Primary Inscription: signed, dated and inscribed l.r. (pen and black ink) ‘A / DOMESTIC SCENE / 4 /2 /65 / for Glad / x / Brett Whiteley’; further inscribed l.c. (in pencil) ‘This should be 8 foot x 5 foot ↑’

Provenance: Whiteley Estate (BWS408)

Exhibited: Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005

Literature: Sutherland, 2010, p. 286 (cat. O2); p. 288 (illus.).
Sutherland, 2020, vol. 1, p. 252 (illus.); vol. 7, Drawings and Photographs; Portraits and People; London, p. 159,

Note: The reference to ‘Glad’ is to Whiteley’s grandmother.

Primary Inscription: signed l.l. ‘whiteley’; inscribed with dedication and dated l.c. (pen and ink) ‘for Fran & Dick XX / 2/4/65’

Provenance: Australian Galleries (AG2302), Melbourne, 1975; Private collection, Melbourne, purchased from AG in August 1975; Christie’s, Melbourne, 28 April 1998, lot 308 (illus.); Robin Gibson, Sydney, purchased at Christie’s

Exhibited: Australian Galleries, Melbourne, 1975 ($1,000)

Literature: Sutherland, 2010, p. 286 (cat. O1); p. 288 (illus.).
Sutherland, 2020, vol. 1, p. 254 (illus.); vol. 7, Drawings and Photographs; Portraits and People, London, p. 159.

Primary Inscription: signed and dated l.c. (pen and black ink) ‘Whiteley /1–5 /Aug–65’; inscribed l.l. to l.c. ‘“Sugar Ray Robinson + Randy Turpin – 10:25 PM July 10th 1951 Earls Court London”’; signed and dated u.r. verso (black ink and conté) ‘Brett Whiteley / 1965; further dated and inscribed verso ‘“DRAWING 1965” … (A SPLIT SECOND) charcoal on paper, / 50˝x 48˝/ lent by MARLBOROUGH FINE ART LIMITED’

Inscription: with Marlborough-Gerson Gallery, City of Bradford Art Gallery and shippers’ labels attached verso

Provenance: Whiteley Estate (BWS531)

Exhibited: [possibly] Treasures from the Commonwealth: Commonwealth Arts Festival, Royal Academy of Arts, London, 17 September–13 November 1965, no. 147 (described only as ‘Charcoal on paper. 1965’) (lent by the artist); Brett Whiteley Retrospective, AGNSW, 1995, no. 53, then toured to state galleries, December 1995–November 1996, no. 29; Fourth Veil, BWS, 2003; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; Brett Whiteley Eternity is Now, BWS, December 2022–August 2023 [Self-portraits]

Literature: McGrath, 1979, p. 19.
Pearce, 1995, p. 229; pl. 54 (illus.).
Sutherland, 2010, pp. 126, 292 (cat. O14); pp. 134, 293 (illus.).
Klepac, 2015, p. 63 (illus.).
Sutherland, 2020, vol. 1, p. 256 (illus.); vol. 7, Drawings and Photographs; Portraits and People; London, p. 159.

Related Work: paintings: The Boxing Match (1965) (cat. 44.65); The Boxing Match, Second Version 1984 (cat. 141.84)

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

Provenance: Estate of the artist; Arkie Whiteley, Sydney, acquired by descent; Private collection, Sydney

Literature: Sutherland, 2020, vol. 7, Drawings and Photographs; Portraits and People, p. 160

Related Work: painting: The Soup Kitchen 1958 (cat. 47.58)

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

Provenance: Private collection, Sydney

Literature: Sutherland, 2020, vol. 1, p. 253 (illus.); vol. 7, Drawings and Photographs; The Nude; p. 160

Related Work: Refer Persistent Themes, Subjects and Motifs (Arkie) p. 911

Note: This work has been titled and dated by Wendy Whiteley.

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, bequest of Beryl Whiteley in 2012 (233.2012)

Literature: Sutherland, 2020, vol. 7, Drawings and Photographs; Erotica, p. 160

Related Work: Sutherland, 2020, vol. 1, p. 250 (illus.); vol. 7, Drawings and Photographs; Erotica, p. 160
Refer Persistent Themes, Subjects and Motifs (erotica) pp. 933–935

Primary Inscription: each sheet numbered l.c. in ink ‘1, 2, 3’; centre sheet inscribed ‘2 [calligraphy characters] ‘LOVE?’

Provenance: Cecil Beaton, United Kingdom, purchased from the artist around 1973; Private collection, Melbourne; Christie’s, Sydney, 26 October 1987, cat. 723; Peter Gant Fine Art, Melbourne, purchased from Christie’s; John Buckley, Melbourne, purchased from Peter Gant Fine Art in 1988; Lauraine Diggins Fine Art, Melbourne, 2003; Deutscher and Hackett, Melbourne, 26 November 2014, lot 31 (illus.); Private collection, Sydney

Exhibited: Autumn Exhibition 1988: Modern to Contemporary Australian Art, Peter Gant Fine Art, Melbourne, 17 May–14 June 1988, cat. 54, set of 3 (illus.); Australian Drawings, John Buckley Fine Art, Melbourne, 1989; Annual Collectors’ Exhibition, Lauraine Diggins Fine Art, Melbourne, 6 September–5 October 2003, cat. 55 (illus.); Australian Drawings Part One, John Buckley Gallery, Melbourne, 2–26 August 2006, cat. nos. 4, 5, 6 (as Lovers I, II, III); Winter Collectors’ Exhibition, John Buckley Gallery, Melbourne, 16 July–2 August 2008, cat. 18 (illus.)

Literature: Sutherland, 2010, p. 290 (cat. O16), p. 292; p. 293 (illus.).
Sutherland, 2020, vol. 1, p. 250 (illus.); vol. 7, Drawings and Photographs; Erotica, p. 160.

Related Work: drawing: (Erotic Scenes) (c. 1961), crayon and gouache, artist’s notebook ‘21’ (1961, 1963) (n.p.) (KS8); painting: (Untitled painting – Love?) (c. 1965) media (cat. 45.65)
Refer Persistent Themes, Subjects and Motifs (erotica) pp. 933–935

Primary Inscription: dated l.l. (in pencil) ‘1965’; stamped l.l. (in black ink) with artist’s monogram

Provenance: Whiteley Estate (BWS554)

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1965 (gallery label attached verso); [probably] Brett Whiteley: Drawings 1960–1973, Bonython, Sydney, 1974, cat. 34 (as Christie Drawing 1963, oil, 1963, 76 x 56 cm)*; Brett Whiteley Retrospective, AGNSW, 1995, no. 43, then toured to state galleries, December 1995–November 1996, no. 30 (as Christie); Brett Whiteley Nudes, BWS, December 1999–April 2000; 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; 9 Shades of Whiteley, BWS, December 2006–September 2007; Whiteley and the Third Dimension, BWS, 2008; The London Years, 1960–67, BWS, July 2012–April 2013; Brett Whiteley: Sculpture and Ceramics, BWS, 2015; OTHER PLACES: Somewhere else, BWS, December 2015–May 2016; Brett Whiteley: Chapters 1959–1969, BWS, August 2023–June 2024

Literature: McGrath, 1979, p. 52; p.59 (illus.), and p. 229 (cat. 121) [incorrectly captioned] (illus.).
Pearce, 1995, p. 227; pl. 34 (illus.).
Sutherland, 2010, p. 292 (cat. O15); p. 119 (illus.).
Sutherland, 2020, vol. 1, p. 260 (illus.); vol. 7, Drawings and Photographs; Christie series; John Reginald Halliday Christie and his Victims, pp. 160–161.

Related Work: drawings: Study for Christie (1964) (cat. 28.64); Christie 1964 (cat. 29.64); Christie London 1964 (cat. 34.64); Drawing (with Tony Reichardt in Mind) 1965 (cat. 14.65)
Refer Persistent Themes, Subjects and Motifs (Christie) p. 914

Note: Wendy Whiteley confirms that although uncatalogued this work was in Whiteley’s Marlborough, London, solo exhibition of 1965.
*Many of the works illustrated in the McGrath 1979 monograph were exhibited in the Bonython Galleries 1974 exhibition, making it likely that Christie 1965, was the work exhibited as ‘Christie Drawing’ (cat. 34). Both sources record the same incorrect measurement.
The photograph (u.r.) in the above drawing is that of the victim, Kathleen Maloney.

Primary Inscription: signed and dated l.r. on the mount (in pen and ink) ‘Brett Whiteley 65’, inscribed l.l. on the mount ‘Drawing (with Tony Reichardt in mind); address inscribed c. (pen and ink) ‘Miss Kathleen Maloney / 10 Rillington Place / London W11’

Provenance: Tony Reichardt, Marlborough Galleries, London, a gift from the artist in gratitude for his introduction to Richard Attenborough; Private collection, acquired by descent; ‘Australian Art’, Christie’s, South Kensington, 10 October 2012, lot 91 (illus.); Private collection

Exhibited: [probably] Brett Whiteley, Marlborough, London, October 1965 (see ‘Literature’ below)

Literature: Russell, ‘Brain, Brawn and Blood’ in Sunday Times, London, 17 October, l965, p. 5 [?]. In John Russell’s article, he refers to ‘framed letters in which Whiteley has written the message and painted the stamp…’).
Wilson, 2016, p. 112.
Sutherland 2020, vol. 1, p. 261 (illus.); vol. 7, Drawings and Photographs; Christie series; John Reginald Christie and his Victims, p. 161

Related Work: drawings: Study for Christie (1964) (cat. 28.64); Christie 1964 (cat. 29.64); Christie London 1964 (cat. 34.64); Christie 1965 (cat. 13.65)
Refer Persistent Themes, Subjects and Motifs (Christie) p. 914

Note: Tony Reichardt, who first met Whiteley in 1961, was a Director of Marlborough Galleries, London until 1985. According to Reichardt, Whiteley had in mind that Reichardt was a keen collector of stamps when he created this work for him. Reichardt recounted that Whiteley went to four Post Offices before succeeding in his quest to have the stamp officially cancelled. For fear of damaging the work, the envelope was never opened. (Sutherland in telephone conversation with Tony Reichardt, 2010.)

Provenance: Whiteley Estate (BWS1517)

Literature: Sutherland, 2010, p. 290 (cat. O8).
Sutherland, 2020, vol. 7, Drawings and Photographs; Christie series; John Reginald Christie and his Victims, p. 161.

Related Work: Christie Drawing 1965 (cat. 16.65)
Refer Persistent Themes, Subjects and Motifs (Christie) p. 914

Primary Inscription: dated l.r. ‘1965’; stamped l.l. (in black ink) with artist’s monogram

Provenance: Whiteley Estate (BWS1518)

Literature: McGrath, 1979, p. 228 (cat. 105) (as Christie Drawing 1965) (illus.).
Sutherland, 2010, p. 290 (cat. O12).
Sutherland, 2020, vol. 7, Drawings and Photographs; Christie series; John Reginald Christie and his Victims, p. 161.

Related Work: drawing: Christie Drawing (1965) (cat. 15.65)
Refer Persistent Themes, Subjects and Motifs (Christie) p. 914

Primary Inscription: dated and inscribed l.r. (pen and ink) ‘1965 / preliminary sketch for Christie murder series / (Kathleen Maloney)’; stamped l.l. (in black ink) with artist’s monogram

Provenance: Whiteley Estate (BWS390)

Exhibited: 162 Drawings: Brett Whiteley: 1960–85, Robin Gibson Gallery, Sydney, 1985, cat. 110 (as ‘Christie’ 1965, charcoal and stain, 55.9 x 77.5 cm)*; Brett Whiteley Retrospective, AGNSW, 1995, no. 42, then toured to regional galleries, December 1995–November 1996, no. 21; A Different Vision – Brett Whiteley Sculptures, BWS,1998; Brett Whiteley Nudes, BWS, December 1999–April 2000; Fourth Veil, BWS, 2003; Whiteley himself and Friends, BWS, December 2003–April 2004; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; The London Years, 1960–67, BWS, July 2012–April 2013; OTHER PLACES: Somewhere else, BWS, December 2015–May 2016; Brett Whiteley: Chapters 1959–1969, BWS, August 2023– June 2024

Literature: McGrath, 1979, pp. 60–61; 227 (cat. 92) (as ‘Christie Drawing’, charcoal) (illus.).
Pearce, 1995, p. 227; pl. 38 (illus.).
Sutherland, 2010, p. 290 (cat. O13); p. 291 (illus.).
Klepac, 2015, p. 61 (illus.).
Sutherland, 2020, vol. 1, p. 262 (illus.); vol. 7, Drawings and Photographs; Christie series; John Reginald Christie and his Victims, p. 162.

Related Work: drawings: The Rape 1961 (cat. 9.61); Christie and Kathleen Maloney 1964, charcoal and wash (cat. 41.64)
Refer Persistent Themes, Subjects and Motifs (Christie) p. 914

Note: *Installation photographs of the 1985 exhibition, 162 Drawings… show this work being exhibited in Robin Gibson’s Gallery.
b

Primary Inscription: dated l.c. (pen and brown ink) ‘16/4/65’; inscribed beneath photograph with directional lines to giraffe sculpture (pen and black ink) ‘This sculpture has a brass rim / around it with wing-nuts that turn’; inscribed with various numbers and notes relating to sculptures; stamped l.l. (in black ink) with artist’s monogram

Provenance: Whiteley Estate (BWS270)

Exhibited: Brett Whiteley: Drawings 1960–1973, Bonython, Sydney, 1974, cat. 14 (as Animal Sketch (1965), ink on photography, 38.0 x 32.0 cm); Instantly: Whiteley with Words: BWS, 2000; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; Brett Whiteley: Chapters 1959–1969, BWS, August 2023– June 2024

Literature: Krausmann, 1975*, p. 39 (illus.).
Sutherland, 2010, p. 324 (cat. W7).
Sutherland, 2020, vol. 1, p. 268 (illus.); vol. 7, Drawings and Photographs; Zoo Series, p. 162.

Related Work: Refer Persistent Themes, Subjects and Motifs (primates) pp. 939–940

Note: *Krausmann selected eleven drawings by Whiteley to complement the prose in From Another Shore (1975).

Primary Inscription: signed, dated and inscribed verso (in black oil) ‘“DRAWING OF AN APE” 1965 / 48˝x 42˝ / Charcoal on paper / with perspex / Brett Whiteley / NB / Please be careful / whilst … [word illegible] cleaning / perspex not / to touch arrow / painted on the outside’

Provenance: Australian Galleries, Melbourne, 1966; National Gallery of Victoria, Melbourne, acquired from Australian Galleries in 1966 (1689–5)

Sketchbook: Drawing of an Ape 1965, photog. pasted into artist’s ‘orange velvet’ notebook (compiled c. 1975) (KS20)

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, October 1965, cat. 4 (as Drawing of an Ape 1964), (illus.); Recent Works from London by Brett Whiteley, Bonython, Adelaide, January–February 1966, no. 5, then (Bonython’s) Hungry Horse Art Gallery, Sydney, March 1966, no. 5, cover (illus.); 23 Items by Brett Whiteley, Australian Galleries, Melbourne, 1966, no. 2; Brett Whiteley Retrospective, AGNSW, 1995, no. 49; The London Years, 1960–67, BWS, July 2012–April 2013

Literature: Luck, 1969, p. 52.
Smith and Smith, 1991, p. 390 (illus.).
Pearce, 1995, p. 229; pl. 50 (illus.).
Sutherland, 2010, p. 290 (cat. O6).
Klepac, 2015, p. 64 (illus.).
Sutherland, 2020, vol. 1, p. 269 (illus.); vol. 7, p. 162.

Related Work: Refer Persistent Themes, Subjects and Motifs (primates) pp. 939–940

Provenance: Whiteley Estate (BWS156)

Exhibited: Brett Whiteley Retrospective, AGNSW, 1995, no. 51 (as Swinging Monkey), then toured to state galleries, December 1995–November 1996, no. 27; A Different Vision – Brett Whiteley Sculptures, BWS, 1998; Animals and Birds, BWS, 2002; Fourth Veil, BWS, 2003; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; Brett Whiteley: Chapters 1959–1969, BWS, August 2023– June 2024

Literature: Pearce, 1995, p. 224; fig 9 (illus.).
Sutherland, 2010, p. 284 (cat. N2); p. 154 (illus.).
Klepac, 2015, p. 65 (illus.).
Sutherland, 2020, vol. 1, p. 270 (illus.); vol. 7, Drawings and Photographs, Zoo series, p. 163.

Related Work: print: Swinging Monkey 1 (from Regent’s Park Zoo Series) 1965 (cat. 7P)
Refer Persistent Themes, Subjects and Motifs (primates) pp. 939–940

Provenance: whereabouts unknown

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1965, cat. 6 (as Monkey 1965, changed photograph)

Literature: Sutherland, 2010 (cat. W8) [previously included in prints].
Sutherland, 2020, vol. 7, Drawings and Photographs; Zoo series, p. 163.

Related Work: print: Swinging Monkey 2 (from Regent’s Park Zoo Series)1965 (cat. 8P)
Refer Persistent Themes, Subjects and Motifs (primates) pp. 939–940

Primary Inscription: signed, dated and inscribed l.r. ‘“Cheetah” / London Zoo / brett whiteley 65’; stamped l.r. (in black ink) with artist’s monogram and at a later date, stamped u.r. (in red ink) with artist’s monogram

Provenance: Private collection, New South Wales; Sotheby’s, Sydney, 23 May 1999, lot 589 (illus.); Private collection

Literature: Sutherland, 2010, p. 290 (cat. O7); p. 155 (illus.).
Sutherland, 2020, vol. 1, p. 271 (illus.); vol. 7, Drawings and Photographs; Zoo series, p. 163.

Related Work: paintings: Cheetah in Rillington Place (1964–66) (cat. 93.64); Cheetah or Cheatah 1965 (cat. 60.65)
Refer Persistent Themes, Subjects and Motifs (cheetahs) pp. 937–938

Primary Inscription: inscribed u.r. (in pencil) ‘white spots’

Provenance: Whiteley Estate (BWS1614)

Exhibited: Brett Whiteley: Sculpture and Ceramics, BWS, 2015

Literature: Sutherland, 2010, p. 284 (cat. N4).
Sutherland, 2020, vol. 1, p. 276 (illus.); vol. 6, p. 120 (illus.); vol. 7, Drawings and Photographs; Zoo series, p. 163.

Related Work: sculpture (bronze): Giraffe No. 1 (1965) (cat. 7S)
Refer Persistent Themes, Subjects and Motifs (Giraffes) pp. 938–939

Provenance: whereabouts unknown

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1965, cat. 21 (as Study for Sculpture)

Literature: Sutherland, 2010, p. 292 (cat. 004).
Sutherland, 2020, vol. 7, Drawings and Photographs; Zoo series, p. 163.

Primary Inscription: signed with initials l.r. (brush and black ink) ‘BW’

Provenance: whereabouts unknown

Literature: McGrath, 1979, p. 229, cat. 123 (illus.).
Sutherland, 2010, p. 286 (cat. O3).
Sutherland, 2020, vol. 7, Drawings and Photographs; Still Life; pp. 163–164.

Primary Inscription: signed and inscribed l.r. ‘brett whiteley / design for / vase blue + w’; dated and inscribed l.r. ‘Amazing with white flowers / Ultramarine + white Persian ‘vase’ / Victoria + Albert museum 65’

Provenance: Whiteley Estate (BWS1333)

Exhibited: Brett Whiteley: Sculpture and Ceramics, BWS, 2015; Brett Whiteley: Blue and White [ceramics], BWS, April–November 2022; 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: Sutherland, 2010, p. 286 (cat. O4); p. 289 (illus.).
Sutherland, 2020, vol. 1, p. 254 (illus.); vol 6, p. 92 (illus.); vol. 7, Drawings and Photographs; Still Life, p. 164.

Related Work: ceramic: Persian 1985, vase (cat. 110C)

Primary Inscription: signed and dated l.r. ‘Brett Whiteley 65’

Provenance: Private collection, Greece; Christie’s, Melbourne, 26 November 1997, lot 220; Ken Hinds Collection, Brisbane, from 1997

Exhibited: Privately Collecting, Ken Hinds Cultural Heritage Collection, Caloundra Regional Art Gallery, Caloundra, Queensland, February–March 2006

Literature: Sutherland, 2010, p. 290 (cat. O10) [incorrectly titled ‘Untitled Christie Drawing’].
Sutherland, 2020, vol. 7, Drawings and Photographs; Still Life, p. 164.

Primary Inscription: signed and dated l.r. ‘Brett Whiteley ‘65’

Provenance: Private collection, Greece; Christie’s, Melbourne, 26 November 1997, lot 219; Ken Hinds Collection, Brisbane

Literature: Sutherland, 2010, p. 292 (cat. O9).
Sutherland, 2020, vol. 7, Drawings and Photographs; Still Life, p. 164.

Related Work: painting: (Untitled Abstract) (c. 1965) (cat. 64.65)

Primary Inscription: signed, dated and inscribed verso, on larger panel (in black ink) ‘“Me” (Sept 1965)” / oil, silk screen + mirror / 12″ x 35″ / Brett Whiteley’

Inscription: [artist’s notes] ‘(1) paint [word blacked out] face with face-paint / (2) face [word blacked out] retouched / before half-tone was printed / (3) printed also with letter-press, / gravure ((a) spepia [sic] (B) colour), off-set, lithograpfy [sic] / ect [sic].’

Provenance: Marlborough Fine Art, London (gallery label attached verso); Private collection, United Kingdom; Sotheby’s, Sydney, 4 December 1994, lot 1 (illus.); Gould Galleries, Melbourne; Tasmanian Museum and Art Gallery, Hobart, purchased from Gould Galleries in 1996

Exhibited: Marlborough New London Gallery, London; From Streeton to Whiteley: A Selection of Australian Art, 1996, Gould Galleries, Melbourne, 18 October–10 November 1996, cat. 33 (illus.)

Literature: McDonald, ‘Hype reaches an art form’, ‘Spectrum’ in Sydney Morning Herald, 19 June 2010, p. 32, (detail) (illus.).
Sutherland, 2010, pp. 145, p. 298 (cat. OO17); pp. 165–167 and cover (illus.).
Sutherland, 2020, vol. 1, pp. 249, 251 (illus.); vol. 5, p. 14 (illus.); vol. 7, Paintings; Self-portraits, p. 164.

Related Work: screenprint: Title Page: Regents Park Zoo, (from Regent’s Park Zoo Series) 1965
(cat. 6P); Refer Persistent Themes, Subjects and Motifs (self-portraits) pp. 921–922

Note: There is a metal brace on the reverse of the two panels to hold the small panel with mirror on an angle of about 114º. This enables the portrait on the larger panel to be reflected in the mirror on the small panel.

Primary Inscription: dated and inscribed l.r. (in pencil) ‘[illeg.] drawing of a man drinking / 18 June 1965’; further inscribed with artist’s note (in pencil) c.r. ‘this could be whiter’

Provenance: Beryl Whiteley, a gift from the artist; Bill Cocker, Auckland, New Zealand, gift of Beryl Whiteley in London in 1967; ‘Art + Object’ (Auctions), Auckland, 27 November 2012, lot 39, from the estate of Bill Cocker; Eric and Jacquie Selwood, Sydney; Mossgreen, Sydney, 21 November 2016, lot 11 (illus.); Private collection, Sydney; Menzies Art Brands, Melbourne, 29 June 2022, lot 23 (illus.); Paul Auckett, Melbourne

Exhibited: Shown at an exhibition of work by ‘local’ artists in Majorca arranged to celebrate the birthday of Robert Graves

Literature: Sutherland, 2010, p. 298 (cat. OO18),
Sutherland, 2020, vol. 1, p. 257 (illus.); vol. 7, Paintings; Portraits and People, p. 165.

