees: more affinities, BWS, December 2005–April 2006, then toured to New England Regional Art Museum, April–July 2006; 9 Shades of Whiteley, BWS, December 2006–September 2007; Brett Whiteley: Connections, TarraWarra Museum of Art, Healesville, Victoria, November– March 2011; Pathways to Figuration, BWS, March–October 2018

Literature: Pearce, 1995, p. 224; fig. 15 (illus.).
Sutherland, 2010, p. 262 (cat. K1) [previously dated 1963]; p. 263 (illus.).
Sutherland, 2020, vol. 1, p. 131 (illus.); vol. 7, Drawing; Summer at Sigean, p. 117.

Note: This is possibly the work below (cat. 41.62).

Provenance: whereabouts unknown

Exhibited: Ayrton, Daws, Smith, Vaughan, Whiteley, Sorsbie Gallery, Nairobi, Kenya, East Africa, March–April 1963, cat. 47 (as Sigean Drawing I 1962)

Literature: Sutherland, 2010, p. 254 (cat. H1).
Sutherland, 2020, vol. 7, Drawings; Summer at Sigean, p. 117.

Related Work: drawings: Sigean Drawing II 1962 (cat. 42.62); Sigean Drawing III (1962) (cat. 43.62); Sigean Drawing IV (1962) (cat. 44.62)

Provenance: Rudy Komon Art Gallery, Sydney, 1963; Private collection

Literature: Sutherland, 2010, p. 254 (cat. H3).
Sutherland, 2020, vol. 7, Drawings; Summer at Sigean, p. 118.

Related Work: drawings: Sigean Drawing 1 (cat. 41.62); Sigean Drawing III (1962) (cat. 43.62); Sigean Drawing IV (1962) (cat. 44.62)

Provenance: Private collection, Sydney (BWS1827)

Exhibited: The London Years, 1960–67, BWS, July 2012–April 2013; Pathways to Figuration, BWS, March–October 2018; Brett Whiteley: Drawing is everything, AGNSW, December 2018–March 2019

Literature: Sutherland, 2010, p. 254 (cat. H4).
Klepac, 2014, p. 44 (illus.).
Sutherland, 2020, vol. 1, p. 129 (illus.); vol. 7, Drawings; Summer at Sigean, p. 118.

Related Work: drawings: Sigean Drawing 1 (cat. 41.62); Sigean Drawing II 1962 (cat. 42.62); Sigean Drawing IV (1962) (cat. 44.62)

Provenance: Rudy Komon Art Gallery, Sydney, 1963; Rudy Komon, Sydney; Art Gallery of New South Wales, Sydney, gift of the Rudy Komon Memorial Fund in 1985 (14.1985)

Exhibited: Brett Whiteley, Rudy Komon Art Gallery, Sydney, 1963, cat. 13 (as Sigean Drawing IV; 75 guineas); Fifth Anniversary Show, Rudy Komon Art Gallery, Sydney, 9 December 1964, cat. 28; Contemporary Australian Drawings– from the Collection, AGNSW, 11 January–17 February 1992, then toured to regional galleries in ACT, New South Wales and Queensland, 1 May–8 November 1992, cat. 70; Brett Whiteley: Aspects & Insights: The Art Gallery of New South Wales Regional Tour, July 1996–March 1997, no. 4; Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, cat. 32 (illus.); Australian Icons: Twenty Artists from the Collection, AGNSW, 4 August–3 December 2000; Brett Whiteley: Connections, TarraWarra Museum of Art, Healesville, Victoria, November–March 2011; The London Years, 1960–67, BWS, July 2012–April 2013; Pathways to Figuration, BWS, March–October 2018

Literature: Pearce, 2000, p. 302; p. 257 (illus.).
Sutherland, 2010, p. 254 (cat. H5).
Klepac, 2014, p. 42 (illus.).
Sutherland, 2020, vol. 1, p. 132 (illus.); vol. 7, Drawings; Summer at Sigean, p. 118.

