Primary Inscription: signed and inscribed l.r. (in pencil) 'Brett Whiteley 16'

Provenance: Mrs Evelyn Waugh, a gift from Brett to his art teacher at The Scots College, Bathurst; Regional Art Gallery, Bathurst, New South Wales (2011_023B), a gift of Mrs Waugh to the gallery in 2011

Literature: Wilson, 2016, p. 11.
Sutherland, 2020, vol. 7, Drawings and Works on paper; Portraits and People, p. 59.

Provenance: Private collection; Australian Library of Art, State Library of Queensland, South Brisbane, Queensland, purchased from the above (ref. RBHMONF WHI; record no. 21135565750002061)

Literature: Sutherland, 2020, vol. 7, Drawings and Works on Paper, Portraits and People, p. 59

Primary Inscription: dated and inscribed verso (black ink) ‘FIRST OILS 7 / APRIL / 55…’

Inscription: verso: (in black ink) ‘FIRST OILS 7 / APRIL / 55 / I HOPE THAT IN A / FEW YEARS THEY ARE / NOT QUITE AS PATCHY AS / THIS ½ HOUR JOB / I HOPE THAT PATCHES GO / + I GET A SMOOTH BRUSH STROKE / LIKE GEORGE NEDFEN. DAD – THE / FAMILY DON’T LIKE THIS A BIT / BUT ITS [sic] ONLY THE FIRST. [words blacked out]’

Provenance: Allan and Phyllis Barr, Sydney; Private collection, Sydney, acquired by descent from Phyllis Barr in 2011

Literature: Sutherland, 2020, vol. 7, Paintings; Portraits and People, pp. 59–60

Related Work: painting: Self-portrait at 16 1955 (cat. 8.55)
Refer Persistent Themes, Subjects and Motifs (self-portraits) pp. 921–922

Note: The parents of the present owner of the painting were family friends of Clem and Beryl Whiteley. Both men worked in the motion picture industry. During a family lunch at the Whiteley’s home in Longueville, the owner’s father bought this painting from Brett who, at the time, was a young and impecunious student.

Primary Inscription: signed c. verso (in blue ball-point pen) ‘brett whiteley’; dated verso ‘… APRIL 1955’

Inscription: verso: (in black fibre-tipped pen) ‘SELF PORTRAIT / AT 16 / PAINTED IN / FRAN’S ROOM AT / 18 LUCRETIA AVE LONGUEVILLE / WITH MY FIRST OIL PAINTING KIT. / APRIL 1955’; further inscribed ‘GIVEN FOR / MY BIRTHDAY / BY DAD’; further inscribed u.l. (in pencil) ‘given / to Ning / 1985 after / [illegible] [crossed through and circled]’; u.r. ‘cut / down / to this size / ″85‶’

Provenance: Frannie Hopkirk, the artist’s sister; Whiteley Estate (BWS600)

Sketchbook: Self-portrait at 16 1955, photog. pasted into artist’s ‘orange velvet’ notebook (compiled c. 1975) (KS20)

Exhibited: Brett Whiteley Retrospective, AGNSW, 1995, no. 153, then toured to regional galleries, December 1995–November 1996, no. 1; Alchemy, and Other Transcendental Works, BWS, 2002; Whiteley himself and Friends, BWS, December 2003–April 2004; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; 9 Shades of Whiteley, BWS, December 2006–September 2007; 9 Shades of Whiteley, regional galleries touring exhibition, July 2008–August 2009; Blue, BWS, July 2011–July 2012; Portraits, BWS, 2014; Brett Whiteley: Eternity is Now, BWS, December 2022–August 2023 [portraits]

Literature: Pearce, 1995, ref. p. 224, fig. 11 (illus.).
Pearce (essay), 9 Shades of Whiteley, online education kit, Art Gallery of New South Wales, 2007, p. 4 (illus.).
Sutherland, 2010, ref. p. 218 (cat. a1); p. 14 (illus.).
Wilson, John, ‘The Wild One’ in Weekend Financial Review, 3–4 May 2014, p. 43 (illus.) Wilson, 2016, p. 88 [i] (illus.).
Sutherland, 2020, vol 1, p. 3 (illus.); vol. 7, p. 59.

Related Work: painting: First Oils – Self-portrait 1955 (cat. 7.55)
Refer Persistent Themes, Subjects and Motifs (self-portraits) pp. 921–922

Note: In a letter from written at Walker Street, Lavender Bay (to an unknown recipient), dated 5 March 1979, Whiteley mentions this painting ‘that has never been exhibited, that I painted when I was 15 or 16 years old, that is in the possession of my sister Fran’.

Primary Inscription: signed l.r. ‘Brett / Whiteley’; signed, dated and inscribed c. verso (in pencil) ‘“HEAD OF A / CLOWN” / 2ND OILS 8/4/55 / B. WHITELEY.’; further inscribed u.l. verso ‘TO ALBERT / ASSURES US, IN 1985 / BE WORTH 2000 GNS.!’

Provenance: A gift from the young artist to his neighbour, Albert; Private collection, Brisbane, a stepson of Albert

Literature: Sutherland, 2020, vol. 7, Paintings; Portraits and People, p. 60

Primary Inscription: signed, dated and inscribed verso ‘1955 or early 56 / getting an alcoholic to be / Santa Claus. David Jones memory / brett whiteley / aged 16 or 17’

Provenance: Private collection; Australian Art Auctions, Sydney, 10 September 1979, lot 162; Private collection, Sydney; Australian Art Auctions, Sydney, 8 July 1985, lot 154; Private collection

Literature: Sutherland, 2010, p. 218 (cat. A4).
Sutherland, 2020, vol. 7, Paintings, Portraits and People, p. 60.

Note: Whiteley told the former owner that the subject was an old semi-tramp who sometimes worked as Santa Claus.

Primary Inscription: signed, dated and inscribed on a strip of brown paper affixed verso ‘brett whiteley / 1954 / drawn from the window at Longueville instead of doing homework.’

Provenance: Beryl Whiteley, the artist’s mother, Sydney; Frannie Hopkirk (sister of the artist), NSW, acquired by descent; Private collection, acquired as a gift; A.N.G. Art Consulting, Sydney; Private collection, Tasmania; Private collection, a gift by the former owner to his granddaughter

Literature: Sutherland, 2020, vol. 7, Paintings; Portraits and People, p. 61

Related Work: painting: (Woman with Flowers in her Hair) 1955 (cat. 13.55)

Note: Frannie Hopkirk, sister of the artist, describes this work as ‘after Cassab’, an early work painted during Whiteley’s days at Lintas Advertising. (letter to Sutherland, 6 October 2020). This painting is in its original frame which was constructed by the artist. (letter to Sutherland, 6 October 2020)

Primary Inscription: signed and dated verso on hardboard (brush and black ink) 'brett whiteley 1955'

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, Sydney, 2012, bequest of Beryl Whiteley (209.2012)

Literature: Sutherland, 2010, p. 218 (cat. A2).
Sutherland, 2020, vol. 7, Paintings; Portraits and People, p. 61

Related Work: painting: (Study for Portrait of a Woman with Flowers in her Hair) 1954–55 (cat. 12.55)