Note: The Whiteleys vacationed in Deya, Majorca during June and July 1965. According to Beryl Whiteley, who also provided provenance, this painting was previously titled Portrait. Wendy Whiteley believes that the drinking figure depicted is probably one of the regular characters at The Elgin, a local pub in Notting Hill frequented by Brett and his drinking mates.

Primary Inscription: signed verso ‘Brett Whiteley’; inscribed with title verso

Provenance: Bonython Art Gallery, Adelaide; The Harold E Mertz Collection; Archer M. Huntington Art Gallery, The University of Texas at Austin, gift of the Mertz Art Fund, 1972; The Harold E Mertz Collection of Australian Art, Christie’s, Melbourne, 28 June 2000, lot 134 (illus.); Private collection, purchased from Christie’s

Exhibited: Treasures from the Commonwealth: Commonwealth Arts Festival, Royal Academy of Arts, London, 17 September–13 November 1965, cat. 146 (as Boxing Match) (lent by the artist); The Mertz Collection of Contemporary Australian Painting, National Gallery of South Australia, Adelaide, 1966 (part of the Adelaide Festival of Arts), cat. 95; The Australian Painters 1964–1966: Contemporary Australian Painting from the Mertz Collection, Corcoran Gallery of Art, Washington, 10 March–16 April 1967, then toured within the United States, 1967–1970, cat. 77 (illus.); Australian Paintings of the 1960s: Selections from the Mertz Collection, Archer M. Huntington Art Gallery, The University of Texas, Austin, Texas, 30 May–21 August 1984

Literature: Brett Whiteley, Marlborough New London Gallery, exhib. cat., October 1965, cover (studio photog.) (illus.) [This work was not exhibited in the Marlborough 1965 exhibition]
Luck, 1966, p. 67, cat. 77 (illus.).
McGrath, 1979, p. 19.
Pearce, 1995, ref. p. 229; pl. 53 (illus.).
Sutherland, 2010, ref. pp. 126, 134, 298 (cat. OO16); p. 133 (illus.).
Sutherland, 2020, vol. 1, p. 258 (illus.); vol. 7, Paintings; Portraits and People, p. 165.

Related Work: drawing: Drawing 1965… (A Split Second) 1965 (cat. 3.65); painting: The Boxing Match, Second Version 1984 (cat. 141.84)

Note: The Huntington Gallery was named The University Art Museum from 1963 to 1980. From 1980 to 1997 it was called the Archer M Huntington Art Gallery and in 1997 it was renamed the Jack S Blanton Museum of Art.

Provenance: Whiteley Estate (BWS1248)

Literature: Sutherland, 2020, vol. 7, Paintings; Erotica, p. 165

Related Work: drawings: (Erotic Scenes) (c. 1961), crayon and gouache, artist’s notebook ‘21’ (1961, 1963) (KS8); Love? (c. 1965) (cat. 10.65)
Refer Persistent Themes, Subjects and Motifs (erotica) pp. 933–935

Provenance: Marlborough Fine Art London, 1965; Kym Bonython, purchased from Marlborough, 5 October 1965

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1965, cat. 39 (as Head of Man 1 1965); Recent Works from London by Brett Whiteley, Bonython, Adelaide, January–February 1966, no. 19, then (Bonython’s) Hungry Horse Gallery, Sydney, March 1966, no. 19

Literature: Sutherland, 2010, p. 296 (cat. OO10).
Sutherland 2020, vol. 7, Paintings; Figurative Works, p. 166.

Related Work: paintings: Head of a Man 2 [Kenneth Clark] (cat. 47.65); Head of Man 3 (cat. 48.65)

Provenance: Marlborough Fine Art, London, 1965; Collection Helmut Klewan, Germany, purchased from Marlborough in the 1980s

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1965, cat. 40 (as Head of Man 2 1965); Klewan Collection, Schaezlerpalais, Augsburg, Germany, 2 December 2015–31 January 2016; The Klewan Collection. Portrait(s) of Modernism, Belvedere Museum, Vienna, February–June 2017 (on loan)

Literature: Sutherland, 2010, ref. p. 296 (cat. OO11).
Sutherland, 2020, vol. 7, Paintings; Figurative works, p. 166.

Related Work: Head of Man 1 (cat. 46.65); Head of Man 3 (cat. 48.65)

Note: Head of Man 2 is reputedly a likeness of the esteemed art historian, Sir Kenneth Clark.

Reference: Sutherland, 2010, p. 144

Provenance: Marlborough Fine Art, London, 1965; Joseph Brown Collection, Melbourne; National Gallery of Australia, Canberra, gift of Dr Joseph Brown AO OBE in 1992

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, October 1965, cat. 41 (as Head of Man 3 1965); Recent Works from London by Brett Whiteley, Bonython, Adelaide, January–February 1966, no 20, then (Bonython’s) Hungry Horse Gallery, Sydney, March 1966, no. 20 (as Head of Man III); Autumn Exhibition 1977: Recent Acquisitions, Joseph Brown Gallery, Melbourne, 7–22 March 1977, cat. 99 (as Head of a Man 3 (Study) (illus.)

Literature: Autumn Exhibition 1977: Recent Acquisitions, Joseph Brown Gallery, Melbourne, 1977, (n.p.) (illus.).
Sutherland, 2010, p. 296 (cat. OO12); p. 297 (illus.).
Sutherland, 2020, vol. 7, Paintings; Figurative works, p. 166.

Related Work: paintings: Head of a Man 1 (cat. 46.65); Head of a Man 2 [Kenneth Clark] (cat. 47.65)

Primary Inscription: signed, dated and inscribed verso ‘“MRS CHRISTIE” / 1965 /OIL / 15½ x 13½ / BRETT WHITELEY’

Provenance: Marlborough Fine Art, London, 1965; Private collection, purchased from Marlborough;
Christie’s, London, 12 December 2007, lot 52 (illus.); Private collection, Sydney, purchased from Christie’s auction (BWS1759)

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1965, cat. 24 (as Mrs Christie) (illus.); Whiteley and the Third Dimension, BWS, 2008; The London Years, 1960–67, BWS, July 2012–April 2013; Portraits, BWS, 2014; OTHER PLACES: Somewhere else, BWS, December 2015–May 2016; Brett Whiteley: Chapters 1959–1969, BWS, August 2023–June 2024

Literature: Hughes in The Bulletin, 18 December 1965, p. 40, ‘London Paintings’ II (illus.).
Sutherland, 2010, pp. 63, 123, 296 (cat. OO13); p. 122 (illus.).
Sutherland, 2020, vol. 1, p. 265 (illus.); vol. 7, Paintings; Christie Victims, pp. 166–167.

Related Work: Refer Persistent Themes, Subjects and Motifs (Christie and rape) p. 914

Provenance: Marlborough New London Gallery, London, October 1965; Kym Bonython’s Hungry Horse Gallery, Sydney, 1966; National Gallery of Australia, Canberra, purchased from Bonython in 1966 (NGA 66.11)

Sketchbook: Small Christie Painting 1 1965, photog. pasted into artist’s ‘orange velvet’ notebook (compiled c. 1975) (KS20)

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, October 1965, cat. 35 (as Small Christie Painting 1), cover (studio photog.) (illus.); Recent Works from London by Brett Whiteley, Bonython, Adelaide, January–February 1966, no 18, then (Bonython’s) Hungry Horse Gallery, Sydney, March 1966, no. 18 (as ‘Small Christie Painting (Oils)’ ($1,200); Brett Whiteley: Aspects & Insights: The Art Gallery of New South Wales Regional Tour, July 1996–March 1997, no.19; Instantly: Whiteley with Words, BWS, 2000

Related Work: Small Christie Painting 2 1965 (cat. 51.65)
Refer Persistent Themes, Subjects and Motifs (Christie and rape) p. 914

Provenance: Whiteley Estate; Private collection (BWS1808)

Sketchbook: Small Christie Painting No. 2, photog. in artist's 'orange velvet' notebook (compiled c. 1975) (KS20)

Note: This photograph of the painting shows that at a later date Whiteley removed the small boxes above the main image.

Primary Inscription: inscribed u.r. ‘[words blacked out] ...disgusting the man / from Portabello road left [illeg. word crossed through it] wouldn’t take it’; dated verso ‘1965’

Provenance: Whiteley Estate (BWS91)

Sketchbook: Small Christie Painting 2 1965, photog. with ink additions, pasted into artist’s ‘orange velvet’ notebook (compiled c. 1975) (KS20). The photograph shows small boxes positioned across the top of the painting that were subsequently removed (refer image 51i.55)

Exhibited: Brett Whiteley, Marlborough New London Gallery, London (gallery label attached verso), 1965, cat. 36 (as Small Christie Painting 2 1965) (illus.) and cover (studio photog.) (illus.); Brett Whiteley Retrospective, AGNSW, 1995, no. 44, then toured to state galleries, December 1995–November 1996, no. 31; A Different Vision – Brett Whiteley Sculptures, BWS, 1998; Brett Whiteley Nudes, BWS, December 1999–April 2000; 9 Shades of Whiteley, BWS, December 2006–September 2007; 9 Shades of Whiteley, regional galleries touring exhibition, July 2008–August 2009; The London Years, 1960–67, BWS, July 2012–April 2013; OTHER PLACES: Somewhere else, BWS, December 2015–May 2016; Brett Whiteley: Chapters 1959–1969, BWS, August 2023– June 2024

Literature: McGrath, 1979, p. 55 (illus.).
Pearce, 1995, p. 227; pl. 35 (illus.).
Sutherland, 2010, pp. 141, 296 (cat. OO15); p. 134 (illus.).
Sutherland, 2020, vol. 1, p. 267 (illus.); vol. 7, p. 167.

Related Work: Small Christie Painting 1 1965 (cat. 50.65)
Refer Persistent Themes, Subjects and Motifs (Christie and rape) p. 914

Primary Inscription: signed, inscribed and dated verso (in black oil) ‘(reworked all thru [sic] / 1965). “Chimpanzee” (cage) / 1965 / Brett Whiteley / OIL, TEMPERA AND COLLAGE / WITH GLASS / AND HAIR / 72˝x 78˝’

Provenance: Whiteley Estate (BWS1745)

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, October 1965, cat. 2 (as Chimpanzee 1965) (illus.); Brett Whiteley Retrospective, AGNSW, 1995, no. 50, then toured to state galleries, December 1995–November 1996, no. 32; Animals and Birds, BWS, 2002; 9 Shades of Whiteley, BWS, December 2006–September 2007; 9 Shades of Whiteley, regional galleries touring exhibition, July 2008–August 2009; The London Years, 1960–67, BWS, July 2012–April 2013; Brett Whiteley: Wildlife and other emergencies, BWS, October 2018–May 2019; Brett Whiteley: Chapters 1959–1969, BWS, August 2023–June 2024

Literature: Pearce, 1995, p. 229; pl. 48 (illus.).
Sutherland, 2010, p. 296 (cat. OO7); p. 295 (illus.).
Sutherland, 2020, vol. 7, Paintings; Zoo Series, p. 167.

Related Work: drawing: (Monkey Enclosure), pencil, artist’s notebook, London Zoo (1964); (KS10); screenprint: Swinging Monkey 3 (from Regent’s Park Zoo Series – No. 3) 1965 (cat. 9P)

Note: By the time this painting was completed, the image, that began as a chimpanzee, had morphed into one of Christie’s victims.

Primary Inscription: inscribed u.r. ‘MONKEY FOR FRAN / AND DICK’

Provenance: Frannie and Dick Hopkirk, New Zealand, a gift from the artist; Barry Stern Gallery, Sydney; Private collection, Melbourne, purchased from Barry Stern in January 1971; Sotheby’s, Sydney, 24 November 2015, lot 16 (illus.); Private collection, New South Wales

Sketchbook: (Drawings for Proposed ‘Monkey’ Sculpture) pencil sketches in artist’s notebook, London Zoo (1964) (KS10); Monkey 1965, photograph pasted into artist’s ‘orange velvet’ notebook (compiled c. 1975) (KS20)

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, October 1965, cat. 13 (titled as ‘Gorilla’ 1965); Autumn Exhibition 1977: Recent Acquisitions, Joseph Brown Gallery, 7–22 March 1977, cat. 100 (illus.)

Literature: Sutherland, 2010, p. 292 (cat. OO2).
Sutherland, 2020, vol. 1, p. 272 (illus.); vol. 7, Paintings; Zoo Series, p. 168.

Related Work: Refer Persistent Themes, Subjects and Motifs (primates) pp. 939–940

Primary Inscription: signed and dated l.l. (in grey oil) ‘b. whiteley 65’; signed, inscribed with title and dated verso ‘SKETCH OF A WHITE BABOON / 1965 / London / brett whiteley’

Provenance: Marlborough Fine Art, London; Private collection, London; Cooks Hill Gallery, New South Wales, 1987; Private collection, Sydney; Deutscher–Menzies, Sydney, 13 March 2007, lot 35 (illus.); Private Company collection, Melbourne; Deutscher–Menzies, Sydney, 24 September 2008, lot 38 (illus.); Private collection, Melbourne, purchased from D-M; Menzies Art Brands, Melbourne, 20 March 2014, lot 43 (illus.); Private collection, Melbourne

Exhibited: Artist and Mentor, Bayside Arts and Cultural Centre Museum and Art Gallery, Brighton, Victoria, 2012

Literature: Sutherland, 2010, p. 296 (cat. OO8); p. 297 (illus.).
Sutherland, 2020, vol. 1, p. 273 (illus.); vol. 6, p. 126 (illus.); vol. 7, Paintings; Zoo Series, p. 168.

Related Work: painting: White Sacred Baboon (1964–65) (cat. 92.64); sculpture: White sacred Baboon 1965 (cat. 10S)
Refer Persistent Themes, Subjects and Motifs (primates) pp. 939–940

Primary Inscription: (beneath image) (pen and ink) 'Installation View Marlborough New London Gallery, of works based on animals at the London Zoo, 1965. These works were made at the same time but as a contradiction / to, the Christie pictures.'

Provenance: Whiteley Estate; Private collection (BWS1808)

Sketchbook: documentary photog. in artist’s ‘orange velvet’ notebook (compiled c. 1975) (KS20)

Literature: Sutherland, 2020, vol. 1, p. 125 (photog. illus.)

Note: The Christie and Zoo series comprised paintings, drawings, prints and sculpture which were exhibited in the solo exhibition, Brett Whiteley, held at Marlborough New London Gallery from the 6–30 October 1965.

Primary Inscription: signed, dated and inscribed verso (in black oil paint) ‘brett whiteley 1965 / “Two Giraffes No 1”’

Provenance: Whiteley Estate (BWS846. a–b)

Sketchbook: Two Giraffes No. 1 1965, photog. pasted into artist’s ‘orange velvet’ notebook (compiled c. 1975) (KS20)

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, October 1965, cat. 7 (as Two Giraffes No. 1 1965*) (illus.); Brett Whiteley Retrospective, AGNSW, 1995, no. 47, then toured to state galleries, December 1995–November 1996, no. 33; A Different Vision – Brett Whiteley Sculptures, BWS, 1998; Animals and Birds, BWS, 2002; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; The London Years, 1960–67, BWS, July 2012–April 2013; Brett Whiteley: Sculpture and Ceramics, BWS, 2015; OTHER PLACES: Somewhere else, BWS, December 2015–May 2016; Brett Whiteley: Wildlife and other emergencies, BWS, October 2018–May 2019; Brett Whiteley: Chapters 1959–1969, BWS, August 2023–June 2024

Literature: Brett Whiteley, Marlborough New London Gallery, exhib. cat. 1965, cat. 20.
Spencer in Art and Australia, Sydney, December 1965, p. 214 (illus.) .
Hughes in The Bulletin, Sydney, 18 December 1965, p. 40, ‘London Paintings’ iii (illus.). Pearce, 1995, ref. p. 228; pl. 44 (illus.).
Sutherland, 2010, ref. p. 292 (cat. OO5); p. 294 (illus.).
Sutherland, 2020, vol. 1, p. 275 (illus.); vol. 6, p. 124 (illus.); vol. 7, p. 168.

Related Work: drawing: Two Giraffes (1964) (cat. 51.64); screenprint: Giraffe (from Regent’s Park Zoo Series – No. 5) 1965 (cat. 11P); paintings: Two Indonesian Giraffes 1964 (cat. 89.64); Two Giraffes No. 2 1965 (cat. 57.65); sculpture (bronzes): Giraffe No. 1 1965 (cat. 7S); Giraffe No. 2 1965 (cat. 8S)
Refer Persistent Themes, Subjects and Motifs (Giraffes) pp. 938–939

Note: *Catalogue 20 in the Marlborough 1965 exhibition catalogue describes Giraffe No 3 as a work in plaster (243.8 x 10.2 x 12.7 cm approx.). However, installation photographs of the exhibition show that Whiteley had already incorporated the plaster exhibit into this painting.

Provenance: Private collection; Australian Galleries, Melbourne, 1987 (AG3700); Private collection, Perth, purchased from AG in September 1987; Private collection, acquired by descent to the family of the former owner

Sketchbook: (Giraffe Sketches) pencil sketches in artist’s notebook, London Zoo (1964) (KS10); Two Giraffes No. 2 1965, photograph pasted into artist’s ‘orange velvet’ notebook (compiled c. 1975) (KS20). Collage elements have been added to the photograph

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, October 1965, cat. 9 (as Two Giraffes No. 2 1965) (illus.); Recent Works from London by Brett Whiteley, Bonython, Adelaide, January–February 1966, no 6, then (Bonython’s) Hungry Horse Art Gallery, Sydney, March 1966, no. 6; 23 Items by Brett Whiteley, Australian Galleries, Melbourne, 1966, no. 8; Australian Galleries, Melbourne, from September 1987

Literature: Lynn in The Australian, 12 March 1966, p. 9.
Sutherland, 2010, p. 296 (cat. OO6).
Sutherland, 2020, vol. 1, p. 277 (illus.); vol. 7, Paintings; Zoo Series, p. 169.

Related Work: drawing: Two Giraffes (1964) (cat. 51.64); screenprint: Giraffe (from Regent’s Park Zoo Series – No. 5) 1965 (cat. 11P); paintings: Two Indonesian Giraffes 1964 (cat. 89.64); Two Giraffes No. 1 1965 (cat. 56.65); Two Giraffes No. 2 1964, 1985 (cat. 205.85); sculpture (bronzes): Giraffe No. 1 1965 (cat. 7S); Giraffe No. 2 1965 (cat. 8S)
Refer Persistent Themes, Subjects and Motifs (Giraffes) pp. 938–939

Primary Inscription: inscribed l.r. (white oil) ‘12345’; signed, dated and inscribed verso (brown oil paint) ‘“HEAD OF A LION” / Brett Whiteley / 65 / OIL, TEMPERA + / HAIR / 12″ x 11 ½″’; further inscribed verso (in pencil) ‘This painting [ink] has / [in pencil] 5 styles / in it. The hair is mine.’; further inscribed verso (in pencil) “HEAD OF A LION”’

Provenance: Australian Galleries, Melbourne, 1966; Private collection, Melbourne; Menzies, Sydney, 26 March 2015, lot 1 (illus.); Private collection, Melbourne, purchased from Menzies

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, October 1965, cat. 14 (as Head of Lion 1965); Recent Works from London by Brett Whiteley, Bonython, Adelaide, January–February 1966, no. 4, then (Bonython’s) Hungry Horse Gallery, Sydney, March 1966, no. 4 (distressed gallery label verso); 23 Items by Brett Whiteley, Australian Galleries, Melbourne, 1966, no. 6

Literature: Sutherland, 2010, p. 292 (cat. OO3).
Sutherland, 2020, vol. 1, p. 278 (illus.); vol. 7, Paintings; Zoo Series, p. 169.

Note: According to the Archives of Australian Galleries, Melbourne, this work was stolen during their 1966 exhibition. It was subsequently recovered and sold at auction.

Primary Inscription: signed, inscribed and dated verso (in black oil) ‘1965 Brett Whiteley / “ART STUDENT / DOING A DRAWING / OF A LION” (wish you’d seen it) 78˝x 72˝ / OIL AND TEMPERA / ON BOARD’

Provenance: Barry Stern Gallery, Sydney; Christie’s, Melbourne, 14 March 1972, lot 23 ($1,900); Private collection, Melbourne, purchased from Christies; Private collection, Melbourne, acquired by descent; David and Kristene Deague, Melbourne, 2020

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, October 1965, cat. 12 (as Art Student doing a Drawing of a Lion) (illus.); Recent Works from London by Brett Whiteley, Bonython, Adelaide, January–February 1966, no 3, then (Bonython’s) Hungry Horse Gallery, Sydney, March 1966, no. 3; 23 Items by Brett Whiteley, Australian Galleries, Melbourne, 1966, no. 1; May Exhibition, Stuart Gerstman Galleries, Melbourne, May 1989, (NFS) cover (illus.); Australian Galleries, Melbourne, August 1989 (AG6050); Brett Whiteley Retrospective, AGNSW, 1995, no. 48, then toured to state galleries, December 1995–November 1996, no. 34

Literature: Hughes, ‘The Shirley Temple of English Art?: Brett Whiteley’s Splash in the Mainstream’ in The Bulletin, Sydney, 18 December l965, ‘Bulletin portfolio III’ (illus.).
Sweeney in The Sunday Telegraph, 6 March 1966, p. 114.
Lynn, ‘The Picture of Horror’ in The Australian, 12 March 1966, p. 9.
Hayes and Hersey, Australian Style, Paul Hamlyn, Sydney, 1970, p. 37 (interior photograph) (illus.).
Pearce, 1995, p. 229; pl. 51 (illus.).
Hilton & Blundell, 1996, p. 62.
Klepac (ed.); Pearce, Barry (essay), 2000, p. 236 (illus.).
Sutherland, 2010, pp. 123, 296 (cat. OO9); p. 151 (illus.).
Sutherland, 2020, vol. 1, p. 279 (illus.); vol. 7, Paintings; Zoo Series, p. 169.

Primary Inscription: signed, dated and inscribed l.r (pen and ink) ‘65 Brett / Whiteley “Cheetah” or “Cheetah?”’; numbered l.r. ‘(1)’

Provenance: Marlborough Fine Art, London, 1965; Colman Family, London, purchased from Marlborough; Private collection; Christie’s, Melbourne, 30 July 1990, lot 98 (illus.);
Art dealer, Melbourne, purchased from Christie’s; Private collection, Sydney; Sotheby’s, Melbourne, 26 April 1992, lot 374 (illus.); Private collection, Sydney, purchased from Sotheby’s; Private collection, Sydney; Deutscher and Hackett, Melbourne, 27 August 2008, lot 15 (illus.); Private collection, Victoria, purchased from D and H

Sketchbook: Cheetah or Cheatah 1965 (detail), installation photog. of Marlborough Gallery exhibition, 1965, pasted into ‘orange velvet’ notebook (compiled c. 1975) (KS20)

Exhibited: Brett Whiteley, Marlborough, London, October 1965, cat. 5 (as Cheetah or Cheata [sic])

Literature: McGrath, 1979, p. 69 (illus.).
Sutherland, 2010, ref. p. 292 (cat. oo1); p. 155 (illus.).
Sutherland, 2020, vol. 1, p. 281 (illus.); vol. 7, p. 170.