Related Work: drawings: Sigean Drawing 1 (cat. 41.62); Sigean Drawing II 1962 (cat. 42.62); Sigean Drawing III (1962) (cat. 43.62)

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, Sydney, 2012, bequest of Beryl Whiteley (226.2012)

Literature: Sutherland, 2020, vol. 7, Drawings; Summer at Sigean, p. 118

Related Work: drawing: (Sheet of Nude / Landscape Studies, Sigean) (c. 1962) (cat. 46.62)

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, Sydney, 2012, bequest of Beryl Whiteley (227.2012)

Literature: Sutherland, 2020, vol. 7, Drawings; Summer at Sigean, p. 118

Related Work: drawing: (Sheet of Nude / Landscape Studies) (cat. 45.62)

Primary Inscription: lower margin: ‘Dec 15th one week after start / … pink s. and touches of green. panel on right is freer [?] than drawing / of others but only in the /areas and the grounds. /All much too busy! Very hard to work out where /I should move in with oil. /Very hard to work out the /big spaces. Considering leaving /one panel completely [word scratched out] /to one side till two /at least take real shape.’

Provenance: National Gallery of Australia, Canberra, gift of the artist in 1979 (NGA 79.1685)

Literature: Sutherland, 2010, p. 256 (cat. H15); p. 81 (illus.).
Grishin and contributors, 2018, p. 12 (illus.).
Sutherland, 2020, vol. 1, p. 150 (illus.); vol. 7, Drawings; Summer at Sigean, p. 118.

Related Work: drawings: Preparatory Drawing for ‘Summer at Sigean’ (1962) (cat. 48.62); Preparatory Drawing for Summer at Sigean (1962) (cat. 49.62); Study for ‘Summer at Sigean’ (1962) (cat. 50.62); Study for ‘Summer at Sigean’ 1962 (cat. 51.62); painting: Summer at Sigean 1962–63 (cat. 86.62)

Primary Inscription: dated l.r. (beneath image) ‘29/Dec’; inscribed verso ‘Cambridge, London, Bristol’; stamped l.r. (in black ink) with artist’s monogram

Provenance: National Gallery of Australia, Canberra, gift of the artist in 1979 (NGA 79.1686AB)

Literature: Sutherland, 2010, p. 256 (cat. H16).
Sutherland, 2020, vol. 7, Drawings; Summer at Sigean, p. 119.

Related Work: drawings: Preparatory Drawing for ‘Summer at Sigean’ (1962) (cat. 47.62); Preparatory Drawing for Summer at Sigean (1962) (cat. 49.62); Study for ‘Summer at Sigean’ (1962) (cat. 50.62); Study for ‘Summer at Sigean’ 1962 (cat. 51.62); painting: Summer at Sigean 1962–63 (cat. 86.62)

Primary Inscription: dated l.r. ‘Dec 28th’; stamped l.r. (in black ink) with artist’s monogram

Inscription: beneath image: ‘panel on left much too comfortable and complete / by itself. Back to original plan / of painting / two and leaving one for the key drawing / idea. Didn’t work last time and ..have / many sections that could stay in. No / two are complete enough to leave and / call the third. [sentence crossed out]’. [New paragraph commencing under date]: ‘Dec. 28th /panel on right basically unchanged. / Middle completely scuffed off / and plenty white. Two days drawing / in the hope of arriving at a central / image to compose around unsuccessful. / figure is very stringy(?) All too busy / still too flat and dead.’

Provenance: National Gallery of Australia, Canberra, gift of the artist in 1979 (NGA 79 1687)

Literature: Sutherland, 2010, p. 256 (cat. H17).
Sutherland, 2020, vol 1, p. 151 (illus.); vol. 7, Drawings; Summer at Sigean, p. 119.