Primary Inscription: signed, dated and inscribed verso "THE MAN WITH THE SARCASTIC LOOK" / BRETT WHITELEY / JUNE 1955. / ink + oils thinned with turps'

Provenance: Private collection

Literature: Sutherland, 2020, vol. 7, Paintings; Portraits and People, p. 61

Primary Inscription: signed and dated verso on backing paper (brush and black ink) 'brett whiteley' / 1955

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, 2012, bequest of Beryl Whiteley (208.2012)

Literature: Sutherland, 2020, vol. 1, p. 4 (illus.); vol. 7, Paintings; Landscapes, p. 61

Related Work: Refer Persistent Themes, Subjects and Motifs (Sofala and Hill End) p. 958

Primary Inscription: signed and dated l.r. (black ink) ‘Brett Whiteley 55’

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, Sydney, 2012, bequest of Beryl Whiteley (207.2012)

Literature: Sutherland, 2020, vol. 7, p. 61

Primary Inscription: signed and dated l.r. (in pencil) 'Brett Whiteley' / April 1956'

Provenance: Private collection, a fellow student at Scots College, Bathurst in 1956; Private collection, acquired by descent

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; Portraits and People, p. 61

Note: Drawn in the ‘dorm’ rooms at Scots College where Brett and John Ritchie were boarders. Most of the pencil and ink sketches made during Whiteley’s school days at Scots College, date to February, March and April 1956. (Refer State Library of New South Wales (Reference ML MSS 6380/1/4).

Provenance: Clem Whiteley; Frannie Hopkirk, New South Wales; Private collection, Sydney, purchased from the artist’s sister in July 2007

Literature: Sutherland, 2020, vol. 1, p. 5 (illus.); vol. 7, Paintings; Portraits and People, p. 62

Note: This painting comes from a Longueville sketchbook that Brett carried with him on bus or ferry journeys around the harbour.

Primary Inscription: signed, dated and inscribed l.r. (pen and black ink) ‘Portrait after Dobell / Brett Whiteley / January 1956.’

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

Literature: Sutherland, 2010, p. 218 (cat. A7).
Sutherland, 2020, vol. 7, Paintings; Portraits and People, p. 62.

Primary Inscription: signed and dated l.r. (ink) ‘Brett Whiteley 56’

Provenance: Private collection, Sydney; Sotheby’s, Sydney, 24 August 2004, lot 122; Private collection, Sydney, purchased from Sotheby’s

Literature: Sutherland, 2010, p. 218 (cat. A6).
Sutherland, 2020, vol. 7, Paintings; Portraits and People, p. 62.

Primary Inscription: signed verso; inscribed on label verso ‘this was painted in the / last year of Scots School / Bathurst / 1955 or 1954 / brett whiteley’

Inscription: with certificate of authenticity affixed to the backing

Provenance: Private collection, Hunters Hill, Sydney; Australian Art Auctions, Sydney, 10 September 1979, lot 162 ($900); Private collection, New South Wales; Sotheby’s, Sydney, 23 May 1999, lot 593 (illus.); Philip Bacon Galleries, Brisbane, purchased from Sotheby’s; Private collection, purchased from Philip Bacon

Literature: Sutherland, 2010, p. 218 (cat. A5).
Sutherland, 2020, vol. 7, Paintings; Portraits and People, p. 62.

Primary Inscription: signed and dated verso ‘Whiteley 1956’

Provenance: Christie’s, Sydney, 5 October 1971, lot 162 (as Harbour) ($600); Queensland Art Gallery, Brisbane (1.1188), purchased from Christie’s in 1971

Exhibited:
Queensland Art Gallery Exhibition, Mackay City Library, Mackay, Queensland, 19 March–3 April 1980, no. 6; Government House, Queensland [indefinite loan]

Literature: Sutherland, 2010, p. 218 (cat A8); p. 219 (illus.).
Sutherland, 2020, vol. 1, p. 6 (illus.); vol. 7, Paintings; Landscapes, p. 62.

Primary Inscription: signed l.r. ‘Whiteley’; signed, dated and inscribed verso (in black ink) ‘REPRESENTATIONAL AND YET VERY ABSTRACT IS / WHAT I HAVE / FELT FOR HERE. / SALI HERMAN THOUGHT / IT VERY SUCCESSFULL [sic] MUCH MORE SO / THAN THE OTHER. / brett whiteley / 1956’

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, Sydney, gift of Beryl Whiteley in 1996 (304.1996)

Exhibited: Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, 29 August 1998–31 January 1999, cat. 1 (as The Wall); Sydney Genesis and Beyond 1955–1965, BWS, 2005; 9 Shades of Whiteley, BWS, December 2006–September 2007; Iconic Whiteley, BWS, September 2009–August 2010; Endlessnessism, BWS, August 2010–July 2011

Literature: Sutherland, 2010, pp. 23, 218 (cat. A10); p. 26 (illus.).
Sutherland, 2020, vol. 1, p. 7 (illus.); vol. 7, Paintings; Landscapes, pp. 62–63.

Primary Inscription: signed and dated verso ‘13 / Nov / 1982 / This endeavour … / Brett Whiteley’…; [later] stamped with artist’s monogram

Inscription: verso: ‘13 / Nov / 1982 / This endeavour was painted in the hothouse Longueville between 1955 and 1956. It was made from sketches made in / Redfern but I remember the only thing that was constantly / on my mind, was that all good painting … in fact everything that / as befitting a student of 17, one painted on cardboard then / Brett Whiteley / P.S. It’s no use listing the influences … theres [sic] too many corners / it just goes to prove that most painting is something you do / with the right hand / while something else is going on’

Provenance: CGU Insurance, Melbourne; Sotheby’s, Melbourne, 24 November 2003, lot 34 (illus.); Corporate collection, Sydney; Christie’s, Melbourne, 10 April 2006, lot 107 (illus.); Private collection, Sydney, purchased from Christie’s

Literature: Sutherland, 2010, p. 218 (cat. A11); p. 221 (illus.).
Sutherland, 2020, vol. 1, p. 8 (illus.); vol. 7, Paintings; Landscapes, p. 63.

Provenance: Private collection, Queensland; Sotheby’s, Sydney, 25 August 2003, lot 452 (illus.); Private collection, Taiwan

Literature: Sutherland, 2010, p. 220 (cat. A16).
Sutherland, 2020, vol. 7, Paintings; Landscapes, p. 63.

Primary Inscription: signed l.l. ‘Brett W.’

Provenance: Clem Whiteley, the artist’s father, sold with the contents of his Palm Beach home; Private collection; Christie’s, Melbourne, 18 April 1994, lot 97; Private collection, Melbourne, purchased from Christie’s; Sotheby’s, Sydney, 24 August 2004, lot 80 (illus.); Private collection, purchased from Sotheby’s

Literature: Sutherland, 2010, p. 218 (cat. A9); p. 219 (illus.).
Sutherland, 2020, vol. 1, p. 10 (illus.); vol. 7, Paintings; Still Life, p. 63.

Note: The frame on this work was painted by the artist.

