Persistent Themes, Subjects and Motifs

Portraits and People

Arkie:

drawings and works on paper

Wendy and Arkie as a Baby (Two Day Old Daughter) 1964, charcoal, 56.0 x 7.5 cm

Wendy and Arkie in the Bath, Melbury Road (1965–67), brush and ink, 30.5 x 17.0 cm

[Wendy and Arkie on the Beach] Tangier Postcard 1967, 56.0 x 76.0 cm

Arkie (Arkie with Monkey Doll) 1971, charcoal, ink, 73.0 x 53.8 cm

Head Studies (c. 1971), ink, wash, mounted as a scroll, 93.3 x 62.8 cm (detail)

(Arkie in Bali) (1974), ink, Conté crayon, 50.6 x 64.7 cm

Arkie on the Balcony 1978, ink and ink wash on paper, 52.5 x 75.5 cm

(Arkie at 15) (1979), fibre-tipped pen, 14.5 x 9.6 cm

Arkie 1980, pencil and charcoal, 50.0 x 49.9 cm

Ark 1981, charcoal on canvas, 122.0 x 91.5 cm

Portrait of Arkie (c. 1984), ink, 94.0 x 50.0 cm

Preliminary Sketch for ‘Arkie under the Shower’ (c. 1986), charcoal, 29.5 x 20.8 cm

Arkie 1991, dark blue ink, 27.0 x 37.6 cm

paintings

Birth–rebirth (for Arkie); Vietnam 1967, mixed media, diptych, 198.2 x 183.0 cm

Arkie 1967, mixed media on plywood, 83.0 x 65.0 cm

Preliminary Idea for very Large Plum and Ultramarine Vase or Pot 1976, oil, 141.0 x 86.0 cm

Sketch for Arkie’s Vase (c. 1976–78), oil, 79.2 x 68.6 cm

Arkie under the Shower 1986–87, oil on board, 173.0 x 112.0 cm

sculpture

“Her” (also titled Arkie’s Torso) 1975, mangrove wood, 77.0 x 29.6 x 17.5 cm (figure)

Arkie 1981, 1985–86, mangrove wood, height 150.0 cm (figure); 20.0 x 20.0 x 60 cm (base)

artist and model:

drawings and works on paper

Study for ‘The Beach’ and ‘Shark’ Sculptures 1965, ink, 26.1 x 40.2 cm

Study for ‘The Beach’ 1965, charcoal, 56.0 x 76.5 cm

Preliminary Notes for ‘Shark’ Sculpture 1965, pencil, ink, collage, 75.9 x 110.9 cm

Untitled 1966, ink, charcoal, paint and ball-point pen, 75.5 x 99.5 cm

Railway Carriage 1973, pencil, ink, collage, 38.8 x 27.2 cm

(Lavender Bay Interior Sketch) (c. 1974), ink on canvas board, 60.9 x 60.3 cm (Artist Drawing Distorted Heads) (c. 1975), ink, [dimensions unknown]

(Artist and Model) (c. 1975), ink, 20.5 x 12.2 cm

(Studio Interior, Lavender Bay) (c. 1975), blue ink, 29.5 x 51.8 cm

Lavender Bay with Nude (Lavender Bay Interior) 1975, ink, 63.0 x 87.0 cm

Wendy at Lavender Bay (c. 1976), verso: (Artist and Model), ink and pencil, 19.4 x 33.0 cm

Wendy on Cushions 1976, charcoal, 56.0 x 76.0 cm

Laurie Daws during Beethoven Concert for Violin 1976, ink, collage, 75.7 x 104.5 cm

Studio Sketch 1976, blue ink, 53.5 x 78.5 cm

Studio Interior – Design for Aubusson Tapestry (c. 1976), blue ink, 86.5 x 101.0 cm

Interior, Lavender Bay 1976, ink, 76.2 x 57.2 cm

Wendy Ironing, Lavender Bay 1977, ink, 56.0 x 45.0 cm

Wendy 12 p.m. (also titled Letter to Ning) 1977, ink, 72.7 x 53.1 cm

Still Life…Is There! 1977, pen and brush and ink, 76.3 x 56.1 cm

The Swimming Pool (Thoughts about…) 1978, ink and wash, 76.0 x 91.0 cm

Self-portrait (c. 1976) 1980, ink, gouache, oil and collage, 90.0 x 60.0 cm

Preliminary Note for ‘The Naked Studio’ 1981, ink, watercolour, gouache, 38.0 x 56.0 cm

The Sculpture Studio 1981, ink and collage, 76.0 x 57.0 cm

Putting on Lipstick 1981, pencil, oil-stick and collage, 65.0 x 94.0 cm

(Artist and Blue Nude Model) (c. 1981), blue ball-point, 24.4 x 56.5 cm

Nude Sunning Herself 1981, charcoal, 74.0 x 107.0 cm

(Beach Studies) (1985), ink, black fibre-tipped pen, 29.5 x 30.6 cm

(Painting the Nude) (c. 1986), ink, 31.8 x 29.7 cm

Preliminary for Undressing with Background Mirror 1988, ink, 30.2 x 25.4 cm

paintings

The Beach 1966, mixed media on board, 195.6 x 243.8 cm

Birth–rebirth (for Arkie); Vietnam 1967, mixed media on plywood; standing diptych: 198.2 x 183.0 cm

Henri’s Armchair 1974–75, oil, ink and charcoal on canvas, 195.0 x 302.0 cm

Self-portrait in the Studio 1976, oil, collage and hair on canvas, 200.5 x 259.0 cm

The Naked Studio 1981, mixed media on plywood, diptych: 190.9 x 490.8 x 4.7 cm

Sketching at Bondi 1986–87, oil and collage on plywood, 122.0 x 152.0 cm

tapestry

The Studio 1976, Aubusson woven wool and cotton tapestry, 192.0 x 222.0 cm

artists and art critics:

drawings and works on paper

The Visit to Giorgio Morandi 1960, mixed media, 64.0 x 32.1 cm overall

Portrait of Dick Watkins 1961, charcoal, 64.7 x 45.2 cm overall

Portrait of Carolee Schneemann (New York) 1968, oil wash, 85.5 x 68.5 cm

Study for Gauguin 1968, pencil, ink, collage, tape, 35.6 x 55.7 cm

Charlemagne, N.Y. 1969, pencil, 39.6 x 37.8 cm

Study for Portrait of ‘Seagull’ 1970, pencil, ink and collage, 74.0 x 53.0 cm

Seagull (1971), pencil, ink and collage, 75.0 x 55.0 cm

Head Studies (c. 1971), ink, wash, mounted as a scroll, 93.3 x 62.8 cm

Blissit and Bruce 1971, pencil on cardboard, 24.7 x 33.4 cm

Portrait of Rollin Schlicht 1971, brown ink, 57.8 x 43.7 cm

Roland (also titled Portrait of the Artist Rollin Schlicht) 1971, ink, 63.5 x 45.7 cm

Sketch for Portrait of Marcel Duchamp 1972, ink and collage, 51.7 x 35.4 cm

Portrait of Mick Glasheen (1972), ink, 285.6 x 81.2 x 2.9 cm overall

Mick Glasheen (c. 1973), blue ball-point pen, 20.2 x 12.6 cm

Mick Glasheen with Wattle (c. 1973), mixed media on cardboard, 54.9 x 17.8 cm

Railway Carriage 1973, pencil, ink, collage, 38.8 x 27.2 cm

(Sketch of Picasso) (c. 1975), ink, 37.4 x 26.2 cm

Laurie Daws during Beethoven Concert for Violin 1976, ink, 75.7 x 104.5 cm

Portrait of Martin Sharp (c. 1977), blue ink, 22.7 x 13.0 cm

Martin Sharp (1978), ink on salmon paper, 45.7 x 37.3 cm

Study of Martin Sharp 1978, ink on salmon paper, 75.0 x 54.9 cm

(Lion with ‘Seagull’ [Tony Woods]) (c. 1978), ink and charcoal, 98.5 x 70.0 cm

Brancusi 1981, ballpoint pen, 76.2 x 54.7 cm

Tim Storrier (c. 1983–84), pencil, 42.0 x 32.3 cm

Mick (c. 1984), graphite, 19.9 x 15.8 cm

Pablo 1985, ink, 16.8 x 10.8 cm

Portrait of Donald Friend (c. 1985), ink, wash, 42.8 x 29.9 cm

John Olsen (Late Lunch Sketch) 1987, grey ink, 9.9 x 8.7 cm

(Advice to Bryan Westwood on Winning the Archibald Prize) (1988), pencil, 20.0 x 25.0 cm

Donald Friend 1989, ink and gouache, 24.3 x 48.9 cm

Donald Friend Near the End (1989), ink, 26.3 x 19.0 cm

Malcolm McLaren 1989, pencil, 18.0 x 18.0 cm

Alberto Giacometti 1989, brush and ink, 13.0 x 13.0 cm

Remembered Visit to Giacometti’s Studio in 1962 1989, charcoal, pencil, collage, 56.4 x 75.5 cm

Francis in a Pub 1989, ink, 31.0 x 20.0 cm

Portrait of David Hockney (1989), charcoal, 34.0 x 22.0 cm

Portrait of David Hockney (c. 1989), charcoal on paper, 33.3 x 22.3 cm

Henri Matisse Drawing in Nice (54) (15 June) 1989, charcoal, ink, newsprint, 56.0 x 76.0 cm

Henri Matisse Reading a Newspaper in the Luxembourg Gardens 1989, ink, 56.7 x 76.0 cm

Brancusi in his Studio 1989, ink and pencil, 56.0 x 75.5 cm

Jean Cocteau at the Piano (4 July) 1989, ink and ink wash, collage, 56.0 x 76.0 cm

Visit to the Picasso Museum (16 July) 1989, collage and bulldog paper clip, 56.0 x 76.0 cm

Thinking about Nicolas (De Staël) 1989, mixed media, 57.0 x 77.0 cm

Tim Storrier 1991, charcoal, pencil, 37.2 x 25.9 cm

Preliminary Study for ‘Portrait of Andy Warhol’ 1991, mixed media, 67.0 x 57.1 cm

What I Remember of Old Roland Wakelin (c. 1992), green ink, 17.5 x 11.4 cm

(Portrait of Charles Blackman) (c. 1992), green ink, 17.5 x 10.4 cm

(Art critics):

David Sylvester 1963, ink, 16.5 x 16.5 cm

David Sylvester as a Boy 1963, charcoal, 43.0 x 34.5 cm

Night at Bob Hughes’, Hanover Gate Mansions, London 1964, pencil, ink, 38.2 x 55.9 cm

Bob down on Snarbel Avenue 1991, blue and black ball-point pen, 30.1 x 20.3 cm

David Sylvester 1991, ink, 15.3 x 16.2 cm

prints

Arthur Boyd 1975, etching, P. 21.4 x 20.0 cm

Boyd and Whiteley 1975, etchings; 4 plates, S. 63.8 x 53.6 cm

Boyd – Whiteley: Portraits 1975, etchings, 8 plates, S. 119.5 x 79.5 cm

Kingo (Portrait of Peter Kingston) 1991, etching, aquatint, P. 22.3 x 20.1 cm

Tony at 50 (Portrait of Tony White) 1992, etching, P. 14.7 x 9.8 cm

paintings

Rembrandt 1967; reworked 1971–92, oil and fibreglass on hardboard, 136.0 x 125.0 x 11.0 cm

Paul Gauguin on the Eve of his Attempted Suicide, Tahiti 1968, mixed media, on plywood, 152.5 x 264.5 x 5.1 cm

Linked Portrait: Brett Whiteley; Tony Woods; William Pidgeon 1970, mixed media on plywood panels, triptych, 203.0 x 289.5 cm

Portrait of Martin Sharp in the Lyrebird Style 1970, oil, photographs, magnifying glass on board, 38.0 x 93.0 cm

Portrait of Peter Wright as a Samurai 1970, oil on plywood, 182.8 x 121.8 cm

Tim Storrier the Egyptian (c. 1991), oil, charcoal and ink on canvas, 25.8 x 25.8 cm

Lloyd Rees Talking 1991, oil on plywood, 42.6 x 35.7 cm (oval)

Bill P (Portrait of William Pidgeon) 1991, graphite, charcoal and oil on canvas, 30.0 x 30.0 cm

Refer also Francis Bacon, Joel Elenberg, homage to Lloyd Rees and Vincent

Baudelaire:

drawings and works on paper

Baudelaire’s Cat (c. 1971), ink and collage, 43.6 x 56.3 cm

Butcher Bird at Palm Beach 1972, ink, gouache, brush, collage, 59.6 x 54.6 cm

Still Life for Charles Baudelaire 1972, ink, collage, bodycolour, razor blade, 50.0 x 44.8 cm

Damien Talking about Baudelaire (c. 1984), mixed media, 37.4 x 33.3 cm

Charles Baudelaire as Napoleon (c. 1984), brown, black and purple inks, 29.7 x 21.0 cm

Girlfriend Reading Baudelaire 1989, ink, 56.0 x 76.0 cm

Street Alcoholic in Saint-Michel 1989, charcoal and pencil, 56.2 x 75.8 cm

Charles Baudelaire 1989, charcoal, 56.0 x 76.0 cm

paintings

Portrait of Baudelaire 1970, mixed media on 5 wooden panels, polyptych: 203.0 x 432.5 cm

(Les Fleurs du Mal) (c. 1970), oil, [details unknown]

Baudelaire’s Bird 1973, oil and feathers on canvas on board, 56.0 x 52.0 cm

Christie and rape:

drawings

The Rape 1961, mixed media, 64.6 x 35.4 cm

Study for Christie (1964), charcoal and Conté crayon, 16.7 x 24.5 cm

Christie 1964 (Study for Head of Christie), charcoal, ink, wash, linseed oil,

73.5 x 53.6 cm

Drawing No. 1 (c. 1964), charcoal and pencil, 56.0 x 77.0 cm

Drawing No. 2 (1964), charcoal and pencil, 56.0 x 77.0 cm

(Woman Wearing a Hat) (c. 1964), charcoal, 40.0 x 34.2 cm

Christie Drawing [Kathleen Maloney] 1964, charcoal and ink, 51.4 x 38.1 cm

(Letter to Barbara Mathias) 1964, pen and ink on 3 sheets of notepaper

Christie Drawing (1964), pencil and charcoal, 55.0 x 71.0 cm

Christie Drawing (Kathleen Maloney) 1964–65, charcoal, 56.6 x 76.7 cm

Christie Drawing (1964), pencil and charcoal, 56.0 x 77.0 cm

(Christie Nude Sketches) (c. 1964), charcoal, gouache, 23.7 x 26.7 cm

Orange Study for Christie Painting 1964, sanguine pastel [?], 52.5 x 75.0 cm

Christie and Kathleen Maloney 1964, charcoal, wash, 160.0 x 152.4 cm

Drawing for ‘Christie and Hectorina McLennan’ (1964), ink, 20.3 x 27.2 cm

After Christie had Fled (1964), charcoal, 55.7 x 76.7 cm

Christie 1965, oil, pen, ink, gouache, charcoal, wash and collage, 78.8 x 57.3 cm

Drawing (with Tony Reichardt in Mind) 1965, assemblage (letter within sealed envelope addressed to Kathleen Maloney), 17.2 x 24.2 overall

Christie Drawing (1965), ink, 55.9 x 76.4 cm

Christie Drawing 1965, ink, 55.9 x 76.3 cm

Preliminary Sketch for Christie Murder Series (Kathleen Maloney) 1965, charcoal, ink and wash, linseed oil, 55.7 x 76.7 cm

The Rape 1973, ink, 17.0 x 18.0 cm

prints

10 Rillington Place W11 (Still from a proposed 16 mm film) 1964–65, screenprint, S. 98.5 x 68.0 cm

paintings

Head of Christie 1964, oil on board, 65.9 x 60.9 cm

Rita Nelson (1964–65), charcoal, ink, pencil, gouache, and collage on paper, 16.7 x 24.5 cm

Preliminary Sketch for Christie and Rita Nelson Murder 1964, mixed media on paper and cardboard, 83.8 x 55.6 cm

Rita Nelson 1964–65, oil and mixed media (wax and brass) on wood panel, 45.7 x 35.5 cm

Rita Nelson 1964–65, oil on plywood, 66.0 x 61.0 cm

Don’t Read This (1964), charcoal, gouache, oil and linseed oil on canvas, 198.2 x 144.7 cm

Christie and Kathleen Maloney 1964, mixed media on canvas, 175.0 x 244.0 cm

Kathleen Maloney Taking Gas 1964, oil on canvas on board, 137.1 x 137.1 cm

Kathleen Maloney (1964), oil on board, 22.9 x 20.3 cm

Christie and Hectorina McLennan 1964–65, mixed media on canvas, 162.9 x 214.0 cm

10 Rillington Place, W11 1964, mixed media on plywood, 150.0 x 137.2 cm Cheetah in Rillington Place (1964–66), mixed media on board, 205.7 x 182.9 cm

Mrs Christie 1965, oil, paper and fabric on board, 39.4 x 33.7 cm

Small Christie Painting 1 1965, mixed media on plywood, 86.2 x 86.2 cm

Small Christie Painting 2 1965, mixed media on plywood, 86.3 x 86.3 cm

sculpture

Christie’s Chair 1965, wood, rope, fabric, wire, plastic, metal gas tap, glass bottle, rubber, metal clips, charcoal, 140.0 x 58.4 x 61.3 cm overall, including base

dope to addiction:

drawings

Peter – the Head from Leeds – Off to Marrakesh, Tangier Postcard 1967, ink and gouache, 56.0 x 76.0 cm

[Smoking Dope] Tangier Postcard 1967, 56.0 x 76.0 approx.

[Achmid] Tangier Postcard 1967, 56.0 x 76.0 cm approx.

Achmid (The Second), Tangier Postcard 1967, ink, charcoal, 55.2 x 76.2 cm

Achmid Getting Stoned, Tangier 1967, charcoal and ink, 62.8 x 56.2 cm

ESSO LSD (c. 1971), pencil, charcoal, ink, gouache, collage, 62.8 x 56.2 cm

(Shooting Up) (c. 1972–73), ink and collage on paper, 27.0 x 24.5 cm

Still Life…Is There! 1977, ink, 76.3 x 56.1 cm

(Study for Sculpture); verso (Nude on Brass Bed) (c. 1978), ink, double sided; 96.0 x 68.0; 68.0 x 96.0 cm

First Invalid 1978, charcoal, ink, wash on canvas on cardboard, 59.5 x 79.9 cm

(Shooting Up) (1978), ink, 36.0 x 26.0 cm approx.

Illustration for ‘Junkies and Abominable Snow People’ (1978), ink and collage, 36.0 x 26.0 cm approx.

(Erotic Nude Drawing) (c. 1980), ink, 14.0 x 8.5 cm

Portrait of Jimmy Elliot Out There 1981, oil on cardboard, 60.2 x 90.6 cm

(Erotic Nude – Drawing Notes) (c. 1983), pencil, collage, 13.5 x 33.6 cm

(Weet with Flowers in Magnolia Vase) (c. 1984), ink, 29.8 x 21.0 cm

(Woman at Table with Magnolia in Vase) (c. 1984), ink, 22.6 x 21.0 cm

Loose Violet (c. 1985), ink, 29.6 x 30.5 cm

Ballad for Roxie (c. 1987), charcoal, ink, 75.0 x 54.7 cm

Make 88 Straight (1988), ink, pencil, collage on cardboard, 18.3 x 22.1 cm

Street Alcoholic in Saint-Michel (3 June) 1989, charcoal, graphite, 56.2 x 75.8 cm

Mouse (1991), pencil, 28.2 x 22.0 cm

prints

Nectar (Addiction), Portrait of Paul Verlaine 1979, etching, P. 60.6 x 45.6 cm

paintings

The Dealer, Tangier Postcards 1967, mixed media on paper, 56.0 x 75.4 cm

Portrait of Baudelaire 1970, mixed media on panel, triptych: 203.0 x 783.0 cm overall

Smack! 1973–82, oil and electricity on plywood, 116.0 x 83.7 cm

Henri’s Armchair 1974–75, oil, ink and charcoal on canvas, 195.0 x 302.0 cm (detail)

Art, Life and the Other Thing 1978, mixed media, triptych: left panel 91.9 x 79.6 x 7.8 cm; central panel 211.8 x 130.6 x 8.0 cm; right panel 31.2 x 31.2 x 7.3 cm

Portrait of Tracy the Dealer (1987), oil, charcoal, teeth, plaster, collage on hardboard, 30.4 x 30.1 cm

The Finish (1981, 1990) 1991, oil and collage on board, 122.0 x 216.0 cm

miscellany

The Heroin Clock 1981, mixed media and 2 clocks in perspex box,

27.9 x 45.8 cm

The Heroin Clock 2 1981, 2 clocks mounted in a perspex box, 27.5 x 46.5 x 6.5 cm

Francis Bacon:

drawings

Francis Bacon (1964–65), charcoal, 16.6 x 24.5 cm

Head Studies (c. 1971), brush and ink, wash, mounted as a scroll, 93.3 x 62.8 cm

Head of Francis Bacon 1971, ink, 94.4 x 75.7 cm (scroll)

Page of Heads 1976, pencil, ink, collage, 53.3 x 37.4 cm

Francis Bacon (c. 1984), ink, 22.5 x 20.5 cm

Portrait of Francis Bacon (c. 1984), brush and black ink 23.8 x 23.8 cm

Portrait of Francis Bacon (1980) 1984–85, ink, charcoal, photograph, gouache, 64.0 x 62.8 cm

Franny 2 (1984), ink, 30.0 x 45.0 cm

Francis Laughs Like a Kookaburra Sometimes (c. 1984), ink and collage, 27.7 x 21.0 cm

Francis in a Pub 1989, ink, 31.0 x 20.0 cm

Study for Portrait of Francis Bacon (c. 1989), graphite and pastel, 33.3 x 25.2 cm

prints

Straight Head of Franny 1971, photo-screenprint, S. 93.0 x 62.5 cm

Portrait of Francis Bacon (1971), screenprint, ink on rice paper, S. 92.7 x 63.3 cm

Francis Bacon 1971, screenprint, ink additions, on rice paper, S. 93.0 x 62.5 cm

Portrait of Francis Bacon (1971), screenprint, brush and black and purple ink on rice paper, S. 92.2 x 62.7 cm

Francis Bacon (1971) screenprint, 49.7 x 39.5 cm sight (framed)

Portrait of Francis Bacon (1971) screenprint, with ink additions, S. 93.9 x 62.5 cm

Study for Portrait of Francis Bacon 1971–72, screenprint, collage, S. 91.5 x 60.5 cm

Portrait of Francis Bacon (1971–73), screenprint with ink additions, 101.9 x 76.0 cm board

Endlessnessism: Conversations with Francis Bacon 1971–72, portfolio of 25 unique prints (boxed), screenprint, ink, pencil, collage,

S. 93.0 x 62.5 cm each sheet

Francis Bacon in 1965 1973, lithograph, S. 115.2 x 76.2 cm

Head of Francis Bacon 1975, screenprint, oil on perspex, S. 92.9 x 62.4 cm

paintings

The American Dream 1968–69, mixed media on 18 panels, 244 x 2,196.0 cm overall (detail)

Francis Bacon in Gaol (1970–72), mixed media, 94.1 x 90.7 x 5 cm

Franny Bacon 1971–72, oil and fibreglass on pine board, 258.5 x 170.4 cm

Francis Bacon at 75 1984, mixed media on paper and on board, triptych: 36.0 x 75.7cm

Portrait of Francis Bacon (1989–91), oil and mixed media on canvas, 152.5 x 127.0 cm

Grandfather (on my mother’s side):

drawings and works on paper

Study for ‘The Drinker’ (1965), pencil, ink, collage on 2 pages, 22.2 x 35.8 cm

Photograph of Grandfather (On My Mother’s Side) (1966), one of 13 mounted photographs in Australia… A Trip Back November 1965–July 1966 (1966), 83.8 x 118.2 cm overall

Layout Drawing for ‘23 Items by Brett Whiteley’ exhibition, Melbourne, 1966, ink, 55.5 x 37.9 cm overall (detail)

Hallucination of My Grandfather 1971, ink, 75.0 x 55.0 cm approx.

paintings

Grandfather (On my Mother’s Side) 1966, mixed media on plywood, 183.2 x 335.6 x 8.0 cm overall; triptych:

Reflection Triptych 1966–67 (Reflection; The Drinker; Grandfather/My Father’s Mother), oil, photograph, mirror, steel hinges, ink, on plywood; triptych: 183.4 x 344.9 cm approx. overall

Portrait of Les Martin 1977, oil on canvas, 91.5 x 91.5 cm

Hitler and the nature of power:

drawings and collage

Study for a Portrait of Hitler 1962–1973, pencil, ink, 56.1 x 38.5 cm

Adolf Hitler – Memory from Childhood 1970–71, ink, charcoal, scorpion shell, collage, 75.7 x 55.4 cm

Childhood Memory (c. 1970–71), collage on paper mounted on board, 76.0 x 56.5 cm

The Game Goes On (1980), ink, oil, collage, 121.0 x 80.6 cm

paintings

Brett Whiteley: Charles Blackman: Portrait of Hitler; Tears Tears, London (1963–64), oil on board, 90.0 x 120.0 cm

Not I – Me 1967, oil and mixed media on board, 185.4 x 152.4 x 119.4 cm (detail)

Requite 1967, ink, oil and collage on board, 86.4 x 122.9 cm

The American Dream 1968–69, mixed media on 18 panels, 244.0 x 2,196.0 cm (detail)

General Westmoreland 1971; Vietnam Fug Get It (War Veteran) (1971), mixed media on hardboard, 113.0 x 55.0 x 7.0 cm; (re-formed as the triptych, Untitled – Sgt. Reilly, General Westmoreland, Adolph Hitler 1971–83), oil, fibreglass, photography, cloth and collage, 257.0 x 55.0 cm overall

homage to Lloyd Rees:

drawings

Lloyd Rees and ‘The Road to Berry’ (1985), pencil on cardboard, 74.8 x 101.9 cm

Lloyd Rees Re-worked (c. 1985), fibre-tipped pen, wash on offset lithographic reproduction of Lloyd Rees’ ‘The Northern Aspect, The Olgas, Central Australia’, 25.0 x 32.4 cm

Tribute to Lloyd Rees’ ‘The Road to Berry’ (1989), mixed media, 49.7 x 37.0 cm

paintings

Berry’s Bay, Sydney Harbour 1959, oil, 61.0 x 91.0 cm

Lloyd Rees’ ‘The Road to Berry’ (1985), ink, wash, white gouache, 31.0 x 46.5 cm

Homage to ‘The Road to Berry’ 1985, oil, tempera and mixed media on plywood, 87.5 x 87.5 cm

Lloyd Rees Talking 1991, oil on plywood, 42.6 x 55.0 cm (oval)

Janice Spencer:

drawings

Sketch for a Portrait of Spencil 1988, charcoal, bodycolour, 31.1 x 31.0 cm

Preliminary for Undressing with Background Mirror 1988, ink, 30.2 x 25.4 cm

Study for Glimpses in Spencil’s Mirror 1988, ink, 63.0 x 32.3 cm

(Nude – Janice) 1989, oil stick, 102.0 x 70.0 cm

Pigalle 1989, ink, 56.1 x 75.5 cm

After Spencil Swims 10 Laps Everything is Blue 1991, ink, gouache, glass eye, 18.3 x 25.3 cm

Spencil 1991, charcoal, gouache, 30.8 x 44.5 cm

photographs

(Janice in the Mirror) (c. 1988), silver gelatin photograph, S. 54.8 x 37.2 cm

paintings

Study of Spencil Doing her Laps, Boy Charlton Pool 1988, oil and collage on paper, 62.0 x 96.0 cm

Sunday Afternoon, Surry Hills 1988, oil, 160.0 x 213.0 cm

Joel Elenberg:

drawings

Head Studies (c. 1971), ink and wash, 93.3 x 62.8 cm (detail)

Joel Elenberg 1971, ink, 94.0 x 62.8 cm

Joel Drawing 1979, ink, 31.7 x 28.3 cm

(Joel Elenberg – 5 Portraits) 1979, pencil, ball-point pen and ink, 76.0 x 50.9 cm

Charles 1 [Portrait of Joel Elenberg] (c. 1979), ink, 19.5 x 13.0 cm

(Portrait of Joel) 1980, brush and black ink, 130.0 x 95.0 cm

(Joel Elenberg) (1980) white chalk on masonite clip board, 38.0 x 23.0 cm

Tools of the Trade and the Dot 1980, ink, 51.0 x 32.0 cm

Joel E (1980), blue ink, 33.7 x 24.8 cm

Head of Joel (6 February) 1980, ink, 98.0 x 72.5 cm

Head of Joel 1980, ink, 124.0 x 81.0 cm

Head of Joel 1980, ink, 121.3 x 80.0 cm

Head of Joel 1980, ink, 86.5 x 62.5 cm

Head of Joel (also titled Joel Calligraphy) 1980, ink, 87.0 x 62.2 cm

Joel (1980), blue fibre-tipped pen, wash, 30.4 x 23.9 cm

Joel (1980), blue ball-point pen, 20.4 x 13.1 cm

Portrait of Joel (March) 1980, ink, 68.0 x 61.0 cm

Joel (also titled Joel Elenberg) 1980, charcoal and ink wash, 39.7 x 38.0 cm

Joel’s Eyes (1980), ink, 47.4 x 63.0 cm

(Joel’s Eyes) (1980), brush and ink, 56.5 x 60.0 cm

(Portrait of Joel Playing the Guitar) (1980), pencil, 36.2 x 25.5 cm

Conversations with Joel (9 June) 1980, blue ink, 23.2 x 70.8 cm

Joel (1980), blue ink, 22.7 x 10.5 cm

Joel (1980), blue ink, 22.0 x 11.2 cm

(Joel in Hood) (10 June) 1980, sepia ink, 17.1 x 12.5 cm

Joel Looking Mean 1980, ink, 17.4 x 12.4 cm

Joel (1980), charcoal, ink, collage, 60.6 x 43.7 cm

Joel (2 July) 1980, ink, 74.9 x 54.8 cm

(Portrait of Joel Elenberg – Drawing for Linocut) (1980), ink on linoleum (uncut), 30.4 x 30.4 cm