Related Work: painting: Cheetah in Rillington Place (1964–66) (cat. 93.64); drawing: Cheetah 1965 (cat. 25.65)
Refer Persistent Themes, Subjects and Motifs (cheetahs) pp. 937–938

Primary Inscription: signed l.c. (black ink) ’whiteley 65’; inscribed l.r. (black ink) ‘sketch for large painting / View from the Juda’s window. Henley.’

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

Sketchbook: A reproduction of this painting, titled and dated, is pasted into Whiteley’s notebook ‘25’ (1988/89–91) (n.p.) (KS38)

Exhibited: Masterpieces of Australian Art, Kalamunda Gallery of Man, Kalamunda, WA 1986

Literature: Art and Australia, Spring 1986, p. 113 (illus.) [advertisement].
Sutherland, 2010, p. 298 (cat. OO19).
Sutherland, 2020, vol. 7, Paintings; Landscapes, p. 170.

Related Work: drawing: Climbed a Tree at Henley 1964 (cat. 55.64)

Provenance: [probably] Hans and Elspeth Juda, England, a commission when the artist was living in London in the 1960s; Australian Galleries, Melbourne (gallery label attached verso); Private collection, Melbourne; Menzies Art Brands, Sydney, 30 November 2017, lot 28 (as ‘Untitled (Abstract)’; Harvey Galleries, Sydney, purchased from Menzies; Private collection NSW

Exhibited: Australian Galleries, Melbourne, around 1976; Modern Australian Painting, Charles Nodrum Gallery, Melbourne, 12 April–5 May 2012, cat. 63 (illus.); Whiteley, Harvey Galleries, Sydney, 2018

Literature: *Reproduced in The Ambassador magazine, a British trade magazine published during the 1960s,
Sutherland, 2020, vol. 1, p. 259 (illus.); vol. 7, Paintings; Landscapes, p. 170.

Related Work: drawing: (Untitled Drawing) 1965 (cat. 33.65)

Note: A letter from Stuart Purves (Australian Galleries) to the previous owner, dated 29 March 1976, relates that, according to Whiteley, this painting was commissioned by the owner of a spinning plant in Wales who wanted to record for posterity, the factory and its D.H. Lawrence-influenced working scheme.
*Hans and Elsbeth Juda were publisher and assistant editor of The Ambassador, a trade magazine which supported the British textile and fashion industries. It operated from the early 1940s to the mid-1960s. They were loyal supporters and collectors of Whiteley’s work during the years of his early exhibitions in London.

Provenance: Whiteley Estate (BWS370)

Exhibited: Whiteley on Water, Hazelhurst Region Gallery and Arts Centre, Gymea, November 2012–January 2013; OTHER PLACES: Somewhere else, BWS, December 2015–May 2016

Literature: Sutherland, 2010, p. 324 (cat. W6).
Sutherland, 2020, vol. 7, Paintings; Landscapes, p. 170.

Note: The Whiteleys vacationed in Deya, Majorca during June and July 1965.

Primary Inscription: inscribed l.r. ‘Preliminary study for ‘The Arrival’ Western Australian Gallery / (Perth)’; stamped l.r. (in black ink) with artist’s monogram

Provenance: Whiteley Estate (BWS310)

Sketchbook: Preliminary Drawing for ‘The Arrival’ (1965), ink drawing in artist’s notebook ‘6’, Whale Beach (1965–66) (KS11)

Exhibited: Instantly: Whiteley with Words, BWS, 2000; Brett Whiteley: Chapters 1959–1969, BWS, August 2023– June 2024

Literature: McGrath, 1979, p. 228 (cat. 116) (as ‘Preliminary drawing for The Arrival’, from artist’s notebook’) (illus.).
Sutherland, 2010, p. 298 (cat. p1).
Sutherland, 2020, vol. 7, Drawings; People and Places; Summer in Sydney 1965, p. 171.

Related Work: drawing: Australian View 1966 (cat. 1.66); painting: The Arrival 1966 (cat. 17.66)

Primary Inscription: verso (on photograph on backing board) ‘By the single sun / this whole world is illumined / By its one knower / The Field is illumined BHAGAVD–GITA’

Provenance: Whiteley Estate (BWS301)

Exhibited: Brett Whiteley, Bonython Art Gallery, Sydney, 1968, no. 10 (as By the Single Sun…, 1965–66); 162 Drawings: Brett Whiteley: 1960–1985, Robin Gibson Gallery, Sydney, 1985, cat. 1 (as Whale Beach 1965); Rees: Whiteley: on the road to Berry, Museum of Modern Art at Heide, Bulleen, 13 July–5 September 1993, cat. 47 (as Whale Beach 1965); Brett Whiteley Retrospective, AGNSW, 1995, no. 101 (as ‘View (Whale Beach 1966)’, then toured to state galleries, December 1995–November 1996, no. 39 ; On the Beach with Whiteley (group exhibition), BWS, 2003; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; Seasons, BWS, 2006; Whiteley on Water, Hazelhurst Regional Gallery and Arts Centre, Gymea, November 2012–January 2013, then, Newcastle Regional Art Gallery, Newcastle, NSW, November 2013–February 2014; Brett Whiteley: Sculpture and Ceramics, BWS, 2015; Brett Whiteley: Chapters 1959–1969, BWS, August 2023–June 2024

Literature: McGrath, ‘Profile: Brett Whiteley’ in Art and Australia, June 1967, p. 371 (illus.).
162 Drawings: Brett Whiteley: 1960–85, Sydney, 1985, cover (illus.).
Klepac, 1993, p. 19.
Pearce, 1995, p. 224; fig. 7 (illus.).
Sutherland, 2010, p. 302 (cat. Q4); p. 303 (illus.).
Klepac, 2014, p. 72.
Sutherland, 2020, vol. 1, p. 284 (illus.); vol. 7, Drawings; People and Places; Summer in Sydney 1965, p. 171.

Related Work: photographs: Australia … a trip back November 1965–July 1966 (1966) one of 13 mounted photographs (cat. 9.66)

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

Inscription: with label verso inscribed ‘Notebook study for The Drinker/ (1960’s [sic]) 22.0 x 34.5)’

Provenance: Whiteley Estate (BWS617)

Exhibited: Whiteley himself and Friends, BWS, December 2003–April 2004; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005

Literature: Sutherland, 2010, p. 300 (cat. PP4).
Sutherland, 2020, vol. 7, Drawings; People and Places; Summer in Sydney 1965, p. 171.

Related Work: paintings: Grandfather (On My Mother’s Side) 1966 (cat. 19.66); Reflection Triptych (Reflection; The Drinker; Grandfather/My Father’s Mother) 1966–67 (cat. 19a.66)
Refer Persistent Themes, Subjects and Motifs (Grandfather (on my mother’s side)) p. 916

Primary Inscription: signed, inscribed and dated l.r. ‘wendy 1965 brett whiteley’

Provenance: Whiteley Estate (BWS1507)

Exhibited: Brett Whiteley: Aspects & Insights: The Art Gallery of New South Wales Regional Tour, July 1996–March 1997, no. 20; Brett Whiteley Nudes, BWS, December 1999–April 2000; Whiteley & Rees: more affinities, BWS, December 2005–April 2006, then New England Regional Art Museum, Armidale, New South Wales, April–July 2006

Literature: Pearce, 1995, p. 229; pl. 57 (illus.).
Sutherland, 2010, p. 298 (cat. P2); p. 299 (illus.).
Klepac, 2014, p. 70 (illus.).
Sutherland, 2020, vol. 1, p. 286 (illus.); vol. 7, Drawings; Summer in Sydney 1965; At the Beach, p. 172.

Related Work: Refer Persistent Themes, Subjects and Motifs (artist and model; bathers by the sea) pp. 911–912; 929–931

Primary Inscription: dated u.l. '18/Dec/65'

Related Work: At the Beach: Refer Persistent Themes, Subjects and Motifs (artist and model; bathers by the sea) pp. 911–912; 929–931

Primary Inscription: dated and inscribed l.r. (in pencil) ‘study for “The Beach”, December / 1965’; stamped l.r. (in black ink) with artist’s monogram

Provenance: Whiteley Estate (BWS1499)

Exhibited: Brett Whiteley: Drawings 1960–1973, Bonython, Sydney, 1974, cat. 13 (as Preliminary drawing for ‘The Beach’); Brett Whiteley: Drawings, Marlborough Prints and Drawings Gallery, New York, 1975, cat. 26; [probably] Brett Whiteley, Recent Nudes, the artist’s studio, Circular Quay, Sydney, 1981; 162 Drawings: Brett Whiteley: 1960–85, Robin Gibson Gallery, Sydney, 1985, cat. 119 [incorrectly as ‘Study for beach III’]; Brett Whiteley Retrospective, AGNSW, 1995, no. 58; Brett Whiteley: Aspects & Insights: The Art Gallery of New South Wales Regional Tour, July 1996–March 1997, no. 17; Brett Whiteley Nudes, BWS, December 1999–April 2000

Literature: McGrath, ‘Profile: Brett Whiteley’ in Art and Australia, June 1967, p. 369 (illus.).
McGrath, 1979, p. 42 (illus.).
Whiteley, Brett Whiteley:Recent Nudes, Sydney, exhib. cat., 1981, p. 15 (illus.).
Pearce, 1995, p. 229; pl. 58 (illus.).
Sutherland, 2010, p. 298 (cat. P4); p. 157 (illus.).
Klepac, 2014, p. 71 (illus.).
Sutherland, 2020, vol. 1, ref. p. 16, p. 290 (illus.); vol. 7, Drawings; Summer in Sydney 1965; At the Beach, p. 172.

Related Work: Related theme: paintings: The Beach 1966 (cat. 20.66); The Spray at Bondi 1981 (cat. 200.81); Sketching at Bondi 1986–87 (cat. 76.86)
Refer Persistent Themes, Subjects and Motifs (artist and model; bathers by the sea) pp. 911–912; 929–931

Primary Inscription: signed, dated and inscribed l.r. (in pencil) ‘Study for ‘The Beach’/ brett whiteley 1965’; stamped l.r. (in black ink) with artist’s monogram

Provenance: Whiteley Estate (BWS108)

Exhibited: [probably] Brett Whiteley: Recent Nudes, the artist’s studio, Sydney, 1981 [not catalogued]; 162 Drawings: Brett Whiteley: 1960–1985, Robin Gibson Gallery, Sydney, 1985, cat. 34 (as ‘Study for the beach II’); 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. 46 (as ‘Study for the Beach II’); Brett Whiteley Retrospective, AGNSW, 1995, no. 57, then toured to state galleries, December 1995–November 1996, no. 36; Brett Whiteley Nudes, BWS, December 1999–April 2000; Aspects from the Estate, BWS, July 2002–February 2003; On the Beach with Whiteley, BWS, 2003; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; Seasons, BWS, 2006; Blue, BWS, July 2011–July 2012, then toured as Whiteley on Water, Hazelhurst Regional Gallery and Arts Centre, Gymea, November 2012–January 2013; Pathways to Figuration, BWS March–October 2018

Literature: McGrath, 1979, p. 46 (illus.).
Whiteley, Brett Whiteley:Recent Nudes, exhib. cat., Sydney, 1981 p. 15 (illus.).
162 Drawings: Brett Whiteley: 1960–85, Sydney, 1985, p. 38 (illus.).
Klepac, 1993, p. 19.
Pearce, 1995, p. 230 [incorrectly as pl. 68]; pl. 69 (illus.).
Sutherland, 2010, p. 300 (cat. P7); p. 301 (illus.).
Klepac, 2014, p. 67 (illus.).
Sutherland, 2020, vol. 1, p. 287 (illus.); vol. 7, Drawings; Summer in Sydney 1965; At the Beach, pp. 172–173.

Related Work: drawing: Study for relief Carving – Mother and Daughter on Kutu [sic] Beach, Bali, 1980 (cat. 116.80)
Refer Persistent Themes, Subjects and Motifs (artist and model; bathers by the sea) pp. 911–912; 929–931

Provenance: Private collection, New South Wales (Avalon), a first cousin to the artist; Private collection, New South Wales, a gift from father to daughter

Literature: Addendum to Sutherland, 2020, Drawings 1965; Summer in Sydney; People and Places, cat. 72.65

Related Work: Refer Persistent Themes, Subjects and Motifs (artist and model; bathers by the sea) pp. 911–912; 929–931

Note: This work has been identified as a drawing created during the Whiteley family’s stay at Whale Beach. (Wendy Whiteley, conversation with Sutherland, 3 May 2022).

Primary Inscription: dated and inscribed l.r. ‘Study for “The Beach” 1965 and “Shark” sculptures’, inscribed with annotations to the drawing: ‘copper; knee; real shark’s jaw; chrome’; stamped l.r. (in black ink) with artist’s monogram

Provenance: Whiteley Estate (BWS176)

Exhibited: 162 Drawings: Brett Whiteley: 1960–85, Robin Gibson Gallery, Sydney, 1985, cat. 15 (as ‘Study for the Beach 1’ 1965); On the Beach with Whiteley, BWS, 2003; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; Seasons, BWS, 2006; Blue, BWS, July 2011–July 2012, toured as Whiteley on Water, Hazelhurst Regional Gallery and Arts Centre, Gymea, November 2012–January 2013; Brett Whiteley: Sculpture and Ceramics, BWS, 2015; Brett Whiteley: Wildlife and other emergencies, BWS, October 2018–May 2019

Literature: 162 Drawings: Brett Whiteley: 1960–85, Sydney, 1985, p. 28 (illus.).
Sutherland, 2010, p. 298 (cat. P5); p. 299 (illus.).
Sutherland, 2020, vol. 1, p. 288 (illus.); vol. 6, p. 133 (illus.); vol. 7, Drawings; Summer in Sydney 1965; Designs for Sculpture, p. 173.

Related Work: painting: The Beach 1966 (detail) (cat. 20.66)
Refer Persistent Themes, Subjects and Motifs (artist and model; bathers by the sea) pp. 911–912; 929–931

Primary Inscription: signed, dated and inscribed l.r. ‘1965 preliminary notes for shark sculpture / brett whiteley’; stamped l.r. (in black ink) with artist’s monogram

Provenance: Whiteley Estate (BWS679)

Sketchbook: (Shark sculptures), photographs pasted into artist’s ‘orange velvet’ notebook (compiled c. 1975) (KS20)

Exhibited: A Different Vision–Brett Whiteley Sculptures, BWS, 1998; On the Beach with Whiteley, BWS, 2003; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; Whiteley and the Third Dimension, BWS, 2008; Blue, BWS, July 2011–July 2012, toured as Whiteley on Water, Hazelhurst Regional Gallery and Arts Centre, Gymea, November 2012–January 2013, then, Newcastle Art Gallery, Newcastle, NSW, November 2013–February 2014; Brett Whiteley: Sculpture and Ceramics, BWS, 2015; Brett Whiteley: Wildlife and other emergencies, BWS, October 2018–May 2019; 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: Sutherland, 2010, p. 300 (cat. P6).
Klepac, 2014, p. 68 (illus.).
Sutherland, 2020, vol. 1, p. 289 (illus.); vol. 6, p. 135 (illus.); vol. 7, Drawings; Summer in Sydney 1965; Designs for Sculpture, p. 173.

Related Work: drawings: Study for ‘The Beach’ and ‘Shark’ Sculptures 1965 (cat. 74.65); Untitled 1966 (cat. 2.66); sculpture: Shark (Female) 1965 (cat. 14S); Shark (Male) 1966 (cat. 15S)

Primary Inscription: signed l.c. ‘Whiteley’

Provenance: Frannie Hopkirk, New Zealand, gift of the artist; Vivian Hopkirk, Sydney; Private collection, Sydney; Private collection, Melbourne

Literature: Hopkirk, 1996, pp. 128–30; (n.p.) [p. 294 [12] (Vivien Hopkirk with painting) (illus.).
Sutherland, 2010, p. 300 (cat. PP1).
Wilson, 2016, p. 121.
Sutherland, 2020, vol. 7, Paintings; Summer in Sydney, p. 173.

Note: This work was painted while Whiteley was in New Zealand en route to Australia.

Provenance: Colin Lanceley, Sydney, a gift from the artist while both artists were living in London, around 1966; Private collection, Sydney, acquired by succession; Private collection, acquired by descent to a son

Sketchbook: (Life-saver, Whale Beach), pencil sketch for Lifesaver (1965) in artist’s sketchbook ‘6’, 1965–66 (KS11)

Literature: Sutherland, 2020, vol. 7, Paintings; Summer in Sydney, At the Beach, p. 174

Related Work: related subject: print (etching): [Life-saver] A Day at Bondi 1984 (cat. 140P); painting: Portrait of John Singleton as a Surfie 1976 (cat. 198.76)

Note: Painted at Whale Beach, New South Wales in 1965.
The alternative title, Ink not Zinc, is noted in the Will of artist, Colin Lanceley.

Primary Inscription: signed and dated verso (in black paint) ‘Brett Whiteley / 65’; further inscribed verso ‘“Small / HISSING / Painting”’; inscribed (in blue pencil) verso ‘17 ¼″ x 15″ / oil on / board / [in brackets] with piece / of / (wire) [deleted] metal tube’; (in white chalk) ‘NSW’

Inscription: with details of painting (typed) on Marlborough Fine Art label affixed verso

Provenance: Marlborough New London Gallery, London, October 1965 (gallery label affixed verso); Bonython Art Gallery, Sydney; John Davies, Melbourne, purchased from Bonython in 1966; Private collection, Sydney, acquired by descent; Queensland Art Gallery and Gallery of Modern Art (GOMA) 2020, gift of Suzanne Davies, donated through the Australian Government’s Cultural Gifts Programme

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, October 1965, cat. 34 (as Small Hissing Painting 1965) (gallery label verso); Recent Works from London by Brett Whiteley, Bonython, Adelaide, January–February 1966, no. 11, then (Bonython’s) Hungry Horse Art Gallery, Sydney, March 1966, no. 11; 23 Items by Brett Whiteley, Australian Galleries, Melbourne, 1966, no. 17; 23 Items by Brett Whiteley, Australian Galleries, Melbourne, September–October 1966, no. 11

Literature: Francis, ‘Creative and explosive’ in Sunday Mail, 6 February 1966 (page unknown).
Lynn, ‘The Picture of Horror’ in The Australian, 12 March 1966, p. 9. Described as ‘…decorated with blue sailing boats on baby pink an actual rubber tube supplies the gas while the serene boats skirt this hellish port’.
Sutherland, 2010, p. 300 (cat. PP2); p. 162 (illus.).
Sutherland, 2020, vol. 1, ref. p. 23, p. 291 (illus.); vol. 7, Paintings; Summer in Sydney, p. 174.

Related Work: painting: Kathleen Maloney Taking Gas 1964 (cat. 82.64)
Refer Persistent Themes, Subjects and Motifs (artist and model; bathers by the sea) pp. 911–912; 929–931

Primary Inscription: signed, dated and inscribed verso (in black oil) ‘“Headache” / 1965–66 / 37 1/4˝x 30 1/4˝/ OIL, TEMPERA / BEX / MIRROR / Brett Whiteley’

Provenance: Kym Bonython, Adelaide; Robin Gibson, Sydney, purchased from Kym Bonython (Bonython Art Gallery) in 1976

Exhibited: 23 Items by Brett Whiteley, Australian Galleries, Melbourne, 1966, no. 14; Brett Whiteley, Bonython, Sydney, 1968, cat. 1; Brett Whiteley, Bonython Art Gallery, Sydney, 1968, no. 1 (as Headache); Brett Whiteley Retrospective, AGNSW, 1995, no. 59, then toured to state galleries, December 1995–November 1996, no. 37; Instantly: Whiteley with Words, BWS, 2000; Baldessin / Whiteley: Parallel Visions, NGV, August–January 2019

Literature: Horton (ed.), Art and Australia, Sydney, December l966, p. 177 (illus.).
Lynn, ‘Erotic obsessions’ in The Bulletin, Sydney, 17 February 1968, p. 64.
Walker (Photog.) ‘Whiteley at the Bonython Gallery’, The Bulletin, 16 March l968, p. 71 (illus.).
Pearce, 1995, p. 229; pl. 59 (illus.).
Sutherland, 2010, p. 300 (cat. PP3); p. 301 (illus.).
Grishin and contributors, 2018, p. 77 (illus.).
Sutherland, 2020, vol. 1, p. 285 (illus.); vol. 7, Paintings; Summer in Sydney, p. 174.

Related Work: photographs: Australia … a trip back November 1965–July 1966 (1966) (cat. 9.66)

Primary Inscription: inscribed c.l. [directional arrow] ‘china’; signed and dated verso on support l.r. ‘1966’ and l.c. ‘Brett Whiteley’

Provenance: Kym Bonython (Bonython Art Gallery, Sydney); F. R. Strange, Sydney, 25 October 1976, lot 126, the contents of Bonython Art Gallery; Private collection, Sydney; James R. Lawson, September, 16 September 1986, lot 83; Robin Gibson, Sydney, purchased from Lawson’s in 1986

Sketchbook: Australian View 1966, photog. of drawing pasted into artist’s ‘orange velvet’ notebook (compiled c. 1975) (KS20)

Exhibited: 23 Items by Brett Whiteley, Australian Galleries, Melbourne, 1966, no. 18 (as Australian View); Brett Whiteley, Bonython, Sydney, 1968, no. 5; Christmas Show, Robin Gibson Gallery, Sydney, 1–19 December 1984, no. 33

Literature: McGrath in Art and Australia, June 1967, p. 373 (illus.).
Sutherland, 2010, p. 302 (cat. Q2).
Sutherland, 2020, vol. 1, p. 298 (illus.); vol. 7, Drawings and Works on paper; People and Places; Sydney, pp; 174–175.

Related Work: drawing: Preliminary Study for ‘The Arrival’ (1965) (cat. 66.65); photographs: Australia…A Trip Back November 1965–July 1966 (1966) (detail) (cat. 9.66); painting: The Arrival 1966 (cat. 17.66)

Primary Inscription: signed and dated verso; inscribed verso ‘Untitled’

Provenance: Private collection, Spain; Sotheby’s, Melbourne, 24 November 2003, lot 41 (illus.); Ronald Coles, Sydney, purchased from Sotheby’s; Private collection

Exhibited: 23 Items by Brett Whiteley, Australian Galleries, Melbourne, 1966, no. 20 (as Untitled)

Literature: Sutherland, 2010, p. 302 (cat. Q3); p. 163 (illus.).
Klepac, 2015, p. 69 (illus.).
Sutherland, 2020, vol. 1, p. 304 (illus.); vol. 7, Drawings and Works on paper; People and Places; Sydney, p. 175.