Related Work: drawings: Preparatory Drawing for ‘Summer at Sigean’ (1962) (cat. 47.62); Preparatory Drawing for ‘Summer at Sigean’ (1962) (cat. 48.62); Study for ‘Summer at Sigean’ (1962) (cat. 50.62); Study for ‘Summer at Sigean’ 1962 (cat. 51.62); painting: Summer at Sigean 1962–63 (cat. 86.62)

Primary Inscription: signed l.c. (pen and black ink) ‘Brett Whiteley’

Provenance: Whiteley Estate (BWS1417)

Exhibited: Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, cat. 34 (as ‘Sigean’); Pathways to Figuration, BWS, March–October 2018

Literature: Sutherland, 2010, p. 256 (cat. H18); p. 80 (illus.).
Klepac, 2014, p.46 (titled as above) (illus.).
Sutherland, 2020, vol 1, p. 134 (illus.); vol. 7, Drawings; Summer at Sigean, p. 119.

Related Work: drawings: Preparatory Drawing for ‘Summer at Sigean’ (1962) (cat. 47.62); Preparatory Drawing for ‘Summer at Sigean’ (1962) (cat. 48.62); Preparatory Drawing for Summer at Sigean (1962) (cat. 49.62); Study for ‘Summer at Sigean’ 1962 (cat. 51.62); painting: Summer at Sigean 1962–63 (cat. 86.62)

Primary Inscription: signed, dated and inscribed l.r. ‘1962 / STUDY FOR “SUMMER AT SIGEAN” / brett’; further inscribed l.r. ‘SIGEAN→’

Provenance: Whiteley Estate (BWS6)

Exhibited: 162 Drawings: Brett Whiteley: 1960 –1985, Robin Gibson Gallery, Sydney, 1985, cat. 122 (as ‘Summer at Sigean’); Brett Whiteley Retrospective, AGNSW, 1995, no. 20, then toured to state galleries, December 1995–November 1996, no. 11; Affinities: Brett Whiteley & Lloyd Rees, BWS, 2001; Aspects from the Estate, BWS, July 2002–February 2003; Fourth Veil, BWS, 2003; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; Seasons, BWS, 2006; 9 Shades of Whiteley, BWS, December 2006–September 2007; Brett Whiteley: Connections, TarraWarra Museum of Art, Healesville, Victoria, November–March 2011;The London Years, 1960–67, BWS, July 2012–April 2013; Pathways to Figuration, BWS March–October 2018

Literature: Pearce, 1995, p. 224; fig. 3 (illus.).
Sutherland, 2010, p. 256 (cat. H19); p. 85 (illus.).
Klepac, 2014, p. 47 (titled as above) (illus.).
Sutherland, 2020, vol 1, p. 146 (illus.); vol. 7, Drawings; Summer at Sigean, p. 119.

Related Work: drawings: Preparatory Drawing for ‘Summer at Sigean’ (1962) (cat. 47.62); Preparatory Drawing for ‘Summer at Sigean’ (1962) (cat. 48.62); Preparatory Drawing for Summer at Sigean (1962) (cat. 49.62); Study for ‘Summer at Sigean’ (1962) (cat. 50.62); painting: Summer at Sigean 1962–63 (cat. 86.62)

Provenance: Private collection, London; Private collection, London, acquired by descent

Literature: Sutherland, 2010, p. 256 (cat. H14).
Sutherland, 2020, vol. 7, Drawings; Summer at Sigean, p. 120.

Provenance: Rudy Komon Art Gallery, Sydney; Roger Welsh, Sydney, purchased from Rudy Komon in 1963; Artarmon Gallery, Sydney; Joseph Brown Gallery, Melbourne, 1971; Private collection, purchased from Joseph Brown Gallery in 1971; Sotheby’s, Melbourne, 22 April 1996, lot 192 (illus.); Private collection, Sydney; Deutscher and Hackett, Sydney, 2 December 2015, lot 49 (illus.); Private collection, Sydney

Exhibited: Brett Whiteley, Rudy Komon Art Gallery, Sydney, 1963, cat. 15 (as Green Landscape) (85 guineas); Autumn Exhibition, Joseph Brown Gallery, Melbourne, 3–21 March 1971, cat. 38 (as Composition with Nude) (illus.)