(Sketch of Joel) (1980), pencil, 13.5 x 10.0 cm

(Untitled Sketch of Joel) (c. 1980), black fibre-tipped pen, 29.7 x 21.0 cm

Back of Joel’s Head 1980, ink, 37.0 x 31.0 cm

Joel Dying (5 July) 1980, ink, 49.5 x 37.2cm

Joel Dying 1980, ink, 52.7 x 73.4 cm

Joel with Elf Ears (6 July) 1980, ink, 37.2 x 27.4 cm

Joel on his Deathbed (7 July) 1980, pencil, 49.2 x 61.8 cm

Fragments of Anna (9 July) 1980, ink on 6 sheets, 23.3 x 75.1 cm overall

(Portrait of Anna) (1980), ink, 17.0 x 12.0 cm

(Portrait) (c. 1980), brush and blue ink, 22.4 x 11.4 cm

Joel, with One Hour to Live (10 July) 1980, grey fibre-tipped pen, 54.8 x 75.4 cm

Near 1 – Sketch of Joel One Hour before the End (10 July) 1980, ink, 76.0 x 71.0 cm

Group Plan for Joel’s Grave (11 July) 1980, ink, and gouache, 61.2 x 38.4 cm Still Life 1980, oil, ink and collage, 125.0 x 81.0 cm

photographs

Joel Elenberg (early 1979 and late 1979), 2 Polaroid photographs, 30 x 12.3 cm

Near 11 – Photo of Joel Taking his Last Bath (July 1980) 1980, 40.3 x 50.8 cm

Near 2 – Joel Taking his Last Bath (July 1980) 1980, 50.6 x 40.4 cm

Large Stone (Sculpture) in Neil Armstrong’s Paddock at Oberon, N.S.W. 1980, Polaroid photograph, brush and ink, 33.0 x 27.5 cm

paintings

Portrait of Joel Elenberg 1980, mixed media, 202.0 x 152.0 cm

ceramics

Joel Playing the Flute 1976, plate, 31.0 cm diameter

Untitled Vase (Head of Joel) (1980), [dimensions unknown]

musicians:

drawings

String Quartet 1960, ink, 17.7 x 25.3 cm

Quartet (1960), charcoal, 72.0 x 52.0 cm

Pub Portrait, London (1962), pencil, charcoal, ink, wash, collage, 65.8 x 49.8 x 1.7 cm

The Violinist 1965, chinagraph pencil, 50.0 x 74.5 cm

Visions of Johanna 1966, charcoal and ink, 35.0 x 49.0 cm

Can’t be Titled (Koto Player) (1971), oil, collage on board, 144.0 x 122.0 cm

Charlie Mingus 1971, ink and pencil, 53.0 x 37.5 cm

Beethoven Preliminary 1971, ink and bee, 52.0 x 37.0 cm

Michael Driscoll Scroll 1971–75, ink and collage, 80.7 x 50.7 x 2.0 cm

Igor Stravinsky 1972, ink and wash, 73.5 x 60.5 cm

Dizzy (also titled Dizzy Gillespie) 1974, ink, 36.1 x 35.9 cm

(Banjo Player) (c. 1974), ink and ink wash [dimensions unknown]

The Jewish Silver Flute 1975, ink, 71.1 x 50.8 cm

Flute Player and Still Life 1975, ink and charcoal, 61.0 x 71.0 cm

(Musicians) (1976), ink, 21.5 x 27.6 cm

(The Musician) (c. 1976), ink, 29.6 x 31.0 cm

Banjo Player 1976, ink, 76.0 x 101.0 cm

Guitar Player 1976, ink, 56.8 x 46.5 cm

(Boy with Guitar) (c. 1976), ink, 89.5 x 59.5 cm

(Iggy Pop – Vocalist) (c. 1977), ink, 21.8 x 17.1 cm

(Iggy Pop) (c. 1977), ink, 38.0 x 27.7 cm

(Singer/Guitarist – Iggy Pop) (c. 1977), ink, 38.2 x 28.4 cm

(Design for an Illustrated Page of Text with Koto Players, Cowrie Shell and Light Bulb) (c. 1978), ink, 32.5 x 25.3 cm

Driscoll (c. 1979), ink, ink wash, gouache on ivory cardboard, 21.3 x 19.1 cm

(Portrait of Joel Playing the Guitar) (1980) pencil, 36.2 x 25.5 cm

Guitar Player 1980, ink, 55.8 x 47.0 cm

Asher Bilu: The Banjo Player (c. 1980), pencil, ink, 76.2 x 50.8 cm

Bob Dylan (now you realize – he’s not selling any alibis) 1982, ink and collage, 97.6 x 74.2 cm

Michael O’Driscoll 1982, ink, 74.3 x 52.9 cm

Stravinsky (c. 1984), ink, charcoal, 38.0 x 27.5 cm

Rhythm and Rhyme (c. 1985), pencil, black fibre-tipped pen, wash, 74.2 x 41.5 cm

Study of Terry Williams Playing for Dire Straits 1985, pencil and collage, 55.8 x 77.4 cm

(Mark Knopfler in Concert) (1985), black and blue ink, 29.7 x 21.0 cm

(Mark Knopfler in Concert) (1985), black and blue ink, 21.0 x 29.7 cm

(Portrait Study of Mark Knopfler in Concert) (1985), ink and wash, 21.0 x 29.7 cm

The Go-Betweens (1986), blue fibre-tipped pen, 29.1 x 34.6 cm

Piltdown Mike [Mick Jagger] (c. 1987), brown ink, 14.3 x 18.8 cm

ceramics

Joel Playing the Flute 1976, plate, 31.0 cm diameter

paintings

Pedro at Guitar Lesson 1960; 1980, mixed media on paper, 32.0 x 24.0 cm

Portraits and People

drawings

Page of Designs for John Illsley’s ‘Red Turns to Blue’ (c. 1988), pencil, ink, 14.8 x 15.0 cm

Bob Dylan (c. 1989), pencil on 2 pages of note pad, 15.0 x 17.0 cm

Bob Dylan 1989, ball-point pen, 17.0 x 11.0 cm

(Dylan) (c. 1989), fibre-tipped pen, 14.5 x 9.6 cm

Bob Dylan 1989, blue ink, 28.0 x 20.0 cm

Mark Knopfler 1989, pencil, 28.0 x 18.0 cm

Paul McCartney (c. 1989–1990), ink, 49.8 x 69.8 cm

Street Alcoholic in Saint-Michel 1989, charcoal, graphite, 56.2 x 75.8 cm

Ajax (c. 1990), brush and ink and ink wash, 48.5 x 36.0 cm

(The Accordion Player) 1990, ink, 75.0 x 55.0 cm

Eric Clapton 1991, ink, 41.7 x 21.1 cm (oval)

posters

Michael Driscoll Poster 1979 (2 versions), commercial offset print, S. 101.7 x 75.9 cm

paintings

Young Musician with Cello (c. 1957), oil on board, 37.0 x 29.0 cm

(Boy Playing a Mouth Organ) 1959, oil on canvas, 77.0 x 51.0 cm

Dylan – Attempt 1 1967, oil, photography, electricity and piano keys on plywood, 213.3 x 284.2 x 5.1 cm

Dylan – Attempt 2 1968, oil, collage, and photograph on board, 50.8 x 68.6 cm

The American Dream 1968–69, mixed media on 18 panels, 244.0 x 2,196.0 cm (detail)

Alchemy 1972–73, mixed media on 18 wood panels, 205.8 x 1,617 x 3.3 cm (detail)

For John [Illsley] [a bunch of cornflowers] 1987, charcoal, gouache, 81.4 x 45.7 cm

ceramics

Joel Playing the Flute 1976, plate, 31.0 cm diameter

musicians – sarod and sitar players:

drawings

Shankar 1966, charcoal and ink, 202.4 x 203.6 cm

Tangier Postcard 1967; verso: (Installation Drawing for the exhibition at Marlborough New London Gallery, October 1967), ink and wash, 55.0 x 75.5 cm overall (detail)

Sarod Player (c. 1974), ink, 76.6 x 57.2 cm

Sarod Player 1975, brown ink on cardboard, 50.8 x 76.2 cm

Barlow Playing the Sarod 1975, sepia ink on tracing paper, 55.0 x 75.0 cm

Asher Bilu Playing Sarod 1979, charcoal and watercolour, 59.0 x 79.0 cm

For Asher 1979, Conté crayon, 50.0 x 65.0 cm

Asher Bilu Playing the Sarod 1979, Conté crayon, 45.0 x 62.0 cm

(Sitar Player – Drawing for Hozumi Momota Art Award) 1979, ink, 98.0 x 74.5 cm

(Sketch) Visit to the Suehiro 1979, mixed media, 105.5 x 71.4 cm

Asher Bilu Playing Sarod 1980, charcoal, ink, pencil, collage on paper, 51.0 x 76.0 cm

The Sarod Player 1981, ink, 76.5 x 56.4 cm

Asher Bilu Playing his Sarod 1983, ink, 61.0 x 76.2 cm

Asher Bilu Playing the Sarod (c. 1983), sepia ink, 63.2 x 86.2 cm

Ali Akbar Khan (c. 1983), sepia ink, 56.5 x 73.5 cm

Ali Akbar Khan (c. 1983), brown ink, 56.5 x 73.2 cm

Ali Akbar Khan (c. 1983), brown ink, 51.5 x 66.8 cm

Sound Check Opera House (Ali Akbar Khan) 1983, ink, 56.0 x 73.5 cm

Ali Akbar Khan (1983), ink, 56.2 x 73.7 cm

Ali Akbar Khan 1983, ink, 55.0 x 65.0 cm

Ali Akbar Khan Playing the Sarod (c. 1983), brown ink, charcoal, transfer graphics, 56.0 x 73.2 cm

Playing the Sitar 1984, ink, 55.4 x 45.2 cm

(Sitar Player) 1985, brush and sepia ink, 76.5 x 56.6 cm

posters

2nd Hozumi Momota Art Award and Japanese Australian Festival (1980), silkscreen poster, 76.0 x 51.0 cm

paintings

Pedro at Guitar Lesson 1960; 1980, mixed media on paper, 32.0 x 24.0 cm

ceramics

Man Playing the Sarod 1976, plate, 31.0 cm diameter

Rimbaud:

drawings and works on paper

(Flames) (c. 1968) ink and gouache on photograph mounted on card, 28.0 x 21.5 cm

Rimbaud (c. 1970–72), mixed media on paper, 63.9 x 50.1 cm

Still life with Shell 1970, ink, gouache; ink, collage; screenprint; triptych, 62.5 x 163.5 cm

Study for ‘Little Arthur Turned Off’ 1970, mixed media on cardboard, 75.5 x 108.9 cm

Study for ‘Little Arthur Blew It’ 1970, gouache, mixed media on card, 110.5 x 76.2 cm

Portrait of Verlaine (1971), pencil, 66.6 x 48.0 cm

Still but a Child… (c. 1972), brush and pen and black ink, 20.0 x 45.5 cm

Anything Becomes Interesting if You Look at It Long Enough OR Angst-ridden Series of Blind Actions… (c. 1972), pencil, ink and collage, 66.2 x 48.2 cm (Flaubert)

Drawings of Beasts, Collage with Vultures in Cemetery in India (c. 1972–73), brown ink, collage, cardboard, oil, 66.3 x 46.7cm

I Have Swallowed a Monstrous Dose of Poison (c. 1972–74), mixed media, 66.6 x 51.0 cm

‘Once, If I Remember Well…’ (1972–73), ink, collage, 65.5 x 50.0 cm

Preliminary Thoughts for ‘Alchemy’ 1972–74, mixed media, 75.6 x 56.6 cm

‘Alchemy’ Notes (1972–74), red fibre-tipped pen, collage, 20.2 x 17.4 cm

Rimbaud in a Hotel Room 1973, blue ink, collage, 63.5 x 50.9 cm

Charleville Deviation (c. 1973), Polaroid emulsion backing, collage, 66.9 x 50.2 cm

(For Rimbaud – Various Beasts) (1973), charcoal, 37.8 x 32.3 cm

(Bearded Man) (c. 1973), ink, 28.7 x 12.8 cm

Harar (c. 1973), altered print: ink and collage on offset lithograph, 65.8 x 51.4 cm

Place Delacroix (1984), ink, 54.8 x 75.0 cm

I Recall the History of France, Eldest Daughter of the Church. Bad Blood (c. 1984), ink, 64.8 x 50.1 cm

Bad Blood (c. 1984), ink, collage, 66.5 x 51.1 cm

Rimbaud’s Passport – Damned (c. 1984), ink, passport pages, collage, 66.5 x 51.0 cm

Arthur Rimbaud Arriving in Paris (8 July) 1989, ink, 53.4 x 75.0 cm

prints

Portrait of Rimbaud, 1 1970, ink on screenprint, 100.5 x 85.5 cm

Portrait of Rimbaud, 2 1970, mixed media on screenprint, 100.5 x 85.5 cm

Portrait of (Verlaine as) Rimbaud, 3 1970, oil, collage on screenprint, 100.0 x 84.5 cm

Portrait of Arthur Rimbaud (c. 1970), oil, collage, screenprint, 100.0 x 85.0 cm

Arthur Rimbaud on Hyena Time 1971, screenprint, 109.0 x 86.4 cm

(Portrait of Rimbaud) (1971–73) screenprint on damask tablecloth, 100.0 x 85.0 cm

Portrait of Arthur Rimbaud (1971–73), screenprint, ink and collage, 67 x 55.0 cm

Arthur Rimbaud in Harar [with ‘eyes open’ collage] (1971–73), screenprint, printed in gold ink, collage, 66.9 x 50.5 cm

Arthur Rimbaud in Harar [with bandaged knee] (1971–73), screenprint, charcoal, ink, collage, 66.1 x 50.7 cm

Arthur Rimbaud in Harar [with pink rose] (1971–73), screenprint, collage, ink, 66.4 x 50.9 cm

Arthur Rimbaud in Harar (1971–73), screenprint in grey ink, pen and ink, 65.8 x 45.4 cm

Arthur Rimbaud in Harar (1971–73), screenprint, collage, self-adhesive tape, tracing paper overlay, pen and ink, 65.8 x 45.7 cm

altered prints and posters

(Head of Arthur Rimbaud as a Boy) (c. 1984), detail of colour photograph by Carjat, 61.7 x 50.4 cm (detail) [additional to catalogue raisonné] (BWS344)

(Rimbaud’s Passport) – Damned (c. 1984), ink, passport pages, collage, 66.5 x 51.0 cm

Arthur Rimbaud – Damned (c. 1988) [after photograph by Carjat], poster, 44.7 x 31.2 cm

photographs

(Photographs of ‘Portrait of Arthur Rimbaud’) 1971–72, 3 undated photographs, mounted, 67.4 x 49.5 cm overall [additional to catalogue raisonné] (BWS273)

paintings

Portrait of Arthur Rimbaud 1970–71, mixed media, polyptych: 203.3 x 518.1 cm overall

Study for ‘Alchemy’ (1972), mixed media on board, 81.0 x 81.0 x 6.0 cm

Alchemy 1972–73, mixed media on 18 panels, 205.8 x 1,617.0 x 3.3 cm overall (detail)

stamp

Damned (c. 1984), circular stamp, wood

miscellany

Self-portrait 1997: We’re All Born Just to be Skeletons? (c. 1981), mounted human skull, on brass and granite base, 25.0 x 17.0 x 17.0 cm overall

self-portraits:

drawings and works on paper

Self-portrait (c. 1962), pencil, ink, watercolour, bodycolour, 55.5 x 36.7 cm

(Self-portrait) (c. 1962), gum arabic and watercolour, 39.0 x 9.5 cm

Remembering Lao Tse (Shaving Off a Second) 1967, pencil and ink, 66.4 x 56.2 cm

New York Sketchbook 1967, mixed media, compilation of 10 pages, each 36.5 x 29.0 cm

(Self Portrait Wearing Dressing Gown) 1969, ink, 19.7 x 19.5 cm

Self-portrait – Rave 471, Rave 472 (1970), ink, 54.5 x 75.0 cm

(Self-portrait: Advertisement for Solo Exhibition at Australian Galleries, Smith Street) 1970, ink and watercolour, 5.0 x 10.0 cm;

25.0 x 16.0 cm framed

Self-portrait 1970, ink, 75.0 x 55.0 cm

(Self-portrait) (c. 1971), ink drawing pasted into artist’s ‘orange velvet’ notebook, 11.6 x 11.4 cm

Preliminary Sketch for ‘Self-portrait after 3 Bottles of Wine’ 1971, pencil, 32.0 x 17.0 cm

Self-portrait after 3 Bottles of Wine 1971, oil, sepia ink on pineboard, 203.5 x 76.0 cm

Winter Self-portrait 2 1971, ink, 94.0 x 62.8 cm

Page of Self-portraits 1971, ink, 31.5 x 30.0 cm

Brett, Self-portrait (c. 1971–72), ball-point pen on paper, 8.3 x 10.4 cm sheet (torn)

Self-portrait with a Beard 1972, ink, 87.2 x 62.9 cm

Self-portrait (c. 1972), ink, 242.7 cm x 146.9 cm

Self-portrait Reading Yukio Mishima 1972, altered photograph and ink, 13.7 x 12.6 cm

(Self-portrait in ‘Weet’ T-shirt) (c. 1972–74), ink, gouache, hair, 59.7 x 41.8 cm

Self-portrait (c. 1973), ink, pencil, watercolour and collage, 35.0 x 25.0 cm

Self-portrait (After Looking at Leonardo) 1973, conté and ink, 30.4 x 25.4 cm

(Brett on Horseback) (c. 1973) black ball-point pen and ink, 16.1 x 12.0 cm

(Self-portrait on Television) (c. 1973), pencil, 38.2 x 25.4 cm

Winter Self-portrait Rembrandting 1973, ink, 89.0 x 62.9 cm

Notre-Dame Cathedral 1973, ink and collage, 66.0 x 50.0 cm (detail)

Self-portrait (c. 1975), ink, 32.5 x 26.0 cm (oval)

(Double Self-portrait) (c. 1975), ink, 56.6 x 44.3 cm

Self Portrait Drawing a Frangipani Tree 1975, ink on board, 200.4 x 86.3 cm

Self Portrait with Tiny Quiver 1975, ink, 151.1 x 86.3 cm

Self Portrait Drawing Calligraphically 1975, ink, 80.5 x 53.5 cm

Self Portrait at 36 1975, charcoal and wash, 82.5 x 57.1 cm

Self Portrait at 36 – Comedown 1975, ink, 118.6 x 78.9 cm

Self Portrait at 36, Comedown (c. 1975), ink on torn reassembled paper, 65.0 x 60.0 cm

Self 1975, ink and ink wash, 55.8 x 48.1 cm

Self-portrait after a Haircut 1976, ink and hair, 100.0 x 76.0 cm

Self-portrait Drawing Calligraphically (2) 1976, ink on cardboard, 182.0 x 81.0 cm

Self-portrait in Byronic Tradition 1976, [details unknown]

(Double Portrait – Ning/Brett) (c. 1976), pencil and collage, 58.4 x 45.2 cm

(Self-portrait) (c. 1976) recto: ink on cardboard, 20.4 x 25.6 cm

Self-portrait (c. 1976), brush and ink, 22.5 x 17.5 cm

(Lavender Bay – Nude and Sculptures) 1976, charcoal, wash on canvas board, 75.3 x 55.4 cm (detail)

Mirrored 1977, ink, 60.5 x 79.0 cm

Self-portrait with Real Hair (1977), ink and hair, 76.0 x 51.0 cm

Self-portrait 1977, ink, 63.5 x 81.2 cm

Self-portrait (c. 1978), ink, 16.3 x 10.3 cm

Self-portrait (c. 1976) 1980, oil, ink and collage, 90.0 x 60.0 cm

Self-portrait in Studio 1980, pencil and collage, 29.8 x 20.6 cm

‘Almost Once’ 1983, ink and charcoal, 46.0 x 70.0 cm

Self-portrait as Caligula (c. 1984), ink, 110.9 x 76.2 cm

Self-portrait at 46 1985, ink, wash, 39.8 x 29.4 cm

Self-portrait (c. 1985), brush and black ink, 27.3 x 19.5 cm

For Scottie 1987, ink, 31.5 x 25.0 cm

(Drawing and Listening to Music – Self-portrait Caricature) (c. 1987), ink, 55.5 x 37.0 cm

(Advice to Bryan Westwood on Winning the Archibald Prize) (1988), pencil, 20.0 x 25.0 cm

Self-portrait (Rue de Tournon) (1989), pencil, 25.2 x 20.9 cm

For Barbara 1989, ink, 13.0 x 10.0 cm

Lovers out on a Headland 1989, ink, 71.0 x 62.0 cm

(Study after ‘Self-portrait at Full Sink’ 1990) (1990–1991), blue ball-point pen, 27.5 x 22.6 cm

Self-portrait (1990), pencil and collage, 28.5 x 24.0 cm

Self-portrait (c. 1990), ink, 29.6 x 29.0 cm

Self-portrait with Reading Specs 1991, ink, 46.1 x 31.7 cm

Self-portrait at 52 1991, charcoal, 27.8 x 25.6 cm

Self-portrait 1991, ink, 30.0 x 23.0 cm

Self-portrait (c. 1991), brush and indigo ink on card, 115.0 x 70.5 cm

WHITELEY (c. 1992), charcoal and black fibre-tipped pen, 20.3 x 12.8 cm

prints and posters

Title Page: Regents Park Zoo (from Regent’s Park Zoo Series) 1965, screenprint, S. 98.5 x 68.0 cm

Portraits and Emergencies 1972, poster; offset lithograph, S. 76.0 x 51.0 cm

paintings

First Oils – Self-portrait 1955, oil on board, 28.0 x 22.0 cm

Self-portrait at 16 1955, oil on canvas on cardboard, 26.5 x 26.0 cm

Self-portrait 1958, oil on paper, 19.5 x 14.5 cm

Self-portrait, London 1964, oil, watercolour, ink, pencil and collage on paper, 63.0 x 47.0 cm

Me (September 1965) 1965, mixed media on panel, diptych: 30.5 x 89.0 cm x 4.1 cm

Not I – Me 1967, mixed media on board with sculptural arm, 185.4 x 152.4 x 119.4 cm

Rembrandt 1967; reworked 1971–92, mixed media on hardboard, 136.0 x 125.0 x 11.0 cm

The Grin and the Hymn 1968, oil on plywood, 148.6 x 121.9 cm

Self-portrait Showing Seven Incarnations 1970, mixed media on board, 137.2 x 122.0 cm

Linked Portrait: Brett Whiteley; Tony Woods; William Pidgeon 1970, mixed media on board, triptych, 203.0 x 289.5 cm

Portrait of the Artist as Oriental 1971, oil and collage on pineboard, 269.3 x 185.4 cm

Alchemy 1972–73, mixed media on 18 wood panels, 205.8 x 1,617 x 3.3 cm overall (detail)

Green Self-portrait on the Side-glance 1974, mixed media on masonite, 32.5 x 26.0 cm

Self-portrait in the Studio 1976, oil, collage and hair on canvas, 200.5 x 259.0 cm

The Telephone 1976, oil on canvas, 91.8 x 91.3 cm (detail)

Self-portrait 1977, oil and hair on canvas, 30.5 x 25.5 cm

Art, Life and the Other Thing 1978, mixed media on board, triptych, left panel 91.9 x 79.6 x 7.8 cm; central panel 211.8 x 130.6 x 8 cm; right panel 31.2 x 31.2 x 7.3 cm

Getting Quite Close 1982, mixed media on laid colour photograph, 163.0 x 121.0 cm

Vincent: 5 Heads (also titled Homage to Vincent van Gogh: Self-portrait) 1982, mixed media on cardboard, 58.1 x 49.4 cm

Self Portrait at 44 1983, tempera and collage on cardboard, 80.0 x 113.0 cm

Self Portrait as Gertrude Stein 1988, mixed media on canvas, 76.0 x 76.0 cm

Self-portrait at Full Sink 1990, oil on canvas, 98.0 x 87.8 cm

ceramics

Self-portrait after Drinking Three Bottles of Wine 1974, vase [details unknown]

sculpture

(Self-portrait) (c. 1957) coloured concrete, 30.0 x 19.0 cm

Miscellany

Self-portrait 1997: We’re All Born Just to be Skeletons? (1981), mounted human skull 1983

Vincent:

drawings and works on paper

Vincent 1968, fibre-tipped pen, 27.0 x 20.5 cm

Brett Whiteley and Martin Sharp, Mickey/Vince 1969, mixed media, [dimensions unknown]

Still life with Shell 1970, ink and gouache, ink and collage, screen print, triptych; 62.5 x 163.5 cm overall

The Sea 1970, suite of 6 ink drawings, each, 30.4 x 30.4 cm

Page of Self-portraits 1971, ink, 31.5 x 30.0 cm

The Winter Fire 1971, ink and wash, 52.5 x 37 cm

Maison de Santé (1971–72), ink and pencil, 25.4 x 25.4 cm approx.