Related Work: drawings: Study for 'The Beach' 1965 and 'Shark' Sculptures 1965 (cat. 74.65); Preliminary Notes for Shark Sculpture 1965 (cat. 75.65); photographs: Australia … a trip back November 1965–July 1966 (1966) (cat. 9.66)

Primary Inscription: signed l.r. (in pencil) ‘brett whiteley’; dated and inscribed u.r. (pen and black ink) ‘1966 / concert at the Sydney Stadium, Rushcutters Bay / Brown chequed [sic] suit’; further inscribed u.r. quadrant (pen and ink) ‘Aint it just like… that conquer my mind.’; twice stamped l.r. (in black ink) with artist’s monograms

Inscription: Aint it just like the night to play tricks / when you’re try’in to be so quiet? / We sit here stranded, though we’re all doin’ our / best to deny it / And Louise holds a handful of rain, temptin’ / you to defy it / Lights flicker from the opposite loft / In this [word blacked out] room the heat pipes just cough / The country music station plays soft / But theres [sic] nothing, really nothing to turn off / Just Louise and her lover so entwined / And these visions of Johanna / that conquer my mind.’

Provenance: Whiteley Estate (BWS578)

Exhibited: Instantly: Whiteley with Words: BWS, 2000; Whiteley himself and Friends, BWS, December 2003–April 2004; Portraits, BWS, 2014; Tributes, BWS, 2016; Brett Whiteley Eternity is Now, BWS, December 2022–August 2023 [portraits]

Literature: Sutherland, 2010, p. 302 (cat. Q5); p. 303 (illus.).
Wilson, 2016, p. 126.
Sutherland, 2020, vol. 1, pp. 294–295 (illus.); vol. 7, Drawings and Works on paper; People and Places; Sydney, p. 175.

Related Work: Nixon’s 69: Visions of Johanna’sberg (c. 1969) (cat. 6.69)

Note: The title of this drawing and its inscription quotes the lyrics to a song by Bob Dylan, ‘Visions of Johanna’ from the 1966 album, Blonde on Blonde. Whiteley refers to this song again in the title of a drawing, Nixon’s 69, reproduced in artist’s ‘orange velvet’ notebook (compiled c. 1975); (KS20).

Inscription: reading clockwise:

reading clockwise:
u.r: ’17 / [arrow] “Portrait of my / grandfather (on my Mother’s side)” / TRIPTYCH / The panels numbered 1+3 / should be parallel to the walls.
21 / [arrow to sketch of image in central gallery] “Shark” (male) / teeth should face / north [arrow pointing down to ‘Shark female’]
16 / “Solution” [arrow to outer wall]
22 [arrow pointing to sketch of image in central gallery] Shark female / fin should face north [arrow pointing down to “The Bush”]
23 / [arrow pointing to sketch of image in centre) This piece of /sculpture is / still being / worked + is / also untitled as yet. The / kangaroo should / be at the south / end at any rate. / This will be / meaningful / when you / see it. Please / clean perspex box / with water / + clean / rag / only / no soap.
15 / “The Bush” /TRIPTYCH
c.r:
14 / “Headache” / middle of the wall)
3 / [arrow pointing to position on inner wall / partition] White Sacred / Baboon (oils)
2 / [arrow pointing to outer wall] drawing of / an ape
4 / [arrow pointing to sketch in central gallery space] White / Sacred / Baboon / sculpture / (head / facing / south [with arrow])
l.r:
1 / [arrow pointing to outer wall] “Art Student / doing a drawing / of Lion”
5 / [arrow pointing to position on inner partition] HYENA / print. This should / be a type written / note stating that it is / No 6 in a series of / six prints made about / the London Zoo + seven / painting [sic] / last year. Complete / set available on enquiry.
6 / [arrow pointing to position on inner partition] head / or / Lion (exactly in / middle / of / wall)
[above ‘head / of / Lion’ a diagram with notation reads:] Can’t quite remember / What happened here / was there a column?
l.l:
7 / [arrow pointing to position on outer wall] “Two / indonesian / giraffes”
8 / [arrow indicating position] “Two / Giraffes” / Charcoal.
Please / blacken / stove / flue. [arrow to diagram of flue]
9 / [arrow indicating positioning on outer wall] “Christie + / Kathleen /Maloney”
11 / [arrow pointing to position on small partition] “Small /Hissing / Painting” (not glassed)
10/ [arrow pointing to position on other side of small partition] “10 Rillington” Place / (print) [other notations to partition] ‘white’ [pointing to diagram of small square in central space] ‘all white’
12 “Head of / Christie”/ [words illegible]
c.l.
13/ “Rita/ Nelson” [arrow pointing to position on partition and notation reading: ] Doors / removed.] (this painting should be behind / glass, if broken in transport / please / replace)
20/ [arrow indicating position on outer wall] “Untitled”
u.l.
19/ “The Beach” [arrow indicating position on outer wall]
18/ “Australian” / View /charcoal.’ [arrow indicating position on outer wall]
further inscribed l.r:
‘N.B. In relation to No 10 Kym has two / prints framed up in Sydney. One is cut down and is framed in a / gold + black frame – this one we don’t want. There’s [one] mounted / under glass with clipps [sic] which is the one we want. Can you advise / Sydney on this?’

Provenance: Tam and Ann Purves, Australian Galleries, Melbourne, 1966; Australian Galleries archive, Melbourne

Literature: Sutherland, 2010, p. 302 (cat. Q1).
Wilson, 2016, p. 126.
Sutherland, 2020, vol. 7, Drawings and Works on paper; People and Places; Summer in Sydney, pp. 175–176.

Note: This drawing was included in a letter from Whiteley to Tam and Ann Purves, dated Sunday 26 July 1966 and written from 152 Whale Beach Road, Whale Beach, New South Wales.

Provenance: Whiteley Estate (BWS504)

Sketchbook: Australia Re-visited: Summer 1965–66, pencil sketch in artist’s notebook ‘2’ (1966–67) (KS12)

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 14 (titled as above); Brett Whiteley: Chapters 1959–1969, BWS, August 2023–June 2024

Literature: Sutherland, 2010, pp. 205, 324 (cat. W17).
Sutherland, 2020, vol. 1. pp. 296–297 (illus.); vol. 7, Drawings and Works on paper; Summer in Sydney; People and Places, p. 176.

Note: Paintings, drawings and sculpture identified:
i. The Beach 1966 (cat. 20.66)
ii. Untitled 1966 (cat. 2.66)
iii The Bush 1966 (cat. 22.66)
iv. [probably disassembled] *
v. The Arrival 1966 (cat. 17.66)
vi. Australian View 1966 (cat. 1.66)
vii Solution 1966 (cat. 18.66)
viii. By the single Sun – Whale Beach (1965–66) (cat. 35.65)
ix. Headache 1965–66 (cat. 81.65)
x. Grandfather (On My Mother’s Side) 1966–67 (refer 19.66)
xi. Shark (Male) (1966)
xii. Shark (Female) (1965)
xiii Asia (1966)

*The image u.l. of the photograph numbered iv. (in the top box) is that of a transgender performer whom the Whiteleys met during a visit to the Royal Easter Show in 1965. The performer dressed and made up one side of the face and body as female and the other as male. Whiteley’s postcard of this performer remains pinned to the wall in his Raper Street Studio (The Brett Whiteley Studio).

Primary Inscription: signed and (later) dated l.r. ‘brett whiteley 65’; inscribed l.l. ‘Calcutta’

Provenance: Whiteley Estate (BWS1267)

Literature: Sutherland, 2010, p. 306 (cat. R3).
Sutherland, 2020, vol. 7, Drawings and Works on paper; Calcutta–London, p. 177.

Note: The Whiteleys left Sydney 5 August 1966 making brief stopovers in Hong Kong and India before returning to London.

Exhibited: Brett Whiteley: Drawings 1960–1973, Bonython, Sydney, 1974, cat. 3 (as Torso from the Calcutta Museum] 1965)

Literature: Sutherland, 2010, p. 306 (cat. R1).
Sutherland, 2020, vol. 7, Drawings and Works on Paper; Calcutta–London, p. 177.

Note: The Whiteleys left Sydney 5 August 1966 making brief stopovers in Hong Kong and India before returning to London.

Provenance: whereabouts unknown

Sketchbook: (Exotic Dancer) (c. 1966) pen and ink drawing in artist’s notebook ‘2’ (1966–67) (KS12)

Literature: McGrath, 1979, p. 222 (cat. 29), (as Calcutta) (illus.).
Sutherland, 2010, p. 306 (cat. R2).
Sutherland, 2020, vol. 7, Drawings and Works on paper; Calcutta – London, p. 177.

Related Work: drawing: Calcutta 1966, mixed media (cat. 25.66)

Note: The Whiteleys left Sydney 5 August 1966 making brief stopovers in Hong Kong and India before returning to London.

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

Provenance: Private collection; Philip Bacon Galleries, Brisbane, 2009, from a deceased estate; Private collection, Sydney, purchased from Philip Bacon in 2009 (as ‘Torso’)

Exhibited: Brett Whiteley Drawings 1960–1973, Bonython, Sydney, 1974, cat. 12 (as Amazing Tits)

Literature: McGrath, 1979, p. 226 (cat. 87) (as ‘Terrific Tits’1962) (illus.).
Sutherland, 2010, p. 306 (cat. R4).
Sutherland, 2020, vol. 7, Drawings and Works on paper; Calcutta – London, p. 177.

Primary Inscription: signed, dated and inscribed l.r. (pen and black ink) ‘To Ravi Shankar. Sublime purposelessness. Brett Whiteley / 66’

Inscription: with typed and printed details of the painting on Marlborough gallery labels (as noted below)

Provenance: Marlborough–Gerson Gallery, New York 1968 (gallery label attached verso); Christie’s, Sydney, 5–6 October 1971, lot 359 (as Ravi Shankar) ($2,000); Mrs Graham Ducker, Sydney; Art Gallery of New South Wales, Sydney, gift of Mrs Ducker in 1971 (148.1971)

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1967 (gallery label attached verso), cat. 8 (as Shankar) (illus.); Brett Whiteley – Recent Work, Marlborough–Gerson Gallery, New York, 1968, cat. 1; Brett Whiteley: Portraits and Other Emergencies, Bonython, Sydney, then Australian Galleries, Melbourne, 1972, cat. 20 (as ‘SHANKAR’ [incorrectly] dated 1969 (lent by Mr and Mrs G. Ducker); Brett Whiteley Retrospective, AGNSW, 1995, no. 73, then toured to regional galleries, December 1995–November 1996, no. 40; Tangier to Byron Bay: Brett Whiteley’s Travels 1960–1992, BWS, 1999, cat. 19 (illus.); Australian Icons: Twenty Artists from the Collection, AGNSW, 4 August–3 December 2000; Alchemy, and Other Transcendental Works, BWS, 2002; Sydney Genesis and Beyond 1955–1965, BWS, 2005; Portraits, BWS, 2014; Alchemy–Pop, BWS, October 2014–March 2015; OTHER PLACES: Somewhere else, BWS, December 2015–May 2016; Tributes, BWS, 2016; Brett Whiteley Eternity is Now, BWS, December 2022–August 2023 [portraits]; Brett Whiteley: Chapters 1959–1969, BWS, August 2023– June 2024

Literature: McGrath, 1979, p. 87, p. 77 (illus.).
Mendelssohn in The Bulletin, 30 June 1992, ref. p. 26.
Pearce, 1995, p. 225; fig. 33 (illus.).
‘Metro’ in The Sydney Morning Herald, 18–24 July 2003, p. 26 (illus.).
Sutherland, 2010, pp. 177, 203, 306 (cat. R5); p. 175 (illus.).
Klepac, 2015, p. 73 (illus..)
Wilson, 2016, pp. 127, 143, 200.
Sutherland, 2020, vol. 1, p. 308 (illus.); vol. 7, Drawings and Works on paper; Calcutta – London, pp. 177–178.

Primary Inscription: signed and dated verso (black fibre-tipped pen): c.l.‘“SOLUTION” / 1966 / OIL, TEMPERA + / OBJECT ON / MOUNTED PLY’; c.r. ‘74 ½ [sic] x 84" x 3" / Brett Whiteley’; further inscribed u.r. ‘[Chinese calligraphy] / Chinese word / means “solution”’

Provenance: Whiteley Estate (BWS114)

Exhibited: 23 Items by Brett Whiteley, Australian Galleries, Melbourne, 1966, no. 16 (as Solution); Brett Whiteley, Bonython, Sydney, 1968, no. 3; On the Beach with Whiteley [group exhibition], BWS, 2003; Whiteley on Water, Hazelhurst Regional Gallery and Arts Centre, Gymea, November 2012–January 2013

Literature: Lynn, ‘Erotic obsessions’ in The Bulletin, Sydney, 17 February 1968, p. 64
Walker (photog.), ‘Whiteley at the Bonython Gallery’ in The Bulletin, 16 March l968, p. 71 (illus.)
Sutherland, 2010, p. 304 (cat. QQ2)
Sutherland, 2020, vol. 7, Paintings, 1966, p. 178

Related Work: photographs: Australia … a trip back November 1965–July 1966 (1966) (cat. 9.66)

Note: Painted at Whale Beach, New South Wales.

Primary Inscription: signed, inscribed and dated verso ‘“The Arrival” 1966 78″ x 72″ x 3″ oil tempera and newspaper / Brett Whiteley’; further inscribed verso ‘1966’

Provenance: Skinner Galleries, Perth (label attached verso) State Art Collection, Art Gallery of Western Australia, Perth, purchased in 1967 (1967/00P1)

Exhibited: Skinner Galleries, Perth

Literature: Sutherland, 2010, p. 304 (cat. QQ1); p. 161 (illus.).
Sutherland, 2020, vol. 1, p. 299 (illus.); vol. 7, Paintings, p. 178.

Related Work: drawings: Preliminary study for ‘The Arrival’ (1965) (cat. 66.65); Australian View 1966 (cat. 1.66); photographs: Australia … a trip back November 1965–July 1966 (1966) (cat. 9.66)

Primary Inscription: signed and dated verso (black fibre-tipped pen): c.l.‘“SOLUTION” / 1966 / OIL, TEMPERA + / OBJECT ON / MOUNTED PLY’; c.r. ‘74 ½ [sic] x 84" x 3" / Brett Whiteley’; further inscribed u.r. ‘[Chinese calligraphy] / Chinese word / means “solution”’

Provenance: Whiteley Estate (BWS114)

Exhibited: 23 Items by Brett Whiteley, Australian Galleries, Melbourne, 1966, no. 16 (as Solution); Brett Whiteley, Bonython, Sydney, 1968, no. 3; On the Beach with Whiteley [group exhibition], BWS, 2003; Whiteley on Water, Hazelhurst Regional Gallery and Arts Centre, Gymea, November 2012–January 2013; Brett Whiteley: Chapters 1959–1969, BWS, August 2023– June 2024

Literature: Lynn, ‘Erotic obsessions’ in The Bulletin, Sydney, 17 February 1968, p. 64.
Walker (photog.), ‘Whiteley at the Bonython Gallery’ in The Bulletin, 16 March l968, p. 71 (illus.).
Sutherland, 2010, p. 304 (cat. QQ2).
Sutherland, 2020, vol. 7, Paintings, 1966, p. 178.

Related Work: photographs: Australia … a trip back November 1965–July 1966 (1966) (cat. 9.66)

Note: Painted at Whale Beach, New South Wales.

Primary Inscription: signed. dated and inscribed verso

Inscription: panel numbered ‘1’ inscribed verso (white paint): ‘“GRANDFATHER / (ON / MY MOTHER’S SIDE)’” [directional arrow pointing to the right]; inscribed on artist’s label [partially obscuring the title] ‘PLEASE / KEEP YOUR / FINGERS OFF / THE PAINTED / SURFACE’
panel numbered ‘2’ verso: artist’s label signed, dated and inscribed (pen and ink) ‘“Grandfather (on my mothers [sic] side [”] / 1966 / TRYPTYCH / 72″ X 112″ / (72″ x 36″, 72″ x 60[″], 72″ x 36″) / oil tempera photographs / + objects on mounted ply / Brett Whiteley’
panel numbered ‘3’: inscribed verso (white paint) ‘“GRANDFATHER / (ON / MY MOTHER’S SIDE)’” [directional arrow pointing to the right]

Provenance: Whiteley Estate BWS1753.a-c

Sketchbook: “GRANDFATHER ON MY MOTHERS SIDE’ DETAIL’, photog. inscribed ‘Destroyed’, artist’s ‘orange velvet’ notebook (compiled c. 1975) (KS20)

Exhibited: 23 Items by Brett Whiteley, Australian Galleries, Melbourne, 1966, no. 17 (as Grandfather (On My Mother’s Side), Triptych); Brett Whiteley, Bonython, Sydney, 1968, no. 4 (as Grandfather (on my Mother’s Side – Triptych)

Literature: Bush, ‘Whiteley in depth’ in The Australian, 1 October 1966, p. 13.
McGrath, ‘Profile: Brett Whiteley’ in Art and Australia, Sydney, June, l967, p. 370 (illus.).
Lynn, ‘Erotic obsessions’ in The Bulletin, Sydney, 17 February 1968, p. 64.
Walker (photog.), ‘Whiteley at the Bonython Gallery’ in The Bulletin, 16 March l968, p. 71 (illus.).
Sutherland, 2010, p. 310 (cat. TT29).
Sutherland, 2020, vol. 1, p. 300 (photog.) (illus.); vol. 7, Paintings, 1966, p. 178 [incorrectly catalogued as 'Reflection Triptych' [see explanatory 'note' below].

Related Work: drawings: Study for ‘The Drinker’ (1965) (cat. 68.65); photographs: Australia…A Trip Back November 1965–July 1966 1966 (detail) (cat. 9.66); painting: Reflection Triptych (Reflection; The Drinker; Grandfather / My Father’s Mother) 1966–67 (cat. 19a.66)
Refer Persistent Themes, Subjects and Motifs (Grandfather (on my mother’s side)) p. 916

Note: In the orange velvet notebook, Whiteley has captioned a photograph of this painting, ‘Destroyed’. ‘The triptych depicts Whiteley’s grandfather as an alcoholic – thought bubbles; one hand holding glass of beer; bomb on one side with explosive device – a black picture with two panels.’ (Conversation with Wendy Whiteley 26 October 2007.) In 2003 an audit of the Whiteley Estate collection at the Brett Whiteley Studio, located this work, which was previously believed to have been destroyed and incorporated into another work.

Primary Inscription: signed and dated (central panel) verso ‘Brett Whiteley 1967’; inscribed with title and dated verso (central panel) ‘“REFLECTION” / TRIPTYCH 1967 / 72″ x 137 ½″’

Provenance: Whiteley Estate (BWS58.a–c)

Sketchbook: (‘What a magnificent arm this man has…’), preparatory sketch for Reflection triptych (1967), ink, artist’s notebook ‘2’; (KS12)

Exhibited: Brett Whiteley, Marlborough, London, 1967, cat. 6 (as Reflection); Portraits, BWS, 2014

Literature: Sutherland, 2010, p. 310 (cat. TT29).
Sutherland, 2020, vol. 1, pp. 300–301 (illus.); vol. 7, Paintings, pp. 178–179 [previously cat. 19.66].

Related Work: drawings: Study for ‘The Drinker’ (1965) (cat. 68.65); Tangier Postcard 1967, verso: (Installation Drawing for the Exhibition at Marlborough New London Gallery, London, October 1967) (detail) (cat. 46.67); photographs: Australia…A Trip Back November 1965–July 1966 (1966) (detail) (cat. 9.66); “GRANDFATHER ON MY MOTHERS SIDE’ DETAIL’, photog. inscribed ‘Destroyed’, artist’s ‘orange velvet’ notebook (compiled c. 1975) (KS20); painting: Grandfather (On my Mother’s Side) 1966 (cat. 19.66)
Refer Persistent Themes, Subjects and Motifs (Grandfather (on my mother’s side)) p. 916

Note: This painting is a reworking of thematic elements of the triptych, Grandfather (On My Mother’s Side), 1966 (cat. 19.66). The discovery of this triptych, previously believed to have been dismantled and destroyed, has necessitated the renumbering of this catalogue entry.

Reference: Bush, ‘Whiteley in depth’ in The Australian, 1 October 1966, p. 13 McGrath, ‘Profile: Brett Whiteley’ in Art and Australia, Sydney, June, l967, p. 370 (illus.) Lynn, ‘Erotic obsessions’ in The Bulletin, Sydney, 17 February 1968, p. 64 Walker (photog.)

Primary Inscription: signed l.c. ‘Whiteley’

Provenance: Australian Galleries, Melbourne; Alan Boxer, Canberra, purchased from AG, Melbourne in 1966; Lauraine Diggins Fine Art, Melbourne, 1997 (on consignment from Alan Boxer); David and Kristene Deague, Melbourne, purchased from Lauraine Diggins Fine Art

Sketchbook: The Beach 1966, photog. pasted into artist’s ‘orange velvet’ notebook (compiled c. 1975) (KS20)

Exhibited: 23 Items by Brett Whiteley, Australian Galleries, Melbourne, 1966, no. 19 (as The Beach); Brett Whiteley, Bonython, Sydney, 1968, no. 6; Australian Paintings and Tapestries of the Past 20 Years, New South Wales House, London, May–June 1972, cat. 36; The Boxer Collection: The Sydney Alternative, Nolan Gallery, Tharwa, ACT, September 1982, cat. 15 (illus.); Brett Whiteley Retrospective, AGNSW, 1995, no. 55; then toured to state galleries, December 1995–November 1996, no. 38; 19th & 20th Century Australian Painting, Sculpture and Decorative Arts, Lauraine Diggins Fine Art, Melbourne, Sydney, 14–18 May 1997, then Melbourne, 31 May–28 June 1997, cat. 84, p. 49 and cover (illus.)

Literature: McGrath in Art and Australia, June 1967, p. 369 (illus.).
Walker (photog.) in The Bulletin, 16 March 1968, pp. 71–72 (illus.).
Introducing Australia: A book to mark the occasion of the Third Australian Medical Congress, Ure Smith, Sydney 1968, p. 15 (illus.).
Horton, 1969, p. 236 (illus.).
McGrath, 1979, p. 74, p. 70 (illus.).
Grishin, The Boxer Collection: The Sydney Alternative, Nolan Gallery, Australian Government Publishing Service 1982, cat. 15; p. 5 (illus.).
Sturgeon, 1987, p. 147; p. 191 (illus.).
McGrath, 1992, p. 57, p. 56 (illus.).
Plant in The Australian, 3 January 1994, p. 14 (illus.).
Pearce, 1995, ref. p. 229; pl. 56 (illus.).
Sutherland, 2010, ref. p. 304 (cat. QQ4); pp. 158–159 (illus.).
Wilson, 2016, p. 122.
Sutherland, 2020, vol. 1, pp. 302–303 (illus.); vol. 7, Paintings 1966, p. 179.

