Brett Whiteley: Catalogue Raisonne: 1939 – 1992 was published in seven volumes by Schwartz Books, Australia in 2020. It chronicles approximately 4,500 works created by Brett Whiteley over nearly four decades.
The current project is to create an online electronic format for the catalogue that allows for the regular updating of catalogue entries and the inclusion of works and images that have come to light since 2020. It is hoped also that the online access to this information will make the catalogue accessible to students, collectors and the broader public in Australia and overseas.
Beginning with Volume 1, the 1950s and 1960s, the online catalogue works in tandem with the hard copy publication following its principal design elements and page references.
Catalogue organisation
The catalogue is divided by medium into four principal divisions: Drawings and Paintings, Prints, Ceramics and Sculpture Within these divisions, works are catalogued by decade and then year. As a convenient reference, each work has been assigned a catalogue number (refer ‘Catalogue number’ below). Drawings and Paintings are grouped under sub-headings according to genre: self-portraits, portraits and people, figurative works, the nude, ideas for sculpture, still life, interiors, landscapes, birds and animals. The order varies according to the content of each year. To a lesser extent the ordering of Prints, Sculpture and Ceramics follows this system.
Illustrations
The catalogue contains more than 2,000 images of Whiteley’s works Ideally each catalogue entry would be accompanied by a reproduction, but the inaccessibility of some works, and the enormous volume of the artist’s output made this proposition unrealistic. However, new images are being added to the online catalogue as they come to hand. Illustrations of works in other published references – including books, journals, newspapers and video-recordings – are noted in catalogue entries under ‘Exhibited’ and ‘Literature’. Works from the artist’s estate can be viewed (by appointment) at the Brett Whiteley Studio.
Classification of drawings and paintings
Due to a wide assortment of materials used as supports (paper, sheeting, eggshell, hessian, canvas, board) it has occasionally been necessary to blur the boundaries between the designation of works as drawings or paintings. With notable exceptions, necessitated by the chronology of a series, the classification system for establishing the order of works in ‘Drawings’ and ‘Paintings’ is based primarily on the materials used by the artist rather than his choice of support.
Sketchbooks
Whiteley’s sketchbooks and notebooks are a crucial primary research tool which have been largely unrecorded. Each of these has been given a data number by the Brett Whiteley Studio (Art Gallery of New South Wales). The author has researched each of the 40 sketchbooks, dating and listing them chronologically and, for convenient identification, a numbering system has been devised for this catalogue raisonné (see ‘Catalogue Numbering System’ below). A list of relevant sketchbooks has been included at the front of each volume and references are made throughout the catalogue entries under the headings ‘Sketchbooks’ and ‘Related works’. For a complete list of sketchbooks, refer ‘Select Bibliography’ (vol. 7, p. 1019).
Dismantled, Discarded or Destroyed works
Drawings, paintings and sculpture that are believed to have been destroyed or abandoned by the artist are listed in a separate section of the catalogue (vol. 7, pp. 901–907).
Catalogue Entries
The entry for each work begins with basic catalogue information: title, date, medium description, dimensions and inscriptions. Where relevant, this basic format is followed by sections that detail provenance, exhibition history, publications, related works and notes. The sum of this information combines to give each work its unique identity. Every effort has been made to locate these fundamental catalogue details for all works in the catalogue, but occasionally some information was not accessible at the date of publication in 2020. Additional information and amendments will be added to the online catalogue as they come to light.
Catalogue number
The catalogue number allocated to each work is determined by its chronological sequence, medium and relationship with other works of that year and genre. The number format for each medium category is outlined below under ‘Catalogue Numbering System’.
Title
The original title of a work, given by the artist and evidenced by an inscription or an original exhibition record, is shown in italics. Many works carry secondary titles that may reflect either a change of title made by the artist, or a different title given when the work was exhibited, as recorded in an exhibition catalogue. Non-specific titles, generally descriptive, are set within brackets. Round brackets indicate titles that have been previously designated and published elsewhere; square brackets indicate titles or sections of titles, that have been added by the author. For the sake of consistency, a uniform style has been adopted for titles with capitalisation of all key words.
Date
Dates shown without brackets are those inscribed by the artist or confirmed through reliable sources. Dates in brackets are based upon research and are, in the opinion of the author, an accurate estimation of the date of creation. Dates preceded by a ‘c’ (for ‘circa’) indicate an approximate date.