Primary Inscription: signed and dated [indistinctly] verso ‘Brett Whiteley 54.6’[?]; inscribed with dedication verso ‘Franny and Dick … Hope you approve this small picture. It is an experiment and I think maybe has some faults’

Provenance: Frannie Hopkirk, gift of the artist; Private collection, Perth; Harawa Art, Christchurch, New Zealand 1987; Sotheby’s, Sydney, 29 October 1987, lot 399 (illus.); Private collection

Literature: Sutherland, 2010, pp. 20, 224 (cat. A12); p. 21 (illus.).
Sutherland, 2020, vol. 1, p. 14 (illus.); vol. 7, Paintings; Abstraction, pp. 63–64.

Note: Whiteley gave this painting to his sister Frannie, probably, she suggests, on the occasion of her first marriage. The painting was left in the house after the couple separated and was subsequently sold.

Primary Inscription: signed and dated l.l. ‘brett whiteley 1956’

Provenance: Private collection, gift of the artist to his daughter’s first boyfriend; Private collection, New Zealand

Exhibited: Art Gallery of New South Wales, on loan, October 1994–September 1995

Literature: Sutherland, 2010, p. 220 (cat. A15).
Sutherland, 2020, vol. 7, Paintings; Abstraction, p. 64.

Provenance: Whiteley Estate (BWS1017)

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; Portraits and People, p. 64

Related Work: painting: (Portrait of a Man) 1957 (cat. 31.57)

Provenance: Private collection, New South Wales

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; Portraits and People, p. 64

Provenance: Private collection, New South Wales

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; Portraits and People, p. 64

Provenance: Ms Julie Velma Gayle Hopkirk, Sydney; Goodridge Galleries, Perth, 1989; Private collection, Perth, purchased from Goodridge

Sketchbook: Page from Whiteley’s Sydney Sketchbook 1957–58 (KS3)

Exhibited: *An. Exhibition of Early Works by Brett Whiteley, Goodridge Galleries, Perth, April–May 1989 [cat. no. unknown]

Literature: Addendum to Sutherland, 2020, Drawings and Works on paper, 1957; Portraits and People, cat. 4.57

Note: *Pages from Whiteley’s Sydney Sketchbook 1957–58 (KS3)
This sketchbook was disassembled and the pages were sold as individual works in an exhibition held at Goodridge Galleries, Perth, 18 April–7 May 1989. Comprising 84 drawings, watercolours and pen and ink sketches, the images generally measure approximately 20.5 x 13.5 cm. (Refer Sutherland, Brett Whiteley: Catalogue Raisonné: 1995–1992, 2020, vol. 7, Select Bibliography, Sketchbooks and notebooks, KS3, p.1019)

Primary Inscription: inscribed u.l. (pen and ink) ‘office / BM6381 / [in pencil] 11 ½ ʺ x 16 ʺ’

Provenance: Ms Julie Velma Gayle Hopkirk, formerly of Sydney; Goodridge Galleries, Perth, 1989; Private collection, Melbourne; Menzies Art Brands, Sydney, 25 May 2010, lot 196 (illus.); Private collection, Sydney

Sketchbook: Page from Whiteley’s Sydney Sketchbook 1957–58 (KS3)

Exhibited: An. Exhibition of Early Works by Brett Whiteley, Goodridge Galleries, Perth, April–May 1989, no. 32

Literature: Addendum to Sutherland, 2020, Drawings and Works on paper 1957; Portraits and People, cat. 4a.57

Note: Pages from Whiteley’s Sydney Sketchbook 1957–58 (KS3): This sketchbook was disassembled and the pages were sold as individual works in an exhibition held at Goodridge Galleries, Perth, 18 April–7 May 1989. Comprising 84 drawings, watercolours and pen and ink sketches, the images generally measure approximately 20.5 x 13.5 cm. (Refer Sutherland, Brett Whiteley: Catalogue Raisonné: 1995–1992, 2020, vol. 7, Select Bibliography, Sketchbooks and notebooks, KS3, p.1019).

Primary Inscription: inscribed l.l. (in pencil) ‘Cubist head after Picasso’

Provenance: Ms Julie Velma Gayle Hopkirk, Sydney; Goodridge Galleries, Perth, 1989; Private collection, Perth, purchased from Goodridge

Sketchbook: Page from Whiteley’s Sydney Sketchbook 1957–58 (KS3)

Exhibited: An. Exhibition of Early Works by Brett Whiteley, Goodridge Galleries, Perth, April–May 1989, no. 80 ($1,400)

Literature: Addendum to Sutherland, 2020, Drawings and Works on paper, 1957; Portraits and People, cat. 4b.57

Note: Pages from Whiteley’s Sydney Sketchbook 1957–58 (KS3)
This sketchbook was disassembled and the pages were sold as individual works in an exhibition held at Goodridge Galleries, Perth, 18 April–7 May 1989. Comprising 84 drawings, watercolours and pen and ink sketches, the images generally measure approximately 20.5 x 13.5 cm. (Refer Sutherland, Brett Whiteley: Catalogue Raisonné: 1995–1992, 2020, vol. 7, Select Bibliography, Sketchbooks and notebooks, KS3, p.1019).

Provenance: Ms Julie Velma Gayle Hopkirk, Sydney; Goodridge Galleries, Perth, 1989; Private collection, Perth, purchased from Goodridge

Sketchbook: Page from Whiteley’s Sydney Sketchbook 1957–58 (KS3)

Exhibited: An. Exhibition of Early Works by Brett Whiteley, Goodridge Galleries, Perth, April–May 1989, no. 67

Literature: Addendum to Sutherland, 2020, Drawings and Works on paper, 1957; Portraits and People, cat. 4c.57

Note: Pages from Whiteley’s Sydney Sketchbook 1957–58 (KS3)
This sketchbook was disassembled and the pages were sold as individual works in an exhibition held at Goodridge Galleries, Perth, 18 April–7 May 1989. Comprising 84 drawings, watercolours and pen and ink sketches, the images generally measure approximately 20.5 x 13.5 cm. (Refer Sutherland, Brett Whiteley: Catalogue Raisonné: 1995–1992, 2020, vol. 7, Select Bibliography, Sketchbooks and notebooks, KS3, p.1019)

Primary Inscription: signed and inscribed l.c. (in pencil) “The Sadist’ / Brett Whiteley’

Provenance: Elegant Interiors, A Single Collection, Bonhams, Sydney, 28 March 2023, lot 1 (illus.); Paul Auckett, Melbourne, purchased from Bonhams

Literature: Addendum to Sutherland, 2020, Drawings and Works on paper, 1957; Portraits and People, cat. 5.57

Primary Inscription: signed and dated l.r. (pen and black ink) ‘Brett Whiteley 57’

Provenance: Private collection, Sydney, a gift to ‘Wooly’ from Frannie Hopkirk, the artist’s sister in 1957

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; The Nude, p. 64

Primary Inscription: signed and dated l.r. ‘Brett Whiteley 57’

Provenance: H. Fisher and Son, Christchurch, New Zealand (label attached verso); Private Collection, New Zealand

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; The Nude, p. 64

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, Sydney, 2012, a bequest from Beryl Whiteley (230.2012)

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper, The Nude, p. 64

Provenance: Private collection, Wollongong, New South Wales

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; Landscapes, p. 65

Note: During a visit to his parents’ home at Longueville, Whiteley presented this painting as a gift to his friend who was then about 18 years old.