Literature: Hopkirk 1996, p. 150.
Sutherland, 2010, ref. p. 256 (cat. HH3); p. 257 (illus.).
Sutherland, 2020, vol. 1, p. 135 (illus.); vol. 7, Paintings, p. 120.

Provenance: Rudy Komon Art Gallery, Sydney; James Fairfax, Sydney, purchased from Rudy Komon in 1963; James O. Fairfax Collection, Christie’s, Sydney, 25 October 1994, lot 61 (illus.); Robin Raymer Fine Art, Melbourne, 1994; Private collection until 1999; Christie’s Australia, 17 August 1999, lot 197 (illus.); Private collection until 2002; Lawson–Menzies, Sydney, 6 March 2002, lot 42 (illus.); Art dealer, New South Wales; Private collection, New South Wales

Exhibited: Brett Whiteley, Rudy Komon Art Gallery, Sydney, 1963, cat. 16 (as Landscape) (90 guineas)

Literature: Gleeson, ‘The Art Collector 3 – James O. Fairfax’ in Art and Australia, vol. 3, no. 3, December 1965, p. 181 [upside down] (illus.).
Sutherland, 2010, p. 258 (cat. HH4); p. 259 (illus.).
Sutherland, 2020, vol. 1, p. 138 (illus.); vol. 7, Paintings, p. 120.

Primary Inscription: signed, dated and inscribed with title verso on label affixed to the cardboard backing

Provenance: Matthiesen Gallery, London; Edward and Betty Marcus, Texas, USA, acquired from Matthiesen; The Edward and Betty Marcus Foundation, Dallas Texas; Nevill Keating Pictures, London; Private collection, USA, purchased 1986 through Nevill Keating Pictures

Literature: Sutherland, 2010, p. 258 (cat. HH5).
Sutherland, 2020, vol. 7, Paintings, p. 120.

Primary Inscription: signed l.l. ‘Whiteley’

Provenance: Private collection, United Kingdom; Nevill Keating Pictures, London; Private collection, United Kingdom, purchased from Nevill Keating Pictures in 2003

Literature: Sutherland, 2010, p. 258 (cat. HH6); p. 259 (illus.).
Sutherland, 2020, vol. 1, p. 136 (illus.); vol. 7, Paintings, p. 120.

Provenance: whereabouts unknown

Exhibited: Ayrton, Daws, Smith, Vaughan, Whiteley, Sorsbie Gallery, Nairobi, Kenya, East Africa, March–April 1963, cat. 48 (as French Summer 1962)

Literature: Sutherland, 2010, p. 258 (cat. HH8).
Sutherland, 2020, vol. 7, Paintings, pp. 120–121.

Note: Brett and Wendy Whiteley spent the summer months of 1962 at Sigean in the South of France.

Provenance: Rudy Komon Art Gallery, Sydney; Mr McFarlan[?], Sydney, purchased from Rudy Komon in 1963; [probably] Christie’s, Melbourne, 23 November 1998, lot 76 (illus.); Private collection; Sotheby’s, Melbourne, 26 November 2001, lot 53 (illus.); Art Dealer, New South Wales, purchased from Sotheby’s; Private collection, New South Wales; Deutscher–Menzies, Sydney, 12 September 2007, lot 67 (illus.); Private collection, New South Wales

Exhibited: [probably] Brett Whiteley, Rudy Komon Art Gallery, Sydney, 1963, cat. 17 (as Untitled Gouache, 41.9 x 53.2 cm) (90 guineas); Brett Whiteley, Gould Galleries, Sydney, 2000, no. 5 (as ‘Untitled Painting’)

Literature: Sutherland, 2010, p. 260 (cat. HH17); p. 261 (illus.).
Sutherland, 2020, vol. 1, p. 137 (illus.); vol. 7, Paintings, p. 121.

Primary Inscription: inscribed u.c. ‘Haprajenonwj [illeg.?]’