Related Work: drawings: Study for ‘The Beach’ 1965 (cat. 70.65); Study for ‘The Beach’ 1965 and ‘Shark’ Sculptures 1965 (cat. 74.65); (Beach Studies) (1985) (cat. 65.85); photographs: Australia…A Trip Back November 1965–July 1966 (1966) (detail) (cat. 9.66)
Related theme: Refer Persistent Themes, Subjects and Motifs (artist and model; bathers by the sea) pp. 911–912; 929–931

Primary Inscription: signed, dated and inscribed verso (in black oil) ‘(SPLIT DAY DREAM) “THE BEACH” / II / 1966 / Whale Beach / oil, tempera, collage + photography / on ply / brett whiteley’; further inscribed ‘found under the house / at 31 Bent St Lindfield / Wendy’s mother’s place / painting discarded in 1966 / on return to London’

Provenance: Whiteley Estate (BWS131)

Sketchbook: (Bather with Crossed Legs and Bex Packet) ink drawing, Whale Beach, December–January 1965 in artist’s notebook ‘6’ (1965–66) (KS11)

Exhibited: Brett Whiteley Retrospective, AGNSW, 1995, no. 56 (as The Beach II); Brett Whiteley: Aspects & Insights: The Art Gallery of New South Wales Regional Tour, July 1996–March 1997, no. 21; Brett Whiteley Nudes, BWS, December 1999–April 2000; On the Beach with Whiteley, BWS, March–June 2003; Key Works from the Studio, BWS, July–September 2004; Sydney Genesis and Beyond 1955–1965, BWS, May–November 2005; Seasons, BWS, August–November 2006; 9 Shades of Whiteley, BWS, December 2006 – September 2007; Blue, BWS, July 2011–July 2012, toured as Whiteley on Water, Hazelhurst Regional Gallery and Arts Centre, Gymea, November 2012–January 2013, then, Newcastle Art Gallery, Newcastle, NSW, November 2013–February 2014; Brett Whiteley: Chapters 1959–1969, BWS, August 2023–June 2024

Literature: Pearce, 1995, p. 229; pl. 60 (illus.).
Sutherland, 2010, pp. 203, 304 (cat. QQ5); p. 160 (illus.).
Wilson, 2016, p. 122.
Sutherland, 2020, vol. 1, p. 305 (illus.); vol. 7, Paintings, 1966, p. 179.

Related Work: Related theme: Refer Persistent Themes, Subjects and Motifs (artist and model; bathers by the sea) pp. 911–912; 929–931

Primary Inscription: signed, dated and inscribed verso (in white oil) ‘“THE BUSH” / 1966 / TRIPTYCH / 69˝ x 95˝ / Brett Whiteley’; inscribed u.r. (third panel, in black ink) ‘what perfumes…to cheat’

Inscription: ‘what perfumes, what evils, be below all this green / singing, ringing lazy: unpredictable, unshaved shrapnel seen; / but go well beneath – beyond any death adder scheme /– There! Stillness? Seething complete / divided + kindled on uranium heat, that can’t / ask reason gently to kiss flesh to cheat’

Provenance: Estate of the artist; New South Wales Government, purchased in 1994 from the Whiteley Estate when it acquired the artist’s Surry Hills studio; Art Gallery of New South Wales, Sydney, transferred to the gallery by the New South Wales Government in 1998 (350.1998.a–c)

Exhibited: 23 Items by Brett Whiteley, Australian Galleries, Melbourne, 1966, no. 15 (as The Bush); Brett Whiteley, Bonython, Sydney, 1968, no. 2; The Bush, Australian Galleries, Melbourne, 1–30 August 1975, no. 26; Brett Whiteley Retrospective, AGNSW, 1995, no. 67; Brett Whiteley – The Genius, Moree Plains Gallery, November 1999–January 2000; Australian Icons: Twenty Artists from the Collection, AGNSW, 4 August–3 December 2000; 9 Shades of Whiteley, BWS, December 2006–September 2007; Whiteley and the Third Dimension, BWS, 2008; Brett Whiteley: Chapters 1959–1969, BWS, August 2023–June 2024

Literature: McGrath, ‘Profile: Brett Whiteley’ in Art and Australia, June 1967, p. 372 (illus.).
Lynn, ‘Erotic obsessions’ in The Bulletin, Sydney, 17 February 1968, p. 64.
Walker (photog.), ‘Whiteley at the Bonython Gallery’ in The Bulletin, 16 March l968, p. 72 (twice illus.).
Makin, ‘Art’ in The Sun, Melbourne, 17 September 1975, p. 26. (Whiteley’s The Bush, 1966, credited as the best painting in the exhibition.).
McCulloch, ‘Looking around dynamic space’ in The Herald, 18 September 1975, p. 31.
McGrath, 1979, pp. 368–373 (illus.).
Hawley, ‘The Whiteley Finale’ in The Age Magazine, 2 July 1994, p. 22.
Pearce, 1995, p. 230; pl. 78 (illus.).
Pearce, George, Pellow, 2007, introductory page (n.p.) (illus.).
Sutherland, 2010, p. 304 (cat. QQ6); p. 305 (illus.).
Sutherland, 2020, vol. 1, pp. 306–307; vol. 7, Paintings, 1966, p. 180.

Related Work: photographs: Australia … a trip back November 1965–July 1966 (1966) (cat. 9.66)

Primary Inscription: verso: signed and dated (in black ink) ‘1966 BRETT WHITELEY’; dated and inscribed (in black oil) ‘CALCUTTA / 1966 / TRIPTYCH / 78˝ x 102˝ x 50˝’

Provenance: Marlborough Fine Art, London, 1967 (label attached verso); Gallerie Ad Libitum, Antwerp, Belgium; Private collection, Belgium; Private collection, Melbourne; Sotheby’s, Melbourne, 3 May 2000, lot 57 (illus.); Philip Bacon, Queensland, purchased from Sotheby’s; Queensland Art Gallery, gift of Philip Bacon, through the Queensland Art Gallery Foundation in 2003 (2003.194a-c)

Sketchbook: (Exotic Dancer) (c. 1966), pen and ink, artist’s notebook ‘2’; (KS12)

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 7 (as Calcutta) (illus.); The New Generation, Whitechapel Gallery, London, April–May 1968, cat. 32; Gallerie Ad Libitum, Antwerp, Belgium (date unknown); Brett Whiteley Retrospective, AGNSW, 1995, no. 65; then toured to state galleries, December 1995–November 1996, no. 41; A Different Vision – Brett Whiteley Sculptures, BWS, 1998; Tangier to Byron Bay: Brett Whiteley’s Travels 1960–1992, BWS, 1999, cat. 2

Literature: McGrath, 1979, p. 76.
Pearce, 1995, p. 230; pl. 75 (illus.).
Arden in Artlines (QAG), Winter 2004, p. 5 (illus.).
Sutherland, 2010, pp. 183, 184, 306 (cat. RR1); p. 202 (illus.).
Wilson, 2016, pp. 132, 143, 148.
Sutherland, 2020, vol. 1, p. 309 (illus.); vol. 7, paintings, Calcutta–London, p. 180.

Related Work: drawing: Calcutta (1966) (cat. 12.66)

Provenance: Whiteley Estate (BWS5)

Sketchbook: Street and Meat Seen [sic] (detail) (1966), ink, artist’s notebook ‘2’; (KS12)

Exhibited: Brett Whiteley, Marlborough, London, 1967, cat. 9 (as Street and meat seen [sic]) (illus.)

Literature: Sutherland, 2010, p. 306 (cat. SS2).
Sutherland, 2020, vol. 7, Paintings; Calcutta–London, pp . 180–181.

Note: This work is correctly titled ‘scene’ rather than ‘seen’ (Wendy Whiteley, 30 April 2016).

Primary Inscription: inscribed u.r. (in black ink) ‘Jesus said to them…according to Thomas’; bears inscription on label affixed verso ‘Brett Whiteley (b 1939) / Fidgeting with Infinity / (triptych) for Piero / oils and mixed media on plywood / 96 x 150 inches / Date 1966–67’

Inscription: ‘Jesus said to them / When you make the two one, and when you make the inner as the outer and the outer / as the inner and the above as the below and when you make the male and the female into / a single one so that the male will not be male and the female not the female, when you / make eyes in the place of an eye, and a hand in the place of a hand, and a foot in a / place of a foot, and an image in the place of an image, then shall you / enter the /kingdom. / The Gospel according to Thomas’

Provenance: Marlborough–Gerson Gallery, New York; Philip Bacon, Brisbane, Queensland, purchased from Marlborough–Gerson around 1977. The painting was on extended loan to the artist where it was kept in his Sydney studio until 1986 when it was returned to Philip Bacon to furnish his new home in Brisbane; National Gallery of Australia, Canberra, gift of Philip Bacon in 1999 (NGA2000.13.A–C)

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 16 (as Fidgeting with Infinity) (illus.); Brett Whiteley Retrospective, AGNSW, 1995, no. 66; then toured to state galleries, December 1995–November 1996, no. 42

Literature: McGrath, 1979, p. 76, 78–79.
Harrison in Studio International Magazine, October 1967, p. 156 (illus.).
Pearce, 1995, ref. p. 230; p. 127, pl. 72 (illus.).
Gray (ed.), 2002, ref. pp. 270–271; p. 271 (illus.).
Sutherland, 2010, ref. pp. 183, 185, 187 199, 203, 204, 205, 306 (cat. ss1); pp. 206–207 (illus.).
Wilson, 2016, ref. pp. 133, 143; [p. 88 v] (illus.).
Sutherland, 2020, vol. 1, pp. 310 – 311 (illus.); vol. 7, Paintings; London, p. 181.

Primary Inscription: dated and inscribed u.l. (pen and ink) ‘7/4/67 / Remembering Laotse…them!!!’

Inscription: u.l. ‘7/4/67 / Remembering Laotse … / He who is to be made to dwindle (in power) / Must first be cause to expand / He who is to be weakened / must first be made strong / He who is to be laid low / Must first be exalted to power / He who is taken away from / must first be given, / This is the subtle light. / Gentleness overcomes strength / Fish should be left on the deep pool / and sharp weapons of state should / be left where none can see them!!!’

Provenance: Barry Stern and Jerry van Beek, New South Wales; Ballarat Fine Art Gallery, Victoria, a gift of Jerry van Beek and Barry Stern in 1968

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 12 (as Shaving off a second) Self) (illus.); Brett Whiteley, Bonython, Sydney, 1968, no. 17 cover (illus.); Brett Whiteley Retrospective, AGNSW, 1995, no. 154, then toured to regional galleries, December 1995–November 1996, no. 43; Instantly: Whiteley with Words, BWS, 2000 (illus.); Four Tens: Forty Years of Australian Art, 1940 – 1980, Art Gallery of Ballarat, Victoria, 2 December 2015–31 January 2016; Baldessin / Whiteley: Parallel Visions, NGV, 31 August 2018–29 January 2019

Literature: Lynn, ‘Erotic obsessions’ in The Bulletin, Sydney, 17 February 1968, p. 64.
McGrath, 1979, p. 100 (illus.).
Pearce, 1995, p. 232; pl. 106 (illus.).
Sutherland, 2010, pp. 194, 307 (cat. T3); p. 197 (illus.).
Zanoletti, Margherita, Translating an artwork. Brett Whiteley’s Remembering Lao-Tse in Wilson and Maher (eds.), 2011, ch. 1, pp. 7–25; p. 14 (illus.).
Klepac, ‘The Big Picture’ in The Australian, 10–11 January 2015, ‘review’, p. 7 (illus.).
Klepac, 2015, p. 79 (illus.).
Wilson, 2016, p. 134; cover (illus.).
Grishin and contributors, 2018, p. 102 (illus.).
Sutherland, 2020, vol. 1, p. 315 (illus.); vol. 7, Drawings and Works on paper; Self-portraits, pp. 181–182.

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

Primary Inscription: inscribed and dated l.c. (in pencil) ‘Ning / Chelsea Hotel 1967’; stamped l.l. (in black ink) with artist’s monogram

Provenance: Whiteley Estate (BWS548)

Exhibited: Whiteley himself and Friends, BWS, December 2003–April 2004

Literature: Sutherland, 2010, p. 307 (cat. T8).
Klepac, 2015, p. 78 (illus.).
Sutherland, 2020, vol. 7, p. 182, Drawings and Works on paper; Portraits and People, p. 182.

Note: 'Ning' was the family's affectionate name for the artist's mother, Beryl Whiteley.

Provenance: Whiteley Estate (BWS1111)

Sketchbook: (Ironing) (1967), ink drawings on 2 pages in artist’s notebook ‘2’ (1966–67) (KS12)

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper, Portraits and People, p. 182

Primary Inscription: signed, dated and inscribed l.r. (in pencil) ‘Wendy 1967 Brett Whiteley’; stamped l.r. (in black ink) with artist’s monogram

Provenance: Private collection, Sydney

Literature: Sutherland, 2020, vol. 1, p. 316 (illus.); vol. 7, p. 182, Drawings and Works on paper; Portraits and People, p. 182

Related Work: Refer Persistent Themes, Subjects and Motifs (Wendy (Weet)) pp. 924–925

Reference: Refer Persistent Themes, Subjects and Motifs (Wendy (Weet)) pp. 924–925

Primary Inscription: signed dated and inscribed l.c. (in pencil) ‘Beppi. goat farmer / Deya Majorca Spain 1967 brett whiteley 1967’; stamped l.r. (in black ink) with artist’s monogram

Provenance: Whiteley Estate (BWS419)

Sketchbook: (Goat farmer) colour photog. pasted into artist’s notebook ‘2’ (1966–67) (KS12)

Literature: Sutherland, 2010, p. 307, cat. T4.
Sutherland, 2020, vol. 7, p. 182, Drawings and Works on paper; Portraits and People, p. 182.

Primary Inscription: inscribed l.l. (pen and ink) ‘Louvre Rembrandts [sic] “Bathsheba” / Paris 4/4/67’; inscribed across lower edge (in pencil) ‘background dark sepia’; ‘incredible feeling of sadness as she / contemplates the contents of the letter’; stamped l.r. (in black ink) with artist’s monogram

Provenance: Estate of the artist; Frannie Hopkirk, New South Wales, acquired by succession; Justin Miller Art, Sydney, May 2021; Private collection, Sydney, purchased from Justin Miller

Exhibited: The Winter Exhibition 2021, Justin Miller Art, Sydney, May 2021, cat. 33 (illus.)

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; Figurative works, p. 182

Note: This drawing references Rembrandt’s Bathsheba at her Bath 1654, oil on canvas, 142.0 x 142.0 cm. Collection: Musée du Louvre, Paris.

Provenance: Marlborough–Gerson Gallery, New York, 1968; Private collection

Exhibited: Brett Whiteley, Marlborough–Gerson Gallery, New York, 1968, cat. 14 (as Kiss 1967) (illus.)

Literature: McGrath 1979, p. 87.
Sutherland, 2010, p. 307 (cat. T9).
Sutherland, 2020, vol. 1, ref. p. 22; vol. 7, Drawings and Works on paper; Erotica, p. 183.

Related Work: Refer Persistent Themes, Subjects and Motifs (erotica) pp. 933–935

Primary Inscription: signed, dated and inscribed l.l. ‘Pembridge Cres Still Life 1967 brett whiteley’

Provenance: Whiteley Estate (BWS1249)

Literature: Sutherland, 2010, p. 306 (cat. T1).
Sutherland, 2020, vol. 7, Drawings and Works on paper; Interiors / Still Life, p. 183.

Related Work: For drawings of interiors, Pembridge Crescent, refer cat. nos. 36.63–41.63

Reference: For drawings of interiors, Pembridge Crescent, refer cat. nos. 37.63–41.63

Provenance: Whiteley Estate (BWS238)

Exhibited: Brett Whiteley Retrospective, AGNSW, 1995, no. 20, then toured to regional galleries, December 1995–November 1996, no. 94; Sydney Genesis and Beyond 1955–1965, BWS, 2005; Seasons, BWS, 2006

Literature: Pearce 1995, p. 232; pl. 96 (illus.).
Sutherland, 2010, p. 314 (cat. U1); p. 315 (illus.).
Klepac, 2015, p. 49 (titled as above) (illus.).
Sutherland, 2020, vol. 7, Drawings and Works on paper; Interiors / Still Life, p. 183.

Provenance: Private collection

Literature: Sutherland, 2010, p. 310 (cat. TT25).
Sutherland, 2020, vol. 7, Drawings and Works on paper; Tangier, May–June 1967, p. 183.

Primary Inscription: inscribed l.r. ‘arabian NO!’

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, Sydney, a bequest of Beryl Whiteley in 2012 (231.2012)

Sketchbook: (Tangier Street Scene) colour photog. and ink sketch, dated May 1967, in artist’s notebook ‘2’ (1966–67) (KS12)

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

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; Tangier, May–June 1967, p. 183

Related Work: drawings: [Woman of Tangier] Tangier Postcard 1967 (cat. 23.67); [Woman in Burqua] Tangier Postcard 1967 (cat. 26.67)
Refer Persistent Themes, Subjects and Motifs (artist and model) pp. 911–912

Primary Inscription: dated and inscribed u.r. (pen and black ink) ‘Tangier 15/6/67 / (the shadow of panic) / DROP OFF WHEN / YOU WANT IN’

Provenance: Estate of the artist (BWS1808)

Sketchbook: Beneath this image Whiteley has written extensive lines of text on his impressions of Tangier. Artist’s ‘orange velvet’ notebook (compiled c. 1975) (KS20)

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; Tangier, May–June 1967, p. 184

Related Work: drawing: The Majestic Hotel, Tangier (Woman in Tangier) (conceived 1967) 1974–75 (cat. 17.75)

Note: Beneath this image in his ‘orange velvet’ notebook, Whiteley has written extensive lines of text on his impressions of Tangier.

Provenance: Estate of the artist; archive Brett Whiteley Studio

Exhibited: The Tangier Postcards 1967 is a series comprising gouaches, drawings and photographs, generally measuring approximately 56.0 x 76.0 cm. They were exhibited as a group in the solo exhibition, Brett Whiteley, Marlborough, London, October 1967, The Tangier Postcards, cat. 4

A number of Tangier Postcards were exhibited at Bonython Art Gallery, Sydney in 1968, listed as nos. 11–16

Literature: McGrath, 1979, pp. 78–80 (illus.). Mc Grath notes that some of these ‘postcards’ have been destroyed (p. 80).
Sutherland, 2010, ref. p. 187; p. 213 (photog. of ‘postcards’ at Hotel Majestic) (illus.).
Sutherland, 2020, vol. 7, ref. p. 22.

Primary Inscription: dated and inscribed c. (pen and black ink) ‘TANGIER / 8 MAY–16 JUNE / 1967 / [Arabic[?] script]’

Provenance: Whiteley Estate (BWS412)

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 4 (composite photograph [1] (illus.); Instantly: Whiteley with Words: BWS, 2000 (as ‘Tangier’); Ink: Whiteley and Others, BWS, 2006; OTHER PLACES: Somewhere else, BWS, December 2015–May 2016

Literature: Sutherland, 2010, pp. 187, 307 (cat. TT2).
Sutherland, 2020, vol. 1, ref. p. 22; vol. 7, The Tangier Postcards, p. 184.

Note:
A number of Tangier Postcards were exhibited at Bonython Art Gallery, Sydney in 1968, listed as nos. 11–16.

Primary Inscription: inscribed l.r. (pen and black ink) ‘the Time?’

Provenance: Marlborough Fine Art, London, 1967; Private collection, New Zealand, purchased from Marlborough; Private collection, Sydney, purchased around 1990 from the previous owner; Mossgreen–Webb’s, Auckland, 11 August 2016, lot 40 (illus.); Private collection

Sketchbook: (Veiled Arab Woman) (1967) ink sketch and text in artist’s notebook ‘2’ (1966–67) (KS12)

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1967 (exhibition label attached verso), cat. 4 (composite photograph [4] (illus.)

Literature: Sutherland, 2010, ref. pp. 187, 307 (cat. TT5); p. 187; p. 213 (photog. of ‘postcards’ at Hotel Majestic [1]) (illus.).
Sutherland, 2020, vol. 1, p. 319 (illus.); vol. 7, Drawings and Works on paper, Tangier, May–June 1967, The Tangier Postcards, p. 184.

Related Work: drawings: Tangier (also titled A Quick Visit to Tangier) 1967 (cat. 18.67); The Majestic Hotel, Tangier (also titled Woman in Tangier) (conceived 1967) 1974–75 (cat. 17.75)

Provenance: whereabouts unknown

Exhibited: [probably] Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 4

Literature: McGrath, 1979, pp. 79–80. McGrath notes that some of these ‘postcards’ have been destroyed (p. 80).
Sutherland, 2010, ref. pp. 187, 308 (cat. TT20); p. 213 (photog. of ‘postcards’ at Hotel Majestic [2]) (illus.).
Sutherland, 2020, vol. 1, p. 324 (photog. of ‘postcards’ at the Majestic Hotel, Tangier) [2] (illus.); vol. 7, Tangier, May–June 1967, The Tangier Postcards, p. 184.

Provenance: whereabouts unknown

Exhibited: [probably] Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 4

Literature: McGrath, 1979, pp. 79– 80 (illus.). McGrath notes that some of these ‘postcards’ have been destroyed (p. 80).
Sutherland, 2010, ref. pp. 187, 310 (cat. TT21); p. 213 (photog. of ‘postcards’ at Hotel Majestic [3]) (illus.).
Sutherland, 2020, vol. 1, ref. p.22, p. 324 (photog. of ‘postcards’ at the Majestic Hotel, Tangier) [3] (illus.); vol. 7, Tangier, May–June 1967, The Tangier Postcards, ref. p. 184.

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, Sydney, bequest of Beryl Whiteley, 2012 (234.2012)

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

Literature: Sutherland, 2020, vol. 1, p. 320 (illus.); vol. 7, Tangier, May–June 1967, The Tangier Postcards, p. 185

Related Work: drawings: (Arab Figures, Tangier) (1967) (cat. 17.67); [Woman of Tangier] Tangier Postcard 1967 (cat. 23.67); painting: Woman of Tangier, Tangier Postcard 1967 (cat. 27.67)

Note: A number of The Tangier Postcards were exhibited at Bonython Art Gallery, Sydney in 1968, listed as nos. 11–16.

Provenance: The artist’s family; Private collection, Melbourne

Literature: Sutherland, 2010, ref. p. 310 (cat. TT24); p. 311 (illus.).
Sutherland, 2020, vol. 1, p. 321 (illus.); vol. 7, Tangier, May–June 1967, The Tangier Postcards, p. 185.

Related Work: drawing: [Woman in Burqa] Tangier Postcard 1967 (cat. 26.67)

Provenance: whereabouts unknown

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 4 (composite photograph [2] (illus.)

Literature: McGrath, 1979, pp. 79– 80 (illus.). McGrath notes that some of these ‘postcards’ have been destroyed (p. 80).
Sutherland, 2010, pp. 187, 307 (cat. TT3); p. 213 (photog. of ‘postcards’ at Hotel Majestic [6]) (illus.).
Sutherland, 2020, vol. 1, p. 424 (photog. of ‘postcards’ at Hotel Majestic [6]) (illus.); vol. 7, Tangier, May–June 1967, The Tangier Postcards, p. 185.

Note: A number of Tangier Postcards were exhibited at Bonython Art Gallery, Sydney in 1968, listed as nos. 11–16.

Provenance: whereabouts unknown

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 4 (composite photograph [5] (illus.)

Literature: McGrath, 1979, pp. 79– 80 (illus.). McGrath notes that some of these ‘postcards’ have been destroyed (p. 80).
Sutherland, 2010, pp. 187, 307 (cat. TT6).
Sutherland, 2020, vol. 1, ref. p. 21, p. 424 (photog. of ‘postcards’ at Hotel Majestic [6]) (illus.); vol. 7, Tangier, May–June 1967, The Tangier Postcards, p. 185.