Aries (c. 1972), ink, hair, collaged photograph of Vincent van Gogh, 18.8 x 16.2 cm

Gypsy from Madrid, London (c. 1982), ink, 29.7 x 30.3 cm

Three Studies of Vincent’s Eyes 1982, ink on 3 sheets, 77.9 x 52.8 cm overall

Vincent’s Right Eye (c. 1982), blue and inks, 20.5 x 14.9 cm

Paranoia (c. 1982), ink, glass eye, hair, collage on board, 75.6 x 54.9 cm

Prelude to Starry Night: E=MC² (1982), ink, 36.5 x 53.7 cm sheet; 243.6 x 65.8 cm

Vincent Vortex 1982, ink, 99.6 x 69.8 cm

Study for ‘Self-portrait Painting the Starry Night’ (1982), ink, collage, 57.0 x 77.2 cm

One Sunflower Seed (1982–83), sunflower seed, ink, in perspex box, 12.4 x 10.5 x 3.0 cm

Study of the Sunflowers 1982, ink, 45.7 x 38.1 cm

First Attempt to Use Mechanical Letra-set in Drawing (Especially Landscapes) in the van Gogh Manner (c. 1982), ink and transfer graphics on cardboard, 45.2 x 37.6 cm

(The Pyrenees and the Olgas Combined) (c. 1982), ink, 20.2 x 25.4 cm

The Pyrenees and the Olgas Combined (or St Rémy 2) 1982, ink, 20.3 x 33.0 cm

50 Yards to the Asylum Gates (or St Rémy 3) 1982, brown ink, collage, transfer graphics and gouache, 45.1 x 53.5 cm

Vincent’s Olives (or St Rémy 4) 1982, black, brown and red inks, 42.2 x 48.7 cm

Nuclear Version of Plain de la Crau 1982, mixed media, 182.0 x 120.5 cm

The Café des Arts, St Rémy de Provence 1982, ink, 35.5 x 50.0 cm

The Starry Night, a Persian Version 1982, mixed media, 244.5 x 202.5 cm

Study for ‘Portrait as Van Gogh as Gauguin was Leaving Arles’ 1983, ink, 19.9 x 19.8 cm

Vincent with Pipe 1982, ink, gouache and collage, 73.0 x 55.0 cm

Three Portraits of Vincent 1982, collage, gouache, ink on plywood, 72.6 x 165.0 cm

(Drawing for ‘Another Way of Looking at Vincent van Gogh’) (1983), ink, 46.0 x 30.0 cm

Title Page – Another Way of Looking at Van Gogh Study (1983), ink, 18.3 x 16.7 cm

(Vincent with Pipe) (c. 1983), brush and ink, 73.2 x 56.1 cm

Splitzhenia: Self-portrait with Pipe: Vincent Schized 1983, ink, collage, 30.9 x 20.1 cm

(Vincent after Self-portrait) (1983), ink, 32.9 x 20.1 cm

Vincent van Gogh’s Eye (1983), ink, 20.0 x 13.0 cm

(Head after Vincent) (c. 1983), ink, 67.1 x 50.8 cm

Dot-Dash 1983, black cardboard collage on plywood panel painted white, 121.1 x 162.5 cm

Chain Reaction; ‘State of Mind’ 1 1983, collage, 163.0 x 121.3 cm

Marriage of Vincent and Gauguin Chairs (1983), collage, 62.5 x 50.8 cm

(Sketch of Cypress Trees after Vincent) (1983), ink on 2 sheets, 26.7 x 41.0 cm

Study for ‘Two Cypresses after Vincent’ (c. 1983), ink, gouache, 53.7 x 45.8 cm

Expandingness, St Rémy de Provence (1982–83), black fibre-tipped pen, 27.1 x 20.4 cm

Study for ‘Calm Sea’ 1983, ink and pencil, 28.0 x 18.5 cm

The Fountain at St Rémy 1985, brush and black ink, 42.0 x 54.0 cm

(Landscapes after Van Gogh) (c. 1985), ink, 21.0 x 29.5 cm

(Landscape after Vincent) (c. 1985), brown Conté crayon, 27.1 x 20.0 cm

prints

The Divided Unity 1974, screenprint, S. 76.5 x 104.8 cm

Waves on the Harbour 1974, screenprint, printed on cardboard, S. 115.9 x 76.9 cm

Vincent (an Essay in Opposites) 1982, screenprint, etching, collage, P. 212.0 x 91.9 cm

Another Way of Looking at Vincent van Gogh 1888–1889 1983, suite of 3 etchings:

(i) Sons of the Sun 1983, P. 26.7 x 20.2 cm

(ii) The Back of the Asylum, St Rémy 1983, P. 20.5 x 37.0 cm

(iii) Self Portrait, One of a Dozen Glimpses 1983, P. 26.5 x 20.9 cm

photographs

Work in Progress 1983, 24 colour Polaroid photographs mounted on board, 71.0 x 90.0 cm

props

St Rémy (1982), colour photocopy of Polaroid colour photograph, 11.5 x 9.7 cm

St Rémy 1 (Maison de Santé) (1982), photograph, collage on cardboard inside perspex box, 18.6 x 24.0 x 2.9 cm

Vincent's Cell in the Saint-Paul-de-Mausole Asylum (1982), offset lithographic print and string on cardboard, 14.1 x 6.3 cm

Vincent and Theodore van Gogh Headstones (c. 1983), offset commercial lithograph on cardboard, 5.3 x 9.0 cm

Life and Death (1983), offset lithograph on cardboard, 12.5 x 14.9 cm

Maison de Santé (1983), offset lithograph in perspex box, 26.8 x 24.3 x 2.4 cm overall

Splitzphenia: Vincent Self-portrait Schized (1983), altered colour reproduction after van Gogh on canvas on plywood, 74.3 x 53.6 cm image; 243.5 x 76.0 cm overall

Landscape and Arrow (c. 1983), offset lithographic print after van Gogh, ink with adhesive on perspex facing, 18.2 x 36.2 cm

(After Vincent van Gogh) (1980s) 2 offset lithographic prints [additional to catalogue raisonné] (BWS633; BWS728)

paintings

Vincent 1968, oil, ink, mirror and razor on board, 220.9 x 164.4 x 38.1 cm

The American Dream 1968–69, mixed media on 18 panels, 244.0 x 2,196.0 cm (detail)

Francis Bacon in Gaol (later retitled ‘State of Mind’ 3) (1970–72), mixed media on board, 94.1 x 90.7 x 5.0 cm

Van Gogh 1970, oil and cloth on card on board, 48.0 x 39.0 cm

(Sunflower and Vincent van Gogh) 1970–72, diptych: (Sunflower) oil on board, 62.0 x 55.0 cm; Vincent (also titled Vincent (Torn Up)), oil on card on board, 62.0 x 55.0 cm

The Blossom Tree (previously titled Bilpin on Arles) 1970–82, mixed media on plywood, 194.7 x 186.0 x 27.0 cm

Vincent 1971, oil, pen and ink on plywood, 135.5 x 91.9 cm

You are Looking at a Portrait of Hiroshige Looking at a Reproduction of a Reproduction of a Night Café by van Gogh Which Turns Out to be an Original Brett Whiteley Anyway 1971–72, oil on plywood, 265.5 x 177.8 cm [dismantled and partially lost]

The Night Café 1971–72, oil on board, 122.7 x 144.5 cm

Palm Beach with Vincent 1971–72, oil, recessed light fitting on plywood, 164.5 x 122.5 cm

Alchemy 1972–73, mixed media on 18 wood panels, 205.8 x 1,617 x 3.3 cm overall (detail)

Smack! 1973–82, oil and electric light on plywood, 116.0 x 83.7 cm

Thebe’s Revenge 1973–82, oil, collage on plywood (verso: ‘Untitled’), 203.0 x 122.0 cm

Saint Rémy de Provence: The Day Expressionism Got Born 1982–83, oil, ink, plaster, collage on board, 164.5 x 123.5 cm

Getting Quite Close 1982, mixed media on laid colour photograph, 163.0 x 121.0 cm

Vincent: 5 Heads (also titled Homage to Vincent van Gogh: Self-portrait) 1982, mixed media on cardboard, 58.1 x 49.4 cm

Vincent Mask 1982, oil on card with string, 13.5 x 12.8 cm

Another of Vincent’s Brushes 1982, oil, cut-throat razor on paper, 105.7 x 76.0 cm

Son of the Sun 1983, oil, charcoal, ink, collage on plywood, 162.0 x 122.0 cm

Insomnia (conceived 1963) 1983 (reworked 1985–86), mixed media on plywood, 128.0 x 173.0 cm

Imagined Self-portrait of Vincent to 1891 1983–84, oil, collage, ink on plywood, 163.0 x 121.5 cm

The Plum Tree in the Municipal Gardens in Arles 1985, oil and collage, 203.0 x 145.0 cm

Deeper 1985, oil on plywood, 205.7 x 153.5 cm

sculpture

Vincent for Andy 1982, 15 Redhead matchboxes, matches on cardboard box inside perspex box, 17.5 x 20.1 x 4.6 cm overall

Vincent’s Chair with Money (1983), readymade timber chair and rush matting, 34 coins in a perspex box, chair: height 24.5 cm; perspex box: height 25.5 cm

Thanks Pablo – van Gogh’s Chair (1983), readymade wood and cane chair, 95.5 x 42.3 x 40.5 cm

‘State of Mind’ No. 2 1983, wood, painted black, 91.5 x 161.5 x 5.0 cm Refer also Matches and ‘Almost Once’

Wendy (Weet):

drawings

Wendy and Arkie as a Baby (Two Day Old Daughter) 1964, charcoal, 56 x 77.5 cm

Wendy Sewing 1964, charcoal, 56.0 x 77.5 cm

Wendy 1964, charcoal, 55.8 x 76.5 cm

Wendy 1965, charcoal, 55.7 x 76.5 cm

Wendy 1967, ink, 43.8 x 55.0 cm

Wendy’s Eyes 1968, ink, 56.7 x 76.6 cm

Portrait of Wendy 1970, charcoal, 54.0 x 76.0 cm

! Each Time 1971, ink, 93.9 x 63.5 cm

Wendy (c. 1973), brush and black ink, 19.0 x 15.5 cm

Wendy Sleeping 1973, brown ink, 30.1 x 33.8 cm

Wendy with Necklace (Lavender Bay) (c. 1973), blue ink, 56.0 x 38.1 cm

Lover on the Phone 1973, pencil, charcoal and ink, 76.2 x 57.2 cm

Life Cycle: Young Woman (1973–74), mixed media: pastel, collage, and synthetic polymer on wood, 187.5 x 187.5 cm

The Thought 1974, pencil and charcoal, 19.7 x 15.6 cm

Wendy Peeling Potatoes, Lavender Bay (c. 1974), ink, 22.6 x 20.3 cm

Wendy in Profile 1974, Conté crayon, 70.4 x 49.9 cm

Study for ‘The Shower’ 1975, ink and watercolour, 99.0 x 75.5 cm

Stretch of a River 1975, ink, collage, 65.4 x 50.0 cm (detail)

The Cushions 1975, ink on cardboard, 160.0 x 86.4 cm

Weet 1975, ink on cardboard, 142.8 x 86.4 cm

Wendy on Cushions 1976, charcoal, 56.0 x 76.0 cm

[Wendy] Carve and Paint (c. 1976), ink, 37.7 x 25.4 cm

Wendy 11 pm 1977, pencil and ink, 57.0 x 76.0 cm

Wendy Asleep (c. 1977), watercolour, 44.1 x 55.9 cm

Sewing at Night 1977, ink and wash, 68.4 x 83.8 cm

Wendy 12 pm 1977, ink, 72.7 x 53.1 cm

Wendy (c. 1978), ink, 38.2 x 27.5 cm

Wendy (c. 1978), brush and black ink, 22.3 x 14.0 cm

Preliminary Sketch for Wendy on Sofa 1980, ink, 24.3 x 33.4 cm

All of It (Queensland) (c. 1980), ink, gouache, wine, collage, 74.9 x 91.7 cm Wendy Drunk 11 pm 1983, brown ink, 74.8 x 103.5 cm

Wendy 1983, charcoal, 51.0 x 51.0 approx.

Wendy (c. 1984), ink, 49.2 x 55.4 cm

(Woman at Table) (c. 1984), brown ink, 29.2 x 23.0 cm

(Weet with Flowers in Magnolia Vase) (c. 1984), ink, 29.8 x 21.0 cm

(Woman at Table with Magnolia in Vase) (c. 1984), brown ink, 22.6 x 21.0 cm

(Woman with Bracelets Clasping Hands to her Head) (c. 1984), ink, 29.8 x 21.0 cm

(Two Women at Table) (c. 1984), brown fibre-tipped pen, 29.8 x 21.0 cm

(Woman Clasping Hands to her Head) (c. 1984), brown ink, 29.8 x 21.0 cm

Study for Head of Portrait of W. (1985), ink, 32.8 x 21.5 cm

Study for ‘Portrait of W., 1’ 1985, charcoal, 177.6 x 152.4 cm

Study for ‘Portrait of Wendy, 2’ 1985, charcoal, 179.0 x 152.0 cm

Wendy (c. 1988), ink, gouache and collage, 46.0 x 26.5 cm

(Woman with Red Nails) (c. 1990–91) ink, red nail polish [?], 37.4 x 24.7 cm

Wendy 1991, brush and ink, 87.0 x 59.7 cm

paintings

“Her” 1967, mixed media on plywood, 183.0 x 237.5 cm

Birth–rebirth (for Arkie); Vietnam 1967, mixed media on plywood, diptych; 198.2 x 183.0 cm overall

Weet 1968, 1970 (1990), oil on plywood, 91.4 x 91.4 cm

Yellow Interior 1980–81, ink and collage on canvas, 94.0 x 91.5 cm

Portrait of Wendy 1984, mixed media on canvas, 150.0 x 212.0 cm

Ace of Hearts (1991), oil, $50 note, gold wedding band, cloth, collage on wood 122.0 x 175.0 cm

Patrick White:

Whiteley painted Patrick White while the author was working on his autobiography, Flaws in the Glass (published in 1981).

drawings

First Preliminary Sketches for ‘Portrait of Patrick White’ 1979, ink on card, 45.4 x 14.0 cm

Study for ‘Portrait of Patrick White’ (c. 1979), pencil, 27.9 x 31.1 cm

Preparatory Drawing for ‘Patrick White at Centennial Park’ (1979–80), ink and oil, 63.2 x 73.8 cm

From Walks in Centennial Park with Patrick 1979, ink, feathers, 43.0 x 76.0 cm

Portrait of Patrick White: Preliminary Composition for Main Painting (1980), ink, 65.5 x 47.0 cm

(Sketches for ‘Portrait of Patrick White’) (c. 1980), ink, 10.4 x 7.6 cm

Portrait of Patrick White: Head Study (c. 1980), ink, 138.0 x 48.0 cm

Earlier Patrick 1980, blue ball-point pen on paper, 23.0 x 21.0 cm

Portrait of Patrick White: Head Study 1980, charcoal and ball-point pen, 32.0 x 26.0 cm (oval)

Head Sketch (also titled Head Sketch (for Patrick White)) 1980, ink, 16.0 x 13.0 cm

Study of Patrick White 1980, pencil on cardboard, 40.5 x 32.0 cm

Preliminary Sketch for Portrait of Patrick White in Rocking Chair 1980, ball-point pen, Conté crayon and gouache, 59.0 x 36.0 cm

Patrick White 1980, pencil, 41.0 x 36.0 cm

Preliminary Sketch for Portrait Background: Park from Patrick White’s Desk 1980, sepia ink and collage, 42.0 x 59.0 cm

Patrick White’s Writing Desk with Mirror 1980, ink and collage, 40.5 x 42.5 cm

(Portrait of Patrick White) (c. 1990), ink with coloured pencil, 23.0 x 15.0 cm

Four Views of Patrick White (1980) 1990–91, ink, gouache, collage, 42.2 x 36.2 cm

Patrick White (c. 1990), blue ink on ruled paper, 32.2 x 19.8 cm

paintings

Portrait of Patrick White (1980), watercolour, gouache, 40.8 x 33.6 cm

Portrait of Patrick White at Centennial Park 1979–80, oil, collage on canvas on board, 177.0 x 207.5 cm

Portrait of Patrick White as a Headland (c. 1980), oil on canvas, 39.7 x 49.8 cm

Patrick White – Flaws in the Glass 1981, 1991, oil, plaster on canvas on plywood, 87.3 x 93.8 cm

Figurative Works

‘Alchemy’:

drawings

(‘Alchemy’ Spirit Figure) (c. 1972–74), brush and pen and ink, 26.7 x 55.5 cm

Study for ‘Alchemy’ (1972–73), ink and wash, 37.0 x 50.0 cm

Preliminary Thoughts for ‘Alchemy’ 1972–74, mixed media, 75.6 x 56.6 cm

Sketch for ‘Alchemy’ (c. 1972–73), pencil, 37.0 x 50.0 cm

Critics are the Dildoes of Art! (c. 1972–73), pencil and ball-point pen, 12.3 x 20.0 cm

(Study for ‘Alchemy’) (1972–73), pencil and collage, 44.0 x 51.0 cm

‘Alchemy’ Notes (1972–74), red fibre-tipped pen, collage, 20.2 x 17.4 cm

‘Alchemy’ Arrow (c. 1972–74), ink, enamel, screenprint, 48.0 x 67.0 cm

Working Notes for ‘Alchemy’ (1973), ink, collage, 55.3 x 80.3 cm

‘Alchemy’ Postscript 1973, ink and collage, 38.0 x 46.0 cm

(Study for ‘Alchemy’) (c. 1973), pencil, 27.9 x 38.0 cm

paintings

Portrait of Ingrid 1972, mixed media on paper, 32.4 x 39.1 cm

Study for ‘Alchemy’ (1972), mixed media, 81.0 x 81.0 x 6.0 cm

Alchemy 1972–73, mixed media on 18 wood panels, 205.8 x 1,617 x 3.3 cm overall

Buddhism:

drawings

Buddhism (1970), ink, gouache, leaf, 58.2 x 73.3 cm

Zen Monks 1971, pen and ink, 49.0 x 51.0 cm

Buddha (c. 1972), pencil, 41.5 x 27.6 cm

Buddha (1972), ink on canvas, 134.5 x 91.5 cm overall

Buddha (1974), ink, 54.0 x 51.0 cm

Buddha 1974, ink, 29.5 x 21.5 cm

(Thai Buddha) (c. 1975), blue ink, 57.2 x 39.1 cm

(Thai Buddha) (c. 1975), ink, 52.5 x 37.8 cm

(Cambodian Buddha) 1975, ink, 55.0 x 41.0 cm

(Cambodian Buddha) (c. 1975), charcoal, 38.0 x 56.0 cm

Buddha 3 1976, pencil, 31.0 x 28.2 cm

(Buddha) (c. 1976), ink, [dimensions unknown]

(Buddha – Drawing for Print) (c. 1976), ink, [dimensions unknown]

(Buddha) (c. 1976), ink, [dimensions unknown]

Buddha 1976, ink, 76.1 x 55.9 cm

Nice Thought… 1977, ink, 68.0 x 48.0 cm

Bangkok 1977, ink, 39.5 x 27.0 cm

Monk (c. 1977), ink, 41.0 x 39.5 cm

Thai Buddha 1977, ink, 30.4 x 22.8 cm

(Thai Buddha) (c. 1977), brown ink, 38.4 x 28.1 cm

(Buddha) (c. 1977), brown ink, 38.4 x 28.1 cm

Thai Buddha 1977, ink, 35.6 x 31.8 cm

Buddha 1979, ink, 75.0 x 51.5 cm

Study for Still Life with Buddha Scroll and Ceramic Vase Showing Descent from the Cross 1980, ink, pencil and collage, 121.0 x 80.6 cm

Little Buddha Daniel 1981, ink, 104.9 x 74.9 cm

Buddha (c. 1985), blue ball-point pen, pencil, collage, 27.1 x 20.7 cm

Buddha (c. 1989), black crayon, 39.8 x 47.9 cm

posters and prints

Brett Whiteley: Portraits and Other Emergencies 1972, offset lithograph, S. 76.1 x 50.7 cm (detail)

Buddha 1977, sugarlift aquatint, P. 50.5 x 50.1 cm

paintings

Change 1971, oil and mixed media, 134.5 x 121.5 cm

(Buddha 1971–72) [destroyed by the artist in 1973]

In the Window of a Tokyo Art Gallery 1989–1990, oil, ink, collage, 76.0 x 76.0 cm

Still Life with Buddha and Cornflowers 1989, oil, 76.0 x 76.0 cm

ceramics

Buddha Vase 1974, vase, height 37.0 cm

The Buddha Vase (c. 1974), height 31.0 cm

(Buddha) (c. 1977) plate, 34.5 cm diameter

Buddha (c. 1977), plate, 31.5 cm diameter

death, the crucifixion and the ‘Crime of Love’:

drawings

(Crucifixion) (c. 1960–61), pencil, charcoal, brown ink, gouache, 55.5 x 37.5 cm

Crucifixion (from Crime of Love series) (1968–73), ink and collage, 56.0 x 70.0 cm

Crucifixion (from Crime of Love series) 1972, ink, 26.8 x 27.9 cm

Grief 1972, pencil, ink, charcoal, gouache, 76.0 x 55.5 cm

Preliminary Thoughts for ‘Alchemy’ (from Crime of Love series) 1972–74, pencil, ink, photographs, collage, 75.6 x 56.6 cm

The Screeching Argument (or The Argument) 1973, inks, collage, 52.0 x 47.0 cm

Crucifixion (or Jesus…!; Study for Crucifixion) (1972) 1973, ink, 75.6 x 55.8 cm

Crucifixion (from Crime of Love series) (or Dream of the Crucifixion (drawn upon waking)) 1973, ink, 76.0 x 55.8 cm

(Crucified) (c. 1979), ink and Polaroid photograph, 40.8 x 33.0 cm

Group Plan for Joel’s Grave (11 July) 1980, ink, and gouache, 61.2 x 38.4 cm

Study for Still Life with Buddha Scroll and Ceramic Vase Showing Descent from the Cross 1980, ink, pencil and collage, 121.0 x 80.6 cm

Still Life 1980, oil, ink and collage, 125.0 x 81.0 cm

(Crucifixion) 1980, pencil, blue ink, on envelope, 22.4 x 10.0 cm

Crucifixion (begun 1973) (1980), mixed media, 79.0 x 76.0 cm

Golgotha 1980, ink, 125.0 x 81.0 cm

Apocalypse Now (or Portrait of Col. Kurtz from ‘Apocalypse Now’) 1980, ink, oil, collage, 86.5 x 62.7 cm

Study for 35 ft ‘Crucifixion’ Sculpture for Inner City public Plaza 1980, mixed media, 121.0 x 80.5 cm

The Game Goes On 1980, oil, ink and collage, 121.0 x 80.6 cm

Bad Blood (c. 1984), ink, collage, 66.5 x 51.1 cm

Study for ‘The Descent from the Cross’ 1987, ink and oil, 40.8 x 38.0 cm

paintings

Dixon Street 1959, oil on canvas on board, 82.3 x 120.6 cm (detail)

Crucifixion Trilogy 1979–80: ‘My God, My God…Why…’ 1979–80, oil, steel and gold leaf on board, 296.8 x 137.4 cm; ‘Father, Forgive Them…’ (also titled Preliminary Drawing for Crucifixion) 1979, charcoal and wash, 246.0 x 131.0 cm; The Giving Up 1979–80, oil and steel, 264.4 x 122.0 cm

ceramics

Crucifixion Vase (also titled Descent from the Cross) (1980), height 45.8 cm Untitled Vase (Crucifixion) (1980), height 36.5 cm

Crucifixion 1989, plate, diameter 33.8 cm

(Crucified Hand) (1989), plate, diameter 33.7 cm

sculpture

(Crucifixion) (1969), mixed media; including wood, plaster, nails, wire, plastic tubing, fibreglass, perspex, paint, Bible [dimensions unknown]

And Death 1983, mummified fox under perspex, 77.0 x 77.0 cm

miscellany

Self-portrait 1997: We’re All Born Just to be Skeletons? (c. 1981), mounted human skull, on brass and granite base, 25.0 x 17.0 x 17.0 cm overall

‘listening [to nature]’:

The ‘ear’ motif can be found in each of the following works

drawings (details)

(Study for ‘Alchemy’) (1972–73), pencil and collage, 44.0 x 51.0 cm (detail)

The Divided Unity 1973, ink and collage; 2 panels, 74.0 x 104.0 cm overall (detail)

Illustration for ‘The Boy and the Mute’ (1975), ink and collage, 8.2 x 8.5 cm

Sacred Baboon (c. 1975), ink, gouache, collage, rice paper, 27.7 x 27.5 cm

Asher Bilu Playing Sarod 1980, charcoal, ink, pencil and collage, 51.0 x 76.0 cm (detail)

Study for ‘Portrait as Van Gogh as Gauguin was Leaving Arles’ 1983, ink, 19.9 x 19.8 cm (detail)

(Bird and Ear Composition) (c. 1983), ink, collage paper in plastic sleeve, 15.9 x 10.8 cm

(Long-backed Woman) (1985), charcoal, 57.0 x 39.4 cm (detail)

Figure from the Back 1985, ink, 76.2 x 56.0 cm (detail)

Figure from the Back 1985, brown ink, 70.7 x 55.1 cm (detail)

prints

The Divided Unity 1974, screenprint, S. 76.5 x 104.8 cm (detail)

Seagull 1984, sugarlift aquatint with collage, P. 49.8 x 49.8 cm (detail)

paintings

Listening to Nature (1964; reworked c. 1967), mixed media on plywood, 146.0 x 102.0 cm board

General Westmoreland 1971; Vietnam Fug Get It (War Veteran) (1971), oil and collage on pineboard; oil, collage, medals on hardboard, diptych: 113.0 x 55.0 x 7.0 cm (detail)

Alchemy 1972–73, mixed media on 18 wood panels, 205.8 x 1,617.0 x 3.3 cm (detail)

Insomnia (1963) 1983 (reworked 1985–86), mixed media on plywood, 128.0 x 173.0 cm (detail)

Deeper 1985, oil on plywood, 205.7 x 153.5 cm (detail)

Nudes

bathers at Bondi:

drawings

Bondi Nude (c. 1976), ink, 63.5 x 87.4 cm

Study for ‘Bather Reading an Art Catalogue, Bondi’ 1980, ink, 29.5 x 29.7 cm

Girl Half in the Surf and Half on the Beach [Bondi] (c. 1982), ink, 37.0 x 28.0 cm

Beside the Sea [Bondi] 1982, ink, 26.0 x 32.0 cm

Bondi Studies for Sculpture and Large Painting 1982, brown ink, 66.9 x 48.7 cm

Preliminary Study for ‘Bondi Triptych’ 1983, sepia ink and pencil, 56.0 x 69.0 cm

Study for ‘Bondi Triptych’ (c. 1983), blue ball-point pen, 28.0 x 24.5 cm

(Two Nudes on the Beach, One Reading a Book) (c. 1983), ink, 22.5 x 23.2 cm

(Beach Sketch) (c. 1983), brown ink, 29.7 x 21.0 cm

(Beach Sketch) (c. 1983), brown ink, 29.7 x 21.0 cm

(Reading) (c. 1983), pencil, black and brown ink, 29.7 x 21.0 cm

(Bather Reading) (c. 1983), brown ink, 29.7 x 21.0 cm

(Under the Umbrella) (c. 1983), brown ink, 29.7 x 21.0 cm

(Bondi Study – On the Towel) (c. 1983), brown ink, 29.7 x 21.0 cm

(Bondi Sunbather with polka-dot Bikini and Umbrella) (c. 1984), brown ink, 32.7 x 29.9 cm

(Drawing for ‘Bather in Bikini’) (c. 1984–86), pencil, 37.5 x 26.7 cm

(Bather in Bikini) (c. 1984–86), ink, 38.3 x 26.7 cm

Bondi, Page of Notes 1985, pencil, 54.6 x 31.7 cm

Bondi Woman 1 (c. 1985), ink, 29.5 x 29.7 cm

Bondi Woman [1] (c. 1985), ink, 29.5 x 29.8 cm

(Sketch for ‘Sunbather’) (c. 1985); verso: (Sketch of Golfer), ink, 29.5 x 29.6 cm

Sunbather (c. 1985), ink, wash on sleeve from 33 rpm long-playing record, 30.3 x 30.8 cm

Bondi Woman (c. 1985), ink, 29.5 x 29.6 cm

Bondi Woman (c. 1985), ink, 29.5 x 29.8 cm

Bondi Woman 5 (c. 1985), ink, 29.5 x 29.6 cm

Bondi Woman [wearing sunglasses] (1985–86), ink, 29.5 x 29.7 cm

(Nude Beach Studies) (c. 1985), black fibre-tipped pen, 29.7 x 21.0 cm

(Bondi Bather); verso (Sketches of Waves at Bondi) (c. 1985), ink, 29.6 x 30.7 cm

(Beach Studies) (1985), ink, black fibre-tipped pen, 29.5 x 30.6 cm

(Beach Studies) (c. 1985) verso: Qantas Flight 2, 11.36 PM, ink and collage, 29.5 x 30.5 cm

Sketch for ‘Diving Under’ 1985, sepia ink, 41.9 x 59.1 cm

Sketch for Linocut ‘Diver and Dumper’ (1985), brush and sepia ink, 55.0 x 37.0 cm

Two Figures at Bondi 1986, charcoal, 148.5 x 161.0 cm

Bondi (1986), charcoal, 115.0 x 68.0 cm

Mucking About on Bondi 1988, pencil, 31.3 x 29.5 cm

Shower at Bondi 1992, charcoal, 100.0 x 70.0 cm

prints

A Day at Bondi 1984, suite of 10 etchings, plus a title page, etchings each P. 20.1 x 18.0 cm

(Nude on Beach) (c. 1984) engraved copper plate with resin, P. 20.0 x 18.0 cm [not printed]

paintings

Woman on the Beach Reading an Art Catalogue 1980–81, oil on canvas, 178.0 x 152.0 cm

The Spray at Bondi 1981, oil on canvas, 179.0 x 154.0 cm

Bondi 1983, oil, tempera with electrical wiring on plywood, triptych: 214.0 x 588.0 cm

The Lebanese Grin – Bondi 1986, oil and collage, 53.6 x 48.9 cm

Justine, Bondi 1986, oil, charcoal and collage on plywood, 152.3 x 122.0 cm

Sketching at Bondi 1986–87, oil and collage on plywood, 122.0 x 152.0 cm

Diving In, Bondi 1988, oil and collage on board, 168.0 x 122.5 cm

ceramics

Untitled Vase (Bondi Beach) (c. 1985), height 45.0 cm

(Bondi Woman) 1985, plate, 33.6 cm diameter

bathers by the sea:

drawings and works on paper

Wendy 1965, charcoal, 55.7 x 76.5 cm

Study for ‘The Beach’ 1965, pencil, 45.5 x 54.0 cm

Study for ‘The Beach’ 1965, charcoal and wash, 56.0 x 76.5 cm

Study for ‘The Beach’ and ‘Shark’ Sculptures 1965, ink, 26.1 x 40.2 cm

(Nude Drying Herself) (1965), charcoal, 28.5 x 30.5 cm

[Wendy and Arkie on the Beach] Tangier Postcard 1967, ink and gouache, 56.0 x 76.0 cm

(On the Beach) 1970, ink and acrylic, 74.5 x 107.5 cm

(Beach Study for ‘Balmoral’) (c. 1975), pencil, 29.5 x 30.5 cm

Study for ‘Figures on the Beach’ 1975, ink, 92.5 x 64.5 cm

Study for ‘Bather on the Sand’ 1976, ink, 92.0 x 62.5 cm

Nude in the Surf 1976, watercolour, 101.0 x 74.0 cm

Palm Beach Surfers 1978, pencil, 41.1 x 56.5 cm

Study for Beach 1980, pencil, 22.8 x 55.9 cm

Study for ‘Bather Reading an Art Catalogue, Bondi’ 1980, ink, 29.5 x 29.7 cm

Wendy in Bali 1980, brown Conté crayon, 50.8 x 66.0 cm

Study for Relief Carving – Mother and Daughter on Kuta Beach, Bali 1980, crayon and ink, 49.5 x 64.5 cm

Bather by the Sea 1981, ink, 85.8 x 63.5 cm

Two Women beside the Sea – [Nude in the Bedroom] – Two Women in a Paddock (1981), pencil on 7 sheets, 20.5 x 33.6 cm each sheet; 147.9 x 35.7 cm overall

Two Women beside the Sea (c. 1981), pencil, 20.5 x 33.5 cm

(Four Bathers beside the Sea) (c. 1981), black fibre-tipped pen, 20.6 x 33.6 cm

(Male Bather) (c. 1981), pencil and ink, 20.6 x 33.6 cm

(Woman in Bikini) (c. 1981), black fibre-tipped pen, 19.6 x 33.6 cm

(Nude in Hammock) (c. 1982), black fibre-tipped pen, 24.5 x 33.5 cm

(Two Nudes on the Beach, One Reading a Book) (c. 1983), ink, 22.5 x 23.2 cm

(Beach Sketch) (c. 1983), brown ink, 29.7 x 21.0 cm

(Beach Sketch) (c. 1983), brown ink, 29.7 x 21.0 cm

(Reading) (c. 1983), pencil, black and brown ink, 29.7 x 21.0 cm

(Bather Reading) (c. 1983), brown ink, 29.7 x 21.0 cm

(Under the Umbrella) (c. 1983), brown ink, 29.7 x 21.0 cm

Polka-dot on Beach (or Polka-dot Bikini Girl on Beach) 1984, ink, 64.2 x 93.0 cm

(On the Beach) (c. 1984), ink, 38.3 x 27.0 cm

(Drawing for ‘Washing the Salt Off ’) (c. 1984), ink, 29.7 x 21.0 cm

Calendar Girls: (Beach Sketches); (Sketches of Bathers) and (Nude Sketches) (1985), pencil, coloured ball-point pen on sheets from diary, various sizes (Nude Beach Studies) (c. 1985), black fibre-tipped pen, 29.7 x 21.0 cm