Provenance: Australian Galleries, Melbourne; Private collection, Melbourne, purchased from AG around 1980; Christie’s, Sydney, 17 August 1998, lot 1131 (illus.); Private collection, Sydney; Shapiro Auctioneers, Sydney, 24 May 2010, lot 53 (illus.); Private collection, Sydney

Exhibited: Australian Galleries, Melbourne, around 1980

Literature: Sutherland, 2010, p. 260 (cat. JJ1); p. 261 (illus.).
Sutherland, 2020, vol. 7, Paintings, p. 121.

Primary Inscription: dated l.r. ‘60’; (later) inscribed l.l. ‘←to Sigean/1960–1986’; stamped l.r. with artist’s red ink monogram

Provenance: Collection of the artist until around1986; Australian Galleries, Melbourne, 1998 (AG24210); Company collection, Victoria; Sotheby’s, Melbourne, 28 August 2007, lot 340 (illus.); Private collection, Brisbane; Deutscher and Hackett, Melbourne, 16 April 2008, cat. 71 (illus.); Private collection, New South Wales

Exhibited: 162 Drawings: Brett Whiteley: 1960–85, Robin Gibson Gallery, Sydney, 1985, cat. 81 (as Sigean 1961); Australian Galleries, Melbourne, 1998 ($20,000)

Literature: 162 Drawings: Brett Whiteley: 1960–85, Sydney, 1985, p. 25 (illus.).
Sutherland, 2010, p. 254 (cat. H6); p. 255 (illus.).
Klepac, 2014, p. 45 (titled as above) (illus.).
Sutherland, 2020, vol. 1, p. 140 (illus.); vol. 7, Paintings, p. 121.

Primary Inscription: signed, dated and inscribed l.r. ‘brett whiteley 62 Sigean’

Provenance: Bonython Gallery, Sydney; Private collection, Brisbane, purchased from Bonython around 1974; Deutscher–Menzies, Melbourne, 23 August 1999, lot 139 (illus.); Ronald Coles Investment Gallery, New South Wales; Private collection, New South Wales, purchased from Ronald Coles

Literature: Sutherland, 2010, p. 258 (cat. HH10).
Sutherland, 2020, vol. 7, Paintings, p. 121.

Provenance: Rudy Komon Art Gallery, Sydney; Mrs Banbach, purchased from Rudy Komon in 1963

Exhibited: Brett Whiteley, Rudy Komon Art Gallery, Sydney, 1963, cat. 6 (as Summer Garden) (90 guineas)

Literature: Sutherland, 2010, p. 258 (cat. HH7).
Sutherland, 2020, vol. 7, Paintings, pp. 121–122.

Related Work: drawing: Summer Garden 1962 (cat. 38.62)

Primary Inscription: signed and inscribed l.c. to l.r. (white paint) ‘Whiteley [black pencil[?] for Pif September / 1962’

Provenance: Count of Espondeilhan, Hérault department, France; Private collection

Literature: Sutherland, 2020, vol. 7, Paintings, p.122

Note: Espondeilhan is a commune in the Hérault department, located in the Languedoc region of southern France. ‘Pif’ was the pet name of the late Count of Espondeilhan.

Primary Inscription: signed, dated and inscribed on canvas verso “UNTITLED / CREAM / PAINTING’ / 1962 / Brett Whiteley / 1962 / OIL TEMPERA + COLLAGE’ PAINTING’ / 1962’

Provenance: George Sheridan, France; Private collection, acquired by descent; Private collection, Spain; Sotheby’s Australia, Melbourne, 14 August 2012, lot 23 (illus.); Private collection, Sydney

Literature: Pearce and contributors, 2007, p. 133 (illus.) (photog. showing the work in progress which was taken in the cottage at Sigean in 1962).
Sutherland, 2010, p. 256 (cat. HH1).
Sutherland, 2020, vol. 1, p. 139 (illus.); vol. 7, Paintings, p. 122.

Related Work: painting: Untitled White Painting II (1961) (cat. 28.61)