Medium Description
Materials and support are recorded in as much details as is known. Whiteley frequently used pigment combined with polyvinyl acetate as a sticking agent which he referred to as ‘tempera’ and this term has been retained in the medium description.
Dimensions
Whenever possible, works have been remeasured to ensure accurate recording of information. The measurement given in centimetres is generally by sight, sheet or canvas measurements, with height preceding width preceding depth. For consistency and convenience, catalogue measurements originally given in inches have been converted to centimetres. Print measurements represent, plate, sheet and block size. (refer ‘Abbreviations’ below). Only known measurements are indicated. The support and measurements for works are sometimes omitted in early catalogues. As a result, the term ‘dimensions unknown’ is occasionally used to indicate that a work has not been sighted and its measurements have not been confirmed from other sources.
Signature
The primary inscription is the artist’s signature and date. It may also include the title of the work. The catalogue entry records precisely the style of each signature, upper and lower case variations, and where possible, the medium of the inscription. The location of the signature is indicated by abbreviations (refer ‘Abbreviations’ below). If works were accessible, verso inscriptions have also been recorded. If the signature and date is embedded within a secondary inscription, this is indicated by including by an abbreviation of the secondary inscription in the signature field, which is then transcribed in full under ‘Inscriptions’.
Stamps
Whiteley frequently completed drawings and some paintings, with the addition of an inked stamp applied in the form of monogrammed initials or a calligraphic ‘chop’. This can be taken as an alternative form of signature. It should be noted, however, that some works were stamped posthumously by Wendy Whiteley for the purpose of authenticating unsigned works.
Inscriptions
Secondary inscriptions are recorded verbatim by reading the text clockwise, generally from the point of signature. It may include details such as the artist’s idiosyncratic use of double quotation marks, repetition of words, and his blocking out and / or scoring through word, as they appear in many lengthy texts. Line breaks are generally indicated by back slashes, although in some rare cases, where the inscription is particularly long and complex, the original layout has been maintained for clarity. When an inscription is believed to be by someone other than the artist, it is preceded by the phrase ‘bears the inscription…’.
Provenance
Changes in ownership of a work are recorded in as much details as was known at the time of publication. In some cases, however, this information is not accessible. The last name in the provenance list for each work indicates the last known owner. The name of the gallery or auction house (usually as an intermediary) is printed in full. Names of auction houses and Whiteley’s principal dealers may be abbreviated when the information is repeated (refer ‘Abbreviations’ below).
Authenticity
Some works have been omitted from the catalogue due to unconfirmed information and will be included once authenticity and provenance is confirmed (refer ‘Addendum’ below).
Exhibited
Catalogue entries include a comprehensive record of the exhibition history of each work. It records the title and, if given, the work’s catalogue number when it was first exhibited. This information may support a title given by the artist or it may provide a secondary title. Prices are noted only when they record the figure at which a work was offered when first exhibited or as a record of very early sales. Specific dates for each of the exhibitions are abbreviated in the cataloguing text but fully cited in the extensive Exhibitions Chronology (Sutherland, 2020, vol. 7, pp. 965–997). As a general rule, where the name of the dealer or gallery has already appeared under ‘Provenance’ it is abbreviated in this section.
Literature and Reference
The catalogue entry of an individual work includes this heading when a citation records critical discussion specific to that work. Published references are abbreviated when they are included in the Select Bibliography (Sutherland, 2020, vol. 7, pp. 1007–1020). However, when the citation is relevant to a single work only, the source of the reference is written in full and omitted from the Bibliography.
Citations have been included under the heading ‘Reference’ when they contain non-specific references to a catalogued work.
Sketchbooks
This section is used to note drawings, collages and photographs in Whiteley’s notebooks and sketchbooks that have been identified by the author as having specific connection to the catalogued work. If a sketchbook is referenced under ‘Related works’, the image that is referenced will have a broader connection to the subject.
Related works
This section draws upon the author / editor’s knowledge of the complete oeuvre to show connections, thematic and stylistic, with other works in the catalogue across each of the disciplines – paintings, drawings, prints, sculpture and ceramics. Where relevant a page reference is also provided to a sub-heading within Persistent Themes, Subjects and Motifs (Sutherland, 2020, vol. 7, pp. 909–964).
Notes and Comments
This section contains additional information, frequently anecdotal, that throws further light on the interpretation, subject, history or stylistic development of a work.
Catalogue Numbering System
The following numbering systems are used throughout the catalogue raisonné:
Drawings and Paintings:
The first part of the number is sequential and the second part indicates the year. e.g. 123.70.