Note:
A number of Tangier Postcards were exhibited at Bonython Art Gallery, Sydney in 1968, listed as nos. 11–16.

Provenance: whereabouts unknown

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 4 (composite photograph [6] (illus.)

Literature: McGrath, 1979, McGrath notes that some of these ‘postcards’ have been destroyed (p. 80).
Sutherland, 2010, pp. 187, 308 (cat. TT7); p. 213 (photograph of ‘postcards’ at Hotel Majestic [12]) (illus.).
Sutherland, 2020, vol. 1, p. 424 (photog. of ‘postcards’ at Hotel Majestic [12]) (illus.); vol. 7, Tangier, May–June 1967, The Tangier Postcards, p. 185.

Provenance: Bonython Art Gallery, Sydney; Private collection

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 4 (composite photograph [7] (illus.); Brett Whiteley, Bonython Gallery, Sydney, 1968, [probably] as one of cat. nos. 11–16

Literature: Sutherland, 2010, ref. pp. 187, 308 (cat. TT8); p. 213 (photog. of ‘postcards’ at Hotel Majestic [4]) (illus.).
Sutherland, 2020, vol. 1, p. 424 (photog. of ‘postcards’ at Hotel Majestic [4]) (illus.); vol. 7, p. 185.

Provenance: whereabouts unknown

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 4 (composite photograph [8] (illus.)

Literature: McGrath, 1979, p. 78 (illus.).
Sutherland, 2010, pp. 187, 308 (cat. TT9).
Sutherland, 2020, vol. 7, Tangier, May–June 1967, The Tangier Postcards, p. 185.

Note:
A number of Tangier Postcards were exhibited at Bonython Art Gallery, Sydney in 1968, listed as nos. 11–16.

Wendy Whiteley recalls an incident at the beach on the day that this work was drawn, following a trip to visit Achmid the hashish dealer. For a detailed account see Wendy Whiteley quoted in Pearce, 1995, p. 44.

Provenance: whereabouts unknown

Exhibited:
Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 4 (composite photograph [9] (illus.)

Literature: McGrath, 1979. McGrath notes that some of these ‘postcards’ have been destroyed (ref. p. 80).
Sutherland, 2010, ref. pp. 187, 308 (cat. TT10); p. 214 (photog. of ‘postcards’ at Hotel Majestic [10]) (illus.).
Sutherland, 2020, vol. 1, p. 424 (photog. of ‘postcards’ at Hotel Majestic [10]) (illus.); vol. 7, Tangier, May–June 1967, The Tangier Postcards, p. 186.

Note: A number of Tangier Postcards were exhibited at Bonython Art Gallery, Sydney in 1968, listed as nos. 11–16.

Primary Inscription: inscribed l.l. 'The Dealer'

Provenance: Bonython Art Gallery, Sydney, 1968; Art Gallery of New South Wales, Sydney, purchased from Bonython in 1968 (WA1.1968)

Sketchbook: The Hash Seller (1967), pen and ink drawing in artist’s notebook ‘2’ (1966–67) (KS12)

Exhibited:
Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 4 (composite photograph [10] (illus.); Brett Whiteley, Bonython, Sydney, 1968, one of nos. 11–16; Brett Whiteley Retrospective, AGNSW, 1995, no. 72; toured to state galleries, December 1995–November 1996, no. 44; Tangier to Byron Bay: Brett Whiteley’s Travels 1960–1992, BWS, 1999, cat. 3 (illus.); OTHER PLACES: Somewhere else, BWS, December 2015–May 2016; Brett Whiteley: Chapters 1959–1969, BWS, August 2023–June 2024

Literature: McGrath, 1979, pp. 79, 82–83 (illus.).
Pearce, 1995, ref. p. 230; pl. 77 (illus.).
Hallett in The Australian Magazine, 26–27 August 1995, p. 16 (illus.).
Sutherland, 2010, ref. pp. 187, 308 (cat. TT11); pp. 191 (illus.) 213 (photog. of ‘postcards’ at Hotel Majestic [on the floor]) (illus.).
Sutherland, 2020, vol. 1, p. 322 (illus.), p. 324 (photog. of ‘postcards’ at Hotel Majestic [on the floor]) (illus.); vol. 7, Tangier, May–June 1967, The Tangier Postcards, p. 186.

Related Work: Related theme: painting: Tracy the Dealer (1987) (cat. 51.87)
Refer Persistent Themes, Subjects and Motifs (from dope to addiction) pp. 914–915

Primary Inscription: dated and inscribed u.l. ‘Peter – the head from Leeds. off to Marrakesh /16/6/67’

Provenance: [possibly] Bonython Art Gallery, Sydney, 1968; Private collection, South Australia; Sotheby’s, Sydney, 24 November 1991, lot 154 (illus.); Private collection

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 4 (composite photograph [11] (illus.); [possibly] Brett Whiteley, Bonython Art Gallery, Sydney, 1968, as one of cat. nos. 11–16; Sotheby’s, Melbourne, 19 August 1991, lot 337 (illus.)

Literature: McGrath, 1979, p.80 (illus.).
Sutherland, 2010, ref. pp. 187, 308 (cat. tt12); p. 188 (illus.).
Sutherland, 2020, vol. 1, p. 323 (illus.); vol. 7, Tangier, May–June 1967, The Tangier Postcards, p. 186.

Primary Inscription: signed l.r. ‘brett whiteley’

Provenance: Bonython Art Gallery, Sydney, 1968; Private collection, Melbourne; James R. Lawson, Sydney, around 1986; Edward Barkes, Sydney, purchased purchased post sale from Lawson’s; Bridget McDonnell Gallery, Melbourne, 1986; Private collection, Melbourne, purchased from Bridget McDonnell Gallery on 2 December 1986; Lauraine Diggins Fine Art, Melbourne, 1998; Private collection, Melbourne since 1998, purchased from Lauraine Diggins Fine Art; Lauraine Diggins Fine Art, Melbourne, 2001; Private collection, Tasmania, since 2001

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 4 (composite photograph [12] (illus.); Brett Whiteley, Bonython, Sydney, 1968, one of cat. nos. 11–16; Lawson’s, Sydney, c. 1986; Modern Australian Paintings, Bridget McDonnell Gallery, Melbourne, 19 November–14 December 1986, cat. 29, cover (illus.) ($28,000); Brett Whiteley Retrospective, AGNSW, 1995, no. 71; 19th & 20th Century Australian Painting, Sculpture and Decorative Arts 1998, Lauraine Diggins Fine Art, Melbourne, 1–27 June 1998, cat. 74 (illus.); Annual Collectors’ Exhibition, Lauraine Diggins Fine Art, Melbourne, 16 June–14 July 2001, cat. 91 (illus.)

Literature: McGrath, 1979, p. 78 (illus.).
Pearce, 1995, ref. p. 230; pl. 76 (illus.).
Mode Magazine, October–November 1995, p. 53.
Sutherland, 2010, ref. pp. 187, 308 (cat. TT13); pp. 309 (illus.), p. 213 (photog. of ‘postcards’ at Hotel Majestic [11]) (illus.).
Sutherland, 2020, vol. 1, p. 326 (illus.), p. 324 (photog. of ‘postcards’ at Hotel Majestic [11]) (illus.); vol. 7, vol. 7, Tangier, May–June 1967, The Tangier Postcards, p. 186.

Provenance: whereabouts unknown

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 4 (composite photograph [13] (illus.)

Literature: McGrath, 1979, p. 79 (illus.).
Sutherland, 2010, pp. 187, p. 308 (cat. TT14).
Sutherland, 2020, vol. 7, Tangier, May–June 1967, The Tangier Postcards, p. 187.

Note: A number of Tangier Postcards were exhibited at Bonython Art Gallery, Sydney in 1968, listed as nos. 11–16.

Provenance: whereabouts unknown

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 4 (composite photograph [14] (illus.); Brett Whiteley, Bonython, Sydney, 1968, one of cat. nos. 11–16

Literature: McGrath, 1979, p. 80 (illus.).
Sutherland, 2010, ref. pp. 187, 308 (cat. TT15); p. 213 (photog. of ‘postcards’ at Hotel Majestic [5]) (illus.).
Sutherland, 2020, vol. 1, p. 324 (photog. of ‘postcards’ at Hotel Majestic [5]) (illus.); vol. 7, Tangier, May–June 1967, The Tangier Postcards, p. 187.

Provenance: Marlborough New London Gallery 1967; Private collection, USA, purchased from Marlborough in 1967; Deutscher and Hackett, Sydney, 29 August 2018, lot 25 (illus.); Private collection, Sydney, purchased post sale from D and H on 24 September 2018

Exhibited: Brett Whiteley, Marlborough, London, 1967, cat. 4 (composite photograph [15]) (illus.)

Literature: McGrath, 1979, p. 79 (illus.).
Sutherland, 2010, ref. pp. 187, 308 (cat. TT16); p. 213 (photog. of ‘postcards’ at Hotel Majestic [9]) (illus.).
Sutherland, 2020, vol. 1, p. 325 (illus.) (photog. of ‘postcards’ at Hotel Majestic [9]) (illus.); vol. 7, Tangier, May–June 1967, The Tangier Postcards, p. 187.

Provenance: Marlborough Gallery, London, 1967; Bonython Art Gallery, Sydney, 1968; Lawrence Daws, Queensland, acquired from Bonython in 1968; Phillip Bacon Galleries, Brisbane, 2020; Private collection, Brisbane, purchased from Phillip Bacon in 2021

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 4 (composite photograph (16) (illus.); Brett Whiteley, Bonython Art Gallery, Sydney, 1968, cat 11–16 (as one of The Tangier Postcards); The Figure, Philip Bacon Galleries, Brisbane, 13 April–8 May 2021, cat. 21 (illus.)

Literature: McGrath, 1979, p. 79 (illus.).
Sutherland, 2010, ref. pp. 187, 308 (cat. TT17); p. 213 (photog. of ‘postcards’ at Hotel Majestic [8]) (illus.).
Sutherland, 2020, vol. 7, Tangier, May–June 1967, The Tangier Postcards, p. 187.

Related Work: Refer Persistent Themes, Subjects and Motifs (the divided road) pp. 951–952

Primary Inscription: dated and inscribed l.l. ‘(the second) ACHMID / 18/6/67’

Provenance: Thirty Victoria Street, Sydney (label attached verso); James O. Fairfax AO, Sydney; Private collection, Sydney; Sotheby’s, Melbourne, 25 November 1997, lot 86 (illus.); Private collection, Melbourne, purchased from Sotheby’s; Private collection, Queensland; Deutscher and Hackett, Sydney, 28 August 2013, lot 96 (illus.); Private collection, Sydney

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 4 (composite photograph [17] (illus.)

Literature: McGrath, 1979, p. 81 (illus.).
Sutherland, 2010, ref. pp. 187, 308 (cat. TT18); p. 189 (illus.).
Sutherland, 2020, vol.1, p. 328 (illus.); vol. 7, Tangier, May–June 1967, The Tangier Postcards, p. 187.

Provenance: Marlborough Fine Art, London; Private collection, London; Australian Galleries, Melbourne, 1990; Leonard Joel, Melbourne, April 1992, lot 79A; Private collection; Leonard Joel, Melbourne, November 1996; Private collection, Melbourne

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 4 (illus.) (composite photograph [18]; Australian Galleries, Melbourne, 1990 (AG7223)

Literature: McGrath, 1979, p. 81 (illus.).
Klepac, 2015, p. 77 (as Tangier Postcard – ‘The Square’ 1967) (illus.).
Sutherland, 2010, pp. 187, 308 (cat. TT19); p. 309 (illus.).
Sutherland, 2020, vol. 1, p. 327 (illus.); vol. 7, Tangier, May–June 1967, The Tangier Postcards, pp. 187–188.

Primary Inscription: inscribed l.c. ‘achmid getting stoned / Tanger [sic]’

Provenance: Whiteley Estate (BWS1510)

Exhibited: Brett Whiteley Retrospective, AGNSW, 1995, no. 68 (as Achmid getting Stoned); Brett Whiteley: Aspects & Insights: The Art Gallery of New South Wales Regional Tour, July 1996–March 1997, no. 16; Tangier to Byron Bay: Brett Whiteley’s Travels 1960–1992, BWS, August 1999, cat. 17; Instantly: Whiteley with Words: BWS, 2000

Literature: Pearce, 1995, ref. p. 230, pl. 73 (illus.).
Sutherland, 2010, ref. pp. 187, 310 (cat. TT23); p. 311 (illus.).
Klepac, 2014, p. 76 (illus.).
Sutherland, 2020, vol. 1, p. 329 (illus.); vol. 7, Tangier, May–June 1967, The Tangier Postcards, p. 188.

Related Work: Refer Persistent Themes, Subjects and Motifs (from dope to addiction) pp. 914–915

Primary Inscription: dated and inscribed l.l. ‘23/6/67 Hotel Majestic Tangier’

Provenance: Sotheby Park–Bernet, USA (New York or Los Angeles), 18, March 1976, lot 138 (US$500); Christie’s, Melbourne, 26 November 1996, lot 134 (illus.); Private collection

Sketchbook: (Artist sketching, Tangier) (1967) ink sketch in artist’s notebook ‘2’ (1966–67) (KS12)

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 4 (composite photograph [3] (illus.)

Literature: Sutherland, 2010, ref. pp. 187, 307 (cat. TT4); pp. 193 (illus.), p. 213 (photog. of ‘postcards’ at Hotel Majestic [7]) (illus.).
Klepac, 2014, p. 13 (illus.).
Sutherland, 2020, vol 1, p. 330 (illus.); vol. 7, Tangier, May–June 1967, The Tangier Postcards, p. 188.

Primary Inscription: recto: inscribed with title and dated l.c. ‘25/6/67’; inscribed l.c. ‘Mattise [sic] discovers / his Armchair / in Tangier. / it feels more / like an / ejector seat / now’
verso: (includes installation sketches for the following works: ‘Night’, ‘Day’, ‘landscape’, ‘Tangier Postcards’, ‘The Other End of Tangier’ (photograph), ‘Calcutta’, ‘Shankar’, ‘Reflection’, ‘Her’, ‘Australia’, ‘Street + Meat Seen [sic]’, ‘Not I – Me’, ‘Fidgeting with Infinity’, ‘Birth–Rebirth’, ‘Untitled’, ‘Arkie’, ‘(Shaving Off a Second) Self’, ‘Landscape (oil)’)

Inscription: Directional arrows pointing from text to relevant sketches. Reading inscriptions (pen and ink), nos. 1–5, clockwise:
u.r. ‘(1)’ ‘Entrance’: ‘photograph / “the other end of Tangier” / same level as the postcards.’: ‘deya majorca / “night” / “day” underneath / landscape (oil)’: ‘Tangier postcards. / six drawings / around woman / this side.’: ‘men / this side / the dealer first’
c.r. ‘(2)’: ‘“REFLECTION”’: ‘PRINTS’: ‘SHANKAR / opposite CALCUTTA / against wood / immediately against stairs / (is that cupboard / door used much?)’: “Calcutta”
l.r. ‘(3)’ ‘AUSTRALIA [directional line] “HER”’: ‘Street + Meat Seen [sic]’: ‘if a desk / is absolutely / necessary in / the gallery / this painting / could be left out [with directional arrow pointing to Street + Meat Seen [sic]’: ‘Calcutta’: [referring to ‘Shankar’] ‘chock of / wood 6" to / support weight / of glass’: ‘“Shankar”’
c.l. ‘(4)’: ‘“HER”’; ‘“AUSTRALIA”’; ‘“not I – me”’; ‘“Birth – Rebirth”’; ‘“Untitled”’; ‘“Arkie”’; ‘“(a shaving off a second) SELF”’: [directional line pointing to “Her”] ‘very very
soft / top lighting / maybe none at / all – just the spot. / N.B. / the silver on this painting / should be allowed to / ripple + the right hand / panel of calligraphy / has not been stuck / down properly and the / little bubbles should / not be emphasized by / top lighting. The only / piece of bad craftsmanship / in the show!’: ‘“HER”’: ‘concentrated / spot light directed / at middle circle’
u.l. ‘(5)’: ‘one spot to shine directly at / this bubble (of void).’: ‘“Fidgeting with Infinity”’: / ‘“Birth – ReBirth” / woman + child / this side’: [under sketch of outstretched arm hand with hand holding carnation] ‘three full / white carnations / held tightly near / the tops by string or / elastic band … please renew / every two – three days. / (If I’d been in London / I could have done this, would have given me / something to do.)’ inscribed along baseline: ‘(I paint pictures in order to Understand. I exhibit pictures to show that I don’t.)’

Provenance: Marlborough Fine Art, London, 1967; Tony Reinhardt, Queensland (formerly a director of Marlborough Fine Art, London); Private collection, Queensland, purchased from Tony Reichardt; Deutscher–Menzies, Melbourne, 23 August 1999, lot 7 (illus.); Private company collection, Queensland; Private collection, Sydney (BWS1781)

Exhibited: [probably] Brett Whiteley, Marlborough New London Gallery 1967; Instantly: Whiteley with Words: BWS, 2000 (as ‘Instructions for a London Exhibition’); OTHER PLACES: Somewhere else, BWS, December 2015–May 2016

Literature: Hawley, 1993, p. 39 (illus.).
Sutherland, 2010, ref. pp. 183, 187, 310 (cat. TT22); p. 184 (illus.) Klepac, 2014, p. 75 (as Matisse discovers his armchair in Tangier 1967) (illus.).
Sutherland, 2020, vol. 1, p. 331 (illus.); vol. 7, Tangier, May–June 1967, The Tangier Postcards, pp. 188–189.

Primary Inscription: signed, dated and inscribed verso ‘“The other end of Tangier” 1967 / 68″ x 48″ / Brett Whiteley’

Provenance: Whiteley Estate (BWS502)

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 5 (as The other end of Tangier; ‘changed photograph’) (Marlborough Fine Art Gallery exhibition label attached verso); Tangier to Byron Bay: Brett Whiteley’s Travels 1960–1992, BWS, 1999, cat. 20; OTHER PLACES: Somewhere else, BWS, December 2015–May 2016

Literature: Sutherland, 2010, p. 310 (cat. TT26).
Sutherland, 2020, vol. 7, Tangier, May–June 1967, p. 189.

Provenance: Joan and Lester Avnet, USA; The Joan and Lester Avnet Collection; Museum of Modern Art, New York (MOMA) (177.1978)

Exhibited: Brett Whiteley, ‘Deya–Mallorca’, Marlborough, London, 1967, cat. 3 (as Day, gouache) (illus.)

Literature: McGrath, 1979, p. 81.
Sutherland, 2010, p. 307 (cat. T7).
Sutherland, 2020, vol. 7, Deya, Majorca, p. 189.

Related Work: drawing: Night 1967 (cat. 51.67)

Provenance: whereabouts unknown

Exhibited: Brett Whiteley, ‘Deya – Mallorca’, Marlborough, London, 1967, cat. 2 (as Night) (illus.)

Literature: McGrath, 1979, p. 81.
Sutherland, 2010, p. 307 (cat. T6).
Sutherland, 2020, vol. 7, Deya, Majorca, p. 189.

Related Work: drawing: Day 1967 (cat. 50.67)

Provenance: Mr and Mrs Tom Molholm, USA; Private collection, USA, purchased from the estate of Tom Molholm

Literature: Addendum to Sutherland 2020, Drawings and Works on paper, 1967, cat. 52.67

Note: Note:
Wendy Whiteley recalls she and Brett vacationed with the Molholms whom they met while living in New York in the late 1960s.

Primary Inscription: signed, dated and inscribed verso ‘1967 / Brett Whiteley / “NOT I – ME”’

Inscription: with gallery labels affixed verso (noted below)

Provenance: Marlborough Fine Art, London, 1967 (label affixed verso); Gallerie Ad Libitum, Antwerp, Belgium (label affixed verso); Private collection Belgium; Sotheby’s, Melbourne, 22 August 1994, lot 138 (illus.); Ron Walker, Melbourne, purchased from Sotheby’s, August 1994; Smith & Singer, Melbourne, 24 July 2024, lot 6 (illus.), from the estate of the late Ron Walker, AC CBE; Private collection, Sydney

Sketchbook: A discussion between mind + body, ink drawings relating to Not I–Me, the first dated 26 March 1967 in artist’s notebook ‘2’ (1966–67) (KS12)

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 2–31 October 1967, cat. 13 (as Not I – me 1967), cover (illus.); A Selection of 20th Century British Art, Cunard– Marlborough London Gallery on board Queen Elizabeth II for her maiden voyage, from Southampton to New York, from 2 May 1969 (illus.); Gallerie Ad Libitum, Antwerp, Belgium (exhibition date unknown); Brett Whiteley: Eternity is Now, BWS, 3 December 2022–13 August 2023; Brett Whiteley Eternity is Now, BWS, December 2022–August 2023 [portraits]

Literature: Burr in Apollo, London, July 1967, p. 231 (illus.).
Harrison in Studio International Magazine, London, October 1967, pp. 154, 156; p. 155 (illus.).
Pearce, 1995, ref. p. 232; pl. 107 (illus.)*.
Hilton & Blundell, 1996, p. 68.
Sutherland, 2010, ref. pp. 183, 185, 187, 194, 198, 199, 205, 312 (cat. TT33); p. 179 (illus.). Wilson, 2016, p. 143–144.
Sutherland, 2020, vol. 1, p. 333 (illus.); vol. 7, Paintings; Self-portraits, pp. 189–190.

Related Work: Refer Persistent Themes, Subjects and Motifs (self-portraits; the divided road) pp. 921–922; pp. 951–952

Note: This painting has a sculptural arm which is attached to the front of the painting and rests on the floor. The arm holds a small cup which, Whiteley instructed, was to be filled daily with fresh carnations for the duration of the exhibition at the Marlborough Gallery in 1967.

*This painting was illustrated in the catalogue but not exhibited in the 1995 retrospective exhibition.

Primary Inscription: signed, dated and inscribed verso ‘“ARKIE” 1967 / 33¼″ x 26″ / OIL ON BOARD / Brett Whiteley / NB DURING /EXHIBITION / PLUG /SHOULD / HANG /LOOSE’

Provenance: Christie’s, Sydney, 23 September 1985, lot 604 ($20,000) (illus.); Private collection, Melbourne, purchased from Christie’s; Peter Gant Fine Art, Melbourne; Private collection, Melbourne, purchased from Peter Gant Fine Art in 1987

Sketchbook: (Arkie) pencil sketch, artist’s notebook ‘2’ (1966–67) (KS12)

Exhibited: Brett Whiteley, Marlborough, London, 1967, cat. 11 (as Arkie 1967) (illus.); Autumn Exhibition: Modern to Contemporary Australian Art, Peter Gant Fine Art, Melbourne, 1988, cat. 55 (illus.); On Loan Private Collection, Bendigo Art Gallery, Bendigo, Victoria, 10 December 2005–7 May 2006 [on continuous loan since 1985]

Literature: Sutherland, 2010, ref. p. 204, 312, (cat. TT32); p. 313 (illus.).
Sutherland, 2020, vol. 1, p. 335 (illus.); vol. 7, p. 190.