(Blue Nude by the Sea) (c. 1985), blue ink, 54.8 x 79.4 cm

(Long-backed Woman) (1985), charcoal, 57.0 x 39.4 cm

Figure from the Back 1985, ink, 76.2 x 56.0 cm

Figure from the Back 1985, brown ink, 70.7 x 55.1 cm

[Bathers] Study for Wooden Figure (c. 1986), ink, 35.0 x 25.0 cm

(Three Long-backed Beach Nudes) (c. 1986), pencil, 26.2 x 24.6 cm

Beach Back with Long Hair 1987, ink, 76.0 x 56.0 cm

Woman at the Beach 1992, charcoal, 100.0 x 70.0 cm

prints and photographs

Australia…A Trip Back November 1965–July 1966 (1966), 13 photographs mounted on cardboard on plywood, 83.8 x 118.2 cm overall (detail)

paintings

Figures on the Beach, Naples (1960), polyvinyl acetate on board,

26.0 x 36.5 cm

Small Hissing Painting 1965, oil, collage and wire and metal on board,

43.3 x 38.1 cm

The Beach 1966, mixed media on board, 195.6 x 243.8 cm

The Beach 11 1966, mixed media on plywood, 102.0 x 106.0 x 6.5 cm

Bather on the Sand 1975–76, oil on canvas, 122.0 x 91.5 cm

Balmoral 1975–78, oil and collage on canvas, 181.0 x 240.0 cm

Nude in the Surf 1977, oil on canvas, 76.0 x 51.0 cm

Two Figures by the Sea 1980, oil on cardboard, 124.5 x 114.3 cm

Study for ‘The Swim’ 1980, ink and oil on canvas, 60.0 x 100.0 cm

Woman on the Beach Reading an Art Catalogue 1980–81, mixed media on canvas, 178.0 x 152.0 cm

Bather by the Sea (c. 1981), oil on hardboard, 92.0 x 90.3 cm

Ita 1981, oil, collage on canvas with wood strip, 73.0 x 61.0 cm

After the Swim (also titled Washing the Salt Off, 11) 1984–85, oil on canvas, 86.5 x 86.5 cm

Washing the Salt Off, 1 1985, oil on canvas, 167.7 x 152.0 cm

Washing the Salt Off, 111 1985, oil on canvas on hardboard, 92.0 x 61.0 cm

Palm Beach 1985, oil on canvas, 167.7 x 152.5 cm

After the Swim, Tangier 1986–87, mixed media on board, 152.0 x 122.0 cm

Wategos Beach, Byron Bay (Summary) 1990, oil, charcoal, enamel on ply, 205.0 x 243.0 cm

Beach Polyptych 1984, 1991–92, mixed media on 6 hardboard panels, 216.4 x 733.2 cm board overall

ceramics

Untitled Bowl (Figure from the Back) 1985, 32.8 cm diameter

sculpture

The Swimmer (also titled The Diver) 1957, wood, height 35.0 cm

nude in the bath:

(For Nude in the Shower see below)

drawings

Abstract (Abstract Bathroom Drawing) 1960, oil on paper, 64.6 x 55.7 cm

(Bather Drying her Hair) (1962), charcoal, 28.0 x 20.3 cm

Woman in a Bath 1963, charcoal, 56.0 x 74.0 cm

Bathroom Drawing 1 (1963), charcoal, 56.0 x 76.0 cm

Figure 2 1963, charcoal, 25.0 x 35.0 cm

Bathroom Drawing 3 (1963), charcoal, 55.5 x 75.8 cm

Bathroom Drawing 4 (1963), charcoal, 55.0 x 75.0 cm

Bathroom Drawing 6 (c. 1963), charcoal, 56.0 x 76.0 cm

(Bathroom Drawing) (c. 1963), charcoal on laid paper, 72.0 x 56.0 cm

(Bathroom Drawing) (c. 1963), charcoal on paper, 54.5 x 54.5 cm

Bathroom Drawing (also titled Bathroom) 1963, charcoal, brush and ink on paper, 75.0 x 57.5 cm

Girl Shampooing Hair, Winter 1963, charcoal, pencil and ink, 55.3 x 75.4 cm

Woman in Bath (c. 1963), charcoal, 56.0 x 76.0 cm

Bathroom Composition 1963, charcoal, 38.0 x 35.1 cm

Bathroom Drawing (1963), Conté crayon, 54.0 x 70.5 cm

Bathroom Drawing (c. 1963), crayon, 56.0 x 76.0 cm

Woman in Bath (1963), charcoal, 96.5 x 91.5 cm

(Nude and Bathroom) 1963, charcoal and brown ink, 38.2 x 53.8 cm

Bather Changing Radio Station (c. 1963), charcoal, 56.0 x 76.2 cm

Large Figure at the Basin (also titled Figure at the Basin) 1963, charcoal, 142.0 x 152.0 cm

Bather and Heater (1963–64), charcoal, 152.5 x 152.5 cm

Bathroom Drawing 1964, charcoal, 55.8 x 76.2 cm

Girl at the Basin 1964, ink, 72.0 x 53.0 cm

Bather and Heater 2 (1964), charcoal, 122.0 x 119.5 cm

Lesbians 1968, ink, 56.0 x 76.2 cm

(Nude Bending over Bath) (c. 1976), pencil, 36.8 x 28.2 cm

Study for ‘Girl Drying her Hair’ 1976, ink, 17.5 x 13.0 cm

Nude #4 (Series of 4 Nude Studies) (c. 1977), pencil, 34.5 x 20.0 cm

Woman Drying her Hair: Study for Wood Sculpture 1977

[Kneeling Woman Washing her Hair], double sided: ink and crayon; charcoal, 96.5 x 68.0 cm

(Nude in Bath) (c. 1978), pencil, 58.4 x 41.0 cm

(Woman Washing her Hair in the Bath) 1979, ink, 65.0 x 50.0 cm

(Washing her Hair in the Bath) 1979, ink, 49.5 x 64.3 cm

(Woman in Bath) 1979, ink, 49.6 x 64.6 cm

(Woman in Bath Washing her Hair) 1979, ink, 49.6 x 64.6 cm

(Bending Nude) (c. 1980), ink, 24.8 x 21.7 cm

Study for ‘The Bather’ [i] (c. 1981), black and blue ink, 75.2 x 54.8 cm

Study for ‘The Bather’ [ii] (c. 1981), ink, 75.2 x 54.8 cm

Study for ‘The Bather’ [iii] (c. 1981), ink, 71.1 x 61.5 cm

(Vanity Drawing) (c. 1981), ink (one of 3 framed drawings), 39.0 x 29.0 cm overall

(Blue Nude in the Bath) (c. 1981) blue ball-point pen, coloured pencil, 33.7 x 24.5 cm

Waiting for the Bath to be Run 1982, ink, 56.0 x 44.0 cm

prints

Nude (Bathroom series) (1963–64), monotype, 75.8 x 55.7 cm

paintings

Bather Showing Arm Movement (1963), oil and mixed media on paper on card, 56.0 x 76.0 cm

Woman Sitting on Side of Bath 1963, oil, tempera and collage on board, 183.0 x 179.0 cm

Bathroom and Figure 1963, oil and tempera on board, 96.5 x 92.0 cm

Wendy under the Shower (c. 1963, reworked 1967), oil, charcoal on board, 104.0 x 90.0 cm

Drying her Hair (1963–64), oil on paper, 55.0 x 38.0 cm

Bather 1963, oil on board, 98.0 x 91.7 cm

Washer Partially Covering Bather’s Head (1963), oil, tempera, collage on board, 60 x 55.5 cm

Nude Beside the Basin 1963, oil and tempera on board, 122.0 x 130.0 cm

Nude Beside the Basin 1963 (Nude at the Basin), oil and tempera on board, 122.0 x 139.7 cm

Woman, Basin and Mirror (1963), oil, cardboard, material, string, tempera on board, 96.5 x 91.2 cm

The Blue Bathroom 1963, oil and tempera and collage on board, 188.0 x 183.0 cm

Green Bathroom with Landscape Outside 1963, tempera on board, 152.5 x 142.0 cm

Woman in a Bath 1 1963, oil, tempera and collage on composition board, 183.0 x 188.0 cm

Woman in a Bath 2 1963, oil, tempera, collage of canvas strips on board, 182.9 x 188.0 cm

White Drawing (Sketch) (1963), oil on board, 97.0 x 92.0 cm

Woman, Basin and Heater (1963), oil, collage on board, 91.5 x 81.2 cm

Woman in a Bath (also titled Woman in a Bath 3) 1963, oil, charcoal, tempera, material and collage on board, 146.8 x 120.2 cm

Woman in the Bath 4 1963; reworked 1964, oil, paper, graphite, tempera on plywood, 183.1 x 218.7 cm

Woman in a Bath 5 1963–64, oil, tempera, pencil, ink, collage on board, 213.0 x 183.0 cm

Bathroom Series 1964, oil and gouache on card on board, 56.0 x 76.5 cm

(Nude Study) (c. 1964), gouache, transfer graphics, 49.9 x 66.5 cm

(Bathroom) (c. 1964), mixed media and collage, 76.6 x 55.5 cm

(Abstracted Figure in Bath) (c. 1964), pencil, charcoal, ink, gouache, 55.6 x 76.1 cm

Bather and Mirror 1964, gouache, 159.4 x 154.3 cm

Bather and Mirror (Second Version) 1964, gouache, oil and charcoal, 152.5 x 155.0 cm

Woman Washing her Face (1964), mixed media on board, 61.0 x 61.0 cm

Screen as the Bathroom Window 1976, oil on canvas, 203.0 x 187.0 cm diptych

The Yellow Nude 1978, oil on canvas, 167.0 x 153.0 cm

Hot Bath on a Cold Day 1978, oil on canvas, 168.0 x 152.0 cm

Study for ‘Woman in the Bath’ 1978, oil on canvas, 22.5 x 29.5 cm

(Nude in Bath) 1978, oil on canvas, 30.0 x 22.5 cm

(Bather) 1978, oil, [details unknown]

Nude in the Bath 1980, mixed media on paper, 106.1 x 75.6 cm

Bather at the Garden Window 1980, oil on canvas, 177.8 x 152.4 cm

The Bather 1981, oil on canvas, 106.5 x 91.4 cm

Wendy Bathing (also titled Vanity) 1981, oil and collage on canvas, 40.6 x 50.8 cm

Bather and Garden 1981, oil on canvas, 81.3 x 61.0 cm

(Nude in Bath) 1986, watercolour, gouache and oil on card, 51.0 x 41.0 cm

nude in the shower:

drawings

Study for ‘The Shower’ 1975, ink and watercolour, 99.0 x 75.5 cm

The Shower, 3 or 4 1975, charcoal, ink, 101.0 x 75.7 cm

Preliminary for Art Gallery Society Etching 1975, ink, 44.5 x 56.7 cm

Katharine Showering 1976, gouache and ink, 84.2 x 59.3 cm

Shower 1979, ink, 66.0 x 57.0 cm

(Nude under the Shower) 1982, charcoal and ink on card, 70.0 x 120.0 cm

(Drawing for ‘Washing the Salt Off’) (c. 1984), ink, 29.7 x 21.0 cm

Bending Nude 1984, brown chalk, 75.0 x 54.5 cm

Preliminary Study for ‘Arkie under the Shower’ (1985), ink, 21.0 x 15.5 cm

Study for ‘Arkie under the Shower’ (c. 1985), ink, 76.2 x 55.8 cm

Bending Nude 1985, ink, 75.9 x 54.8 cm

(Washing her Hair in the Shower) (c. 1986), ink, 24.7 x 37.3 cm

Reaching for the Soap (c. 1986), ink [dimensions unknown]

Preliminary Sketch for ‘Arkie under the Shower’ (c. 1986), charcoal, 29.5 x 20.8 cm

Record Cover for John Illsley’s ‘Red Turns to Blue’ (1988), pencil and ink, 14.8 x 15.0 cm

Shampoo 1992, charcoal, 100.0 x 70.0 cm

Shower at Bondi 1992, charcoal, 100.0 x 70.0 cm

prints

Woman under the Shower 1976, etching, P. 40.1 x 48.1 cm

paintings

Wendy under the Shower, London 1962, tempera and oil, 74.5 x 54.5 cm

Wendy under the Shower (c. 1963, reworked 1967), oil, charcoal on board, 104.0 x 90.0 cm

(Bathroom) (c. 1964), mixed media and collage, 76.6 x 55.5 cm

(Plum)Nude under the Shower 1977, oil and pencil on canvas, 104.5 x 79.5 cm

Study for ‘The Shower’ 1984, oil on canvas on board, 60.0 x 50.0 cm

After the Swim (also titled Washing the Salt Off, 11) 1984–85, oil on canvas, 86.5 x 86.5 cm

Washing the Salt Off, 1 1985, oil on canvas, 167.7 x 152.0 cm

Washing the Salt Off, 111 1985, oil on canvas on hardboard, 92.0 x 61.0 cm

Arkie under the Shower 1986–87, oil on board, 173.0 x 112.0 cm

erotica:

drawings and works on paper

(Three Erotic Nude Sketches) (1964), crayon, pencil, 20.5 x 29.5 cm each

(Figure Study) (c. 1965), ink, 37.2 x 55.9 cm

Love? (c. 1965), suite of 3 drawings, charcoal, 75.0 x 54.0 cm

[Lovers] Tangier Postcard 1967, pencil and charcoal, 56.0 x 76.0 cm approx.

Kiss (1967), charcoal, 137.2 x 160.0 cm

New York Sketchbook 1967, mixed media, compilation of 10 pages, each 36.5 x 29.0 cm

…Yes… 1968, oil and ink drawing on plywood, 121.9 x 168.9 cm

Lovers 1968, pencil and collage, 57.4 x 73.1 cm

Applying Lipstick (c. 1968), pencil and collage, 57.2 x 72.4 cm

Camp Cove (also titled Sketch at Camp-Cove) 1971, ink and collage, 49.0 x 37.2 cm

Lovers 1971, ink, 53.3 x 76.2 cm

Page of Lovers 1971, ink on 2 sheets, 101.6 x 71.0 cm

Page of Lovers 1 (1971), ink, 51.0 x 64.4 cm

Page of Lovers 11 (1971), ink, 51.0 x 64.4 cm

Lovers [1] (c. 1971), ink, 25.4 x 30.3 cm

Lovers [2] (c. 1971), [details unknown]

Lovers [3] (c. 1971), ink, pencil, 25.0 x 30.0 cm

Lovers [4] (c. 1971), ink, collage, 25.4 x 30.2 cm

Lovers [5] (c. 1971), ink, 37.6 x 27.6 cm

Lovers [6] [details unknown]

Lovers [7] (c. 1971), ink, pencil, 25.3 x 30.3 cm

Lovers [8] (c. 1971), ink, 25.3 x 30.3 cm

Sketch for ‘Alchemy’ (c. 1972–73), pencil, 37.0 x 50.0 cm

Stripped 1973, ink, 30.0 x 22.0 cm

Lovers in a Hurry 1973, ink, 19.5 x 29.5 cm

Preliminary for Lovers (c. 1973), ink, 50.8 x 71.2 cm

Lovers 1 1973, pencil, 38.0 x 46.0 cm

Lovers (c. 1973), ink, 24.5 x 40.4 cm

Lovers 2 1973, ink, 37.5 x 47.0 cm (oval)

(Lovers) (c. 1973), charcoal and collage, 66.1 x 49.8 cm

From David LitvinOff ’s Story of Tangier (also titled Blow Job) 1973, ink and collage, 25.0 x 18.0 cm

Blow Job 1973, ink, 23.0 x 18.0 cm

“69” 1973, ink, 14.0 x 21.0 cm

Lovers 1973, ink and collage, 30.0 x 34.0 cm

Separated 1974, brown Conté crayon and ink, 76.2 x 94.0 cm

Lover’s Notes 1975, pencil, 53.4 x 38.8 cm

Lovers (c. 1975), pencil on 2 sheets, 54.7 x 37.3 overall

Four Ways 1975, ink on white cardboard, 160.0 x 86.4 cm

The Businessman (1975), ink and mixed media, 153.0 x 101.0 cm

Lovers 1976, ink, 53.0 x 75.0 cm

Lover’s Notes 1976, ink, 53.3 x 76.2 cm

One Page of a Love Letter 1976, ink, 75.2 x 60.3 cm

(Nude Turning her Head) (c. 1976), ink, 75.8 x 50.9 cm

Lovers (1976), ink, 75.8 x 52.8 cm

(Erotic Drawing) 1976, ink [dimensions unknown]

(Erotic Drawing) 1976, ink [dimensions unknown]

Soixante-neuf 1976, ink, 50.5 x 36.0 cm

Cushioned Lovers 1976, charcoal, 102.0 x 152.0 cm

Preliminary Sketch for ‘The Fuck’ 1978, ink, 51.1 x 39.6 cm

(Erotic Encounter) (1978), ink, 53.0 x 63.0 cm

(Lovers) 1979, ink, 73.0 x 51.0 cm

(Lovers) 1979, ink, 71.0 x 49.5 cm

(Woman Masturbating) 1979, ink, 73.0 x 51.0 cm

(Woman Masturbating) (c. 1979), ink, 52.5 x 38.7 cm

(Erotic Designs for Vases) [a-d] (c. 1979), ink, 9.9 x 12.4 cm each

(Making Love on a Brass Bed) (c. 1981), pencil, 20.5 x 33.6 cm

(Lovers on a Brass Bed) (c. 1981), pencil, 20.5 x 33.6 cm

Moments from Dreams 1981, ink, wash, 42.0 x 57.7 cm

From the Back 1981, charcoal, 81.3 x 61.0 cm

Fuck from the Back (1981), ink, 101.5 x 66.1 cm

Adam and Eve 1981, ink, oil, 26.0 x 41.5 cm approx.

Preliminary Note for ‘The Naked Studio’ 1981, ink, watercolour, gouache, 38.0 x 56.0 cm

(Drawing for ‘Afterwards’) (c. 1981), ink, 22.8 x 28.2 cm

(Nude Sketch for ‘Afterwards’) (c. 1981), blue ink, 23.0 x 28.0 cm

(Erotic Sketch for ‘Afterwards’) (1981), blue ink, 23.1 x 28.0 cm

(Blue Nude – Erotic 1) (c. 1981), blue ink, 23.0 x 28.0 cm

(Blue Nude – Erotic 2) (c. 1981), blue ink, 22.8 x 27.9 cm

Playboy Icon; Preliminary for Playboy Magazine 1981, blue ink, 22.8 x 27.3 cm

Lovers – ‘right across m’ big brass bed’ (c. 1981), ink and wash, 15.0 x 26.5 cm

(Nude Acrobats) (c. 1982), blue fibre-tipped pen, 20.0 x 24.9 cm

(Seated Nude) (c. 1982), blue fibre-tipped pen, 24.9 x 20.1 cm

(Nude in Chair) (c. 1982), ink, 26.0 x 18.6 cm

Woman (Ecstasy) 1982, ink, 75.4 x 55.5 cm

The Kiss 1 1982, ink, 95.0 x 63.0 cm

The Kiss 11 (1982), ink, 93.7 x 64.8 cm

(Blue Lovers) (c. 1982), blue ink, 94.0 x 63.0 cm

Lovers 1 1982, ink, 74.6 x 109.3 cm

Lovers 11 1982, ink, 74.0 x 108.8 cm

Lovers (c. 1983), brown ink, 19.7 x 29.1 cm

Erotica – ‘69’ (c. 1983), black fibre-tipped pen, 21.2 x 30.0 cm

(Erotic Nude – Drawing Notes) (c. 1983), pencil, collage, 13.5 x 33.6 cm

Nine Glimpses 1984, ink, 55.3 x 75.4 cm

BoooooBooBahroo 1984, ink and collage, 29.0 x 56.5 cm

Lovers 1985, ink, 29.2 x 55.9 cm

(Erotic) (c. 1985), pencil, 20.5 x 19.3 cm

Fuck Drawing 1985, ink, 20.4 x 15.0 cm

(Study of a Vagina) (c. 1985), pencil, 18.7 x 12.0 cm

Study for Copulating Sculpture (c. 1985), ink, 29.8 x 17.9 cm

Preliminary for Undressing with Background Mirror 1988, ink, 30.2 x 25.4 cm

Study for Glimpses in Spencil’s Mirror 1988, ink, 63.0 x 32.3 cm

(Sex on a Chair) 1988, ink, 95.0 x 77.0 cm

Erotic on a Chair 1988, ink, 84.0 x 74.0 cm

(Erotic) 1988, charcoal, 56.0 x 77.0 cm

Erotic – The Kingdom of Onan (1988), charcoal, 55.7 x 77.0 cm

(Erotic Drawing) (1988), charcoal, 56.0 x 77.0 cm

(Erotic) (1988), charcoal, 55.5 x 76.8 cm

(Erotic) 1988, ink, 63.5 x 95.5 cm

Making Love 1988, charcoal on canvas, 152.2 x 136.8 cm

Mucking About on Bondi 1988, pencil, 31.3 x 29.5 cm

Erotic Study 1988, blue ball-point pen on 2 sheets, 21.0 x 24.2 cm sheet overall

Sketch of R. Cracking It On 1988, charcoal, 76.0 x 55.0 cm

What a Drawing is…Pure Energy – (Study for Sculpture) (c. 1988), collage, ink, 33.5 x 26.0 cm

Study for Public Monument 1988, ink, collage, 34.8 x 21.0 cm

Study for ‘Public Monument (in the African Manner)’ 1988, ink and collage, 63.0 x 24.0 cm

Study for ‘Byron Bay’ (1989), blue fibre-tipped pen, 29.4 x 20.9 cm

Byron Bay 1989, blue ink, gouache, collage, 53.9 x 37.1 cm

Lovers 1 (1989), ink, 47.5 x 63.0 cm

Lovers 11 1989, ink, 47.0 x 63.5 cm

(Clasping Hands) 1989, charcoal and oil on canvas on hardboard, 75.7 x 75.7 cm

Lovers 1989, ink, 75.0 x 110.0 cm

The Other Way 1989, ink, 96.0 x 63.5 cm

prints

Lovers 1975, screenprint, S. 59.0 x 78.0 cm

Light Globe 1981, linocut, printed in black ink, B. 30.0 x 30.0 cm

Reading 1981, linocut, printed in black ink, B. 30.4 x 30.4 cm

Lovers 1984, etching, P. 17.5 x 20.5 cm

paintings

(Untitled Painting – Love?) (c. 1965), mixed media on paper, 46.0 x 42.7 cm

Fidgeting with Infinity 1966–67, oil, collage, pencil, photographs and fibreglass on board, triptych: 244.0 x 382.0 cm

The American Dream 1968–69, mixed media on 18 panels, 244.0 x 2,196.0 cm (detail)

Screw Picture (1970), mixed media, [details unknown]

Alchemy 1972–73, mixed media on 18 wood panels, 205.8 x 1,617 x 3.3 cm overall

‘69’ (1979), oil, 85.5 x 119.6 cm

Study for ‘Absolute Fuckin’ Bitch’ 1980, oil and mixed media on canvas, 89.3 x 86.6 cm

The Naked Studio 1981, mixed media on plywood, diptych: 190.9 x 490.8 x 4.7 cm

Afterwards 1981, oil, ink, linocut, collage on canvas, 152.5 x 184.0 cm

The History of Luck 1981, mixed media on canvas, 112.4 x 136.6 cm board

Sunday Afternoon, Surry Hills 1988, oil, 160.0 x 213.0 cm

ceramics

Untitled Goblets [pair] (Erotic Figures) (1974–75), each 9.0 x 6.5 cm

Untitled Vase (Lovers) 1974, height 21.0 cm

Untitled Vase (Erotic) 1974, height 18.0 cm

Untitled Vase [‘orgiastic’ frieze of female nudes] 1974, height 38.5 cm

Untitled Vase / Candle-holder [Buttock-shaped] (1975), height 22.0 cm

Untitled Vase (Erotic Nude) (1980), height 36.2 cm

Untitled Vase (Erotic Nude) (c. 1980), height 27.0 cm

Untitled Vase (Erotic Nude) (c. 1980), height 28.0 cm

Untitled Vase (Lovers) (c. 1980), height 31.5 cm

Untitled Vase (Erotica) (c. 1984), height 31.0 cm

Erotic [Vase] (Frieze of Lovers) (1984), height 31.0 cm

Untitled Vase (Erotic) (1984–85), [dimensions unknown]

Lovers [Bowl] 1985, 46.0 cm diameter

Untitled Vase (Lovers) 1985, height 53.0 cm

Lovers 1 1989, plate, 32.0 cm diameter

Lovers 11 1989, plate, 31.1 cm diameter

Lovers 111 1989, plate, 30.6 cm diameter

Lovers 1V 1989, plate, 33.0 cm diameter

Lovers V 1989, plate, 33.3 cm diameter

“Her” (reclining):

drawings

(Reclining Nude) (c. 1964), charcoal, brush and ink, 27.7 x 30.5 cm

(“Her”) (c. 1973), mixed media, [details unknown]

“HER” Study for Enormous Painting 1973, pencil, ink, 58.2 x 45.7 cm

“Her” 1973, ink, 90.0 x 63.0 cm

Hooker in Hong Kong 1975, charcoal, 27.3 x 39.6 cm

(Reclining Nude) 1975, brush and black ink on paper, 150.0 x 90.0 cm

Preliminary Sketches for Wood Sculpture 1975, pencil, ink and collage, 128.0 x 49.5 cm

“Her” (5) 1978, mixed media, 61.0 x 50.4 cm

Wendy in Bed (c. 1980), ink, 64.5 x 50.0 cm

Nude in Bali 1980, ink on cotton, 172.0 x 137.0 cm

The Sculpture Studio 1981, ink and collage, 76.0 x 57.0 cm overall (detail)

Other Study of “Her” 1981, ink, 75.5 x 53.1 cm

(Large Breasts) (c. 1981), Conté crayon, 45.3 x 58.3 cm

Torso – “Her” (c. 1981), pencil, 105.7 x 75.5 cm

(Nude on Bed – “Her”) (c. 1981), ink on linoleum on wood, 74.6 x 56.7 cm block

(Other Study of “Her”) [scroll] (c. 1981), ink, 76.0 x 55.0 cm

Nude in Bed – “Her”: Wendy in Bed 1982, ink, 65.0 x 49.8 cm

Study for “Her 11” (c. 1982), ink, 76.2 x 61.0 cm

“Her” (Nude on Bed) (c. 1983), ink, 17.1 x 12.3 cm

(Under the Umbrella) (c. 1983), brown ink, 29.7 x 21.0 cm

(Reclining Nude Smoking) (late 1980s), brown ink on cardboard, 25.5 x 32.0 cm

prints and blocks

Towards Sculpture 1 1977, lithograph, S. 90.0 x 63.0 cm

(Nude Torso) (c. 1981), lithograph, S. 105.7 x 71.7 cm

(Nude on Bed – “Her”) (c. 1981) ink on linoleum on wood, 74.6 x 56.7 cm block

paintings

“Her” 1967, mixed media on plywood, 183.0 x 237.5 cm

(Unfinished Nude Study, No. 4) (verso image of Rothschild’s Mynah)

(1978–79), oil, ink on board, 101.0 x 82.0 cm

The Spray at Bondi 1981, oil on canvas, 179.0 x 154.0 cm

woman on a sofa or bed:

drawings

Three Primitive Nudes, Fiji 1969, pencil and ink, 75.2 x 52.8 cm

Study for ‘Figure on a Sofa’ (c. 1976), black fibre-tipped pen, 12.4 x 18.4 cm

Study for Nude at Palm Beach 1980, pencil and collage, 25.3 x 15.2 cm

Preliminary Sketch for ‘The Letter’ 1980, ink and wash, 62.0 x 84.0 cm

Preliminary Sketch for Wendy on Sofa 1980, ink, 24.3 x 33.4 cm

(Woman on a Sofa Reading a Book) (c. 1980), ink, 38.2 x 55.0 cm

(Blue Nude on a Sofa) (c. 1981), blue ball-point pen, 30.3 x 33.6 cm

Second Preliminary for Wendy on Sofa 1982, pencil, 21.0 x 28.5 cm

Sketch for ‘Portrait of Wendy 1984’ (1984), Polaroid and pencil, 7.8 x 17.2 cm

(Nude with Necklace) (c. 1984–85), brown ink wash, 19.3 x 73.4 cm

Study for ‘Portrait of W., 1’ 1985, charcoal, 167.6 x 152.4 cm

Study for ‘Portrait of Wendy, 2’ 1985, charcoal, 179.0 x 152.0 cm

(Woman on Sofa) (c. 1991), ink, 31.3 x 61.7 cm

Reclining Nude 1991, ink and wash, 128.0 x 226.5 cm

prints

(Woman on a [Flowered] Sofa) (c. 1985), etching, P. 47.6 x 63.5 cm

Woman on a Flowered Sofa (c. 1985), etching and aquatint, P. 47.6 x 63.5 cm

paintings

‘69’ (1979), oil, collage, ink on hardboard, 85.5 x 119.6 cm

Study for ‘Absolute Fuckin’ Bitch’ 1980, mixed media on canvas, 89.3 x 86.6 cm (detail)

The Letter (to Anna) 1980–81, oil, charcoal, collage, pencil on canvas, 151.5 x 177.2 cm

(Crouching Woman) [unfinished] (c. 1981), oil, collage on canvas, 73.0 x 61.0 cm overall

Portrait of Wendy 1984, mixed media on canvas, 150.0 x 212.0 cm

The Finish (1981, 1990) 1991, oil and collage on board, 122.0 x 216.0 cm

Animals

cats and dogs:

drawings

Baudelaire’s Cat (c. 1971), ink and collage, 43.6 x 56.3 cm

(Sculpture Notes) (c. 1973), pencil, 48.1 x 31.8 cm

‘Bag’ the Maltese Terrier Cross (c. 1973), ink, 37.6 x 25.2 cm

Lavender Bay with ‘Sense’ (c. 1975), black fibre-tipped pen on 2 sheets, 52.9 x 59.6 cm

Dogs 1975, pencil, Conté crayon, wash, 33.1 x 48.1 cm

‘Sense’ on [his] Back (1975), ink, 28.5 x 32.6 cm

Sensoreno 1977, brush and ink and collage, 30.0 x 40.0 cm

Interior, Lavender Bay 1978, ink, 70.0 x 92.0 cm

(Lavender Bay Interior with Spotted Dog) 1979, ink, 60.0 x 49.8 cm

Study of Cats and Dogs 1980, ink, 40.6 x 30.4 cm

Violet the Cat 1980, ink and ink wash, 19.7 x 15.5 cm

Andree’s Cat 1981, charcoal, 76.2 x 34.3 cm

Studies for Sculpture 1981, pencil, ink, ball-point pen and newspaper collage, 38.5 x 38.5 cm

(Bassett) (1983), ink, 11.6 x 7.9 cm

‘Sense’ Asleep 1983, ink, 99.8 x 70.4 cm

Spooked by Egypt 1984, pencil, ink and wash, 70.0 x 49.5 cm

‘Packet’ (Pekinese dog) (1984), ink, 13.4 x 16.9 cm

The Chair – Autumn (Lavender Bay) 1985, ink, 39.4 x 28.0 cm (detail)

(Dog) (c. 1985), ink, 23.5 x 31.0 cm

‘Sense’ Resting 1985, ink, 28.0 x 34.2 cm

‘Quickly’ (c. 1986), charcoal, graphite pencil, 30.9 x 30.8 cm

Quickly 9297161 [disc for dog] (c. 1986), pencil, ink, 21.7 x 33.0 cm

‘Quickly’ – MISSING – REWARD Poster (c. 1986), charcoal and ink, 11.5 x 6.7 cm

Quickly (c. 1986), charcoal on cut out paper, 11.5 x 6.7 cm

Study for ‘10 Great Dog Pisses of Paris’ 1989, pencil, ink, gouache, 56.0 x 75.9 cm

photographs

Dogs of Paris, Regard de Côté 1989, silver gelatin, 32.0 x 24.0 cm

Piss in Paris 1989, silver gelatin, 9.2 x 14.0 cm sight

One of the Great Dog Pisses of Paris 1 1989, silver gelatin, ink,

I. 49.8 x 75.4 cm

One of the Greatest Pisses of Paris 11 1989, silver gelatin, 8.8 x 13.6 cm sight

prints

The Cat 1980, offset lithograph on cardboard, S. 116.0 x 91.2 cm

paintings

Taking the Dogs for a Walk, Oberon (1979), oil, collage on masonite, 120.0 x 120.0 cm

Interior with Bulbul Egg Sculpture, Lavender Bay 1980, oil, collage on canvas, 93.5 x 91.0 cm (detail)

Rubin Entering the Dam 1981, ink and gouache on paper, 75.0 x 104.0 cm

Rubin Chasing Splash 1981, gouache on paper, 76.0 x 104.0 cm

The 15 Great Dog Pisses of Paris 1989, mixed media on canvas, 155.0 x 140.0 cm

ceramics

Untitled Goblets (Set of 5) (1974–76) [one decorated with a dog], 9.5 x 7.0 cm

cheetahs:

drawings

Cheetah 1965, ink, 42.0 x 57.0 cm

Cheetah (c. 1973), pencil, brown ink, 25.5 x 20.5 cm sheet approx.