Provenance: Private collection, New South Wales

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; Sydney Harbour and Streetscapes, p. 65

Primary Inscription: signed and dated l.r. ‘Brett Whiteley May 1957’

Provenance: Private collection, London, gift from the artist; Private collection, acquired by descent from the former owner; Christie’s, Melbourne, 24 November 1992, lot 246 (illus.) [sold as one of a pair]; Private collection, Sydney, purchased from Christie’s

Literature: Sutherland, 2010, p. 220 (cat. A17).
Sutherland, 2020, vol. 7, Works on paper; Sydney Harbour and Streetscapes, p. 65.

Related Work: drawing: (Sydney Suburbs – Sir John Young Crescent, Woolloomooloo) 1957 (cat. 20.57)

Primary Inscription: signed and dated l.r. ‘Brett Whiteley 1957’

Provenance: Private collection, London, gift from the artist; Private collection, acquired by descent; Christie’s, Melbourne, 24 November 1992, lot 246 (illus.) [sold as the pair to cat. 19.57]; Private collection, Sydney purchased from Christie's

Literature: Sutherland, 2010, p. 220 (cat. A18).
Sutherland, 2020, vol. 7, Drawings and Works on paper; Landscapes; Streetscapes and Sydney Harbour Studies, Sydney, p. 65.

Related Work: drawing: (Sydney Suburbs) 1957 (cat. 19.57); painting: Sir John Young Crescent, Woolloomooloo 1958 (cat. 53.58)

Note: This drawing was mistakenly titled Plunkett Street, a nearby street in Woolloomooloo in the 2020 publication of the catalogue raisonné.

Primary Inscription: signed and dated l.r. ‘Brett Whiteley 57’

Inscription: with letter of authenticity written by Beryl Whiteley affixed verso

Provenance: Beryl Whiteley, Sydney; Private collection, Sydney, a school friend of the artist, purchased from Peter Hickey at the Bell Gallery, Berrima, June 2000; A Mosman Bay Waterfront Home Contents Auction’, James R Lawson, Leichhardt, Sydney, 14 November 2024, lot 12 (illus.)

Exhibited: Bell Gallery, Berrima, New South Wales from 3 June 2000

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; Sydney Harbour and Streetscapes p. 65

Related Work: drawing: (Woolloomooloo) 1957 (cat. 25.57)

Note: The artist’s mother, Beryl Whiteley, wrote an accompanying note to this work: ‘Brett drew this drawing while working in / the art department of Lintas – his first job. / He would sell them during his lunch hour / to tourists arriving by ship at the old /Woolloomooloo wharfs – his first commercial / enterprise at 18 years / Beryl Whiteley, [Berrima] 6/6/2000.

Primary Inscription: signed and dated l.r. (pen and ink) ‘brett whiteley 57’; signed, dated and inscribed l.l. ‘To Gail / love Brett / 4/ Jan / 57’

Inscription: with letter of authenticity written and signed by Beryl Whiteley affixed verso

Provenance: Beryl Whiteley, Sydney; Private collection, Sydney, a school friend of the artist, purchased from Peter Hickey at the Bell Gallery, Berrima, June 2000; A Mosman Bay Waterfront Home Contents Auction’, James R Lawson, Leichhardt, Sydney, 14 November 2024, lot 13 (illus.)

Exhibited: Bell Gallery, Berrima, New South Wales from 3 June 2000

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; Sydney Harbour and Streetscapes, pp. 65–66

Related Work: drawing: (Terrace Houses, Woolloomooloo) 1957 (cat. 24.57)

Note: The artist’s mother, Beryl Whiteley, wrote an accompanying note to this work: ‘Brett drew this drawing while working in / the art department of Lintas – his first job. / He would sell them during his lunch hour / to tourists arriving by ship at the old /Woolloomooloo wharfs – his first commercial / enterprise at 18 years / Beryl Whiteley, [Berrima] 6/6/2000.

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

Literature: Sutherland, 2020, vol. 7, p. 66

Primary Inscription: signed and dated l.r. (pen and black ink) 'Brett Whiteley 1957’

Provenance: Private collection; Christie’s, Sydney, 3 October 1972, lot 362 (as ‘Sydney Waterfront’ 1957) ($190); Graphics Gallery, Edgecliff, Sydney; Private collection, Sydney

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; Sydney Harbour and Streetscapes, p. 66

Primary Inscription: inscribed l.r. (black ink) ‘For / Wendy / Brett Whiteley’

Provenance: Wendy Whiteley, Sydney

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; Sydney Harbour and Streetscapes p. 66

Primary Inscription: signed, dated and inscribed l.r. (pen and black ink) ‘Brett Whiteley 1957 / Leighton lane West Lithgow’

Provenance: Private collection, Sydney; Private collection, Melbourne, acquired by succession to a niece; Menzies Art Brands, 29 November 2023, online auction, cat. 115 (illus.); Private collection, Sydney

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; Sydney Harbour and Streetscapes p. 66

Primary Inscription: signed l.l. (brown paint) ‘Brett Whiteley’

Provenance: Morry Bardas, purchased, probably in 1957, the year before he died; David Bardas, Melbourne, by descent from his father; Private collection, Melbourne; Deutscher and Hackett, Melbourne, online auction, 27 February 2024, lot 5 (illus.); Private collection, purchased from D and H

Literature: Sutherland, 2010, p. 220 (cat. A21).
Bardas, 2011, p. 24 (as The Cello Player) (illus.).
Sutherland, 2020, vol. 1, p. 9 (illus.); vol. 7, Paintings, Portraits and People p. 66.

Primary Inscription: signed and dated l.r. 'Whiteley 1957'

Provenance: Tony Eden, purchased from Whiteley while both were working at Lintas Advertising in Sydney; Important Early and Rare New Zealand Art, International Art Centre, Auckland, 14July 2011, lot 21 (illus.); Private collection, Auckland, purchased from International Art Centre

Literature: Sutherland, 2020, vol. 7, Paintings; Portraits and People, p. 66

Related Work: drawing (Portrait of a Man) (c. 1957) (cat. 1.57)

Primary Inscription: signed and dated l.l. ‘Brett Whiteley 57’

Provenance: Private collection; Sotheby’s, Melbourne, 26 July 1987, lot 474 (illus.)

Literature: Sutherland, 2010, pp. 100, 220 (cat. A19).
Sutherland, 2020, vol. 7, Paintings; The Nude, p. 67.