Related Work: Refer Persistent Themes, Subjects and Motifs (Arkie) p. 911

Reference: Refer Persistent Themes, Subjects and Motifs (Arkie) p. 911

Primary Inscription: signed, dated and inscribed c.r. to l.r. (pen and black ink) “The south [sic] African…Hitler etc”; further inscribed l.r. ‘The above inexplicably depressing / quotation, and the ensuing illustrated nightmare / have been set down here as / recompense. As such it / is dedicated to peace. / Brett Whiteley 3 /1/67 / to Francis Bacon.’

Inscription: (the framing of this painting obscures the ends of some words)
“The south African anthropologist / Raymond Dart asserts a / theory that human kind / developed from a tribe of / killer-apes. The more flattering / view is that early man “possessed” / a larger brain than the ape / so came to develop [sic] weapons / + tools. Dart suggests that / a tribe of killer apes branch[ed] off from the normal non - / aggressive ape. They used weapons – rocks – clubs? or / heavy bones, and were forced / to develope [sic] larger brains / in order to co-ordinate / muscles + senses. / and so came man. / since man developed as a /killer, aggression is an / ineradicable part of [word deleted] / his nature. Preachers + / humanistic sociologists / continue to speak of universa[l] peace, goodwill towards m[en] / but the competition of weapo[ns] / - the arms race – is too deep[ly] /ingrained in modern man[s] / psyche. If survival depend[s] / on peace, then it is impossibl[e] / that we should survive. / One tribe of animals are / naturally hostile to another / Nietzche, Hitler etc.”

Provenance: Private collection; Modern British Drawings, Paintings and Sculpture, Sotheby’s, London, 12 March 1975, lot 131 (£680); David. Hughes, London, purchased from Sotheby’s (£680); Private collection, New South Wales (1970s); Southern Cross Galleries, Melbourne; J.G.L. Investments Pty Ltd., Melbourne, purchased from Southern Cross Galleries, 5 November 1984; Important Australian Art from the JGL Collection, Smith & Singer, Sydney, May 2023, lot 43 (illus.); Private collection, Sydney

Literature: Sutherland, 2010, p. 310 (cat. TT28).
Sutherland, 2020, vol. 7, Paintings; Portraits and People, p. 190.

Related Work: Related theme: Refer Persistent Themes, Subjects and Motifs (Hitler and the nature of power) p. 916

Primary Inscription: signed variously verso ‘Brett Whiteley’; inscribed and dated verso ‘as I work on this painting /… ’

Inscription: verso: u.l. (in pencil) ‘as I work on this / painting once a year / took photograph on Mar 6 1982 / and discussed the / presentiment of the / possibility of going / blind in right eye’; u.r. (in pencil) ‘started 1971 / have reworked / it every year since then’; u.r. (in charcoal) ‘(SELF PORTRAIT / declared finished / upon my death)’; u.r. (in orange felt-tip pen) ‘THIS PAINTING WAS / BEGUN IN 1971. IT /IS WORK IN PROGRESS / AS I GET OLDER I WILL CHANGE IT’; u.r. (in charcoal) ‘TO DISCOVER THE SELF / THROUGH SOME ONE ELSE / EVERY YEAR OR FEW YEARS / AS I AGE I WILL AGE THIS / I HOPE TO DISCOVER WHO / REMBRANDT WAS BY THE / EXPERIENCE OF PROJECTION / BY THE EXPERIENCE OF / PAINTING THIS PICTURE / OFF + ON FOR THE REST / OF MY LIFE, I HOPE TO / DISCOVER WHO I AM / + SHOW IT / brett whiteley’; u.l. (in charcoal) ‘CONCERNING WHATS REAL, / AND WHATS TIME, PART, 3 /1970 /105″ high 48 ½ WIDE ½ DEEP / BRETT WHITELEY / alternat[iv]e title … / All that stuff about Rembrandt being lonely / at the end, is bullshit. / signed … / Brett Whiteley’.

Provenance: Whiteley Estate (BWS571)

Sketchbook: (Rembrandt) (c. 1971) pencil drawing in artist’s notebook ‘22’ (1971–72), pp.145–46 (KS16); Rembrandt, photograph with collage additions, pasted into artist’s ‘orange velvet’ notebook (compiled c. 1975) (KS20)

Exhibited: Brett Whiteley, Marlborough New London Gallery, London, 1967, cat. 17 (as Rembrandt 1967; ‘The Magritte Room’, The Yellow House, Sydney, mid 1971; Portraits and Other Emergencies, Bonython Gallery, Sydney, and Australian Galleries, Melbourne, 1972, cat. 7 (as Rembrandt 1971, cover (studio photograph) (illus.); Brett Whiteley Retrospective, AGNSW, Sydney, 1995, no. 172, then toured to regional galleries, December 1995–November 1996, no. 89; Instantly: Whiteley with Words, BWS, 2000; Whiteley himself and Friends, BWS, December 2003–April 2004; 9 Shades of Whiteley, BWS, December 2006–September 2007; Portraits, BWS, 2014; Alchemy –Pop,
BWS, October 2014–March 2015; Tributes, BWS, 2016

Literature: Brett in The Times, London, 16 October 1967, p. 7.
Adams in The Sunday Australian, 5 March 1972, p. 23 (illus.).
Lynn in The Bulletin, 11 March 1972, p. 43 (Review of the Portraits and Emergencies exhibition).
Nicklin in The Sydney Morning Herald, 11 March 1972, p. 8.
McGrath, 1979, p. 117, (photog. of artist’s studio) (illus.).
Hughes in The Age Monthly Review, 3 February 1983, pp. 17–20.
Mendelssohn in Art and Australia, Winter 1990, p. 572.
Fortescue, ‘Obituary’ in Daily Telegraph Mirror, 16 June 1992, p. 4 (illus.).
‘Obituary’ in Daily Telegraph, 18 June 1992, p. 17 [?] (illus.).
Pearce, 1995, ref. p. 233; pl. 117 (illus.).
Hilton & Blundell, 1996, pp. 90, 166.
Sutherland, 2010, ref. pp. 183, 194, 312 (cat. TT36); p. 195 (illus.).
Wilson, 2016, p. 144.
Sutherland, 2020, vol. 1, p. 337 (illus.); vol. 7, Paintings; Portraits and People, p. 191.

Note: In the 1967 Marlborough, London, exhibition catalogue, Rembrandt is described as a work of oil on board, measuring 98.4 x 72.4 cm and dated 1967. The painting was mentioned in a contemporary review of the exhibition and admired by Francis Bacon who saw it there first. As Wendy Whiteley is adamant that there was only one version of this painting and that it was brought back to Australia, it seems likely that the measurements given in the catalogue were incorrect.

Provenance: whereabouts unknown

Exhibited: Brett Whiteley, Marlborough–Gerson Gallery, New York, 1968, cat. 6 (as Dylan – Attempt 1, 1967) (illus.) [returned to artist 18 June 1968]

Literature: Pearce and contributors, 2007, p. 143 (photog. taken in Whiteley’s studio located opposite the Chelsea Hotel, New York, 1967) (illus.).
Sutherland, 2010, ref. pp. 198, 312 (cat. TT37); p. 213 (illus.).
Wilson, 2016, pp. 143, 148.
Wilson in Weekend Australian Review, 30–31 July 2016, p. 8 (illus.).
Sutherland, 2020, vol. 1, p. 345 (illus.); vol. 7, Paintings; Portraits and People, p. 191.

Related Work: Related Subjects: drawing: (Bob Dylan on Stage) (1967) pencil drawing in artist’s notebook ‘12’ (1966–67) (KS13); painting: Dylan – Attempt 2 1968 (cat. 28.68)
Refer Persistent Themes, Subjects and Motifs (musicians) pp. 919–920

Note: The pencil drawing in notebook ‘12’ is captioned ‘World Trade Photos/Rockefeller Plaza’.

Primary Inscription: c.l. (within side panel of 'Matches') ‘Often times, one strips oneself of passion / In order to see the secret of Life; / Often times, one regards life with passion, / in order to see its manifest results’

Provenance: Australian Galleries, Melbourne (AG3324), 1977; Avant Galleries, Melbourne; Deutsher Galleries (later Deutscher Fine Art), Armadale, Melbourne, 1975, purchased from Avant Galleries; Tibor Hubay, London (or Palazzo, South Yarra); Private collection, Melbourne; Ron Walker AC CBE, Melbourne; Smith & Singer, Melbourne, 24 July 2024, lot 5 (illus.) from the estate of the late Ron Walker AC CBE; Private collection, Sydney

Exhibited: Brett Whiteley, Marlborough, London, 1967, cat. 10 (as Her, triptych 1967) (illus.); Australian Galleries, Melbourne, July 1977–February 1978; Avant Galleries, Melbourne, c. 1975 ($7,000)

Literature: Harrison in Studio International Magazine, October 1967, p. 154 (illus.).
Pearce and contributors, 2007, p. 103 (a partial photog. of the painting is shown on the artist’s pin board).
Sutherland, 2010, ref. pp. 183, 184, 187, 203, 310 (cat. TT30); pp. 180–181 (illus.).
Sutherland, 2020, vol. 1, ref. p. 15, 16, pp. 338–339 (illus.); vol. 6, p. 178 (illus.) (detail); vol. 7, Paintings; The Nude, p. 192.

Related Work: Refer Persistent Themes, Subjects and Motifs (“Her” (reclining); Wendy (Weet); matches) pp. 935–936; pp. 924–925; p. 964

Note: This painting is the prototype for numerous later drawings, paintings and prints on the theme of “Her” (reclining). Wendy Whiteley has identified the suburban house reproduced in one of the small side panels as her mother’s home at 31 Bent Street, Lindfield, New South Wales.

Primary Inscription: first predella panel: ‘(1) a voyage from outer to inner / (2) from life to a kind of death / (3) from going forward to going back / (4) from temporal movement to a temporal standstill / (5) from mundane time to aemic time / (6) from ego to self / (7) from being outside (post birth) back into the womb of all things (prebirth) and then subsequently a return voyage from / (1) inner to outer / (2)from death to birth / (3) from a movement back to a movement forward / (4) from immortality back to mortality / (5) from eternity back to time / (6) from self to a new ego / (7) from a cosmic foetalization to an existential rebirth.
R. D. Laing.’

Provenance: [probably] Gallerie Ad Libitum, Antwerp, Belgium; Private collection, Belgium; Christie’s, Melbourne, 27 August 1997, lot 127 (illus.); David and Kristene Deague, Melbourne, purchased from Christie’s

Exhibited: Brett Whiteley, Marlborough, London, 1967, cat. 15 (as Birth – rebirth (for Arkie), 1967) (illus.)

Literature: Sutherland, 2010, ref. pp. 183, 187, 204, 205, 312 (cat. TT35), pp. 204–205; pp. 209–210 (illus.).
Wilson, 2016, p. 134.
Sutherland, 2020, vol 1, pp. 340–341 (illus.); vol. 7, Paintings; The Nude, p. 192.

Related Work: Refer Persistent Themes, Subjects and Motifs (“Her” (reclining); Wendy (Weet); matches) pp. 935–936; pp. 924–925; p. 964

Note: This painting is the prototype for numerous later drawings, paintings and prints on the theme of “Her” (reclining). Wendy Whiteley has identified the suburban house reproduced in one of the small side panels as her mother’s home at 31 Bent Street, Lindfield, New South Wales.

Primary Inscription: signed, dated and inscribed with title verso

Provenance: Marlborough Fine Art, London, 1967; Fischer Fine Art, London; Private collection; Sotheby’s, Melbourne, 29 May 1984, lot 172 ($15,000) (illus.); Private collection;
Rushton’s, Sydney, March 1985, lot 100B ($20,000)

Exhibited: Brett Whiteley, ‘Deya–Mallorca’, Marlborough New London Gallery, London, 1967, cat. 1 (as From the Air 1967) (illus.); Fischer Fine Art, London; (as Deya, Majorca from the Air)

Literature: McGrath, 1979, p. 81.
Sutherland, 2010, pp. 199, 307 (cat. T5).
Sutherland, 2020, vol. 7, Paintings; Landscape, p. 192.

Primary Inscription: signed and dated l.r. (pale blue oil) ‘b. whiteley 64’; signed, dated and inscribed verso ‘listening to nature / about /1964 / London / Brett whiteley / oil on ply’

Provenance: Beryl Whiteley, Sydney; Christie’s, Melbourne, 6 May 2003, lot 68 (illus.); Michael and Helen Carapiet, New South Wales, purchased from Christie’s; Art Gallery of New South Wales, Sydney, gift of Michael and Helen Carapiet in 2012 (134.2012)

Sketchbook: Two pages of untitled ink drawings (1966) relating to ‘true beauty’ and Listening to Nature in artist’s notebook ‘2’ (1966–67) (KS12)

Literature: Sutherland, 2010, pp. 199, 312 (cat. TT34).
Sutherland, 2020, vol. 1, p. 343 (illus.); vol. 7, Paintings; Landscape, pp. 192–193.

Related Work: Refer Persistent Themes, Subjects and Motifs (listening [to nature]), p. 928

Note: This painting was begun in 1964 and reworked in 1967. The artist’s mother, Beryl Whiteley, explained to Kathie Sutherland that Brett was experimenting with various media when he made this work. He gave the painting to her when he became impatient with the length of time it was taking to dry.

Primary Inscription: central panel verso: signed, dated and inscribed (black fibre-tipped pen) ‘“FOXED” 1967 / 72″ x 108″ / (72″ x 30″ – 72″ x 48″ – 72″ x 30″) / OIL TEMPERA PHOTOGRAPH + FUR / ON PLYWOOD / BRETT WHITELEY’; further inscribed u.l. verso ‘This triptych should / hang with the two wing / panels at approx…. / this angle [2 directional arrows to diagram illustrating angle of wings]’

Inscription: wing panels: with [distressed] artist’s label, Carnegie Institute and shipper’s labels affixed verso

Provenance: Marlborough Fine Art, London, 1967; Joan and John Armstrong*; Private collection, New South Wales, acquired by descent

Exhibited: Pittsburgh International, Carnegie Institute, Pittsburgh, Pennsylvania, USA, opened in early May 1967, cat. 7 (as Foxed (Triptych) 1967) (lent by Marlborough Fine Art Ltd, London) (label attached verso)

Literature: Sutherland, 2010, p. 310 (cat. TT27).
Sutherland, 2020, vol. 7, Paintings; Landscape, p. 193.

Related Work: Related theme: Strange Incident at John Piper’s Place 1963, altered print (cat. 6.63)

Note: During their time in London the Whiteleys frequently visited the Henley home of their friends, Hans & Elsbeth Juda. They would usually drop in for tea and a chat with the Juda’s neighbour, the artist, John Piper. On one occasion the sighting of a fox in the adjoining woods triggered the idea for this work and the print titled Strange Incident at John Piper’s Place 1963.
*John Ignatius Armstrong (1908–1977), politician, was appointed by the Whitlam Government to the position of High Commissioner in London, serving from January 1973–December 1974).

Primary Inscription: each panel signed and dated verso ‘Brett Whiteley 67’

Provenance: Private collection, New York; Hanover Prints, Melbourne; James R. Lawson, Sydney, 1982; Margaret and Douglas Carnegie, Melbourne; Benalla Art Gallery, Benalla, Victoria, gift of Douglas and Margaret Carnegie in 1986 (1986.01)

Exhibited: [Untitled exhibition] Bennett Gallery, Benalla Art Gallery, Benalla, 2002

Literature: Jones, John, Collection: The Benalla Art Gallery, Benalla Art Gallery, Benalla, 2002, pp. 40, 44–45 (illus.).
Sutherland, 2010, p. 314 (cat. UU2).
Sutherland, 2020, vol. 1, pp. 346–347; vol. 7, New York 1967, p. 193.

Related Work: works on paper: New York Sketchbook [2] (1967–68) (cat. 81.67); (Flames) (c. 1968) (cat. 21.68); New York 2 (First Sensations of New York City) 1968 (cat. 32.68); paintings: New York 1 1968 (cat. 31.68); New York 3 1968 (cat. 22.68; The American Dream 1968–69 (detail) (cat. 35.68)

Primary Inscription: title page inscribed (pen and stencilled in black ink) ‘Pages from / NEW YORK / sketch books October–December 67’; variously inscribed throughout with comments

Inscription: [page 1] (black ink) c. ‘WELL /WHAT’S /ART / ?; l.r. (black ink above sketch of sunglasses) ‘Jasper Johns in the /lift of the Chelsea Hotel’
[page 4] ‘fiberglass / arm / projecting /2ʹ6″ from / block’
[page 7] l.c. (black ink) ‘I hoped ya say yes, but ….’

Provenance: Anne Lewis, Sydney; Brett Whiteley Studio, Sydney (BWS1811), purchased from Anne Lewis in 2015

Sketchbook: (New York Cityscape) pencil and collage in artist’s notebook ‘12’ (1967–68) (KS13)

Exhibited: [probably] Brett Whiteley: Drawings, Marlborough Prints and Drawings Gallery, New York 1975, cat. 5 (as Notebook 1975); Alchemy–Pop; BWS, October 2014–May 2015; OTHER PLACES: Somewhere else, BWS, December 2015–May 2016; Brett Whiteley Eternity is Now, BWS, December 2022–August 2023 [portraits]; ); 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: Sutherland, 2020, vol. 7, New York, 1967, p. 193

Related Work: works on paper: New York Sketchbook 1967 (cat. 80.67); If We Mailer It We’ve Made It (1967), poster (cat. 170P); New York 3 1968 (cat. 22.68); paintings: New York 1 1968 (cat. 31.68); New York 2 (First Sensations of New York City) 1968 (cat. 32.68); New York 3 1968 (cat. 22.68); poster: If We Mailer It We’ve Made It (1967) (cat. 170P); Refer Persistent Themes, Subjects and Motifs (self-portraits) pp. 921–922

Primary Inscription: signed, dated and inscribed u.r. ‘Wendy’s eyes 1968 brett whiteley NY’; stamped u.r. (in red ink) with artist’s ‘chop’

Provenance: Whiteley Estate (BWS1231)

Literature: Sutherland, 2020, vol. 1, p. 356 (illus.); vol. 7, Drawings and Photographs; Portraits and People; New York, p. 194

Related Work: painting: Weet 1968, 1970; repainted 1990 (cat. 25.68); drawing: Study for ‘The Shower’ 1975 (cat. 15.75)
For portraits of Wendy /Weet refer ‘Persistent Themes’ pp. 924–925

Primary Inscription: signed l.r. (pen and ink) ‘brett whiteley’; stamped l.r. (in black ink) with artist’s monogram; signed, dated and inscribed verso on frame (black ink) ‘“PORTRAIT OF CAROLEE SHNEEMAN [sic]” brett whiteley / (NEW YORK 1968)’

Provenance: Whiteley Estate (BWS572)

Exhibited: Brett Whiteley, Recent Nudes, the artist’s studio, Circular Quay, Sydney, 1981, cat. 46 (as ‘Portrait of Carolee Shneeman [sic]’ 1969); Whiteley himself and Friends, BWS, December 2003–April 2004; 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: Whiteley, Brett Whiteley: Recent Nudes, exhib. cat. 1981, p. 13 (illus.).
Sutherland, 2020, vol. 1, p. 357 (illus.); vol. 7, Drawings and Photographs; Portraits and People; New York, p. 194.

Note: Whiteley refers to this portrait in the drawing, Studio Sketch 1982 (cat. 62.82).

Reference: Wilson, 2016, p. 151.

Primary Inscription: signed, dated and inscribed l.r. (in pencil) ‘study for Gauguin 1968 NY. brett whiteley’

Provenance: Whiteley Estate (BWS630)

Exhibited: Brett Whiteley Retrospective, AGNSW, 1995, no. 77, then toured to regional galleries, December 1995–November 1996, no. 48; Whiteley himself and Friends, BWS, December 2003–April 2004; Alchemy – Pop, BWS, October 2014–March 2015; OTHER PLACES: Somewhere else, BWS, December 2015–May 2016

Literature: Pearce, 1995, p. 225; fig. 37, p. 46 (illus.).
Sutherland, 2020, vol. 1, p. 364 (illus.); vol. 7, Drawings and Photographs; Portraits and People; New York, p. 194.

Related Work: painting: Paul Gauguin on the Eve of his Attempted Suicide, Tahiti (also titled Gauguin) 1968 (cat. 27.68)

Primary Inscription: dated l.r. ‘1968’

Provenance: Private collection, Sydney

Literature: Sutherland, 2020, vol. 1, p. 362 (illus.); vol. 7, Drawings and Photographs; Portraits and People; New York, p. 194

Related Work: painting: Vincent 1968 (cat. 26.68)
Refer Persistent Themes, Subjects and Motifs (Vincent) pp. 923–924

Primary Inscription: signed and dated l.r. (in pencil) ‘brett whiteley 68’

Provenance: Whiteley Estate (BWS982)

Literature: Sutherland, 2020, vol. 7, Drawings and Photographs; Portraits and People; New York, p. 194

Note: The subject of this portrait is the British modernist author, Virginia Woolf (1882–1941). Whiteley’s source was probably a photograph taken by photographer George Charles Beresford in 1902. There are related blue ink portrait sketches in the artist’s notebook ‘24’ (c. 1978–79), pp. 45–46 (KS23). A copy of this photograph, published in The Australian (4 September 1976, p. 27) was pasted into Whiteley’s notebook ‘20’ in 1989, affirming the artist’s persistent interest in this likeness of Woolf.

Primary Inscription: signed, dated and inscribed l.r. ‘study after Picasso’s ‘Fisherman’ / (after a photograph 1918) / brett whiteley 1968’

Provenance: Robin Gibson Gallery, Sydney, 1985; Sotheby’s, Melbourne, 26 April 1999, lot 204 (illus.) ($10,350); Bonhams & Goodman, Sydney, 29 March 2004, lot 71 (illus.); Private collection, Queensland

Exhibited: 162 Drawings: Brett Whiteley: 1960–85, Robin Gibson Gallery, Sydney, 1985, cat. 123 (titled as above [incorrectly dated 1985]

Literature: Sutherland, 2020, vol. 1, p. 354 (illus.); vol. 7, Drawings and Photographs; Figurative works, p. 195

Primary Inscription: signed and inscribed verso ‘After P. Blue period via Saturday Evening Post’

Provenance: The artist’s family, acquired from the artist; Sotheby’s, Sydney, 25 August 2003, lot 312 (illus.); Private collection

Literature: Sutherland, 2020, vol. 1, p. 355 (illus.); vol. 7, Drawings and Photographs; Figurative works, New York, p. 195

Related Work: drawing: Doing her Nails (1961) (cat. 4.61); ceramic: Doing her Nails 1989, plate (cat. 123C)

Note: The Saturday Evening Post, an American magazine, was published weekly under this title from 1897 until 1963, then bi-weekly until 1969. It was later published quarterly and then bi-monthly from 1971.