(Cheetah and Barbed Wire) Ethiopia (1973), pencil, ink, 25.5 x 20.5 cm

Cheetah (c. 1973), ink, 25.5 x 20.5 cm

Cheetah (1978), ink and collage, 75.5 x 51.0 cm

Cheetah (also titled Leopard – Cheetah – Hyena) 1978, ink and collage, 75.5 x 51.0 cm

paintings

Cheetah or Cheatah 1965, oil and mixed media on paper on canvas, 152.4 x 152.4 cm

Cheetah in Rillington Place (1964–66), mixed media on board, 205.7 x 182.9 cm

ceramics

Untitled Vase (Cheetah) 1979, height 31.0 cm

elephants:

drawings

(Elephant) (1978), double sided drawing (verso (Wren)), ink, 26.0 x 20.7 cm

(Elephant) (1978), ink, 25.4 x 18.3 cm

Elephant [1] (1978), Conté crayon, 75.0 x 51.0 cm

Elephant [2] 1978, conté crayon, 78.0 x 54.0 cm

Elephant [3] 1978, charcoal, 75.0 x 51.0 cm

Elephant Walking 1978, ink, 76.0 x 51.5 cm

(Elephant) (1978–79), ink, 28.0 x 20.0 cm

(Elephant’s Head) 1979, ink, 73.1 x 51.0 cm

ceramics

Elephant Vase 1979, height 31.0 cm

giraffes:

drawings

Two Giraffes (1964), ink and wash, 18.5 x 12.5 cm

(Giraffe Sculpture Notes) (c. 1965), pencil and ink, 27.8 x 9.5 cm

Layout Drawing for ‘23 Items by Brett Whiteley’ exhibition, Melbourne 1966, ink, 55.5 x 37.9 cm overall (detail)

Giraffe [neck] 1978, ink, 115.0 x 80.0 cm

Giraffe [neck] 1978, ink, 74.5 x 53.0 cm

Giraffe Neck 1978, ink, 75.0 x 51.5 cm

Giraffe (1978), ink, 75.5 x 51.0 cm

Giraffe Feeding 1978, ink and collage, 75.5 x 51.0 cm

Giraffe About to Lick Brush 1978, ink, 75.5 x 51.0 cm

The Giraffe 11 1978, ink, 76.0 x 52.0 cm

Giraffe 1978, ink, 75.0 x 51.0 cm

Study for Giraffe Sculpture (Lavender Bay) 1978, ink, 16.0 x 21.0 cm

Page of Sketches (c. 1978), ink and wash, 38.1 x 55.9 cm (detail)

Giraffe (1979), gouache and ink, 27.0 x 19.4 cm

(Giraffe) (c. 1979), ink, 37.4 x 24.7 cm

Grinning Giraffe 1984, ink, 76.0 x 60.0 cm

Giraffes and Finger (c. 1984), ink and collage, 32.0 x 25.3 cm

Page of Sculptures (List of 16) (c. 1986), ink, 42.0 x 59.3 cm (detail)

prints

Giraffe (from Regent’s Park Zoo Series – No. 5) 1965, screenprint, S. 98.5 x 68.0 cm

paintings

Two Indonesian Giraffes 1964, oil on board, 162.3 x 143.5 cm

Giraffe (Black) 1964, oil on board, 185.4 x 121.9 cm

Two Giraffes No. 1 1965, oil and plaster on board, 183.5 x 243.8 x 5.0 cm

Two Giraffes No. 2 1965, oil, charcoal, pencil on paper, 152.4 x 165.1 cm

Two Giraffes No. 2 1964 1985, oil, charcoal, pencil on paper, 152.5 x 198.1 cm

ceramics

Giraffe Vase 1979, height 29.0 cm

Giraffe Vase 1979, height 43.0 cm

sculpture

Giraffe No. 1 1965, mangrove wood, brass, marble, bronze (with and without oil painted spots), 121.5 x 30.0 cm

Giraffe No. 2 1965, bronze, marble and wood, bronze, height 147.0 cm

hyenas:

drawings

Layout Drawing for ‘23 Items by Brett Whiteley’, exhibition, Melbourne 1966, ink, 55.5 x 37.9 cm overall (detail)

Harar (Travel Notes) 1973, ink, collage, 45.2 x 19.6 cm

Cheetah (also titled Leopard – Cheetah – Hyena) 1978, ink and collage, 75.5 x 51.0 cm

Hyena 1978, graphite pencil, 77.0 x 51.0 cm

Hyena 1978, ink, 75.3 x 96.5 cm

[Snarling] Hyena (1978), brown ink, 74.3 x 51.2 cm

To Eat, to Consume 1985, ink, 56.7 x 76.4 cm

prints

Hyena (from Regent’s Park Zoo Series – No. 6) 1965, screenprint, S. 98.5 x 68.0 cm

platypus:

drawings

Preliminary Sketch for Bonython Exhibition 1970, including Platypus Print and Kookaburra Totems 1970, watercolour, gouache, ink and collage, 57.2 x 143.5 cm overall

Platypus 1970, charcoal, collage and feather, 73.0 x 50.0 cm

Platypus, Taronga Zoo 1978, charcoal, 75.5 x 52.0 cm

Platypus and Egg 1978, ink, 75.5 x 52.0 cm

Platypus 1978, ink, charcoal and collage (artist’s hair), 75.0 x 51.0 cm

Platypus 1984, charcoal, 76.0 x 56.0 cm

The Platypus (c. 1984), mixed media, 73.0 x 54.0 cm

Page of Sculptures (List of 16) (c. 1986), ink, 42.0 x 59.3 cm (detail)

prints

Platypus 1984, sugarlift aquatint, p. 50.3 x 33.3 cm

posters

Sounds, Paintings, Sculpture, Film, Drawings, Jottings, Innuendos + Sideglances: Brett Whiteley 237 Smith St, Collingwood Aug 8 – 30. 70’ 1970, silkscreen, exhibition poster, s. 76.4 x 50.4 cm

Festival of Perth 1971, silkscreen exhibition poster, s. 74.5 x 50.0 cm

paintings

To Yirrawalla 1972, mixed media with stuffed platypus on board, 185.3 x 166.3 x 6.3 cm (detail)

Platypus (c. 1984) [unfinished], oil on canvas, 180.0 x 150.0 cm approx.

ceramics

Untitled Vase (Platypus and Hawk) (1974), height 23.7 cm

Platypus 1975, dish, 30.3 cm diameter

sculpture

Platypus 1965, taxidermied platypus, perspex, encaustic, wax, wood, oil, 95.1 x 46.1 x 18.6 cm (overall)

primates – apes, chimps, gibbons, gorillas, monkeys:

drawings

Sketch for Large Monkey Drawing 1964, charcoal, pencil and linseed oil, 77.5 x 77.5 cm

Drawing of an Ape 1965, gouache, pencil, charcoal, 121.4 x 104.6 cm

Swinging Monkey (1965), charcoal, ink and collage, 76.2 x 54.4 cm

Monkey 1965, photograph and mixed media, 62.2 x 50.8 cm

Chimp 1969, ink, 29.0 x 28.0 cm

Monkey 1971, ink, 26.5 x 25.0 cm

(Artist’s Palette and Monkey) 1971, oil and mixed media on panel, 21.0 x 21.5 cm

(Chimp Caged) 1974, ink and collage, 25.3 x 20.6 cm

Pope Monkey (c. 1977), ink, 20.6 x 14.9 cm

Gorilla (King Kong) 1978, charcoal, ink, wash, collage of cut paper, 75.2 x 51.3 cm

Untitled (Nuts) 1978–79, sepia ink and wash, 76.0 x 52.0 cm

(Chimp) (c. 1978), ink and watercolour wash, 21.5 x 19.0 cm

Chimp 1978, ink, 75.5 x 51.0 cm

Chimp (also titled Nuts) 1978, ink, 75.5 x 51.0 cm

Chimp (also titled Old Chimpanzee) 1978, charcoal, 75.5 x 51.0 cm

Chimpanzee (1978), sepia ink on card, 25.0 x 21.0 cm

Chimp Taronga Zoo Study 1978, ink, 57.0 x 53.0 cm

(Chimp) 1978, ink, 52.0 x 75.0 cm

Taronga Zoo – Monkeys 1978, ink, pencil and collage, 75.5 x 51.0 cm

From Zoo 1979, deluxe edition, Gryphon Books; edition of 8, each 24.5 x 17.5 cm:

(Monkey) (1978–79), ink, 1/8

Zoo (Monkey) (1978–79), ink, 2/8

Zoo (Chimp) (1978–79), ink, 3/8

Zoo (Chimp) (1978–79), ink, 4/8

Zoo (Monkey) (1978–79), ink, 5/8

Zoo (Monkey) (1978–79), ink, 6/8

Zoo (Monkey) (1978–79), ink, 7/8

Zoo (Monkey) (1978–79), ink, 8/8

Gibbons 1978, ink and pencil, 75.5 x 51.0 cm

Monkey 1985, ink, 76.2 x 54.6 cm

Blue Chimp 1985, blue ink, 17.2 x 13.8 cm

Three Chimps 1985, brown ink, triptych 18.3 x 48.5 cm overall

prints

Title Page: Regents Park Zoo 1965, screenprint, S. 98.5 x 68.0 cm

Swinging Monkey 1 (from Regent’s Park Zoo Series – No. 1) 1965, screenprint, S. 98.5 x 68.0 cm

Swinging Monkey 2 (from Regent’s Park Zoo Series – No. 2) 1965, screenprint S. 98.5 x 68.0 cm

Swinging Monkey 3 (from Regent’s Park Zoo Series – No. 3) 1965, screenprint S. 98.5 x 68.0 cm

Chimp (also titled Monkey) (Taronga Park Zoo, Sydney) 1979, etching, P. 24.5 x 20.0 cm

paintings

Four Monkeys 1964, oil and wire on plywood, 168.3 x 177.8 cm

Chimpanzee 1965, mixed media on hardboard, 183.7 x 206.0 cm

Monkey 1965, oil on paper mounted on board, 32.4 x 36.5 cm

Requite 1967, oil, resin, ink and collage on board, 86.4 x 122.9 cm (detail)

ceramics

Chimp Vase (also titled Monkey Vase) 1979, height 27.0 cm

Chimp Vase 1985, height 50.7 cm

primates – baboons:

drawings and works on paper

(Design for Catalogue Cover with Studies of Baboons) 1965, pencil, ink, offset lithograph, collage, 38.0 x 32.2 cm

Layout Drawing for ‘23 Items by Brett Whiteley’ exhibition, Melbourne 1966, ink, 55.5 x 37.9 cm overall (detail)

Olive Baboon, (Harar) 1973, ink, 26.0 x 16.0 cm

Baboon 1974, ink, 38.0 x 25.0 cm approx.

(Baby Baboon) 1975, mixed media, 34.0 x 23.5 cm

Baboon 1975, ink and collage, 27.6 x 18.8 cm

Baboon 1975, brown ink on 2 sheets, 15.2 x 10.2 cm

Sacred Baboon (c. 1975), ink, gouache, collage, 27.7 x 27.5 cm

Sacred Baboon (also titled Head of Baboon) 1975, ink, 41.0 x 33.0 cm

Sacred Baboon (c. 1975), ink, 41.0 x 32.0 cm

Sacred Baboon 1975, ink, wood stain, watercolour, collage on cardboard, 81.6 x 67.6 cm

Sacred Baboon 2 1975, ink, 40.0 x 31.0 cm

Sacred Baboon 11 (c. 1975), ink, 40.0 x 32.0 cm

Sacred Baboon 3 (also titled Baboon 111) 1975, ink, 40.7 x 31.7 cm

Sacred Baboon 4 (also titled Sacred Baboon 1V) 1975, ink, photograph, 40.6 x 33.0 cm

Baboon 1976, ink, 22.8 x 20.3 cm approx.

Sketch for ‘Baby Baboon’ (c. 1976), brown ink, 56.8 x 44.5cm

Baboon 1978, ink, 183.7 x 66.2 x 3.8 cm scroll overall

Baboon and Young (also titled Olive Baboons) 1978, ink and collage, 75.5 x 52.0 cm

Baboon 11 1980, blue ink, 25.3 x 20.3 cm

Study for Baboon Vase (also titled Baboon 11) 1980, blue ink, 25.0 x 19.0 cm

prints

Young Baboon 1977, sugarlift aquatint, printed in sepia ink, P. 50.4 x 49.9 cm

Baboon 11 [orangutan] 1977, sugarlift aquatint and drypoint etching, P. 50.4 x 50.0 cm

paintings

White Sacred Baboon 1964–65, oil, tempera, collage on canvas on board, 188.0 x 152.4 cm

Sketch of a White Baboon 1965, oil on board, 122.0 x 106.0 cm

Art, Life and the Other Thing 1978, mixed media, triptych: left panel 91.9 x 79.6 x 7.8 cm; central panel 211.8 x 130.6 x 8.0 cm; right panel 31.2 x 31.2 x 7.3 cm

sculpture

White Sacred Baboon 1965, encaustic on wood, 62.5 x 55.0 x 63.0 cm overall

Birds

bowerbirds:

drawings

Spotted Bowerbird 1988, charcoal, ink, pencil, collage on canvas, 172.6 x 203.2 cm

paintings

The Great Bowerbird 1971, gouache, ink, wash and collage on paper, 32.0 x 29.5 cm

‘chao’ (Satin Bowerbird) (also titled Blue Bowerbird) 1978, oil on canvas, 152.5 x 167.5 cm

‘shao’ (Satin Bowerbird) 1978–79, oil and collage on board, 100.6 x 78.4 cm

Satin Bowerbird 1988, oil and plastic objects on canvas, 151.0 x 137.0 cm

Spotted Bowerbird 1988, oil, collage and shells on plywood, 185.4 x 122.0 cm

bulbul’s nest:

drawings

Bulbul’s Nest in Avocado Tree 1976, ink and wash, 68.5 x 101.5 cm

Bulbul and Nest 1976, ink, 48.0 x 41.0 cm

[Design for Totem] Egg and Nest for South Head at Bondi 1991, charcoal and collage, 76.5 x 56.0 cm

paintings

Study for Bulbul’s Nest and Lavender Bay 1987, mixed media on paper, 58.0 x 76.0 cm

Interior with Bulbul Egg Sculpture 1980, oil and collage, 93.5 x 91.0 cm

sculpture

Totem 1 (Black) (The Get-Laid Totem) (1978–88), fibreglass, wood, steel, 284.5 x 170.2 x 61.0 cm

Totem (White) (Female) 1978–88, fibreglass, timber, marble and painted steel and oil, 271.8 x 215.9 cm x 55.9 cm overall

Totem 11 (Tan) (Female) 1978–88, fibreglass, wood, chrome, oil, 259.2 x 203.2 x 53.4 cm overall, including base

doves and pigeons:

drawings

(Nesting Dove with Gum Leaves) (c. 1970), eucalyptus leaves, ink wash, gouache, 50.2 x 42.4 cm

Dove on Branch 1972, ink, 30.0 x 22.0 cm

(Dove in a Gum Tree) (c. 1978), ink, 24.0 x 21.0 cm

(Nesting Dove) (c. 1978), ink and wash on 2 sheets, 27.0 x 39.0 cm

Feeding the Doves, Lavender Bay 1979, ink, 49.0 x 64.0 cm

Dove in a Moreton Bay Fig Tree 1979, Japan black lacquer, 74.0 x 55.0 cm

Preliminary for ‘Orange Fruit Dove on Nest with White Egg and Frangipani’ 1980, ink, 10.9 x 23.0 cm

(Drawing for ‘The Fruit Dove in Clark Park’) (1980), ink, 53.1 x 37.3 cm

Little Blue Dove – Rome 1981, printer’s ink, 22.0 x 30.0 cm

Preliminary Study for ‘Dove in a Plum Tree’ 1983, ink, 57.0 x 30.5 cm

Dove in a Moreton Bay Fig Tree 1983, ink, 238.6 x 56.3 cm

(Bird and Ear Composition) (c. 1983), ink, collage in plastic sleeve, 15.9 x 10.8 cm

‘chui’: Window and Fruit Dove 1984, plastic bird's eye, black lacquer, 135.5 x 121.0 cm

‘King’ the Male Pigeon 1985–88, ink, wash, gouache and collage, 54.5 x 75.5 cm

ENDLESSNESSISM – Studies and T-shirt Designs (c. 1987–88), ink, 32.9 x 30.2 cm

(Dove and Sun) (c. 1988), pencil and ink, 32.9 x 20.2 cm

Young Kicker Pigeon 1991, charcoal on canvas, 20.2 x 26.3 cm

prints

The Fruit Dove in Clark Park 1980, colour screenprint, S. 105.6 x 75.5 cm

Fruit Dove 1980, linocut, B. 30.0 x 29.9 cm

(Nesting Fruit Dove) (c. 1980), aquatint, P. 38.2 x 29.3 cm

(Nesting Fruit Dove) (c. 1980–82), monotype, S. 60.4 x 47.1 cm

The Dove 1982, etching, aquatint and collage, P. 108.7 x 78.7 cm

Poem for a Lover 1988, offset lithograph, S. 110.6 x 96.5 cm

photograph

(Azaleas and Dove) from Japan: Zen Sideglances (1988), silver gelatin, 55.0 x 39.0 cm approx.

paintings

Fidgeting with Infinity 1966–67, mixed media on board, triptych: 244.0 x 382.0 cm (detail)

The American Dream 1968–69, mixed media on 18 panels, 244.0 x 2,196.0 cm (detail)

Orange Fruit Dove, Fiji (1969–70), oil and mixed media on board, 142.0 x 121.9 cm

Orange Fruit Dove 1969, oil and mixed media on masonite, 136.5 x 122.0 cm Dove and Dusk 1974, oil, 142.0 x 85.0 cm

Glimpse of Eden 1974, oil and mixed media, objects on plywood, 87.5 x 83.0 cm

Baudelaire’s Drive 1975, oil on canvas, 228.6 x 190.5 cm

‘tan’ (Brown Dove) 1977, oil, branch, egg, nest on board, 91.0 x 91.0 x 13.5 cm

Dove’s Eye View 1978, oil and photograph on canvas, 203.0 x 137.0 cm

‘ch'üan’ (White Dove) (1978–79), oil and mixed media on board, 99.5 x 102.5 cm

‘jėng’ (Orange Fruit Dove) (1978–79), oil, bird’s nest, eggs, on board, 98.0 x 77.0 cm

‘yü’ (Ptilinopus superbus) 1979, oil on canvas board, 55.0 x 76.0 cm

The Sunshower 1979, oil and charcoal on board, 92.0 x 61.0 cm

Feeding Lavender Bay Doves 1979, oil on canvas on board, 91.0 x 60.5 cm

Doves on the Balcony 1979, oil on board, 100.0 x 69.0 cm

Azaleas at Dusk (1980), oil on canvas, 152.5 x 178.0 cm

The Dove and the Plum Tree 1982, oil, gouache, collage, paper on hardboard, 54.0 x 56.5 cm

Orange Fiji Fruit Dove (c. 1982–83), oil on canvas, 184.0 x 202.5 cm

Rain (c. 1982–83), oil on board, 107.0 x 92.0 cm

The Pink Dove 1 1983, gouache and collage on cardboard, 76.0 x 51.0 cm image

The Pink Dove 11 1983, tempera and collage on cardboard, 84.0 x 64.0 cm

Sunshower 1983, gouache and collage on card, 69.0 x 51.5 cm

The Dove and the Moon 1983, mixed media, including sticks, on plywood, 52.5 x 47.5 cm

(Blue Dove and Moon) (1983–84), oil on artist’s board, 75.0 x 75.0 cm

The Rainy Window and the Plum Tree 1983, oil and collage on canvas, 107.0 x 91.5 cm

(Dove in Blue Palm, Lavender Bay) 1983, oil and collage on board, 132.0 x 129.5 cm

The Plum Tree (Whose Nature?) 1984, oil, pen and ink, charcoal, collage on canvas, 213.3 x 152.0 cm

The Dove in the Mango Tree 1984, oil and mixed media on canvas, 107.0 x 90.0 cm

Hunger 1984, oil and collage on canvas, 108.0 x 92.0 cm

White Dove Feeling the Universe 1985–92, oil on plywood, 80.5 x 76.8 cm

Orange Fruit Dove (Fiji) 1986, oil on board with twigs and eggs on plywood, 152.5 x 122.0 cm

(Pink Dove) [unfinished] (c. 1986), charcoal, oil, gouache on plywood, 38.7 x 35.6 x 3.4 cm

Flame Tree and Fruit Dove 1987, oil, eggs and sticks on board, 79.5 x 105.0 cm

Orange Fijian Fruit Dove 1988, oil, 152.0 x 137.0 cm

Rue de Tournon – Pigeons in the Rain 1989, ink, pencil and gouache on paper, 56.0 x 76.0 cm

ceramics

Figure by the River 1976, vase, height 46.0 cm (detail)

Dove in Plum Tree 1981, plate, 33.0 cm diameter

Untitled Plate (Fruit Dove and Foliage) 1985, 38.0 cm diameter

emus:

drawings

Preliminary Sketch for Bonython Exhibition 1970, including Platypus Print and Kookaburra Totems 1970, watercolour, gouache, ink and collage, 57.2 x 143.5 cm (detail)

(Emu) (c. 1978), ink and ink wash, 76.0 x 56.0 cm

(‘The Last Emu’ in Front of The Olgas) (c. 1978), pencil on envelope, 12.0 x 23.5 cm

The Last Emu (1978–80), pencil, ink and collage on card, 25.4 x 34.6 cm

Emu 1982, charcoal, 74.0 x 54.0 cm

Emu 1988, pencil, 99.6 x 69.0 cm

(Emu) (c. 1988), ink, 112.0 x 77.0 cm

That Completely Fuckin’ Mad Look Young Emus Get (1988), ink and collage, 90.0 x 70.0 cm

sculpture

The Last Emu (1970, 1978–79), taxidermied emu, on fibreglass on steel on paint and wood, sculpture: 298.0 x 197.5 x 43.0 cm; base: 4.5 x 105.0 x 61.0 cm

herons:

drawings

Page of Water Birds (c. 1978), ink and collage, 55.9 x 76.0 cm

Heron 1978–79, ink, 16.5 x 21.0 cm

(Night Heron) 1982, ink, 78.7 x 53.1 cm

(Heron’s Head) (c. 1984), ink, 27.4 x 28.6 cm

(Heron) (c. 1984), ink, 29.8 x 20.9 cm

(Storks) (c. 1984), ink, 32.3 x 23.1 cm

Page of Sculptures (List of 16) (c. 1986), ink, 42.0 x 59.3 cm (detail)

Night Heron 1988, ink, 99.1 x 63.5 cm

Grinning Brolga (also titled Grinning – Tall Heron) 1988, charcoal, 254.0 x 57.0 cm

(Sketches for ‘The Tall Heron’ Sculpture) (c. 1988); (verso: Art Sweats), ink, 20.8 x 14.0 cm

paintings

The Pink Heron (1969–70), synthetic polymer paint on hardboard, 137.4 x 122.0 cm

Pink Heron in the Rain (c. 1969–70), synthetic polymer on hardboard, 137.5 x 122.0 cm

(Heron, Rain and Wind) 1973, oil and mixed media on board, 85.5 x 82.0 cm

(River Landscape with Heron) (c. 1978–79), oil and collage on laid canvas, 183.0 x 120.0 cm

‘shao’ (White Heron) 1978–79, oil, bird’s eggs and nest on board, 122.0 x 81.0 cm

The White Heron (also titled Marulan Bird with Rocks) (1983), oil, gouache, collage, rocks on plywood, 96.5 x 77.0 cm

Startled Heron 1984, mixed media on paper on board, 157.5 x 130.0 cm

Study for a Bird Sculpture 1984, oil, ink, charcoal, pencil, undercoat on paper on board, 189.0 x 111.0 cm

sculpture

Heron 1983, cast 1984, bronze, edition of 5, painted eye, wood base, 282.5 x 70.0 x 45.8 cm overall

The Tall Heron 1988, timber, found objects, 383.7 x 76.2 x 20.0 cm

Heron or “Heronus-Anorexius-Neurosis” 1988, painted plaster, steel, wood, collage, gouache, 300.0 x 43.2 x 27.0 cm overall, including base

hummingbirds:

drawings

Hummingbird 1978–79, ink, 17.0 x 31.0 cm

Hummingbird and Letter to Christopher (c. 1979), ink, wash, collage, 37.5 x 24.6 cm

(Humming Bird and Frangipani) (c. 1984), black fibre-tipped pen, 15.0 x 20.0 cm

Hummingbird 1988, ink, 103.0 x 71.2 cm

prints

Nectar (Addiction), Portrait of Paul Verlaine 1979, etching, P. 60.6 x 45.6 cm

paintings

The American Dream 1968–69, mixed media on 18 panels, 244.0 x 2,196.0 cm (detail)

Portrait of Baudelaire 1970, mixed media door panels, triptych: 203.0 x 783.0 cm (detail)

Hummingbird 1972, oil on masonite, 60.9 x 50.8 cm

‘hsia’ (Green Hummingbird) 1979, oil, collage, branch, resin on board, 98.0 x 82.5 cm

Honey in the Rain 1983, oil and glass eye on plywood, 82.5 x 101.0 cm

Hummingbird (c. 1984), oil, photographs and collage on plywood, 88.0 x 84.0 cm

(Hummingbird and Frangipani) (1986), oil on plywood, 75.7 x 75.7 cm

Small Honeyeater at Camp Eden, Queensland (also titled Study for Large Frangipani – Camp Eden, Queensland) 1988, gouache, ink and collage on paper, 65.0 x 93.8 cm

Hummingbird 1988, oil and plastic eye and hologram paper on board, 30.5 x 30.5 cm

Frangipani and Hummingbird – Japanese Summer 1988, oil, tempera on canvas, 211.0 x 400.0 cm

sculpture

Maquette for Hummingbird 1988, wood, plaster, paint, wire, coin, 36.0 x 107.0 x 8.0 cm

Hummingbird 1988, bronze and glass eye, 139.0 x 105.0 x 5.0 cm overall, including base

kookaburras:

drawings

Preliminary Sketch for Bonython Exhibition 1970, including Platypus Print and Kookaburra Totems 1970, watercolour, gouache, ink and collage, 57.2 x 143.5 cm overall (detail)

Kooka 1978, ink, 25.0 x 22.0 cm

Kookaburra (1982–83), charcoal, ink, bodycolour, collage, 87.0 x 66.8 cm

Francis Laughs Like a Kookaburra Sometimes (c. 1984), ink and collage, 27.7 x 21.0 cm

(Kookaburra) (c. 1984), black fibre-tipped pen, 19.9 x 12.5 cm

prints

Kookaburra 1983, screenprint, S. 105.8 x 75.1 cm (variations)

paintings

Young Kookaburra Taking its First Laugh 1970, mixed media on board, 115.0 x 90.0 cm

Kookaburra at Fish River (c.1979), mixed media on canvas on cardboard, 90.0 x 60.5 cm (detail)

The Kookaburra 1979, oil and collage on board, 97.0 x 84.0 cm

Kookaburra – Japanese: ‘Jackass’ 1988, oil and collage on canvas, 73.6 x 73.6 cm

lyrebirds:

drawings

Lyrebird (c. 1980), ink, blue fibre-tipped pen, 15.3 x 17.3 cm

paintings

Lyrebird 1970, mixed media on paper on board, 142.0 x 121.0 cm approx.