Primary Inscription: signed and dated l.l. ‘Brett / Whiteley 57’

Provenance: Daphne McKenzie, Sydney (the artist’s mother-in-law), a gift from Brett and Wendy Whiteley in 1959; Aileen Montague, Queensland; Menzies Art Brands, Sydney, 22 March 2012, lot 82 (illus.); Private collection, Sydney; Private collection, Queensland

Literature: Sutherland, 2020, vol. 1, p. 11 (illus.); vol. 7, Paintings; Landscapes, p. 67

Provenance: Whiteley Estate (BWS19)

Exhibited: Brett Whiteley Retrospective, AGNSW, no. 1 (as Charlotte Lane), then toured to state galleries, December 1995–November 1996, no. 2; Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, cat. 2; Aspects from the Estate, BWS, July 2002–February 2003; Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; Whiteley & Rees: more affinities, BWS, December 2005–April 2006 and New England Regional Art Museum, Armidale, New South Wales, 2006; 9 Shades of Whiteley, BWS, December 2006–September 2007; 9 Shades of Whiteley, regional galleries touring exhibition, July 2008–August 2009; Blue, BWS, July 2011–July 2012

Literature: McGrath, 1979, pp. 22–23 (illus.).
Pearce, 1995, p. 226; pl. 1 (illus.).
Sutherland, 2010, p. 23, 224 (cat. A25); p. 223 (illus.).
Sutherland, 2020, vol. 1, p. 12 (illus.); vol. 7, Paintings; Landscapes, p. 67.

Primary Inscription: signed, dated and inscribed l.r. (pen and black ink) ‘Hunter and Phillip Street[s], Sydney / Brett Whiteley 1957’

Provenance: Barry Haseldene, New South Wales (a friend of the artist); Angie Kemety, New South Wales, purchased from Barry Haseldene; Sotheby’s, Melbourne, 26 April 1992, lot 310; Helen McEwen, Adelaide, purchased from Sotheby’s; Private collection, Sydney, acquired by descent; Menzies Art Brands, Melbourne, 10 August 2017, lot 1 (illus.); Private collection, New South Wales

Exhibited: Gallery 460, Gosford, New South Wales, early 1990s; Australian Galleries, Melbourne, 1998 (AG24207) [returned to client 1999]

Literature: Sutherland, 2010, p. 224 (cat. A26).
Sutherland, 2020, vol. 1, p. 13 (illus.); vol. 7, Paintings; Landscapes, p. 67.

Note: The location of this scene is the corner of Hunter and Phillip Streets, Sydney (now the Elizabeth Street extension). The Qantas building was erected in the vicinity of this site.

Primary Inscription: signed verso (black ink) ‘Brett / Whiteley’

Provenance: Private collection, Sydney, a neighbour of Clem Whiteley; Private collection, Melbourne, acquired by descent; Menzies Art Brands, Sydney, 26 September 2019, lot 3 (illus.); Private collection, Melbourne

Literature: Sutherland, 2020, vol. 7, Paintings; Landscapes, pp. 67–68

Related Work: painting: Hunter and Phillip Streets, Sydney 1957 (cat. 37.57)

Note: The inscription ‘jb2009’ records a Sydney telephone number (telephone dialling codes in Sydney in the 1950s and 60s were prefixed by letters).

Primary Inscription: signed and dated l.l. [recto] 'Brett Whiteley 57'

Provenance: Clem Whiteley, the artist’s father; Horace Wright, Sydney, a gift from Clem Whiteley; Bea Cook née Wright, Sydney, acquired by descent; Private collection, Sydney since c. 1995, acquired by descent

Literature: addendum to Sutherland 2020, Paintings; Landscapes, cat. 38a.57

Related Work: painting: (Street scene: Looking to the Plunkett Street Public School, Woolloomooloo) 1957 (cat. 38b.57)

Note: The Plunkett Street Public School is located in Plunkett Street, Woolloomooloo, Sydney.

Primary Inscription: signed and dated l.l. (pen and black ink) ‘Brett Whiteley 1957’

Inscription: with pencilled note verso, ‘Mr Whiteley 35/-’

Provenance: Scots All Saints College, Bathurst, New South Wales* (formerly Scots College), believed to have been a gift to the the school, from the artist

Literature: Addendum to Sutherland 2020, Paintings; Landscapes, cat. 38b.57

Related Work: painting: (Streetscape: Looking to the Plunkett Street Public School, Woolloomooloo) 1957 (cat. 38a.57)

Note: * Scots All Saints College was inaugurated in 2018 on the integration of All Saints College and Scots College. Brett Whiteley attended Scots College, Bathurst from 1948–1954, and again for a year in 1956.

Primary Inscription: signed, dated and inscribed l.r. (black ink) ‘Brett Whiteley 1957 / Jervis Bay’

Provenance: Leonard Joel, Melbourne, 8 August 2000, lot 146 (illus.); Private collection; McKenzies Auctioneers, Perth, 27 November 2001, lot 80

Literature: Sutherland, 2010, p. 220 (cat. A20); p. 221 (illus.).
Sutherland, 2020, vol. 1, p. 15 (illus); vol. 7, Paintings; Rural Landscapes, p. 68.

Primary Inscription: signed and (later) dated l.r. ‘1957’

Provenance: Clem Whiteley, Sydney; Private collection, Sydney, purchased from Clem Whiteley’s shop, Gordon, Sydney, in 1958; Private collection, Sydney, acquired by descent from the previous owner’s mother

Literature: Sutherland, 2010, p. 220 (cat. A24).
Sutherland, 2020, vol. 1, p. 16 (illus); vol. 7, Paintings; Rural Landscapes, p. 68.

Note: This work was signed by the artist at the opening of a Whiteley exhibition in the 1980s.

Primary Inscription: signed, inscribed with title and dated verso ‘Brett / Whiteley / The Black Sun / Bathurst / 1957’

Provenance: Barry Stern Galleries, Sydney; Private collection; Sotheby’s, Sydney, 29 October 1987, lot 433 (illus.); Private collection, Sydney; The John Williams Collection, Sydney, online auction, 20–21 September 2005, lot 44 (illus.); Private collection

Literature: Sutherland, 2010, pp. 19, 17, 145, 220 (cat. A23); p. 17 (illus.).
Sutherland, 2020, vol. 1, p. 17 (illus); vol. 7, Paintings; Rural Landscapes, p. 68.

Primary Inscription: signed and dated l.r. ‘18.3.57’

Provenance: Private collection; Sotheby’s, Melbourne, 26 July 1987, lot 404; Goodman Auctioneers, Sydney, 1 September 1997, lot 114; Private collection, Queensland, purchased from Goodman

Literature: Sutherland, 2010, p. 220 (cat. A22).
Sutherland, 2020, vol. 7, Paintings; Rural Landscapes, p. 68.

Provenance: Whiteley Estate (BWS1019)

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; Portraits and People, p. 68

Provenance: Whiteley Estate (BWS1131)

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; Portraits and People, p. 69

Primary Inscription: inscribed and dated l.c. (pen and ink) ‘Sydney Soup Kitchen + Night / Refuge 1958’

Provenance: Private collection

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; Portraits and People, p. 69

Related Work: For The Soup Kitchen 1958 and related paintings, refer cat. nos. (41.58–47.58)

Primary Inscription: inscribed l.r. (in pencil) ‘note not to be framed or anything / just to show you my drawing / is improving. Done at / Julian Ashtons [sic].’