Gaps have been left throughout the numbering system to allow for additional works to be entered in proximity to works of the same period and genre.
Prints, Ceramics, Sculpture and Destroyed works:
A sequential number is followed by the letter abbreviation for that medium. e.g. 123P for prints, 123C for ceramics, 123S for sculpture and 123D for abandoned, destroyed or dismantled works.
Brett Whiteley Studio:
In addition to the allocated number, works from the Whiteley Estate have a data number, indicating that they have been catalogued by the Brett Whiteley Studio (Art Gallery of New South Wales). This number appears in the ‘Provenance’ field (e.g. BWS12345).
Sketchbook Numbers:
Sketchbooks and Notebooks have been allocated a sequential number preceded by the author/editor’s initials KS (e.g. KS12).
Abbreviations
Exhibitions and Publications:
An abbreviated entry is used for exhibitions and publications that are used repeatedly. The complete citation appears in Exhibition Chronology (Sutherland, 2020, vol. 7, pp. 965–997) and Select Bibliography (Sutherland, 2020, vol. 7, pp. 1007–1020).
Galleries, Publishers and Auction Houses:
The following abbreviations are used for institutions that are referred to repeatedly.
AAA Australian Art Auctions
AGNSW Art Gallery of New South Wales
AGWA Art Gallery of Western Australia
AG Australian Galleries
B & G Bonhams & Goodman
Bonython Bonython Art Gallery
BWS Brett Whiteley Studio
Bridget McDonnell Bridget McDonnell Gallery
Charles Nodrum Charles Nodrum Gallery
Davidson’s Davidson’s Auctions
D and H Deutscher and Hackett
Deutscher Deutscher Fine Art
D–M Deutscher–Menzies
Eva Breuer Eva Breuer Art Dealer
Dunbar Sloane Dunbar Sloane (Auctioneers)
Fischer Fischer Fine Art
Ganymed Ganymed Original Editions
Goodmans Goodmans Auctioneers
Gould Gould Galleries
Gray’s Geoff K. Gray
Lauraine Diggins Lauraine Diggins Fine Art
Lawson’s James R. Lawson
Joseph Brown Joseph Brown Gallery
Lawson’s Lawsons Fine Art
L–M Lawson–Menzies
Joel’s Leonard Joel; Joel Fine Art; Leonard Joel Fine Art
Marlborough London Marlborough New London Gallery
Marlborough–Gerson Marlborough–Gerson Gallery
Matthiesen Matthiesen Gallery, London (Matthiesen Ltd)
McKenzies McKenzies Auctioneers
Menzies Menzies Art Brands
Mossgreen Mossgreen Auctions
MPRG Mornington Peninsula Regional Gallery
MONA Museum of Old and New Art
NGV National Gallery of Victoria
NERAM New England Regional Art Museum
Nevill Keating Nevill Keating Pictures Ltd
Peter Gant Peter Gant Fine Art
Philip Bacon Philiip Bacon Galleries
QAG Queensland Art Gallery
RG Robin Gibson Gallery
Ronald Coles Ronald Coles Investment Gallery
Rudy Komon Rudy Komon Art Gallery
Rushton’s Rushton Fine Arts
Shapiro Shapiro Auctioneers
Stanley Stanley & Co
Theodore Bruce Theodore Bruce Auctions
Ellenden’s William S. Ellenden Art Auctioneers
Catalogue Terminology:
The following abbreviations are used within catalogue entries:
cat. exhibition catalogue number
l.r. lower right
l.l. lower left
u.r. upper right
u.l. upper left
c. centre
u.c. upper centre
l.c. lower centre
signed believed to have been written by the artist
inscribed inscription believed to have been written by the artist
with / bears believed to have been written by another hand
tempera Whiteley’s term for pigment combined with polyvinyl acetate
I. image size
S. sheet size
P. plate size (etchings)
B. blockmark (linocuts and woodblock prints)
A/P Artist’s proof(s)
c. circa (preceding date)
(n.p.) not paginated
[ ] author’s interpolation
stamp a stamp or seal that acknowledges ownership
chop artist’s calligraphy stamp
NFS not for sale
photog. photograph (in publication)
illus. illustration of catalogued work (in publication)
Addendum
Compilation of this catalogue raisonné is an ongoing project, and the author would be pleased to receive further information about works that are not yet recorded. The catalogue raisonné will be updated regularly through this website, as additional information comes to hand. To find out more about making a submission to the catalogue through this addendum, readers are invited to Contact us.