The Lyrebird 1972–73, mixed media on canvas, 198.0 x 183.5 x 23.0 cm

Alchemy 1972–73, mixed media on 18 wood panels, 205.8 x 1,617 x 3.3 cm (detail, panel 16)

Lyrebird 1980, ink, oil, mirror on paper on cardboard, 79.5 x 59.0 cm

Lyrebird 1987, oil and collage on canvas, 85.1 x 85.1 cm

owls:

drawings

Night Owl 1978, ink, 75.0 x 52.5 cm

Young Owl 1983, ink, 72.0 x 56.0 cm

Owl 1983, ink wash and collage, 77.0 x 55.0 cm

Owl with Nothing but Stomach 1983, ink, 30.0 x 25.0 cm

Owl 1983, ink and wash, 28.5 x 23.0 cm

Owl (c. 1983), ink, 95.5 x 59.0 cm

Owl 1983, ink, 98.0 x 65.0 cm

Owl (c. 1983), ink, 96.2 x 48.2 cm

Owl 3 (c. 1983), ink, 97.5 x 49.2 cm

Page of Sculptures (List of 16) (c. 1986), ink, 42.0 x 59.3 cm (detail)

(Owl on a Branch) (c. 1988), collage and fibre-tipped pen, 25.5 x 24.5 cm

Young Owl with Dürer in Mind 1988, ink and doll’s eyes, 99.6 x 69.8 cm

(Three Studies of Owls) (c. 1991), black and sepia ink, collage, 76.0 x 39.4 cm

Norfolk Island Boobook Owl 1992, ink, wash and collage, 96.0 x 64.0 cm

prints

Startled (Owl) 1984, aquatint, P. 50.0 x 49.7 cm

paintings

(Owl) (c. 1988), oil [dimensions unknown]

sculpture

Young Owl (1984), plaster maquette, 27.0 x 13.0 x 10.0 cm

Boot Owl 1985, ping-pong balls, leather boot, steel and paint, 22.9 x 17.8 x 12.7 cm

Owl 1988, found objects, oil paint on wood base, 109.2 x 24.9 x 25.4 cm overall

parrots:

drawings

Parrot Cage, Taronga Zoo 1974, pencil, ink, charcoal, 54.8 x 74.9 cm

Sulphur-crested Cockatoos 1978, ink and graphite pencil, 74.4 x 51.5 cm

Macaws 1978, ink, 75.0 x 51.0 cm

Black Cockatoo 1978, ink and ink wash, 79.0 x 54.8 cm

Little Kicker – Black Cockatoo (c. 1979), ink, 66.9 x 50.2 cm

Black Cockatoo 1979, ink, 74.9 x 51.2 cm

(Parrot) (c. 1982), ink, 65.0 x 50.0 cm

Major Mitchell 1983, ink and gouache, 63.0 x 32.0 cm

Zen Moment at the Zoo 1985, ink and collage, 59.7 x 70.5 cm

Cockatoo 1988, charcoal, synthetic polymer paint and collage, 103.0 x 71.2 cm

Palm Cockatoo 1988, pencil, ink and gouache, 35.0 x 32.5 cm

Galah (c. 1988), charcoal, 75.0 x 55.0 cm

prints

Hullo (Cockatoo) 1980, etching, P. 24.5 x 20.0 cm

paintings

Portrait of Les Martin 1977, oil on canvas, 91.5 x 91.5 cm

Major Mitchell 1978, oil on hardboard, 91.0 x 91.0 cm

Good Morning 1981, oil on canvas, 70.0 x 60.0 cm

Rosella and Rain (Pearl Beach) 1983, oil, tempera, watercolour, collage and birdseed on cardboard, 56.0 x 76.0 cm

Sketch of Flame Tree in Autumn (with Two Lorikeets Feeding) 1987–88, watercolour, oil, collage on plywood, 71.0 x 90.0 cm

White Corella – Japanese: Explosive Sound’ 1987–88, oil and collage on canvas, 107.0 x 90.5 cm

Galah 1988, oil, collage and chicken wire on canvas, 121.9 x 121.9 cm

Almost Gone: Norfolk Island Parrot 1992, acrylic, watercolour and charcoal, 98.0 x 63.5 cm

pelicans:

drawings

Pelican (1978), ink, 75.5 x 51.0 cm

Crested Pelican 1978, ink, 75.0 x 51.0 cm

Crested Pelican 1978, ink, 75.5 x 51.0 cm

Pelican (c. 1982), pen and ink, 74.0 x 53.5 cm

Pelican (c. 1982), brown ink, 50.0 x 65.2 cm

[Pelican] (Design for Bookplate, Barbara Corrigan (ex libris)) (c. 1982), ink, 14.6 x 11.0 cm

Pelican Dripping Water 1988, ink, 78.0 x 54.0 cm

Pelican (c. 1988), ink, 78.9 x 54.7 cm

Pelican (c. 1988), ink, 78.9 x 54.5 cm

(Pelican) (c. 1988), brush and ink, 75.0 x 55.0 cm

sculpture

Pelican 1 1983, bronze, edition of 9, 96.0 x 85.0 x 32.0 cm (variations)

Pelican 11 1988, bronze, edition of 9, 77.3 x 96.0 x 40.0 cm bronze bird

wrens:

drawings

Portrait of Semely; the Fijian Wren 1969, ink and collage, 61.1 x 51.3 cm

(Wren) (c. 1978), double sided drawing, verso image, pencil, 26.0 x 20.7 cm

Lindfield 1978, sepia ink and collage, 54.0 x 72.0 cm (detail)

Wren 1978, blue ink, 101.0 x 75.0 cm

Blue Wren 1978, ink and collage, 75.5 x 51.0 cm

Study for ‘The Wren’ 1978, ink and collage, 63.0 x 49.0 cm

Wren 1979, sepia ink, 102.2 x 74.1 cm

The Wren 1981, ink, 66.0 x 51.0 cm

Little Wren 1981, ink, 49.0 x 25.5 cm

Wren (c. 1981), ink, 82.0 x 56.0 cm

Blue Wren 1981, ink and wash, 114.0 x 68.0 cm

The Wren 1 1981, ink, 31.0 x 39.0 cm

Kath – Wren 1983, ink, 66.0 x 51.0 cm

The Wren 11 (also titled Wren on a Branch) 1983, ink on silk, 212.0 x 72.5 cm

The Wren 111 1983, ink, 45.0 x 16.0 cm

Wren 1983, ink, 31.0 x 26.0 cm (oval)

Wren on a Branch or Fiddler on the Roof (c. 1983), ink, 28.0 x 28.0 cm

(Wren) (c. 1983), fibre-tipped pen, ink and pills on cardboard, 28.0 x 23.0 cm

Study for ‘Young Wren Bathing’ 1988, ink, wash, 31.7 x 29.5 cm

Young Wren Bathing 1988, charcoal and wash, 182.2 x 122.6 cm

Wren 1988, ink and ink wash, 91.3 x 71.1 cm

Wren on a Fine Branch – Study for Sculpture 1988, Conté crayon, 100.0 x 70.0 cm

(Wren with Fish-hook) (c. 1991) ink, fish hook, fishing wire, 36.5 x 41.0 cm

Baby Wren (c. 1991), ink and wash, 37.0 x 27.0 cm

paintings

The Wren 1978, oil on canvas, 168.0 x 153.0 cm

Wren at the River (c. 1978), oil on canvas, 70.0 x 60.0 cm

Blue Wren on a Branch 1979, ink and mixed media, 37.1 x 54.6 cm

The Wren 4 (Summer Landscape with Blue Wren) 1979, mixed media, 69.0 x 85.0 cm

(Blue Wren) (c. 1979), mixed media on card, 101.5 x 76.0 cm

Blue Wren 1979, oil and mixed media on canvas on board, 92.0 x 61.0 cm

(Wren in Blue Palm, Lavender Bay) (c. 1980), oil on canvas board, 76.0 x 60.5 cm (detail)

Kurrajong 1981, oil, gouache, collage, a branch, on plywood, 183.0 x 120.0 cm (detail)

(River, Willow and Wren) 1981, mixed media on board, 195.0 x 122.5 cm

Little Miracle 1981, oil, PVA and gouache on hardboard, 86.0 x 86.0 cm

Wren 1988, oil and collage on canvas, 76.0 x 76.0 cm

ceramics

Blue Wren 1976, plate, 30.5 cm diameter

(Wren in Rose Bush) (1981), plate, 31.8 cm diameter

(Wren on a Branch) (c. 1981), plate, 33.0 cm diameter

Blue Wren (1981), bowl, 33.5 cm diameter

Vase for Wren 1981, height 28.0 cm

sculpture

Maquette for Wren 1988, wood, plaster and paint, 38.0 21.0 x 12.0 cm

Wren (c. 1988), plaster, metal, wire, paint, glass, wood on stand, 134.0 x 26.0 x 26.0 cm

Wren 1988, bronze, wire, glass eyes on a wooden stand, 60.0 x 23.0 x 31.0 cm overall

Flowers and Plants

bonsai:

drawings and works on paper

Bonsai 1 (c. 1971), ink, 60.0 x 47.0 cm

Bonsai 1971, India ink on rice paper pasted into artist’s ‘orange velvet’ notebook 27.1 x 52.2 cm overall

Bonsai (1971), ink drawing, scrolled, measurements unknown

(Bonsai) (c. 1971), ink, 23.6 x 28.6 cm

Bonsai 1971, ink, 101.0 x 76.0 cm (scroll) [stolen]

Bonsai 1971, charcoal, ink, 101.0 x 76.0 cm (scroll)

Bonsai 1971, pencil, 102.0 x 76.0 cm (scroll)

Bonsai (Moreton Bay Fig) 1971, ink, 59.4 x 98.8 cm

Bonsai 1974, ink, 76.2 x 53.4 cm

Bonsai 1 (1976), ink, 190.0 x 78.0 cm

Bonsai 11 1976, ink, 190.0 x 78.0 cm

Bonsai 111 1976, ink, 190.0 x 78.0 cm

Bonsai 1977, ink on rice paper, 74.5 x 51.0 cm

paintings

…Because Truth is Unrepeatable 1971–72, oil, photographs and mixed media on 5 panels, 274.4 x 928.0 cm [dismantled, probably destroyed]

Study for ‘Still Life with Bonsai Tree’ 1978, gouache, mixed media on paper, 40.0 x 39.0 cm

The Emperor’s Bonsai Collection 1989, oil, 102.0 x 102.0 cm

cornflowers:

Whiteley invariably used cornflowers as a motif signalling the presence of Wendy. Cornflowers are a detail in the following works:

drawings (details)

ENDLESSNESSISM –T-shirt Designs (c. 1987–88), black fibre-tipped pen, 32.9 x 30.2 cm

paintings

[Interior Scene with Figure Holding Cornflowers] Tangier Postcard 1967, pencil, ink, collage, 56.0 x 76.0 cm approx.

Henri’s Armchair 1974–75, oil, ink and charcoal on canvas, 195.0 x 302.0 cm

(Interior with Magnolia Scroll and Cornflowers) 1976, oil, collage on canvas, 173.0 x 173.0 cm

My Armchair 1976, oil on canvas, 206.5 x 283.5 cm

Interior with Screen and Avocado, Lavender Bay 1976, oil, ink on canvas, 183.0 x 91.0 cm

There Is, Still Life with Reflections 1976, oil on canvas, 91.5 x 91.5 cm

Still-life (Bali) 1976, oil on canvas, 91.0 x 91.0 cm

Still Life with Up Front Out Back and Cherries 1976, oil on plywood, 121.5 x 198.0 cm

Still Life without Lemon 1976, oil and shells on plywood, 92.0 x 88.0 cm

Still Life; Flowers, Fruit, Glass and Oysters 1976, oil on canvas, 74.5 x 57.0 cm

Still Life with Cornflowers 1976, oil on canvas, 91.5 x 91.5 cm

Still Life with Cornflowers 1976, oil on canvas, 91.5 x 91.5 cm

Champagne 1976, oil and canvas with 19 corks, 91.0 x 91.0 cm

The Egg and the Vase and the Table 1977–78, oil and tempera on masonite, 63.5 x 63.5 cm

The Orange Table (Sketch) 1977–78, oil and mixed media on plywood, 124.0 x 205.0 cm

‘69’ (1979), oil, collage, brush and ink on hardboard, 85.5 x 119.6 cm

The Rocking Chair, Lavender Bay 1979, oil on canvas, 96.0 x 96.0 cm

Preliminary Sketch for ‘The Letter’ 1980, ink and wash, 62.0 x 84.0 cm

Study for ‘Absolute Fuckin’ Bitch’ 1980, oil and mixed media on canvas, 89.3 x 86.6 cm

The Letter (to Anna) 1980–81, oil, charcoal, collage, pencil on canvas, 151.5 x 177.2 cm

For John [Illsley] [a bunch of cornflowers] 1987, charcoal, gouache, 81.4 x 45.7 cm

Still Life with Buddha and Cornflowers 1989, oil on canvas, 76.0 x 76.0 cm

Ace of Hearts (1991), oil, $50 note, gold wedding band, cloth, collage on wood, 122.0 x 175.0 cm wood

View from the Sitting Room Window, Lavender Bay 1991, oil, mixed media and collage on door panel, 122.0 x 198.0 cm

ceramics

Untitled Vase (Nude with Cornflowers) 1974, height 22.8 cm

Untitled Bowl (Spray of Cornflowers) 1974, height 20.0 cm

Cornflowers Vase (1975), height 54.0 cm

frangipani:

‘Frangipanis have always been iconic in our family. Brett made beautiful paintings of frangipanis and wore a frangipani brooch for good luck. Frangipanis are flowers that smile’ (Wendy Whiteley quoted in Hawley, 2015, p. 257).

drawings

Frangipani Tree in Bali 1974, ink, 60.3 x 55.8 cm

Self Portrait Drawing a Frangipani Tree 1975, ink on board, 200.4 x 86.3 cm

Frangipani (also titled Sketch from Bali) 1976, ink, 62.3 x 50.8 cm

Preliminary for ‘Orange Fruit Dove on Nest with White Egg and Frangipani’ 1980, ink, 10.9 x 23.0 cm

(Frangipani Leaves – Design for Postage Stamp) 1980, ink, 76.9 x 57.3 cm

(Frangipani Design) (c. 1988), ink, pencil, 10.0 x 10.2 cm

(Frangipani Motif) (c. 1988), black and purple fibre-tipped pen, 20.2 x 12.7 cm

(Frangipani) (c. 1988), black and purple fibre-tipped pen, 20.2 x 12.7 cm

(Frangipani and Two T-shirt Designs) (c. 1988), black fibre-tipped pen, 20.9 x 14.0 cm

ENDLESSNESSISM –T-shirt Designs (c. 1987–88), black fibre-tipped pen, 32.9 x 30.2 cm

poster

‘Artists for Parliamentary Democracy’ 1975, offset lithograph, s. 58.4 x 45.5 cm

prints

Frangipani 1 (c. 1979), etching, unique, P. 19.7 x 26.0 cm

Frangipani (c. 1979), etching, unique, P. 18.4 x 26.7 cm

paintings

(Frangipani) (1969–70) [destroyed], oil on board [?], 137.5 x 244.0 cm approx.

Portrait of Baudelaire 1970, mixed media on panels, triptych: 203.0 x 783.0 cm (detail)

(Frangipani) (c. 1971), oil [?] on cotton on cardboard on board, 52.0 x 77.4 cm

Frangipani (c. 1971), oil and collage (cut-out of frangipani) mounted on card, 19.0 x 22.0 cm

(Hummingbird) 1978, mixed media: oil and collage, 87.5 x 77.0 cm

Self Portrait at 44 1983, tempera and collage on cardboard, 80.0 x 113.0 cm (detail)

Honey in the Rain 1983, oil and collaged glass eye on plywood, 83.0 x 102.0 cm

Frangipani (c. 1986–88), gouache, collage on board, 23.7 x 26.7 cm

Morning Study, Autumn 1986, mixed media on canvas on board, 72.5 x 72.5 cm

(Hummingbird and Frangipani) (1986), oil on plywood, 75.7 x 75.7 cm

Small Honeyeater at Camp Eden, Queensland (also titled Study for Large Frangipani – Camp Eden, Queensland) 1988, gouache, ink and collage on paper, 65.0 x 93.8 cm

Frangipani and Hummingbird – Japanese Summer 1988, oil, tempera on canvas, 211.0 x 400.0 cm

Wategos Beach, Holiday Suite 17 1989, pencil, charcoal, gouache, collage, 54.8 x 73.4 cm

lilies:

drawings

The Lime Seller, Harar, Ethiopia (c. 1974); verso image: (Lilies in a Vase), charcoal, ink, 100.0 x 70.0 cm

Lilies and Harbour 1974, ink, 100.0 x 70.5 cm

(Arum Lilies) (c. 1975), ink, 76.1 x 56.5 cm

(Lilies) (c. 1975), ink, 76.0 x 56.4 cm

Arum Lilies 1976, pencil, 50.2 x 76.2 cm

(Interior with Arum Lilies) (c. 1976), ink, 76.0 x 56.4 cm

paintings

Still Life with Open Book 1975, oil on board, 120.0 x 198.0 cm (detail)

Still Life with Up Front Out Back and Cherries 1976, oil on plywood, 122.0 x 198.0 cm

Lilies and Lights of the Night (1976), oil on canvas, 91.0 x 91.0 cm

magnolias:

drawings

Magnolia grandiflora (c. 1975), charcoal, 76.0 x 56.0 cm

Magnolia (c. 1975), charcoal, 78.8 x 55.0 cm

Magnolia and Harbour 1977, ink, 182.8 x 152.5 cm

Magnolia and Bird 1978, ink and collage, 56.0 x 76.0 cm

Preliminary Drawing for ‘Magnolia with Money’ (c. 1980), ink, 76.0 x 55.0 cm

Magnolia and Blue and White Ching Vase 1982, ink, 128.5 x 120.0 cm

(Flowers in Magnolia Vase and Two Shells) (c. 1984), ink, 76.2 x 56.8 cm

(Magnolia Vase Design) (c. 1984), brown ink, 33.8 x 24.9 cm

(Vase Design with Magnolia) (c. 1984), brown ink, 34.1 x 24.6 cm

(Weet with Flowers in Magnolia Vase) (c. 1984), ink, 29.8 x 21.0 cm

(Woman at Table with Magnolia in Vase) (c. 1984), ink, brown ink, 22.6 x 21.0 cm

(Two Women at Table) (c. 1984), brown fibre-tipped pen, 29.8 x 21.0 cm

(Flowers in Magnolia Vase and Two Shells) (c. 1984), ink, 76.2 x 56.8 cm

(Design for Magnolia Vase) (c. 1985), ink, 72.7 x 54.7 cm

Studies for Two Vases, Vase 1 1985, mixed media, lower sheet: 17.9 x 21.9 cm

Design for ‘Magnolia Relief Carving for Studio Front Door’ (c. 1985), brown ink, 26.0 x 24.7 cm

paintings

(Interior with Magnolia Scroll and Cornflowers) 1976, oil, collage on canvas, 173.0 x 173.0 cm

Magnolia Tree in the Rain 1977, oil on canvas on board, 60.5 x 50.5 cm

Magnolia 1977–78, oil on board, 90.0 x 151.0 cm

Sketch of a Magnolia 1977, mixed media on composition board, 79.0 x 75.0 cm

Study of a Magnolia 1978, oil on canvas, 36.0 x 46.0 cm

Still Life with Magnolia 1980–82, oil and collage on canvas, 120.0 x 164.0 cm

Magnolia and Money 1981–82, oil and collage on canvas, 122.0 x 90.0 cm

Sketch of a Magnolia in a Glass of Water 1989, oil on canvas, 76.2 x 76.2 cm

Magnolia (1990–91) oil and collage on board, 102.0 x 82.0 cm

ceramics

Magnolia 1984, vase, 40.6 cm diameter

Magnolia 1985, bowl, 45.0 cm diameter

Interiors

interiors, Lavender Bay:

drawings

(Lavender Bay Interior with Easel) (c. 1974), ink, 47.0 x 51.0 cm

(Interior, Lavender Bay) (c. 1974), ink, 45.8 x 28.9 cm

(Lavender Bay Interior Sketch) (c. 1974), ink, blue ink on canvas board, 60.9 x 60.3 cm

Preliminary Study for ‘Henri’s Armchair’ 1974, ink, 91.0 x 79.0 cm

Preliminary Study for ‘Henri’s Armchair’ 1974, ink, 88.0 x 75.0 cm

(Studio Interior, Lavender Bay) (c. 1975), blue ink, 29.5 x 51.8 cm

Lavender Bay with Nude (Lavender Bay Interior) 1975, ink, 63.0 x 87.0 cm

Lavender Bay with ‘Sense’ (c. 1975), ink, 52.9 x 59.6 cm

Lavender Bay Interior (c. 1975), ink and leaf, 75.9 x 56.3 cm

Interior, Lavender Bay 1976, pencil, 53.0 x 76.0 cm

Interior, Lavender Bay 1976, ink, 76.2 x 57.2 cm

Wendy on Cushions 1976, charcoal, 56.0 x 76.0 cm

(Lavender Bay Interior with Daisies) (c. 1976), pencil, 27.2 x 37.2 cm

Drawing/Drawing the Sketch / Drawing in the Room / Draws Off! 1976, ink, 99.0 x 150.0 cm

Wendy at Lavender Bay (c. 1976), verso: (Artist and Model – Distorted Heads Study), double sided; pencil and ink, 19.4 x 33.0 cm

Wendy Sleeping 1976, ink and wash on paper, 75.0 x 100.0 cm

(Lavender Bay Interior – Study for a Painting) (c. 1976), pencil and ink, 25.2 x 30.4 cm

Wendy Ironing, Lavender Bay 1977, ink, 56.0 x 45.0 cm

Wendy 12 pm (also titled Letter to Ning) 1977, ink, 72.7 x 53.1 cm

Sewing at Night (Lavender Bay) 1977, blue ink, 70.0 x 86.5 cm

Still Life…Is There! (also titled Lavender Bay Interior) 1977, ink, 76.3 x 56.1 cm

Interior, Lavender Bay 1977, ink, 75.0 x 100.4 cm

Interior, Lavender Bay (c. 1977), ink, 37.8 x 27.6 cm

Lavender Bay with Sculptures (1977), ink, 101.3 x 68.0 cm

Magnolia and Harbour 1977, ink, 182.8 x 152.5 cm

Interior, Lavender Bay 1978, ink, 70.0 x 92.0 cm

The Bedroom, Lavender Bay 1978, blue ink, 76.0 x 102.0 cm

(Lavender Bay Interior with Spotted Dog) 1979, ink, 60.0 x 49.8 cm

Self-portrait in the Studio 1980, pencil, collage, 29.8 x 20.6 cm

Preliminary Sketch for Small ‘Olgas’ Painting (c. 1984), ink, collage, 51.9 x 63.9 cm

The Chair – Autumn (Lavender Bay) 1985, ink, 39.4 x 28.0 cm

prints

The Cat [Lavender Bay] 1980, offset lithograph, I. 84.5 x 82.0 cm; S. 116.0 x 91.2 cm

paintings

Window and Sculpture 1975, oil on board, 162.0 x 83.0 cm

(Interior with Magnolia Scroll and Cornflowers) 1976, oil and collage on canvas, 173.0 x 173.0 cm

Self-portrait in the Studio (1975) 1976, oil, collage and hair on canvas, 200.5 x 259.0 cm

My Armchair 1976, oil on canvas, 206.5 x 283.5 cm

Interior with Time Past 1976, oil, charcoal and ink on canvas, 182.0 x 200.0 cm

Screen as the Bathroom Window 1976, oil on canvas, 203.0 x 187.0 cm diptych

Interior with Screen and Avocado, Lavender Bay 1976, oil, ink on canvas, 183.0 x 91.0 cm

The Telephone 1976, oil on canvas, 91.8 x 91.3 cm

There Is, Still Life with Reflections 1976, oil on canvas, 91.5 x 91.5 cm

Study for ‘Still Life with Bonsai Tree’ 1978, mixed media on paper, 40.0 x 39.0 cm

The Rocking Chair, Lavender Bay 1979, oil on canvas, 96.0 x 96.0 cm

Interior with Bulbul Egg Sculpture, Lavender Bay 1980, oil, and collage on canvas, 93.5 x 91.0 cm

Yellow Interior 1980–81, ink and collage on canvas, 94.0 x 91.5 cm

Landscapes and Seascapes

Clark Park and Watt Park, Lavender Bay:

drawings

Park from the Window Lavender Bay (c. 1975–76), ink, charcoal, pencil, 76.0 x 102.0 cm

The Park, Lavender Bay 1976, ink, 60.4 x 50.3 cm

20 MINUTES, Watt Park, Lavender Bay (1976), ink on silk, 82.5 x 103.0 cm

Clark Park, Lavender Bay, North Sydney 1976, ink, 106.0 x 75.0 cm

Plum Leaves 1977, ink and oil, 98.5 x 75.0 cm

Clark Park Gardens, Lavender Bay (c. 1977), ink, 51.0 x 74.0 cm

The Park, Lavender Bay 1977, ink, 57.2 x 51.5 cm

Garden from Window 1977, ink, 76.2 x 55.9 cm

Arkie on the Balcony 1978, ink and ink wash on paper, 52.5 x 75.5 cm

Lavender Bay Gardens 1978, ink, 53.0 x 75.5 cm

Clark Gardens, Lavender Bay 1978, ink and wash, 49.5 x 62.0 cm

Lavender Bay 1979, blue ink and watercolour, 102.2 x 76.2 cm

(Drawing for ‘The Fruit Dove in Clark Park’) (1980), ink, 53.1 x 37.3 cm

prints

The Fruit Dove in Clark Park 1980, colour screenprint, S. 105.6 x 75.5 cm

paintings

Henri’s Armchair 1974–1975, oil, ink, and charcoal on canvas, 195.0 x 302.0 cm

The Park under Sunlight 1976, oil on canvas, 210.0 x 152.4 cm

View from the Window 1977, oil on canvas, 30.5 x 25.5 cm

(Clark Park Palm, Three Glasses and a Vase, Lavender Bay) (c. 1978), oil and seeds on canvas, 96.5 x 97.0 cm

The Split-second Summer Began 1979, gouache, collage on paper on board, 101.5 x 76.0 cm

the divided road:

This landscape motif can be found in each of the following works:

drawings and works on paper

Preliminary Study for ‘The Arrival’ (1965), pencil and ink, 55.8 x 37.9 cm

Australian View 1966, charcoal and ink, 83.0 x 76.0 cm

[Arm Outstretched] Tangier Postcard 1967, mixed media, 56.0 x 76.0 cm

ESSO LSD (c. 1971), mixed media and collage, 62.8 x 56.2 cm

The Lime Seller, Harar, Ethiopia (c. 1974), ink, 100.0 x 70.0 cm

Driving 1976, sepia and ink, 37.0 x 41.0 cm

View from Goulburn Gaol – Illustration for ‘Walled Garden’ (1978), ink and collage, 35.0 x 27.0 cm

Vision of Queensland (1980), pencil, charcoal, Conté crayon, ink, gouache, 76.3 x 102.0 cm

Carcoar (1990–92), charcoal, 110.0 x 76.0 cm

prints

Ravello, Italy 1991, screenprint, S. 77.5 x 112.0 cm

paintings

Headache 1965–66, oil, tempera and mixed media on masonite, 95.3 x 76.2 x 12.7 cm

The Arrival 1966, mixed media on canvas on plywood, 196.8 x 183.0 cm

“Her” 1967, mixed media on plywood, 183.0 x 237.5 cm (detail)