Provenance: whereabouts unknown

Exhibited: Brett Whiteley: Drawings 1960–1973, Bonython Art Gallery, Sydney, 1974, cat. 65 (as Crucifixion, ink and collage, 56.0 x 70.0 cm, 1968–73); Brett Whiteley: Drawings, Marlborough Prints and Drawings Gallery, New York, 1975, cat. 13 (as [part of] Crucifixion Triptych, ink, pencil and photography, 76.2 x 167.6 cm (30 x 60 inches) [overall measurement]

Literature: Sutherland, 2020, vol. 7, Drawings and Photographs; Figurative works, p. 195

Related Work: Related theme; drawings: Crucifixion (from Crime of Love series) (also titled Jesus...!; Study for Crucifixion) (1972) 1973 (cat. 93.73); Crucifixion (from Crime of Love series) (also titled Dream of the Crucifixion (drawn upon waking)) 1973 (cat. 94.73)
Refer Persistent Themes, Subjects and Motifs (the crucifixion and ‘the crime of love’), pp. 927–928

Note: This drawing may have been subsumed into another work.

Primary Inscription: dated and inscribed u.l. ‘16/2/68 / Two dykes in / Geringong [?] (the sixties)’

Provenance: Robin Gibson Gallery, Sydney; Alan Boxer, Canberra, purchased from RG in 1985; whereabouts unknown

Exhibited: 162 Drawings: Brett Whiteley: 1960–85, Robin Gibson Gallery, Sydney, 1985, cat. 63 (as Lesbians)

Literature: Sutherland, 2020, vol. 7, Drawings and Photographs; The Nude, p. 195

Related Work: Related image: Drawing: Studies for Mangrove Wood Sculpture – “Her” 1975 (cat. 87.75)

Primary Inscription: dated and inscribed l.r.(pen and ink) ‘14/8/68 / New York City Chelsea Hotel’; stamped l.l. (in black ink) with artist’s monogram

Provenance: Whiteley Estate (BWS1156)

Literature: McGrath, 1979, p. 228, cat. 106 (as Lovers) (illus.).
Sutherland, 2020, vol. 1, ref. p. 21, p. 360 (illus.); vol. 7, Drawings and Photographs; Erotica; New York, p. 195.

Related Work: drawing: Applying Lipstick (1968) (cat. 19.68)
Refer Persistent Themes, Subjects and Motifs (erotica) pp. 933–935

Provenance: Whiteley Estate (BWS1157)

Literature: Sutherland, 2020, vol. 1, p. 361 (illus.); vol. 7, Drawings and Photographs; Erotica; New York, p. 196

Related Work: drawing: Lovers 1968 (cat. 18.68)
Refer Persistent Themes, Subjects and Motifs (erotica) pp. 933–935

Provenance: Marlborough–Gerson, New York; Private collection

Exhibited: Brett Whiteley, Marlborough–Gerson Gallery, New York, 1968, cat. 15 (installation photograph) (illus.)

Literature: Sutherland, 2020, vol. 7, Drawings and Photographs; New York, p. 196

Related Work: drawing: …No! 1968 (cat. 20a.68)

Primary Inscription: inscribed c. verso (in pencil) ‘Tom [illeg.] / 103 Reade’

Provenance: Charles Johnson (also known as ‘Charlemagne’, New York

Exhibited: Brett Whiteley, Marlborough–Gerson Gallery, New York, 1968, cat. 12 (titled …No! 1968 ) (illus.)

Literature: Sutherland, 2020, vol. 7, cat. 3D, p. 903*
*This work was previously believed to have been destroyed.

Related Work: …Yes… 1968 (cat. 20.68)

Note: 'Charlemagne' was Whiteley’s nickname for his friend Charles Johnson, an artist whom he met in New York. (Refer cat. 4.69)

Provenance: Whiteley Estate; Private collection, Sydney

Literature: Sutherland, 2020, vol. 7, Drawings and Photographs; New York, p. 196

Related Work: works on paper: New York Sketchbook 1967 (cat. 80.67) [detail]

Note: This work is preparatory to the painting, ‘The American Dream’1968–69 (cat 35.68). (Wendy Whiteley, 2020)

Provenance: Marlborough–Gerson Gallery, New York, 1968; Private collection, New York, purchased from Marlborough–Gerson; Sotheby’s Australia, Sydney, 24 November 2015, lot 21 (illus.); Private collection, Sydney (BWS1860); Brett Whiteley Eternity is Now, BWS, December 2022–August 2023 [Self portraits]

Exhibited: Brett Whiteley, Marlborough–Gerson Gallery, New York, 1968, cat. 10 (as New York 3 1968); OTHER PLACES: Somewhere else, BWS, December 2015–May 2016; 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: Addendum to Sutherland, 2020, Drawings and Works on paper 1968, cat. 22.68

Related Work: drawings: New York Sketchbook 1967 (cat. 80.67); New York Sketchbook [2] 1967 (cat. 81.67); paintings: New York 1 l968 (cat. 31.68); New York 2 (first sensations of New York City) l968 (cat. 32.68); (Untitled Ink Splash) (possibly titled New York) (1970) (cat. 59.70)

Primary Inscription: inscribed u.r. with calligraphic characters

Provenance: whereabouts unknown

Exhibited: Brett Whiteley, Marlborough–Gerson Gallery, New York, 1968, cat. 2 (as The Grin and the Hymn, 1968) (illus.) [returned to artist 28 August 1973]

Literature: Sutherland, 2020, vol. 7, Paintings; Self-portraits; New York, p. 196

Related Work: drawings: (Self-portrait on Television) (c. 1973) (cat. 4.73); Self-portrait in the Studio 1980 (cat. 2.80); painting: Green Self-portrait on the Sideglance 1974 (cat. 121.74)
Refer Persistent Themes, Subjects and Motifs (self-portraits) pp. 921–922

Primary Inscription: dated and inscribed on paper attached verso ‘my love…infinite touch. / 19/7/70’

Inscription: ‘my love is recently complete, + yours / a million tears past / explosion of the closing of the door. / How, O how can I explain the need / when our lives waver, all explainings [sic] / bleed. / for you want so little of what there / is so much. / When you confirm your eyes / I know only peace. / and your delicacy of / infinite touch. / 19/7/70’

Provenance: Whiteley Estate (BWS1808) (BWS550)

Sketchbook: Weet 1968; 1970, photograph pasted into artist’s ‘orange velvet’ notebook (compiled c. 1975) (KS20) (illus.). (The photograph was taken when the background colour of this painting was yellow and the ‘love poem’, written in red ink, can be seen in the upper left-hand corner); Poem for painting “Weet” – Love poem, ink in artist’s notebook (Raper Street from August 1991) (n.p.) (KS40)

Exhibited: Portraits and Other Emergencies, Bonython, Sydney, then, Australian Galleries, Melbourne, 1972 (as ‘WEET’); Whiteley himself and Friends, BWS, December 2003–April 2004; Portraits, BWS, 2014

Literature: McGrath, 1979, p. 118, p. 122 (as Weet (Portrait of Wendy Whiteley) 1968) (illus.) [yellow background].
Hilton and Blundell in The Australian Magazine, 8–9 June 1996, pp. 15–16 (illus.).
Wilson, 2016, p. 200–201; (n.p.) p. 88 [viii] (illus.).
Sutherland, 2020, vol. 1, pp. 358, 359; vol. 4, p. 496 (illus.); vol. 7, Paintings; Portraits, People and Places, pp. 196–197.

Related Work: drawing: Wendy’s Eyes 1968 (cat. 1.68)
Refer Persistent Themes, Subjects and Motifs (Wendy (Weet)) pp. 924–925

Note: This portrait of Weet 1968 is reproduced in the artist's ‘orange velvet’ notebook (compiled c. 1975) (Whiteley Estate BWS1808). In 1990, at Wendy’s request, Brett overpainted the yellow background colour that she 'detested', replacing it with its present plum colour. The ‘love poem’ attached verso is a copy of the poem that was obliterated during the process of overpainting (Wendy Whiteley, March 2016).

Primary Inscription: signed and dated l.r. ‘brett 68’, inscribed u.l. ‘The departure of Gauguin from Arles, December 1888’

Provenance: Marlborough–Gerson Gallery, New York (gallery label attached verso); Michael D. Abrams, New York, purchased from Marlborough–Gerson in 1968; Christie’s, Melbourne, 6 December 1994, cat. 128; Marlborough Fine Art London, purchased from Christie’s; Sotheby’s, Melbourne, 28 April 1997, lot 163 (illus.); Private collection, Melbourne, purchased from Sotheby’s; Deutscher and Hackett, Melbourne, 29 August 2007, lot 10, p. 31 (illus.); Private collection Sydney; Private collection, Sydney, 2018 (BWS1289)

Exhibited: Brett Whiteley, Marlborough–Gerson Gallery, New York, 1968, cat. 3 (as Vincent), cover (illus.); Another Way of Looking at Vincent van Gogh 1888–1889 by Brett Whiteley 1968–1983, AGNSW, Sydney, 1983; Brett Whiteley: Van Gogh Self- Portraits, Greenhill Galleries, Perth, 1987, cat. 3 (as Vincent); Brett Whiteley Retrospective, AGNSW, 1995, no. 165, then toured to regional galleries, December 1995–November 1996, no. 47; Marlborough Fine Art, London (from 1996)

Literature: McGrath, 1979, pp. 9–19.
Whiteley, Another Way of Looking at Vincent van Gogh, exhib. cat., Richard Griffin, 1983 (illus.).
Pearce, 1995, ref. p. 233; pl. 116 (illus.).
Perkins, Corrie, ‘Early Whiteley work defies slowdown in art market’ in The Australian, 30 August 2007, p. 7 (illus.).
Wilson, 2016, p. 148.
Sutherland, 2020, vol. 1, p. 363 (illus.); vol. 7, Paintings; Portraits; People and Places, p. 197.

Related Work: drawing: Vincent 1968 (cat. 4.68); paintings: Van Gogh 1970 (cat. 73.70); Vincent 1971 (cat. 109.71); Another of Vincent’s Brushes 1982 (cat. 156.82)
Refer Persistent Themes, Subjects and Motifs (Vincent) pp. 923–924

Primary Inscription: signed, dated and inscribed l.r. (pen and black ink) ‘portrait of Paul Gauguin on the eve of his attempted suicide, Tahiti / Brett Whiteley 1968, N.Y.’

Provenance: Stanley Bard, manager of the Chelsea Hotel, acquired directly from the artist in 1969 in payment of rent; Chelsea 23rd Street Corporation, former owners of the Chelsea Hotel, New York; Contemporary Art, day sale, Sotheby’s New York, 15 May 2014, lot 227; Company collection, Melbourne; Menzies Art Brands, Melbourne, 24 July 2014, lot 40 (illus.); Company collection, Melbourne; Menzies Art Brands, Melbourne, 21 September 2016, lot 37 (illus.); Company collection, Melbourne; Menzies Art Brands, Melbourne, 27 February 2020, lot 37 (illus.); Company collection, Melbourne

Exhibited: Brett Whiteley, Marlborough–Gerson Gallery, New York, 1968, cat. 4 (as Gauguin 1968, ‘oil, photograph and poison on ply’) (illus.); Alchemy–Pop, BWS, October 2014–March 2015

Literature: McGrath, 1979, pp. 86, 87.
Pearce, 1995, ref. p. 231; pl. 81 (as Gauguin 1968, ‘oil, photograph and poison on board’) (illus.).
Wilson, 2016, pp. 148–149, 152; [p.248 i] (illus.).
Sutherland, 2020, vol. 1, p. 365 (illus.); vol. 7, Paintings; Portraits, People and Places, p. 197.

Related Work: drawing: Study for ‘Gauguin’ 1968 (cat. 3.68); painting: The American Dream 1968–1969 (detail) (cat. 35.68)
Refer Persistent Themes, Subjects and Motifs (artists) pp. 912–913

Primary Inscription: inscribed l.c. ‘She’s got /… everything she needs / she’s an artist / she don’t look / back’;

Inscription: titled on exhibition label affixed verso

Provenance: Marlborough–Gerson Gallery, New York, 1968; Harry N. Abrams, New York, purchased from Marlborough; Private collection, acquired by succession; Christie’s, Melbourne, 1 May 2000, lot 272; Private collection, Melbourne, purchased from Christie’s

Sketchbook: Dylan – Attempt 2 1968, photog. pasted in artist’s ‘orange velvet’ notebook (compiled c. 1975) (KS20)

Exhibited: Brett Whiteley, Marlborough–Gerson Gallery, New York 1968, cat. 5 (as Dylan – Attempt 2 1968) (illus.)

Literature: Sutherland, 2010, ref. pp. 198, 314 (cat. uu1); pp. 200–201 (illus.).
Sutherland, 2020, vol. 1, p. 353 (illus.); vol. 7, Paintings; Portraits, People and Places, pp. 197–198.

Related Work: drawing: (Dylan on Stage) (1967) pencil drawing in artist’s notebook ‘12’ (1967–68) (KS13); painting: Dylan – Attempt 1 1967 (cat. 67.67)
Refer Persistent Themes, Subjects and Motifs (musicians) pp. 919–920

Provenance: Whiteley Estate (BWS1785)

Exhibited: Brett Whiteley, Marlborough–Gerson Gallery, New York, 1968, cat. 8 (as New York 1 1968) (illus.); Alchemy–Pop, BWS, October 2014–March 2015; OTHER PLACES: Somewhere else, BWS, December 2015–May 2016; OTHER PLACES: Somewhere else, December 2015–May 2016; toured to Cairns Regional Gallery, Caboolture Regional Art Gallery, Tweed Regional Gallery, Queensland; Gosford Regional Gallery, April 2017–February 2018; Brett Whiteley Eternity is Now, BWS, December 2022–August 2023 [portraits]; 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: Lynn in The Bulletin, 27 June 1970, p. 46 (illus.).
Wilson, 2016, p. 148; [p. 88 vi (illus.).
Sutherland, 2020, vol. 1, p. 366 (illus.); vol. 7, Paintings; Portraits, People and Places, p.198.

Related Work: works on paper: New York Sketchbook [2] (1967–68) (cat. 81.67); New York 3 1968 (cat. 22.68); painting: New York 2 (First Sensations of New York City) 1968 (cat. 32.68)

Primary Inscription: signed l.c. (in pencil) ‘brett whiteley’, inscribed and dated l.r. (ink) ‘first sensation of New York City / Jan 68’

Provenance: Marlborough–Gerson Gallery, New York (gallery label attached verso); Private collection, Sydney, since 1994

Sketchbook: (Sketch for New York 2) (1968), pencil and collage in artist’s notebook ‘12’ (1967–68) (KS13)

Exhibited: Brett Whiteley, Marlborough–Gerson, New York, 1968, cat. 9 (illus.) (as New York 2 1968) (illus.); Brett Whiteley Retrospective, AGNSW, 1995, no. 76, then toured to regional galleries, December 1995–November 1996, no. 46 (as New York 2 (First Sensation of New York City)); Tangier to Byron Bay, Brett Whiteley’s Travels 1960–1992, BWS, 1999, cat. 4

Literature: Lynn in The Bulletin, 27 June 1970, p. 46 (illus.).
Pearce, 1995, pp. 230–231; pl. 79 (illus.).
State of the Art, issue 14, September–November 1995, detail, cover (illus.).
McCulloch, ‘The Whiteley Years’ in The Australian Way, October 1995, p. 86 (illus.).
Sutherland, 2020, vol. 7, Paintings, New York, 1968; Portraits, People and Places, p. 198.

Related Work: works on paper: New York Sketchbook [2] 1(1967–68) (detail) (cat. 81.67); New York 3 1968 (cat. 22.68); painting: New York 1 1968 (cat. 31.68)

Provenance: The Chelsea Hotel, New York; Contemporary Art, day sale, Sotheby's, New York, 10 November 2011, lot 00265 (illus.); Private collection, Melbourne, purchased from Sotheby’s

Exhibited: On permanent view at the Chelsea Hotel, New York, from 1968

Literature: Sutherland, 2020, vol. 1, p. 367 (illus.); vol. 7, Paintings, New York, 1968; Portraits, People and Places, p. 198

Related Work: The American Dream 1968–69 (details) (cat. 35.68)

Note: Whiteley cut out a section of The American Dream, to form his Tribute to Brendan (conversation with Wendy Whiteley March 2015). Brendan Behan (1923–64) was an Irish poet, short story writer, novelist and playwright. In 1940 his youthful involvement with the Irish Republican Army and training in explosives landed him a three-year sentence in Borstal, the first of several extended periods of penal incarceration following incidents of violence and/or drunkenness. He lived in Paris for a time before returning to Dublin in 1950 where his reputation grew as one of the more ‘rambunctious’ figures in the local literary circle. However, according to Martin Wallace in Famous Irish Lives, he was a victim of his own celebrity, with alcoholism and diabetes finally taking their toll. Behan’s autobiography, Borstal Boy, was first published in 1958 (refer Wallace, Martin, Famous Irish Lives, republished by David R. Godine, 2000).

Primary Inscription: signed, dated and inscribed on Whiteley's statement concerning the work;

Inscription: on separate sheet
Whiteley’s Statement:
‘“The American Dream”
OIL, TEMPERA, PHOTOGRAPHY + OBJECTS ON 18 plywood panels.
96ʺ x 864ʺ
painted between July 1968 & June 1969 in New York City.
STATEMENT CONCERNING THE WORK.
Arrived in New York November 1967 for a two-year Harkness Fellowship. / The first year was spent producing an exhibition of easel paintings for Marlborough Fine Art Ltd. /
By the second year I determined myself to produce a monumental work of art /that would summarize the sensation of impending the necessity for America / to own up, analize [sic], + straighten out the immense + immediately seeable / MADNESS that seemed to run through most facetes [sic] of American life – / of little use for continuing. There appeared in much behaviour, a stark / sort of unnecessary cerebral violence, to which I was completely unaccustomed / + to which I held, in considerable fear. /
As the work began I still considered myself an outsider, a foreigner, a white Asian / staying in America for a short time, capable of being able to objectify the / seperation [sic] I felt from needing to behave as most Americans did. But as / the work progressed I realized that anyone who steps foot off a plane in / N.Y. instantly becomes an American + cannot remain indifferent or aloof / by presuming he belongs elsewhere. The existential experiment was so hungry / [that] one quickly became possessed with a struggle to reconcile the forces of good / + evil just as obsessively as most Americans were doing. They said it was / no use talking about the abstraction of a whole nation, everyone had to / do it on their own. So as the work progressed it developed into a struggle / within myself to own up, analize [sic] + straighten out…../
But the further I went the more difficult it became. The more American I felt / the more painful and dual nature of everything became. All hope of peace / seemed to break apart with the evening television news.There seemed no sign / of reconciliation between old and young, black and white, hip + square etc. And the / eyes of the riot squads bespoke of everything one had ever imagined of / human collapse. Day after day the ache + panic edged up a little – / for the MADNESS was now itself upon me, and I, I who had benignly / dared to point to America that she was sick and getting everyone / else sick, had fallen quick victim without even so much as a misty / vision for any solution, beyond dreaming of nature + a simpler life. /
So I drank more + smoked more, hoping that if I felt Hell + could /report it up [,] that would be of benefit, + turn something of the tide… / But alas I just got unhappier + unhealthier until physical + mental / fatigue forced me in July 1969 to abandon the work + fly to Fiji / to live. /
This painting is a record of a struggle + my inability to resolve it; it is an / admittance of failure. /
Of course romantics are only ever concerned with Beauty. / Brett Whiteley / Sydney May 1970’

Provenance: John Gild, Perth in 1971, on consignment from the artist; State Art Collection, Art Gallery of Western Australia, purchased from the artist in 1978 ($18,000)

Sketchbook: Studio photograph of The American Dream 1968–69, pasted into artist’s ‘orange velvet’ notebook (compiled c. 1975) (KS20). (Photograph taken in New York, 1969)

Exhibited: Brett Whiteley, Bonython Art Gallery, Sydney June/July 1970 (price list only); Brett Whiteley, Sounds, Paintings, Film, Sculpture, Drawings, Jottings, Innuendos, and Sideglances, Australian Galleries, Melbourne, August 1970 (listed on price list as ‘American Painting’); ‘Brett Whiteley and Tony Woods’, John Gild Galleries, Claremont, Perth, part of the Festival of Perth, Claremont, Perth, 2 February–31[?] March 1971; Australian Painting 1955–1970, AGWA, 2–27 March 1977; Opening Exhibition – works from the permanent collection, AGWA, October 1979–January 1980; Acquisitions 1977–80, AGWA, 31 January 1980–15 March 1981; Regions, Beaches, Interiors, AGWA, 16 November 1985–16 March 1986; Brett Whiteley Retrospective, AGNSW, 1995 then AGWA, February–April 1996, no. 75 (as The American Dream); [collection exhibition] Gallery 1, AGWA 1996; “The American Dream Exhibition”, Bunbury Art Galleries, Western Australia, 31 May–22 June 1997; [collection exhibition] Gallery 2, AGWA 1999; [collection exhibition] Gallery 7, AGWA, 2004- 2005; Pop to Popism, AGNSW, 1 November 2014–1 March 2015; American Dream; American Nightmare, Gallery 9, AGWA, Perth, [the dream] 15 August 2015–15 November 2016, then [the nightmare] 21 November–15 February 2016; Baldessin / Whiteley: Parallel Visions, NGV, Melbourne, 31 August 2018–29 January 2019

Literature: (a selection)
catalogues, journals and newspapers
Lynn in The Bulletin, 27 June 1970, ref. pp. 46, 47; p. 46 (details, illus.).
Galbally in The Age, 12 August 1970, p. 2.
Heathwood in Vogue Living, November 1970–February 1971, p. 102 (illus.).
McGrath in Quadrant, September 1978, pp. 32, 33.
Hawley in The Sydney Morning Herald Good Weekend, 2 July 1994, p. 20.
Auty in The Australian Magazine, 26–27 August 1995, p. 19.
Pearce (essay), 9 Shades of Whiteley, online education kit, Art Gallery of New South Wales, 2007, p. 6.
Bevis, Stephen, ‘Vision Splendid’: ‘Whiteley’s dystopian dream’ in The West Australian, 12 August 2015, cover (detail, illus.) and pp. 6–7 (illus.).
Wilson in Weekend Australian Review, 30–31 July 2016, pp. 6–7, cover (detail, illus.).
books
McGrath, 1979, pp. 87–91, pp. 85–93 (illus.).
Fry, 1984, pp. 58–63 (illus.).
Broinowski, 1992, p. 116.
Hawley, 1993, pp. 33, 41.
Pearce, 1995, ref. p. 231; pls. 80 a–e (illus.).
Hilton & Blundell, 1996, pp. 76–79, 87, 89.
Sutherland, 2010, pp. 183, 199, 205.
Hawley, 2012, pp. 93, 100, 106.
Wilson, 2016, pp. 150–151, 156, 157, 158, 174, 180, 183, 184, 189, 269–270; [p. 88 vi–vii] (illus.).
Grishin and contributors, 2018, pp. 31–32; (Wilson) pp. 53, 57–58; pp. 47 (details), 54–56 (illus.).
Sutherland, 2020, vol. 1, pp. 368–369 (illus.); vol. 2, multi-panel fold-out (illus.); vol. 7, Paintings; Portraits, People and Places, pp. 199–200.

Related Work: works on paper: New York Sketchbook 1967 (cat. 80.67); New York Sketchbook [2] 1967–68 (cat. 81.67); Nixon’s 69: Visions of Johanna’sberg 1969 (cat. 6.69) paintings: Just Recently….. 1968 (dismantled; a section of this work is incorporated into The American Dream) (refer ‘destroyed’ file cat. 2D); A Tribute to Brendan (1968–69) (cat. 33.68)