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, 2012, a bequest of Beryl Whiteley (232.2012)

Literature: Sutherland, 2020, vol. 1, p. 28 (illus.); vol. 7, Drawings and Works on paper; The Nude, p. 69

Primary Inscription: signed [faintly] (in pencil) ‘brett whiteley’; signed verso

Provenance: National Art School Collection, Darlinghurst (formerly East Sydney Technical College), since c. 1958

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; The Nude, p. 69

Primary Inscription: signed and dated l.r. ‘Brett Whiteley / 58’

Provenance: Barry Stern Gallery, Sydney, 1980s; Private collection, Sydney; Deutscher–Menzies, Melbourne, 29 November 2000, lot 93 (illus.); Private collection, Perth, purchased from D–M

Literature: Sutherland, 2010, p. 224 (cat. AA1); p. 222 (illus.).
Klepac, 2014, p. 37 (titled as above) (illus.).
Wilson, 2016, p. 32 (illus.).
Sutherland, 2020, vol. 1, p. 22 (illus.); vol. 7, Drawings and Works on paper; Streetscapes and Sydney Harbour Studies, p. 69.

Related Work: painting: The Steps at Woolloomooloo (c. 1958) (cat. 52.58)

Primary Inscription: signed and dated l.r. ‘Brett Whiteley Mar 58’; inscribed l.l. ‘Maquarie [sic] Street, Sydney’

Provenance: Private collection, acquired from the artist in the late 1960s

Literature: Sutherland, 2010, p. 224 (cat. AA2).
Sutherland, 2020, vol. 1, p. 36 (illus.); vol. 7, Drawings and Works on paper; Streetscapes and Sydney Harbour Studies, p. 69.

Related Work: drawing: Macquarie Street, Sydney 1958 (cat. 16.58)

Primary Inscription: signed, dated and inscribed l.r. (pen and ink) ‘Macquarie Street, Sydney / Brett Whiteley May 58’

Provenance: Private collection; Private collection, London

Literature: Sutherland, 2010, p. 224 (cat. AA5).
Sutherland, 2020, vol. 7, Drawings and Works on paper; Streetscapes and Sydney Harbour Studies p. 70.

Related Work: drawing: Macquarie Street, Sydney 1958, ink (cat. 15.58)

Primary Inscription: signed l.r. ‘Brett’

Provenance: Private collection; Lawson–Menzies, Sydney, 27 February 2014, lot 115; Private collection, Queensland

Literature: Sutherland, 2020 vol. 7, Drawings and Works on paper; Streetscapes and Sydney Harbour Studies, p. 70

Primary Inscription: signed and dated l.r. (pen and ink) ‘brett whiteley 58’

Provenance: Private collection, Sydney, a gift from the artist; Private collection, Sydney, acquired by descent; Menzies Art Brands, Melbourne, 27 March 2024, lot 14 (illus.); Private collection, Sydney, purchased from Menzies

Literature: Addendum to Sutherland, 2020, Drawings and Works on paper 1958; Streetscapes and Sydney Harbour Studies, cat. 22.58

Provenance: Australian Art Auctions, Sydney, 27 June 1994, lot 134; Private collection

Literature: Sutherland, 2010, p. 224 (cat. AA3).
Sutherland, 2020, vol. 7, Drawings and Works on paper; Streetscapes and Sydney Harbour Studies, p. 70.

Literature: Sutherland, 2010, p. 226 (cat. AA25).
Sutherland, 2020, vol. 7, Drawings and Works on paper; Streetscapes and Sydney Harbour.

Literature: Sutherland, 2010, p. 11 (photog. illus.); Sutherland, 2020, vol. 1, p. 24 (photog. illus.)

Primary Inscription: signed, dated and inscribed verso ‘Brett Whiteley / Unilever House / Sydney / 1958

Provenance: Private collection, United Kingdom (a former colleague at Lintas Advertising); Private collection, Sydney

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; Streetscapes and Sydney Harbour Studies, p. 70

Related Work: work on paper: Looking North from Unilever House 1958 (cat. 26.58)

Note: At the time of painting this work Whiteley worked for Lintas Advertising whose premises were located in Unilever House, Sydney. He sold this work to a colleague for 5/-.

Primary Inscription: signed, dated and inscribed l.l. (black ink) ‘looking north UniLever House / Sydney Brett Whiteley 58’

Provenance: Savill Galleries, 1987; Private collection, acquired from Savill in 1987; Smith & Singer, Sydney, 16 November 2021, lot 73 (illus.); Paul Auckett, Melbourne

Literature: Sutherland, 2020, vol. 1, p. 25 (illus.); vol. 7, Drawings and Works on paper; Streetscapes and Sydney Harbour Studies, p. 70

Related Work: drawing: Unilever House, Sydney 1958 (cat. 25.58)

Note: In a letter to his friend Babs, Whiteley wrote, ‘Cooled in summer, warm in winter …and I have the most fantastic desk …right in this corner, 7th floor. My cubicle is as big as our bathroom at home…’
‘I have come on big at the office, no more messages or lunches any more… am on the desk full time now doing layouts… though I love my painting more and more.’
I overlook the site of the new Opera House, which is almost completed!’
(excerpts from an undated letter to Barbara Mathias c. 1958)

Primary Inscription: inscribed l.r. (pen and black ink) ‘The city from Darling Harbour’

Provenance: Helen and John Gates, Sydney; Art Gallery of New South Wales, Sydney, 2012, gift of Helen Gates in memory of John Gates (251.2012)

Literature: Klepac, 2014, p. 36 (illus.).
Sutherland, 2020, vol. 1, p. 34 (illus.); vol. 7, Drawings and Works on paper; Streetscapes and Sydney Harbour Studies, p. 70.

Note: John Gates, the first owner of this watercolour, worked at Lintas at the same time as Whiteley in the late 1950s.

Primary Inscription: signed with initials l.r. (in pencil) ‘BW / 58’

Inscription: with inscription on the frame ‘No. 2624, Brett Whiteley Potts Point’

Provenance: Private collection, Sydney, purchased in the 1970’s, possibly from Bonython Galleries; Private collection, Sydney, acquired by succession from the previous owner

Literature: Sutherland, 2020, vol. 7, Drawings and Works on paper; Streetscapes and Sydney Harbour Studies, pp. 70–71

Primary Inscription: signed with initials and dated l.l. (in pencil) ‘BW / 58’

Provenance: Private collection, Sydney; Sotheby’s, Melbourne, 27 November 2001, lot 192 (illus.); Private collection, Melbourne, purchased from Sotheby’s; Menzies Art Brands, Sydney, 26 June 2016, lot 4 (illus.); Private collection, Sydney; Menzies Art Brands, Melbourne, 27 June 2019, lot 4 (illus.); Private collection, Sydney

Literature: Sutherland, 2010, p. 224 (cat. AA4); p. 225 (illus.).
Sutherland, 2020, vol. 1, p. 26 (illus.); vol. 7, Drawings and Works on paper; Streetscapes and Sydney Harbour Studies, p. 71.

Primary Inscription: signed, inscribed and dated l.r. ‘brett whiteley 58 / from Lintas’

Provenance: Private collection; Christie’s, Melbourne, 1 March 1973, lot 116; Private collection; Sotheby’s, Melbourne, 27 November 1989, lot 207 (illus.); Private collection, New South Wales; Lawson–Menzies, Sydney, 13 September 2007, lot 263 (as ‘Miniatures’) (illus.); Savill Galleries, Sydney, 1988; Private collection, New South Wales, purchased from Savill Galleries

Exhibited: Four Australian Modern Masters, Savill Galleries, Sydney, 11 November–6 December 1988, cat. 43 (titled as above) (illus.); Major Modern Masters, Savill Galleries, Sydney, 27 April–26 September 1992, cat. 10 (illus.); Modern Australian Paintings, Savill Galleries, Sydney, 5 November– 8 December 2007, cat. 9 (illus.)