Not I – Me 1967, mixed media on board, 185.4 x 152.4 x 119.4 cm

Fidgeting with Infinity 1966–67, mixed media on board, triptych: 244.0 x 382.0 cm

Foxed 1967, mixed media and fur on plywood, triptych: 183.0 x 274.2 cm

The Great Bowerbird 1971, gouache, ink, wash and collage, 32.0 x 29.5 cm

Palm Beach with Vincent 1971–72, oil, recessed light fitting on plywood, 164.5 x 122.5 cm

To Yirrawalla 1972, mixed media with stuffed platypus on board, 185.3 x 166.3 x 6.3 cm

Alchemy 1972–73, mixed media on 18 wood panels, 205.8 x 1,617 x 3.3 cm overall

Sunset on the Sofala Road 1974, oil on canvas on board, diptych; 81.2 x 133.2 cm

Summer at Carcoar 1977, oil, acrylic, paper, rock, wood on pineboard, 244.5 x 199.0 cm

The Dead Rabbit 1979, mixed media on card on hardboard, 132.0 x 74.5 cm

Kurrajong 1981, oil, gouache, collage, branch, on plywood, 183.0 x 120.0 cm

(River Landscape with Divided Road) (c. 1987), mixed media on paper, 39.3 x 17.0 cm

Thirroul 1988, gouache, watercolour, graphite, ink, collage, triptych: 63.4 x 253.5 cm overall

Wategos Beach, Holiday Suite 10 (also titled Road to Wategos) 1989, gouache and ink, 53.0 x 73.0 cm

The Nor-Easterly at Wategos Beach 1989, oil, ink, pencil, collage, 147.0 x 114.0 cm

Good Morning Glory 1 (with Jacaranda) (1989–90), mixed media on canvas, 77.0 x 76.0 cm

Nobby’s Head and The Entrance to Newcastle 1991, oil on canvas, 86.0 x 93.0 cm

Kings Cross Harry the Punk Ibis 1991, mixed media on 2 canvases, 134.5 x 226.0 cm

Lucknow, New South Wales 1992, mixed media on paper on cardboard, 76.4 x 101.6 cm

The Dawn of Sounds (1992), charcoal, oil, fabric, wood on plywood, 122.5 x 136.5 cm

The Balloon Ride (1992), mixed media on canvas on plywood, triptych: 168.0 x 360.0 cm

drought:

drawings and works on paper

Stumps 1983, gouache, charcoal, pencil and ink, 221.0 x 56.0 cm

Stumps 11 1983, ink, 43.5 cm diameter; 178.0 x 72.0 cm overall

(Landscape with Two Sheep) (c. 1983), black ball-point pen, 12.3 x 20.0 cm

(Tree in Landscape with Bird) (early 1980s), pencil, ink, watercolour, 13.0 x 9.6 cm

(Sun) (c. 1983), ink, brown watercolour, 18.4 x 5.9 cm

prints

Drop of Rain (also titled ‘Shree Chakra’ – Indian Mandala (Drop of Rain)) 1983, screenprint, S. 105.6 x 75.2 cm

paintings

Oberon – Drying Up 1982, oil on canvas, 120.0 x 90.0 cm

The Breaking of the Drought, Oberon 1982, oil, mixed media on canvas, 86.0 x 86.0 cm

Please Rain (Cootamundra) 1983, gouache, mixed media on paper, 37.0 x 53.0 cm

The Drought of '83–1 (Cootamundra NSW) 1983, mixed media, 214.0 x 244.0 x 13.0 cm

The Drought of '83–11 (after Ash Wednesday…) 1983 comprising: The Drought of '83–11 (after Ash Wednesday…) 1983, free standing diptych: recto: oil, tempera, steel, stone, plaster, charcoal, sticks and photograph on board, 178.0 x 97.0 x 11.0 cm overall, including stand [dismantled]; Drop of Rain (1983) (verso), affixed screenprint; Drought 1983, reptile skeleton, ink collage on white paper on hardboard, 76.3 x 56.4 cm board;

And Death 1983, carcass of fox under perspex, 77.0 x 57.0 cm

The Valley at Dusk 1983, mixed media on plywood, 102.0 x 83.0 x 1.0 cm

Oberon, N.S.W. After the Rains 1983, 1988, mixed media on cardboard, 96.8 x 63.8 cm

Oberon After the Rains 1983, mixed media on plywood, 102.0 x 83.0 x 2.0 cm

Sloping Up on The Olgas (with Crow) (1) 1983–85, mixed media on ply, 122.0 x 101.8 cm

2pm Light, Early January 1984 1984, mixed media on card on board, 76.0 x 76.0 cm

8 Miles Out of Cootamundra, 8.28 pm 1984, oil and collage on canvas, 76.0 x 76.0 cm

Drought 3 – 2 PM. Out the Window, Cootamundra 1984, oil, collage on board, 76.5 x 75.5 cm

‘The Crow’ Zen 1984, oil and collage on plywood and perspex, 77.0 x 76.0 cm

Sloping Up on The Olgas (2) 1984–86, mixed media on board, 107.4 x 88.0 cm

flame trees:

drawings

North Queensland 1976, pencil and charcoal, 72.6 x 98.0 cm

Flame Tree, Queensland 1976, ink, 76.0 x 101.0 cm

prints

Port Vila 1984, etching with hand-colouring, P. 47.5 x 63.5 cm

paintings

The Flame Tree (1969) 1970–74, mixed media on board, 133.0 x 113.0 x 10.0 cm

Sketch for Large Flame Tree, Port Vila 1983, ink, gouache, collage on paper, 62.5 x 51.0 cm

Port Vila (1984), watercolour and collage on paper, 50.0 x 62.0 cm

Flame Tree (c. 1984), charcoal, ink, gouache, collage on paper, 105.4 x 75.2 cm

Port Vila Study 1984, ink, gouache and collage on paper, 62.5 x 51.0 cm

Port Vila Study (1984), oil and collage on board, 184.0 x 121.0 cm

Flame Tree, Port Vila (1984), oil, collage and seed pods on board, 85.0 x 76.0 cm

The Arrival – A Glimpse in the Botanic Gardens 1984, oil, collage and charcoal on canvas, 106.4 x 96.4 cm

Sketch of Flame Tree in Autumn (with Two Lorikeets Feeding) 1987–88, watercolour, oil, collage on plywood, 71.0 x 90.0 cm

Flame Tree and Fruit Dove 1987, oil, eggs and sticks on board, 79.5 x 105.0 cm

Pierre Bonnard – Drifting Off the Point 1991, diptych: top panel: pencil, charcoal, collage on board; bottom panel: charcoal, oil, collage on paper on plywood, 133.1 x 89.2 cm overall

North Queensland (Near Port Douglas) 1992, mixed media on plywood, 183.5 x 198.0 cm

Glass House Mountains:

drawings

(Landscape – Glass House Mountains) (c. 1976), charcoal, 21.4 x 25.3 cm

(Sketch for ‘Glass House Mountains, Queensland’) (c. 1976), pencil, charcoal, 19.7 x 16.4 cm

The Glass House Mountains, Queensland (c. 1976), pencil, 75.0 x 99.0 cm

Glass House Mountains, Queensland 1976, ink, 73.0 x 103.0 cm

Glass House Mountains, Queensland (c. 1976), ink and wash, 74.0 x 98.5 cm

Sketch of Glass House Mountains 1976, pencil, 50.9 x 73.6 cm

Glass House Mountains, Queensland (c. 1976), ink, 75.5 x 101.0 cm

Glass House Mountains (c. 1976), ink, 71.9 x 56.6 cm

The Black Whole (Queensland) 1976, India ink, 98.0 x 75.5 cm

[Still Life] Glass House Mountains 1976, ink and wash, 73.0 x 91.0 cm

North Queensland 1976, pencil and charcoal, 72.6 x 98.0 cm

Glass House Mountains 1978, pencil, ink, watercolour, gouache on paper, 75.9 x 98.5 cm

All of It (Queensland) (c. 1980), ink, gouache, wine, collage, 74.9 x 91.7 cm

Vision of “Queensland” (Preliminary drawing for Oil Painting) 1980, mixed media, 76.3 x 102.0 cm

Cyclone #1 1981, ink, 80.0 x 112.0 cm

Cyclone #2 (Illusion) 1981, ink, 80.0 x 112.0 cm

Nude Sunning Herself 1981, charcoal, 74.0 x 107.0 cm

Glass House Mountains (Revisited) 1981, ink, 76.0 x 104.0 cm

Expandingness, Glass House Mountains 1983, ink and wash, 75.0 x 102.0 cm

Glass House Mountains with Clouds (1983), pencil, charcoal, ink wash, 76.2 x 105.2 cm

Expandingness, the Glass House Mountains 1983, ink and charcoal, 74.8 x 104.1 cm

paintings

Glass House Mountains, Queensland 1976, oil on board, 90.0 x 100.0 cm

Expandingness, The Glass House Mountains (1983), watercolour on paper, 74.5 x 102.0 cm

lake in Bali:

drawings

Lake in Bali 1 (c. 1978), ink and wash, 56.0 x 75.5 cm

Lake in Bali (Lake Kintamani) (also titled Lake in Bali 11) (1978), ink, 56.0 x 75.5 cm

Lake, Bali 111 (1978), ink and ink wash, 56.0 x 75.5 cm

Jennifer’s Lake, Bali 1980, ink and ink wash, 56.0 x 76.0 cm

Lake in Bali 11 (c. 1980), brush and ink wash, 56.2 x 75.6 cm

Jennifer’s Lake in Bali (also titled Lake in Bali 111) (1980), ink and ink wash, 57.5 x 77.8 cm

Lindfield Gardens:

drawings and works on paper

Lindfield 1978, sepia ink and collage, 54.0 x 72.0 cm

Allenbrook Gardens, Lindfield 1978, ink, 55.4 x 74.7cm

TV Image, Lindfield 1980, ink, 52.7 x 61.0 cm

Lindfield Gardens (Version 2) 1984, brown ink, 202.0 x 135.8 cm

prints

Lindfield Gardens 1978, screenprint, S. 91.9 x 116.2 cm

paintings

Staring at the Garden after Looking at the Sun for a Minute 1984, oil and mixed media on canvas, 75.5 x 60.5 cm

Moreton Bay fig:

drawings

Bonsai (Moreton Bay Fig) 1971, 59.4 x 98.8 cm

Moreton Bay Fig and Black Boys 1971, ink, 75.0 x 54.5 cm

Moreton Bay Fig 1975, ink, 140.0 x 82.5 cm

Inside a Moreton Bay Fig Tree 1975, ink, 98.0 x 75.0 cm

Moreton Bay Fig and Harbour 1975, ink and gouache, 51.0 x 63.0 cm

Moreton Bay Fig (c. 1977), ink, 15.0 x 18.0 cm

Moreton Bay Fig 1977, ink and ink wash, 34.2 x 26.0 cm

(Fig Tree) (1978) [verso image], ink, 57.0 x 53.0 cm

Dove in a Moreton Bay Fig Tree 1979, Japan black lacquer, 74.0 x 55.0 cm

Dove in a Moreton Bay Fig Tree 1983, ink, 238.6 x 56.3 cm

Starling 1987, charcoal, ink wash, oil, collage, feather on laid canvas, 60.8 x 65.2 cm

prints

Moreton Bay Fig 1979, etching, P. 60.1 x 49.9 cm

The Moreton Bay Fig 1979, etching and drypoint, P. 60.1 x 49.9 cm

paintings

Moreton Bay Fig and Palms 1974, oil on canvas on board, 46.0 x 36.0 cm

Moreton Bay Fig Tree in the Rain with Wren 1975, oil, ink on plywood, 244.0 x 183.0 cm

(Moreton Bay Fig, Botanic Gardens) (1984), oil and polyvinyl acetate on canvas, 91.3 x 106.0 cm

Notre-Dame Cathedral:

drawings

Notre-Dame, Paris 1962, ink and wash, 37.8 x 27.9 cm

(Notre-Dame Cathedral) 1973, brush and ink and collage, 66.0 x 50.0 cm

Notre-Dame Sketchbook 1982, charcoal and ink, 32.0 x 50.0 cm

Notre-Dame – Flying Stone 1989, charcoal and ink, 57.5 x 76.3 cm

Notre-Dame – The Left Tower 1989, charcoal, 57.0 x 76.6 cm

Footbridge and Pont Neuf 1989, ink, 56.0 x 77.0 cm

The Facade of Notre-Dame 1989, ink, 107.0 x 75.0 cm

Sketch for Île de la Cité 1990, ink, 26.0 x 34.0 cm

Île de la Cité (Sketch) 1990, ink on canvas, 20.0 x 25.0 cm

The Back of Notre-Dame with Bridges 1990, charcoal, 56.0 x 75.0 cm

Notre-Dame 1990, charcoal, ink, synthetic polymer paint, collage, 107.5 x 75.1 cm

prints

Notre-Dame 1990, drypoint etching, P. 15.0 x 19.5 cm

Île de la Cité 1990, etching, P. 15.2 x 20.0 cm

photographs

(Photographs of Studio/Apartment in Paris) 1990, 4 photographs, 67.4 x 51.4 cm sheet

paintings

Notre-Dame at 5 am 1989, gouache and collage, 56.0 x 76.0 cm

Bridge and Notre-Dame (Cream) 1989, ink and gouache, 56.0 x 76.0 cm

Le Bout de l’Île de Notre-Dame 1989, gouache, 56.0 x 76.0 cm

Paris (Summary) 1989, mixed media on canvas, 213.0 x 244.0 cm (detail)

Notre-Dame 1990, pencil, ink, oil, collage on canvas, 20.0 x 25.0 cm

palm trees:

drawings and works on paper

[Palm] Tangier Postcard 1967, altered photograph, 56.0 x 76.0 cm approx.

Palm Trees (c. 1974), ink, 73.5 x 57.7 cm

(Three Palm Trees) 1974, ink, 100.0 x 57.0 cm

Trees from the Car 1974, ink, 94.0 x 62.0 cm

The Palm Tree 1975, pencil and gouache, 134.0 x 86.0 cm

Nine Palm Trees 1975, ink on board, 99.0 x 75.5 cm

Drawing for Palm Tree No. 2 (1975), ink on cardboard, 110.9 x 72.9 cm

Drawing Used for Palm Tree Print No. 3 1975, ink on cardboard, 101.7 x 71.5 cm

Drawing for Palm Tree No. 4 (1975), ink, 100.0 x 70.0 cm

Orchids in front of Palm Tree Print 1975, ink, 100.5 x 75.0 cm

Bali 1976, ink on canvas on board, 57.4 x 50.0 cm

Palm Trees and Lavender Bay Wharf 1978, blue ink, 76.0 x 102.0 cm

(Rain on Sydney Harbour) 1978, ink and wash, 31.0 x 42.0 cm

Palm Tree, Lavender Bay 1979, charcoal, 102.0 x 72.0 cm

Lavender Bay Morning 1979, ink, 49.0 x 56.5 cm

Lavender Bay 1979, blue ink and watercolour on paper, 102.2 x 76.2 cm

(Drawing for ‘The Fruit Dove in Clark Park’) (1980), ink, 53.1 x 37.3 cm

Palm Tree (c. 1980), ink, 56.2 x 45.8 cm

Study for ‘Palm Vase’ 1980, pencil and ink, 35.0 x 24.0 cm

Palm in Rain 1981, watercolour and gouache on paper, 47.6 x 39.4 cm

The Year of the Palm Tree 1982, ink, 39.0 x 33.5 cm

Palm in the Park, Lavender Bay 1983, ink, 27.0 x 18.0 cm

Palm Tree 1991, ink, 74.0 x 55.0 cm

Drawing for ‘Sparrows and Orange Palm, Lavender Bay’ (c. 1991), ink, 31.4 x 19.1 cm

Preliminary Sketch for ‘Sparrows and Orange Palm, Lavender Bay’ 1991, ink and charcoal, 75.0 x 55.5 cm

prints

Palm Tree, nos. 1–4 1975, suite of 4 screenprints, each S. 101.7 x 76.1 cm

The Fruit Dove in Clark Park 1980, colour screenprint, S. 105.6 x 75.5 cm

paintings

Moreton Bay Fig and Palms 1974, oil on canvas on board, 46.0 x 36.0 cm

Midday Palm 1974–75, oil on pineboard, 138.0 x 80.0 cm

Coconut Palms through Train Window 1974, oil, 80.0 x 66.0 cm

Landscape just Outside Makale, Celebes 1974, oil on board, 182.0 x 92.0 cm

There Is, Still Life with Reflections 1976, oil on canvas, 91.5 x 91.5 cm

The Park under Sunlight 1976, oil on canvas, 210.0 x 152.4 cm

The Palm Tree, 3 1976, ink, oil, collage and seed pods on plywood, 212.0 x 120.0 cm

Palm Tree 1976, oil on board, 146.0 x 76.0 cm

‘tsui’ (Palm Tree) 1978–79, oil collage and seeds on board, 172.0 x 122.0 cm

(Clark Park Palm, Three Glasses and a Vase, Lavender Bay) (c. 1978), oil and seeds on canvas, 96.5 x 97.0 cm

The Split-second Summer Began 1979, gouache, collage on paper on board, 101.5 x 76.0 cm

The Pier at Lavender Bay 1979–80, oil on board, 68.5 x 53.5 cm

(Wren in Blue Palm, Lavender Bay) (c. 1980), oil on canvas board, 76.0 x 60.5 cm

Moonlight 1984, oil on canvas, 107.0 x 90.0 cm

Orange Palm and Lavender Bay (Small Version) 1991, oil on canvas, 30.0 x 30.0 cm

The Pier at Lavender Bay 1991, oil and gouache on canvas, 86.0 x 92.5 cm

Midnight at Lavender Bay (c. 1991), oil on canvas, 60.0 x 46.0 cm

ceramics

Palm Vase 1984, height 54.0 cm

sculpture

Palm Trees (Free-standing Ultramarine Palm Trees) 1974, fibreglass, 274.0 x 71.0 x 40.5 cm

poplars:

drawings

The Poplar, Oberon 1979, ink, 80.0 x 29.0 cm

Poplars beside the Fish River, Oberon 1979, ink, 56.1 x 38.1 cm

Fish River, Oberon 1980, ink, 27.0 x 24.0 cm

The Atlantean Poplars 1991, charcoal and oil stick, 76.0 x 56.0 cm

paintings

(Landscape with Poplars) (c. 1974) gouache and mixed media on paper, 55.8 x 76.0 cm

Pond and Poplars 1974–75, oil on canvas on hardboard, 121.5 x 91.0 cm

Landscape with Three Poplars Sketch) (c. 1979) ink, gouache on paper, 41.8 x 59.9 cm

(Landscape with Three Poplars) (c. 1979) watercolour, gouache on paper, 41.8 x 59.3 cm

Two Poplars, Oberon 1979, oil on cardboard, 102.0 x 76.5 cm

In the Fury of the Moment: Poplars 1982, oil on board, 102.0 x 76.0 cm

Memory from School – Winter Poplars 1991, mixed media on paper, 110.7 x 76.2 cm

plum trees:

drawings

Sprig of Plum 1974, ink, 100.0 x 62.0 cm

(Sprig of Plum) 1975, ink [dimensions unknown]

Plum Leaves 1977, ink and oil, 98.5 x 75.0 cm

Preliminary Study for ‘Dove in a Plum Tree’ 1983, ink, 57.0 x 30.5 cm

prints

Poem for a Lover 1988, offset lithograph, S. 110.6 x 96.5 cm

paintings

The Dove and the Plum Tree 1982, oil, gouache, collage, paper on hardboard, 54.0 x 56.5 cm

The Rainy Window and the Plum Tree 1983, oil and collage on canvas, 107.0 x 90.0 cm

There Was no Plum Tree In Eden 1983, oil, gouache, photography on board, 54.0 x 56.0 cm

The Plum Tree (also titled Whose Nature?) 1984, mixed media on canvas, 213.3 x 152.0 cm

The Plum Tree in the Municipal Gardens in Arles 1985, oil and collage on canvas, 203.0 x 145.0 cm

ceramics

Dove in Plum Tree 1981, plate/ashtray, 33.0 cm diameter

Port Vila, Vanuatu:

drawings

Port Vila 1981, ink, ink wash, 55.9 x 76.2 cm

How to Idle the Night 1981, ink, wash, gouache, 56.0 x 75.9 cm

Vanuatu 1981, pencil and ink, 55.0 x 75.0 cm

prints

Port Vila 1984, etching, P. 47.6 x 63.6 cm

paintings

Sketch for Large Flame Tree, Port Vila 1983, ink, gouache, collage on paper, 62.5 x 51.0 cm

The Waves, Port Vila 1984, ink, watercolour and gouache on paper, 55.0 x 75.0 cm

Port Vila (1984), watercolour and collage on paper, 50.0 x 62.0 cm

Port Vila Study 1984, ink, gouache and collage on paper, 62.5 x 51.0 cm

Port Vila Study (1984), oil and collage on board, 184.0 x 121.0 cm

Flame Tree, Port Vila (1984), oil, collage and seed pods on board, 85.0 x 76.0 cm

rainy day, Sydney Harbour:

drawings

Sunday 1973, pencil and charcoal, 49.5 x 45.3 cm

The Ferry at Lavender Bay 1973, blue ink wash, 59.6 x 54.8 cm

Storm over Lavender Bay 1974, ink and wash, 75.5 x 87.0 cm

Rainy Day 1976, ink and gouache, 87.5 x 50.0 cm

(The Jetty) (c. 1976), ink and gouache, 39.8 x 29.5 cm

Sydney Harbour 1977, ink, 31.8 x 38.8 cm

Harbour Storm 1977, ink, 153.0 x 153.0 cm

The Ferry Coming In – Lavender Bay (Ferry in the Rain) 1977, ink, 153.0 x 153.0 cm

(Rain on Sydney Harbour) 1978, ink and wash, 31.0 x 42.0 cm

(Palm Tree and Park Bench – Rainy Day, Lavender Bay) (c. 1978), ink, 31.0 x 24.0 cm

Lavender Bay on a Rainy Day 1980, ink and wash, 75.5 x 104.9 cm

(Raining, Lavender Bay) (c. 1983), coloured inks and crayon, 83.5 x 37.5 cm

prints

Lavender Bay in the Rain 1987, colour screenprint, S. 127.5 x 97.0 cm

paintings

Ferry Coming In 1974, oil on canvas, 41.0 x 51.0 cm

Lavender Bay in the Rain 1974, oil and mixed media on board, oil on perspex, 120.5 x 95.0 cm

Lavender Bay in the Rain (1974), oil on canvas, 45.8 x 56.0 cm

(View to Sydney Harbour Bridge) (c. 1976), mixed media on paper, 15.7 x 13.0 cm

(View from Lavender Bay House) (c. 1976), ink, gouache on paper, 38.8 x 27.2 cm

Lavender Bay (1976–77), ink, gouache and collage on paper, diptych: left image 17.8 x 12.4 cm (irreg.); right image 17.9 x 12.8 cm (irreg.)

Preliminary Notes for ‘Harry’s Building’ 1976, mixed media on card, 61.5 x 130.5 cm

Lavender Bay Pier in the Rain 1976, oil on canvas, 61.5 x 45.6 cm

Oil Sketch of Sydney Harbour in the Rain 1976, mixed media on canvas, 71.5 x 76.5 cm

Sydney Harbour in the Rain 1976–77, oil and mixed media on plywood, 199.0 x 177.8 cm

Pissing Down All Day 1977, oil on plywood, 48.0 x 89.0 cm

Harbour in the Rain 1977, mixed media on canvas, 60.0 x 76.0 cm

Lavender Bay in the Rain 1977, oil on canvas, 45.5 x 55.5 cm

Magnolia Tree in the Rain 1977, oil on canvas on board, 60.5 x 50.5 cm

Harbour (Grey Day) 1978, oil on canvas, 168.0 x 153.0 cm

Grey Harbour (1978), oil and charcoal on canvas, 86.5 x 85.5 cm

Small Harbour (Grey Day) 1978, oil on plywood, 122.0 x 81.0 cm

Fishing Boats Nicking In 1978, oil on canvas, 61.0 x 76.0 cm

Ferry 1979, oil on board, 91.5 x 91.5 cm

Lavender Bay in the Rain 1979, oil on canvas, 86.0 x 86.0 cm

Seagull over Lavender Bay 1979, oil and mixed media on board, 87.5 x 82.5 cm

Lavender Bay 1981, oil, synthetic polymer paint on canvas on hardboard, 89.5 x 89.0 cm

(Lavender Bay in the Rain) (c. 1980–81), oil on masonite; oil on perspex, 87.5 x 131.5 cm

Sofala and Hill End:

drawings and works on paper

The Hill behind Sofala 1978, pencil, 56.5 x 75.0 cm

Sketch of a Swamp at the Back of Hill End Pub 1986, ink and collage, 56.0 x 76.0 cm

Out of Hill End 1986–87, ink, 55.0 x 75.5 cm

paintings

Ghost Town, Hill End 1955, oil on hardboard, 37.0 x 46.7 cm

Sofala 1958, oil on canvas mounted on board, 65.5 x 85.8 cm

Sofala — Hill End 1958–59, oil on board, 53.5 x 71.5 cm

(Untitled) (c. 1960) pencil, brush and ink, oil, gouache, collage, 31.3 x 44.0 cm

Gold-mining 1960, oil, pencil and polyvinyl acetate on paper on board, 35.0 x 53.0 cm

Sunset on the Sofala Road 1974, oil on canvas on board, diptych: 81.2 x 133.2 cm overall

Around Sofala 1982, oil on plywood, 120.0 x 89.0 cm

The Eagle Glides Descending 1982, tempera, oil, ink, collage on plywood, 76.0 x 61.0 cm

Hill End 1985–89, oil and mixed media on hardboard, 160.0 x 211.5 cm

Sydney Harbour Bridge:

drawings

(View from the Window, Lavender Bay) (c. 1974), ink, 50.6 x 75.6 cm

(Window View Lavender Bay) (c. 1974–76), brown ink, wash, 24.4 x 34.7 cm

Lavender Bay with Southerly 1975, ink on cardboard, 76.0 x 84.0 cm

Across to Sydney Harbour Bridge (1975), ink and charcoal, 53.4 x 57.4 cm

(Lavender Bay Interior – Study for a Painting) (c. 1976), pencil, and ink on envelope, 25.2 x 30.4 cm

Harry’s Building, Sydney Harbour 1976, etching, ink and oil on paper, 86.0 x 64.5 cm

(View from Lavender Bay) (c. 1976), ink, 36.4 x 24.7 cm

(River, Willow and Wren) 1981, mixed media on board, 195.0 x 122.5 cm

Rainy Day 1976, ink and gouache, 87.5 x 50.0 cm

Sydney Harbour 1977, brown ink and wash, 30.5 x 40.5 cm

Magnolia and Harbour 1977, ink, 182.8 x 152.5 cm

View from the Telephone Table (also titled Sydney Harbour) 1977, ink, 73.0 x 89.0 cm

Wind from the East (c. 1977), ink, 87.0 x 74.5 cm

Sydney Harbour 1977, ink, 31.8 x 38.8 cm

Harry’s Building – Sydney Harbour 1978, mixed media, 40.0 x 30.0 cm approx.

(Harbour from Lavender Bay) (c. 1978), brush and ink, 32.0 x 21.5 cm

Sydney Harbour 1978, India ink, 140.0 x 91.0 cm (framed)

(Rain on Sydney Harbour) 1978, ink and wash, 31.0 x 42.0 cm

(Sydney Harbour Bridge – Two Designs for Postage Stamps (with Australia Post in Mind)) 1980, assemblage, pen and ink, 23.2 x 33.3 cm sheet overall

Design for 22c Stamp, Australia Day 1981 (1980), ink, 26.2 x 38.7 cm

Sydney Harbour Bridge (c. 1980), ink, 23.0 x 34.5 cm

Harbour Bridge (c. 1980), ink, 31.0 x 41.0

Sydney Harbour 1980, ink, 105.0 x 75.3 cm

Study for the Idea of a Painting about Binoculars 1980, ink, 75.5 x 52.5 cm

Southerly Coming (c. 1980), ink and wash, 41.5 x 57.0 cm

Sydney Harbour (c. 1980), ink, 101.0 x 70.7 cm

Preliminary for Harbour Triptych 1981, ink, triptych: 74.0 x 117.0 overall

Sydney Harbour 1984, ink, 242.0 x 130.0 cm

Lavender Bay 1985, ink and watercolour, 34.9 x 32.3 cm

prints

Sydney Harbour Bridge 1977, etching, aquatint, P. 60.7 x 45.1 cm

Sydney Harbour 1980, colour screenprint, S. 121.5 x 80.8 cm (variations)

Sydney Harbour by Night 1981, linocut, B. 30 x 30.2 cm

paintings

Lavender Bay in the Rain (1974), oil on canvas, 45.8 x 56.0 cm

The Balcony 2 1975 (formerly titled Sydney by Night), oil on canvas, 203.5 x 364.5 cm

Evening Coming In on Sydney Harbour 1975, oil on cotton on canvas, 228.2 x 190.0 cm

(View to Sydney Harbour Bridge) (c. 1976), mixed media on paper, 15.7 x 13.0 cm

(View from Lavender Bay House) (c. 1976), ink, gouache on paper, 38.8 x 27.2 cm

Lavender Bay (1976–77), ink, gouache and collage on paper, diptych; left image 17.8 x 12.4 cm; right image 17.9 x 12.8 cm (irreg.)