Literature: Sutherland, 2010, p. 224 (cat. AA6).
Sutherland, 2020, vol. 1, p. 27 (illus.); vol. 7, Drawings and Works on paper; Streetscapes and Sydney Harbour Studies, p. 71.

Note: In a letter to his Sydney friend ‘Babs’, Whiteley tells her that he is now fully employed doing layouts and working from a desk from which ‘I overlook the site of the new Opera House, which is almost completed!’. (undated letter from Whiteley to his friend Barbara Mathias.)

Primary Inscription: signed and dated l.l. ‘Brett Whiteley 58’; inscribed l.l. (on label attached to suitcase) ‘PERTH’

Provenance: Private collection, a work colleague at Lintas Advertising, acquired from the artist in 1958

Literature: Sutherland, 2010, p. 224 (cat. AA9).
Sutherland, 2020, vol. 7, p. 71.

Primary Inscription: signed, dated and inscribed u.r. (pen and black ink) ‘Brett / Whiteley / May 1958 / poet or /.../ or /...[illegible]’

Provenance: Private collection, purchased through Paul Collins, a friend of the artist; Private collection, Sydney, acquired by descent to a son of the previous owner

Literature: Sutherland, 2010, p. 226 (cat. AA28); p. 228 (illus.).
Sutherland, 2020, vol. 1, p. 21 (illus.); vol. 7, Paintings; Portraits and People, p. 71.

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

Primary Inscription: signed, dated and inscribed l.l. ‘“Head” / Brett Whiteley / 58’

Provenance: Private collection, a gift from the artist; Private collection, acquired by descent from the above; Private collection

Literature: Sutherland, 2010, p. 226 (cat. AA13).
Sutherland, 2020, vol. 7, Paintings; Portraits and People, p. 72.

Primary Inscription: signed and dated l.l. ‘Brett Whiteley 58’

Provenance: Joseph Brown Gallery, Melbourne; Dr F. Hirst, Brisbane, purchased from Joseph Brown Gallery, 8 September 1971; Estate of the late Dr F. Hirst, Brisbane; Philip Bacon Galleries, Brisbane, 2022; Private collection

Exhibited: Autumn Exhibition, Joseph Brown Gallery, Melbourne, 3–21 March 1971 (as Portrait 1958); The Hirst Collection of Australian and International Art, Philip Bacon Galleries, Brisbane, 5 April–30 April 2022, cat. 15 (illus.)

Literature: Sutherland, 2010, p. 226 (cat. AA18).
Sutherland, 2020, vol. 7, Paintings; Portraits and People, p. 72.
The Hirst Collection of Australian and International Art, exhib. cat., Philip Bacon Galleries, Brisbane, 2022.

Provenance: Private collection, Sydney, a birthday gift from the artist to his close friend on the occasion of her eighteenth birthday

Literature: Sutherland, 2010, p. 220 (cat. A13).
Sutherland, 2020, vol. 1, p. 29 (illus.); vol. 7, Paintings; Portraits and People, p. 72.

Provenance:
Graham Bryce, Sydney, a gift from the artist to his manager in 1958; Private collection, Sydney, acquired by descent

Literature: Addendum to Sutherland 2020, 1958, Portraits and People, cat. 39.58

Note: Whiteley worked for Graham Bryce who gave Brett his first job as a junior artist / designer employed by the advertising group, Lintas. He worked first in Asbestos House until the company moved to Unilever House, where this composition was painted.
‘He worked in a small cubicle across a passageway from me. Often his interest would wander from the illustration rendering he was supposed to complete for me but he would make one of his ‘Insincerities’ instead of he what he was supposed to be doing. He would paint in gouache, sprinkle lighter fluid onto it. He would light the surface which would make the paint bubble, then he would spray with water. Brett would then just stamp on it. Steam would rise and I knew he was not attending to the job in hand.’ (Graham Bryce, October 2009)

Provenance: Private collection

Literature: Sutherland, 2010, p. 226 (cat. AA19).
Sutherland, 2020, vol. 7, Paintings; Portraits and People; The Soup Kitchen, p. 72.

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

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, Sydney, 2012, a bequest of Beryl Whiteley (205.2012)

Literature: Sutherland, 2010, p. 226 (cat. AA15).
Sutherland, 2020, vol. 7, Paintings: Portraits and People; The Soup Kitchen, p. 72.

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

Provenance: Private collection, Melbourne; Lawson–Menzies, Sydney, 21 November 2013, lot 71 (illus.); Menzies Art Brands, Sydney, 26 March 2015, lot 6 (illus.); Private collection, Sydney

Literature: Sutherland, 2010, pp. 145, 226 (cat. AA14); p. 227 (illus.).
Sutherland, 2020, vol. 1, p. 30 (illus.); vol. 7, Paintings; Portraits and People; The Soup Kitchen, p. 72.

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

Primary Inscription: signed and dated l.l. (white paint) ‘Whiteley 58’

Provenance: Private collection; Harawa Art, Christchurch, New Zealand; Sotheby’s, Sydney, 29 October 1987, lot 407 (illus.); Gisella Scheinberg, Sydney, purchased from Sotheby’s, 1987; Private collection, Sydney, acquired by descent

Literature: Sutherland, 2010, p. 226 (cat. AA16); p. 227 (illus.).
Sutherland, 2020, vol. 1, p. 32 (illus.); vol. 7, Paintings; Portraits and People; The Soup Kitchen, p. 73.

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

Provenance: Private collection, Melbourne

Literature: Sutherland, 2010, p. 226 (cat. AA17).
Sutherland, 2020, vol. 7, Paintings; Portraits and People, The Soup Kitchen, p. 73.

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

Provenance: Private collection, Sydney, a gift from the artist around 1958

Literature: Coslovich, Gabriella, ‘A life’s work – and a life – in seven volumes’ in The Australian Financial Review, 4 June 2020, ‘Saleroom’ 12 (illus.).
Sutherland, 2020, vol. 1, p. 31 (illus.); vol. 7, p. Paintings; Portraits and People, The Soup Kitchen, p. 73.

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

Note: This work was a gift from Whiteley in gratitude for lending him 10 pence for a bus fare. The owner recalls that the image of the Soup Kitchen Man was painted over another image which began as a self-portrait.