Preliminary Notes for ‘Harry’s Building’ 1976, mixed media on paper and card, 7 panels, 25.0 x 96.0 cm (sight overall)

Sydney Harbour in the Rain 1976–77, oil, charcoal, ink, pencil and plaster on plywood and oil on glass, 199.0 x 177.8 cm

Oil Sketch of Sydney Harbour in the Rain 1976, (also titled Harbour), oil and mixed media on canvas and perspex, 71.5 x 76.5 cm

Sketch of Lavender Bay 1980, synthetic polymer paint on card on board, 102.0 x 77.0 cm

Sydney Winter 1980, oil and mixed media on canvas, 51.0 x 78.5 cm overall (diptych)

Lavender Bay at Dusk 1984, oil on plywood, 122.0 x 152.5 cm

Lavender Bay (Blue) 1987, oil and collage on plywood, 122.0 x 152.0 cm

Early Morning from Farm Cove (Sydney Harbour) 1987, oil on board, 134.0 x 134.5 cm

View from the Sitting Room Window, Lavender Bay 1991, mixed media on panel, 122.0 x 198.0 cm

‘The Great Australian Landscape’ and suburbs:

This theme unfolds over several decades starting in the 1970s with images of suburban paling fences. Whiteley described his plan for ‘The Great Australian Landscape’ as ‘50 panels from Bondi to Uluru … through the blue suburbs, the red roofs, the city, the Blue Mountains, the bush, the outback and right through the red heart ... 50 panels ... to refer to the full political, historical and cultural levels of Australia’… (Whiteley quoted in Hawley, The Sydney Morning Herald Magazine, 17 February 1990, p. 26).

drawings and works on paper

(House and Paling Fence) (c. 1970–71), pencil, 22.7 x 55.9 cm

Preliminary Sketch for Portrait Background: Park from Patrick White’s Desk 1980 sepia ink and collage, 42.0 x 59.0 cm

(Seated Blue Nude) (c. 1981), blue ink, 33.6 x 20.6 cm [see inscriptions]

Study for Beach 1980, pencil, 22.8 x 55.9 cm

Study for Beach 1980–81, pencil on 2 sheets of paper, 22.8 x 55.9 cm

Working Drawing for ‘Australia’ 1981, ball-point pen and collage, 55.8 x 76.2 cm

Working Drawing for ‘Australia’ (1981, 1982–88), mixed media, 78.8 x 104.0 cm

(Two Studies for ‘The Great Australian Landscape’) (c. 1984), ink, 14.5 x 8.0 cm

Sketch for ‘Palm Beach Triptych’ (c. 1987), pencil, ink, gouache, collage, 57.9 x 41.8 cm

Study for Enormous Drawing of the Australian Bush Blue Mountains 1987, ink, 57.0 x 76.0 cm

prints

The Arrival 1988, offset lithograph, edition 150, S. 79.0 x 104.0 cm

paintings

Australia 1970–74, mixed media on plywood, 203.0 x 324.5 cm

The Suburbs 1970 (reworked 1982–83), oil, plaster, wooden fence palings on plywood, 221.0 x 135.2 x 9.1 cm overall

Sketch for the Red and Green of the Suburbs 1979, oil, 30.0 x 30.0 cm

Red Roofs with Palm Trees (1983), oil on canvas on hardboard, 40.0 x 54.0 cm

Red Roofs of Sydney 1983, oil on cardboard, 68.0 x 42.0 cm

Study for ‘The Great Australian Landscape’ 1984, oil, collage on canvas, 105.5 x 91.0 cm

South Coast after the Rain 1984, oil and collage on canvas, 137.0 x 122.0 cm

Two Hearts of Australia 1987, oil, gouache and collage on artist’s board, 81.0 x 69.5 cm

Study for ‘The Great Australian Landscape’ 1989–90, oil on canvas, 76.0 x 76.0 cm

Byron Bay at Sunset (retitled South Coast Geographical) 1990–91, oil on board, 96.0 x 86.0 cm

Beach Polyptych 1984, 1991–92, mixed media on 6 panels on hardboard, 216.4 x 733.2 cm overall

The Olgas:

drawings and works on paper

(The Olgas Framed) (c. 1970), purple fibre-tipped pen, 25.0 x 19.6 cm

Jah! - Olgas and Stones 1978, ink and photomontage, 39.6 x 71.0 cm

Dreaming of the Olgas 1979, ink, watercolour, 43.5 x 37.8 cm

(The Pyrenees and the Olgas Combined) (c. 1982), ink, 20.2 x 25.4 cm

The Pyrenees and the Olgas Combined (also titled St Rémy 2) 1982, ink, 20.3 x 33.0 cm

Preliminary Sketch for Small ‘Olgas’ Painting (c. 1984), ink, collage, 51.9 x 63.9 cm

(The Olgas) (c. 1984), ink, 55.0 x 75.0 cm

Olgas 1 1984, ink and collage, 31.5 x 43.0 cm

Olgas 11 1985, ink, wash, 46.3 x 59.3 cm

The Olgas (c. 1985), brush and black ink, 9.8 x 31.9 cm

Lloyd Rees Re-worked (c. 1985), offset lithograph, ink and wash, S. 25.0 x 32.4 cm

At Dawn, Olgas 111 1985, ink and wash, 73.6 x 53.3 cm

The Olgas (c. 1985), ink, collage, 26.5 x 30.2 cm

The Olgas, 8 AM (also titled Olgas 111) 1985, ink, 54.0 x 76.2 cm

(Unpublished Sketch for ‘Native Rose’) (1985), pencil, 29.5 x 21.0 cm

Giles and Gibson in the Spinifex Desert (1985), ink, 75.0 x 55.0 cm

Morning, The Olgas (from Native Rose series) (c. 1985), ink, 54.4 x 73.0 cm

(Portrait of an Aboriginal Man) (c. 1986), fibre-tipped pen, 22.4 x 17.4 cm

The Olgas (c. 1986), ink, coloured pencil, watercolour, 21.0 x 29.6 cm

Gibson’s End… 1986, ink and collage, 36.5 x 27.5 cm

The Olgas and the Woman in Them 1986, mixed media, 150.0 x 272.5 cm

Rivers 1987, pen and ink, collage, postcards, 36.1 x 29.2 cm

collages

English Roses… (1985), mixed media on card, 54.8 x 47.4 x 1.3 cm

Incursion (from Native Rose series) (1985), collage, ink, gouache, 42.0 x 55.0 cm

Scrub Plains (1985), collage, ink, watercolour, gouache on card, 54.9 x 47.2 cm

Explorer’s Greatcoat (c. 1985), offset lithograph, 43.4 x 61.0 cm

On the Edge of the Dunes (1985), collage, mixed media, 25.4 x 16.5 x 1.3 cm

On the Edge of the Dunes [2] (c. 1985), collage, 34.1 x 24.2 cm

Fellow Countryman (1985), collage and ink, 59.3 x 42.0 cm

Fellow Countrymen (1985), collage, ink, gouache, compass on cardboard, 51.1 x 76.1 cm

Heart of Light (1985), collage, ink, gouache on cardboard, 41.1 x 31.4 cm

Heart of Light [2] (1985), offset lithograph on cardboard, 20.8 x 25.0 cm

Ernest Giles (from Native Rose series) (1985), ink and gouache on card, [dimensions unknown]

The Track [2] (1985), offset lithograph, ink, oil, 36.2 x 25.1 cm

Retreat (1985), collage, ink, gouache, oil on pink cardboard, 55.0 x 48.8 cm

(Landscape, The Olgas) (c. 1985) gouache on offset lithograph, 54.8 x 75.1 cm

The Olgas (from Native Rose series) (c. 1985), double sided, recto image: collage, brush and brown ink, 23.1 x 16.9 cm

The Olgas (1985), offset lithograph and collage on cardboard, 29.5 x 40.0 cm

(Kangaroo Paw Birds) (c. 1985) ink on off-set colour lithograph, 16.6 x 16.4 cm

prints

The Olgas 1985, aquatint, etching, unique state, P. 30.0 x 50.4 cm

Rouge Mange 1985, lift-ground aquatint, etching, ink, collage, transfer graphics, unique state, P. 30.0 x 50.4 cm

Ernest Giles (from Native Rose series) 1985, etching, p. 30. 1 x 22.6 cm

Mt Olga (from Native Rose series) 1986, etching, P. 30.2 x 22.6 cm

Sixty Miles Out (from Native Rose series) 1986, sugarlift aquatint, P. 30.5 x 22.6 cm

paintings

The Olgas…Soon 1970, tempera and mixed media, 203.0 x 325.0 cm

Fragment off Olga or Jah! How Black Can You Get 1974–75, mixed media, 69.5 x 72.0 cm

The Olgas 1978, oil on canvas, 76.5 x 96.5 cm

Sloping Up on The Olgas (with Crow) (1) 1983–85, mixed media, 122.0 x 101.8 cm

Sloping Up on The Olgas (2) 1984–86, mixed media, 107.4 x 88.0 cm

The Olgas for Ernest Giles (also titled To Ernest Giles) 1985, mixed media, 213.5 x 244.5 cm

The Olgas (1986) oil, plaster and collage on board, 172.0 x 202.5 cm

waves:

drawings and collages

For Dream-a-Day 1970, mixed media, 61.0 x 54.0 cm

The Sea 1970, suite of 6 ink drawings, each 30.4 x 30.4 cm

Waves on Sand (c. 1972), pencil, white paint, 37.5 x 24.8 cm

Moods of the Sea 1972–73: suite of drawings:

Moods of the Sea (1972–73), ink, 76.0 x 55.8 cm

Moods of the Sea (1972–73), ink, 75.8 x 55.6 cm

Moods of the Sea (1972–73), ink, 76.0 x 55.8 cm

Moods of the Sea (1972–73), pencil and ink, 75.5 x 55.5 cm

Moods of the Sea: Waves, Fiji (1972–73), pencil, 75.0 x 55.5 cm

Moods of the Sea (1972–73), ink, 76.0 x 55.8 cm

Moods of the Sea (1972–73), ink, 76.0 x 55.8 cm

Collaroy Beach: Moods of the Sea 1972, ink, 75.0 x 55.0 cm

Bird and Waves (c. 1972–73), [details unknown]

(The Sea) (1972), mixed media, 56.0 x 76.0 cm

The Divided Unity 1973, ink and collage on 2 panels, 74.0 x 104.0 cm overall

Study Extension to ‘The Divided Unity’ (c. 1973), ink and oil on card, 76.3 x 43.9 cm

Sydney Harbour 1973, ink, 33.0 x 23.5 cm

Sydney Harbour – No 1 1973, ink, 96.2 x 59.7 cm

Calm Sea 1973, ink, 75.4 x 55.0 cm

Moods of the Sea : The Wave 1973, ink, 75.8 x 55.4 cm

Sydney Harbour 1973, ink, 93.0 x 63.0 cm

The Ferry at Lavender Bay 1973, blue ink wash, 59.6 x 54.8 cm

The Wave 1973, ink and wash, 74.0 x 55.0 cm

Dumpa or Breaka: The Question on the Beach 1973, ink and pencil, 43.5 x 27.5 cm

Palm Beach 1973, ink, 83.6 x 55.4 cm

The (inner) Wave 1973, charcoal on canvas, 71.2 x 61.0 cm

Lavender Bay with Southerly 1974, ink, 94.0 x 64.2 cm

Study for ‘Jibe’ 1974, pencil, 100.0 x 76.0 cm

The Yacht Race (1) 1974, ink and collage, 86.0 x 65.0 cm

The Sailboarder (c. 1974), brown ink, 54.4 x 76.0 cm

Harbour and Rocks 1974, ink, 111.7 x 76.0 cm

Waves 1 1974, ink, 49.5 x 46.4 cm

Waves 11 (or Calligraphy Waves) 1974, ink, 50.0 x 50.9 cm

Working Drawing for ‘Waves on the Harbour’ (1974), ink and ink wash on board, 107.5 x 82.5 cm

Oyster Cove (also titled Man Best Understands the Nature of Water When He Comes Close to Drowning) 1975, ink, 185.0 x 82.0 cm

Harbour Study 1975, ink and wash, 34.5 x 27.0 cm

Onto the Bay 1 1975, ink, 103.0 x 74.0 cm

Onto the Bay 11 1975, ink, 165.0 x 90.0 cm

Lavender Bay with Southerly 1975, ink, 76.0 x 84.0 cm

Single Wave 1975, ink on rice paper mounted on silk scroll 121.0 x 74.7 x 3.0 cm overall

(Calligraphy Waves) (c. 1975), brush and ink, 19.2 x 24.0 cm

Waves (c. 1975), ink, 58.5 x 54.5 cm

Waves 1976, blue ink, 85.2 x 56.4 cm (oval)

Waves (c. 1976), collage, 54.2 x 74.4 cm

Palm Beach Diptych 1976: Fishing Boats at Palm Beach and Barren Joey Headland, collage, each 74.4 x 52.4 cm

Bateau Bay 1976, ink, 51.0 x 76.0 cm

Calm Water 1976, India ink, 73.5 x 53.0 cm

Ocean 1977, ink, 55.5 x 75.2 cm

Palm Beach Surfers 1978, pencil, 41.1 x 56.5 cm

Bateau Bay Waves 1979, ink, 56.3 x 73.3 cm

The Sea (Bateau Bay)1 1982, ink, 55.8 x 76.2 cm

The Sea (Bateau Bay) 11 1982, ink, 55.8 x 76.2 cm

The Sea (Bateau Bay) 111 1982, ink, 55.8 x 76.2 cm

Study for ‘Calm Sea’ 1983, ink and pencil, 28.0 x 18.5 cm

Sketch for ‘Diving Under’ 1985, sepia ink, 41.9 x 59.1 cm

Sketch for Linocut ‘Diver and Dumper’ (1985), brush and sepia ink, 55.0 x 37.0 cm

Bondi Bather (c. 1985), verso: (Sketches of Waves at Bondi), ink and wash, 29.6 x 30.7cm

Wategos Beach, Holiday Suite 3 1989, ink, 51.2 x 59.4 cm

prints

(Waves) (c. 1973), etching, P. 20.2 x 15.0 cm

Two Gulls 1973, 1/1, ink and collage over screenprint, S. 73.8 x 75.2 cm

Bird and Waves 1973, screenprint and collage, S. 87.4 x 86.2 cm

The Divided Unity 1974, screenprint, S. 76.5 x 104.8 cm

Waves on the Harbour 1974, screenprint, printed on cardboard, S. 115.9 x 76.9 cm

Waves 1977, linocut, b. 20.5 x 15.0 cm (reprinted as The Wave 2015)

The Divided Unity, screenprint, one of 24 colour Polaroid photographs in Work in Progress 1983, 71.0 x 90.0 cm overall

[Diving in] A Day at Bondi 1984, one in a suite of 10 etchings, P. 20.1 x 18.0 cm

paintings

The American Dream 1968–69, mixed media on 18 panels, 244.0 x 2,196.0 cm (detail)

Melancholy 1970, ink, oil and collage on card on board, 73.0 x 76.0 cm

(Waves) (1973), oil, [details unknown]

One Just Won 1973, oil, 99.0 x 83.8 cm

Tiny Hit 1973, oil on pineboard, 34.0 x 22.0 cm

Coincidence 1973, oil on plywood, 94.7 x 81.3 cm

To Repeat without Repeating 1973, oil on plywood with ink and seashell, 88.5 x 83.0 cm

Smack! 1973–82, oil and electric light on plywood, 116.0 x 83.7 cm

...Up All Night 1973, oil on plywood with light fitting, 203.0 x 121.9 cm

The Cloud Reader 1973, oil on plywood, 97.7 x 83.7 cm

Thebe’s Revenge 1973–82, oil, collage on plywood, 203.0 x 122.0 cm

Thirroul 1973, mixed media on pineboard, diptych, each panel 102.0 x 81.0 cm

Stanner’s Dream 1974, oil, 94.7 x 81.3 x 5.2 cm

Sketch of Lavender Bay 1980, synthetic polymer paint, 102.0 x 77.0 cm

Two Figures by the Sea 1980, mixed media on cardboard on plywood, 124.5 x 114.0 cm

The Waves, Port Vila 1984, mixed media, 55.0 x 75.5 cm

Deeper 1985, oil on plywood, 205.7 x 153.5 cm

Seagull (Japanese: The Screaming Voice) 1988, oil, collage on plywood, 175.0 x 205.0 cm

Diving In, Bondi 1988, oil and collage on board, 168.0 x 122.5 cm

Thirroul 1988, mixed media on 5 sheets of cardboard, 63.4 x 253.5 cm overall

Wategos Beach, Holiday Suite 5 1989, gouache, watercolour, collage, 54.7 x 73.4 cm

Wategos Beach, Holiday Suite 9 1989, gouache on paper, 55.0 x 74.0 cm

Wategos Beach, Holiday Suite 11 1989, watercolour, gouache and collage, 55.5 x 74.0 cm

Wategos Beach, Holiday Suite 13 1989, gouache, 53.0 x 72.0 cm

Wategos Beach, Holiday Suite 15 1989, gouache and collage, 53.0 x 73.0 cm

Cape Byron (the Most Easterly Point of Australia) 1989, oil on plywood, 152.0 x 121.0 cm

The Nor-easterly Arriving, Byron Bay 1989–90, oil, and collage on canvas, 86.5 x 96.0 cm

Wategos Beach, Byron Bay (Summary) 1990, oil, charcoal, enamel on board, 205.0 x 243.0 cm

ceramics

Untitled Vase (Waves) 1974, [details unknown]

(Sun and Waves) (c. 1989), plate, 30.5 cm diameter

willows:

drawings

The Willow Tree 1972, ink, 43.4 x 50.2 cm

Small Preliminary Brush Drawing for ‘The River at Carcoar’ 1975, ink, 27.6 x 20.6 cm

Sketch of ‘The River at Carcoar’ (1977), ink, 96.0 x 49.6 cm

Sketch for ‘River at Carcoar’ (c. 1977), ink and wash, 53.0 x 44.0 cm

Preliminary for ‘River at Carcoar’ 1977, ink, 90.5 x 56.0 cm

Preliminary Sketch of the Macquarie River (c. 1977), pencil, ink, wash, gouache, collage, 74.9 x 54.9 cm

The Willow Tree 1978, charcoal on cardboard, 218.2 x 122.8 cm

Willow Tree [scroll] 1978, ink, 176.0 x 42.5 x 2.7 cm overall

Motionless for Five Hours: Two Mopokes and One Lizard 1979, ink, collage, 85.1 x 48.3 cm

Willow (c. 1979), charcoal, 110.3 x 76.2 cm

Willow 1979, ink, 184.4 x 150.0 cm

(Willow) (c. 1979), double sided drawing, recto: brush and black ink, 56.5 x 79.9 cm

The Willow 1979, ink, 155.0 x 102.0 cm

Preliminary for Robert’s Screen Show 1980, black and green inks, collage, 41.8 x 59.6 cm

River 1980, ink (screen), 175.0 x 227.0 cm

Willow Tree with Mopoke (c. 1980), ink, 147.0 x 54.0 cm

The Fish River near Oberon 1980, ink, 109.0 x 74.8 cm

Fish River near Carcoar 1980, ink, collage, 109.5 x 71.0 cm

Silvereye in ‘Willow at Oberon’ (reworked from The Willow (Small) (1979) 1980–88, charcoal and collage, 70.8 x 49.8 cm

Willow (at Camp Eden) 1988–90, ink and collage, 84.0 x 46.0 cm

(Landscape with Willow) (c. 1991), pencil, 27.5 x 19.1 cm

True (Willow) (or Two Mopokes and One Lizard Eyeing Each Other Off) 1991, ink, collage, 92.4 x 63.7 cm

Study of a Willow (Winter) (1992), charcoal, 76.2 x 55.8 cm

Willow in Winter 1992, ink, 29.0 x 40.0 cm

prints

The Willow 1988, screenprint, S. 111. 5 x 75.8 cm

(Small) Willow (also titled Winter Willow) 1991, etching, P. 14.8 x 10.0 cm

paintings

The Willow Tree 1975, oil on canvas, 102.0 x 82.0 cm

River at Carcoar (Autumn) 1977, oil on plywood, 203.0 x 121.9 cm

Willows at Carcoar 1978, oil on plywood, 122.0 x 122.0 cm

The Willow, Oberon 1979, oil on cardboard, 101.0 x 74.0 cm

Winter Willows, Oberon 1979, watercolour, ink and gouache on card, 37.5 x 41.5 cm

(Interior with Nude, Lavender Bay) (1979) [unfinished], oil on canvas, 180.0 x 250.0 cm

Willow and Sheep, Oberon 1979, oil and collage on canvas on board, 92.0 x 61.0 cm

Autumn (near Bathurst) – Japanese: ‘Autumn’ 1983, 1987–88, mixed media on plywood, 211.0 x 409.0 cm

Carcoar 1984, ink, gouache and charcoal on cardboard, 75.5 x 95.5 cm

Winter. Zen, the Weather Changes!! (1992), pencil, charcoal, gouache, ink on laid paper, 76.4 x 99.0 cm

Sculpture

bathers and sculpture:

Bather (c. 1962), wood, 81.0 x 56.0 x 51.0 cm

(Bather) Sigean 1962, wood, height: figure: 133.0 cm; rusted steel base: 260.0 cm

“Her” (also titled Bather 1) 1975, mangrove wood and French polish, on marble base 148.0 x 59.0 x 46.0 cm (figure); 262.7 x 59.0 x 46.0 cm overall

“Her” (also titled Bather 1) 1975, cast 1990, bronze, 130.0 x 57.0 x 21.0 cm, height 250.0 cm (including stand)

“Her” (also titled Arkie’s Torso) 1975, mangrove wood on marble base, 77.0 x 29.6 x 17.5 cm (figure); 182.7 x 41.1 x 17.5 cm overall

(“Her”) (c. 1975), hand built and glazed ceramic sculpture, height 32.0 cm “Her” 1975, mangrove wood, marble sandstone, brass and cloth, height: figure 274.3 cm; 274.3 cm overall

“Her” 1975, cast 1990–91, bronze and wood veneer, height 274.3 cm; 320.0 x 60.0 x 31.0 cm overall (approx.)

“Her” 1976, carved mangrove wood, stone, height 213.3 cm figure; 220.0 cm overall

Bather (c. 1980) mangrove wood, 138.5 x 35.0 x 26.0 cm (figure); height 155.7 cm overall

Arkie 1981, 1985–86, mangrove wood, height 150.0 cm (figure); base 20.0 x 20.0 x 50.0 cm

Bather 11 1989–90, mangrove wood, charcoal, oil, on marble base, 218.1 x 79.0 x 23.0 cm (figure); 225.6 x 79.0 x 23.0 cm overall

Torso (Spencil) 1989–90, Queensland red cedar, 110.0 x 90.0 x 25.0 cm figure; 194.3 x 90.0 x 33.0 cm overall, including plinth

studies for wood sculpture:

drawings (a selection)

Nude Study 4 1974, pencil and charcoal, 76.2 x 50.5 cm

Nude Study (1974) pencil, 75.0 x 49.0 cm

Preliminary Sketches for Wood Sculpture 1975, pencil, ink, 128.0 x 49.5 cm

Study for Large Wood Carving 1975, charcoal, ink, wash, collage, 163.0 x 90.0 cm

Sculpture Proposal 1975, charcoal, 92.0 x 75.0 cm

(Studies for Sculpture – “Her”) (c. 1975), ink, 37.8 x 37.4 cm

Studies for Mangrove Wood Sculpture – “Her” 1975, ink and charcoal, 93.0 x 74.5 cm

Study for Wood Sculpture 1975, crayon on canvas on board, 75.0 x 60.0 cm

(Nude – Back View) (c. 1975) blue ink, 34.0 x 40.2 cm

Preliminary Sketch for Large Carving in Mangrove Wood 1975, ink and charcoal, 33.0 x 41.0 cm

Study for Large Wood Carving 1975, charcoal, 73.5 x 53.5 cm

Sculpture Preliminary 1975, ink, 34.9 x 53.2 cm

Carve and Paint (c. 1976), ink, 37.7 x 25.4 cm

(Reclining Nude – Drawing for Sculpture) (c. 1976), ink, 17.1 x 33.6 cm

Study for Wood Sculpture (c. 1976–78), ink, 74.5 x 53.0 cm

Preliminary Sculpture Sketches 1976, ink, pencil, collage, 52.0 x 36.5 cm

Nude 1976, ink, 63.0 x 90.0 cm

(Lavender Bay – Nude and Sculptures) 1976, charcoal on canvas board, 75.3 x 55.4 cm

Woman Drying her Hair; Study for Wood Sculpture 1977, double sided: ink and crayon; charcoal, 96.5 x 68.0 cm

Sketch for Wood Sculpture 1977, charcoal on canvas, 79.0 x 64.0 cm

(Study for Sculpture); verso (Nude on Brass Bed) (c. 1978), ink, double sided; 96.0 x 68.0; 68.0 x 96.0 cm

Sculpture Study 1978, blue ink, 29.2 x 19.0 cm

Study for Single Log Torso 1978, ink on manila envelope, 30.4 x 25.4 cm

Sketches for Wood Sculpture 1978, blue ink, 48.0 x 33.5 cm

Preliminary for Wood Carving 1979, charcoal, brush and ink, ink wash, 84.8 x 70.5 cm

Study for Sculpture (c. 1980), ink and wash, 76.5 x 56.0 cm

Study for Wood Sculpture 1980, ink, 9.0 x 21.8 cm

(More) Preliminary Notes for Mangrove Carvings 1980, ink, gouache, 150.3 x 100.0 cm

Preliminary for Mangrove Wood Carving 1981, ink, 86.0 x 63.0 cm

Study for Mangrove Wood Sculpture 1981, oil pastel on corrugated card, 78.0 x 60.4 cm

Study for Carving (Nude) 1981, pencil, 15.2 x 7.8 cm

Study for Carving (Head) 1981, pencil, 10.2 x 9.6 cm

Study for Wood Sculpture 1985, black fibre-tipped pen, collage, 29.6 x 30.4 cm

Page of Sculptures (List of 16) (c. 1986), black and blue ink, 42.0 x 59.3 cm 964

prints

Towards Sculpture 1977, portfolio of 8 lithographs, each S. 90.0 x 63.0 cm

matches and ‘Almost Once’:

drawings

Aries (c. 1972), ink, hair, collaged photograph of Vincent van Gogh, 18.8 x 16.2 cm

(Drawing for ‘Another Way of Looking at Vincent van Gogh’) (1983), ink, 46.0 x 30.0 cm

‘Almost Once’ 1983, ink and charcoal, 46.0 x 70.0 cm

Sketch for ‘Almost Once’ Sculpture (c. 1983), pencil, 29.6 x 21.0 cm

The Meaning 1983, pencil, 21.0 x 14.6 cm

Sketches for ‘Almost Once’ Sculpture (c. 1983), pencil, 29.6 x 21.0 cm

Study for ‘Almost Once’ (c. 1990), ball-point pen and pencil, 29.5 x 20.8 cm

(Studies for ‘Almost Once’) (c. 1990), ball-point pen, 27.8 x 20.7 cm

Ravello (1991) verso: schematic drawings for Matches, ink, 46.5 x 62.9 cm overall

paintings

“Her” 1967, mixed media on plywood, 183.0 x 237.5 cm (detail)

What I’d Like to See… 1988, ink, watercolour and collage on paper, 93.0 x 53.5 cm

sculpture

Vincent for Andy 1982, 15 Redhead matchboxes inside perspex box, 17.5 x 20.1 x 4.6 cm

(Matches) (conceived 1967) (c. 1983) one burned and one unburned match on cardboard inside perspex box, 12.2 x 9.5 x 2.5 cm

[Matches] Study for ‘Almost Once’ or ‘(One just won)’ (conceived 1967, c. 1983) burned and unburned match, cardboard on cardboard inside perspex box, 10 x 8.4 x 2.9 cm overall

Model for Just about Everything (1983), [details unknown]

Just about Everything 1983, model in pinewood and fibreglass, 239.0 x 84.2 x 50.4 cm overall

Endlessnessism (c. 1985), wood and fibreglass, height 155.0 cm unburnt match; 153.0 cm burnt match

Almost Once 1991, black butt timber and fibreglass, height 800.0 cm above plinth

totems:

drawings

Preliminary Sketch for Bonython Exhibition 1970 including Platypus Print and Kookaburra Totems 1970, watercolour, gouache, ink and collage, 57.2 x 143.5 cm overall (detail)

Proposed sculpture for Johnny Allen Point, Lavender Bay 1975, pencil, 27.5 x 19.0 cm

(Design for ‘Totem 1’ Sculpture) (c. 1978), black ink, 28.2 x 14.2 cm

(Studies for Five Sculptures) (c. 1983–85), black ink, 37.2 x 29.6 cm

Page of Sculptures (List of 16) (c. 1986), ink, 42.0 x 59.3 cm

Idea for Totem Type Outdoor Sculpture (c. 1986), pencil, fibre-tipped pen, 29.7 x 20.0 cm

[Design for Totem] Egg and Nest for South Head at Bondi 1991, charcoal and collage, 76.5 x 56.0 cm

paintings

Interior with Bulbul Egg Sculpture 1980, oil and collage, 93.5 x 91.0 cm sculpture

[Remnants of ] Totems (1970), mixed media; including carved wood and steel, various heights

Totem 1 (Black) (The Get-Laid Totem) 1978–88, fibreglass, wood, steel, 284.5 x 170.2 x 61.0 cm

Totem (White) (Female) 1978–88, fibreglass, timber, marble and painted steel and oil, 271.8 x 215.9 cm x 55.9 cm overall

Totem 11 (Tan) (Female) 1978–88, fibreglass, wood, chrome, oil, 259.2 x 203.2 x 53.4 cm overall, including base

Black Totem 11 (1993), steel and fibreglass egg, height 11 metres