Primary Inscription: signed and dated l.r. ‘Brett Whiteley 58’; further signed, inscribed and dated (in charcoal) verso ‘THE SOUP KITCHEN 1958 / BRETT WHITELEY / OIL ON CANVAS’

Provenance: Whiteley Estate (BWS1805) (L2011.89)

Exhibited: Brett Whiteley, Bonython, Sydney, 1970 [not catalogued]; Spring 1975: Recent Acquisitions, Joseph Brown Gallery, Melbourne, 1–30 August 1975, cat. 54 (as The Soup Kitchen) [unsold]; Dreams, Fears and Desires: Aspects of Australian Figurative Painting 1942–1962, S H Ervin Gallery, 22 December 1981–31 January 1984, cat. 44; Brett Whiteley Retrospective, AGNSW, 1995, no. 2, then toured to state galleries, December 1995–November 1996, no. 4; Blue, BWS, July 2011–July 2012

Literature: Lynn in The Bulletin, Sydney, 17 February 1968, p. 64.
Spring 1975: Recent Acquisitions, Joseph Brown Gallery, Melbourne, 1975, (n.p.) (illus.).
McGrath, 1979, pp. 20, 22–23; pp. 21, 221 (cat. 22) (illus.).
Prerauer, ‘Whiteley: The Artist as Hero’ in The Weekend Australian Magazine, 17–18 March 1979, p. 7 (illus.) [review of McGrath, 1979].
Smith and Dixon, 1984, p. 93, cat. 44; p. 47 (illus.).
Pearce, 1995, p. 226; pl. 2 (illus.).
Hilton & Blundell, 1996, p. 32.
Sutherland, 2010, pp. 145, 226 (cat. AA20); p. 227 (illus.).
Wilson, 2016, p. 28; (n.p.) [p. 88 i] (illus.).
Sutherland, 2020, vol. 1, p. 33 (illus.); vol. 7, Paintings; Portraits and People, The Soup Kitchen, p. 73.

Related Work: drawings: Sydney Soup Kitchen and Night Refuge 1958 (cat. 6.58); (Sketches after ‘The Soup Kitchen’ 1958) (c. 1965) (cat. 4.65); paintings: Soup Kitchen Man (1958) (cat. 41.58); (Portrait Study for ‘The Soup Kitchen’) (1958) (cat. 42.58); (Figure of a Young Man; Portrait of a Man) (c. 1958) [double sided] (cat. 43.58); (Portrait of a Man) 1958 (cat. 44.58); (Soup Kitchen Portrait) (1958) (cat. 45.58); Soup Kitchen Man (c. 1958) (46.58)

Note: The City Refuge and the Soup Kitchen were located in Kent Street behind the Sydney Town Hall.

Primary Inscription: signed l.l. ‘Whiteley’

Inscription: bears decorative signature verso ‘BrettWhiteley /58[?] [illeg.]’

Provenance: Commissioned by a Sydney restaurant; Geoff K Gray, Sydney, 21 May 1974, lot 81 (from the collection of an antique dealer); Australian Art Auctions Sydney, April 2003, lot 144; Private collection; Private collection, Canberra

Literature: Sutherland, 2010, p. 224 (cat. AA7).
Sutherland, 2020, vol. 7, Paintings; Portraits and People, pp. 73–74.

Note: Whiteley mentions in a letter to his friend ‘Barby/Babs’ that he is busy with four mural commissions; three of them for a Neutral Bay coffee lounge house (unpublished letter from the artist to Barbara Mathias dated 10 November 1957).
It is known that a pair of bullfighting scenes were commissioned by a Sydney restaurant – in all likelihood this is the ‘coffee lounge’ referred to in Whiteley’s letter.

Provenance: A commission for a Sydney hairdressing salon in the Hotel Australia, Sydney; Private collection, Sydney; Private collection, Sydney, acquired by descent to a son of the former owner

Literature: Sutherland, 2010, pp. 32, 226 (cat. AA26).
Sutherland, 2020, vol. 1, p. 35 (illus.); vol. 7, Paintings; Landscapes; Streetscapes, Sydney, p. 74.

Related Work: painting: Street Scene, Lavender Bay (c. 1958) (cat. 51.58)

Provenance: Commissioned for a Sydney hairdressing salon in the Hotel Australia, Sydney, where it hung until the hotel was demolished some 40 years ago; Private collection, Sydney; Private collection, by descent to a son of the former owner

Literature: Sutherland, 2010, p. 226 (cat. AA27); pp. 228–229 (illus.).
Sutherland, 2020, vol. 1, p. 35 (illus.); vol. 7, Paintings; Landscapes; Streetscapes, Sydney, p. 74.

Related Work: painting: (Sketch for ‘Street Scene, Lavender Bay’) (c. 1958) (cat. 50.58)

Provenance: Beryl Whiteley, Sydney; David Chandler, Sydney (the first manager of ABC Radio National, Sydney), acquired from Beryl Whiteley, Sydney; Vickers & Hoad [Auctioneers], Sydney, June 2013, from the estate of David Chandler, lot 141A; Private collection, Sydney, purchased from Vickers & Hoad; Menzies Art Brands, Sydney, 26 March 2015, lot 7 (illus.); Private collection, Sydney

Literature: Sutherland, 2020, vol. 1, p. 23 (illus.); vol. 7, Paintings; Landscapes; Streetscapes, Sydney, p. 74

Related Work: drawing: Steps at Woolloomooloo 1958 (cat. 14.58)

Primary Inscription: signed, dated and inscribed l.r. [faintly] 'Sir John Young Crescent / Brett Whiteley 1958'

Provenance: Barry Haseldene, New South Wales (a friend of Beryl Whiteley), purchased to help fund Whiteley’s first trip to Europe; Angie Kemety, New South Wales; Private collection

Exhibited: Gallery 460, Gosford, New South Wales, early 1990s

Literature: Sutherland, 2010, p. 224 (cat. AA12).
Sutherland, 2020, vol. 7, Paintings; Landscapes; Streetscapes, Sydney, p. 74.

Related Work: drawing: Sir John Young Crescent, Woolloomooloo 1957 (cat. 20.57)

Note: The artist’s original title for this work, Sir John Young Crescent, was revealed recently when, during conservation, the painting was examined under ultra-violet light. The painting was mistakenly titled Plunkett Street, a nearby street in Woolloomooloo, when it was first purchased in 1959.

Provenance: Beryl Whiteley, Sydney; Art Gallery of New South Wales, Sydney, 2012, a bequest of Beryl Whiteley (206.2012)

Literature: Sutherland, 2020, vol. 1, p. 37 (illus.); vol. 7, Paintings; Landscapes; Streetscapes, Sydney, p. 74

Related Work: drawing: (Sydney Suburbs – Sir John Young Crescent, Woolloomooloo) 1957 (cat. 20.57); painting: Sir John Young Crescent, Woolloomooloo (1958) (cat. 53.58)

Primary Inscription: signed, and dated l.l. '58'

Provenance: Private collection; Leonard Joel, Melbourne, 4 November 1981, lot 60A ($2,200); Private collection

Literature: Sutherland, 2010, p. 224 (cat. AA10).
Sutherland, 2020, vol. 7, Paintings, Landscapes, Streetscapes, Sydney, p. 75

Related Work: Sutherland, 2010, p. 224 (cat. AA10)
Sutherland, 2020,.); vol. 7, Paintings; Landscapes; Streetscapes, Sydney, p. 75

Literature: Sutherland, 2010, p. 224 (cat. AA11).
Sutherland, 2020, vol. 7, p. 75

Related Work: Sutherland, 2010, p. 224 (cat. AA11)
Sutherland, 2020, vol. 7, Paintings; Landscapes; Streetscapes, Sydney, p. 75

Primary Inscription: signed and dated l.l. ‘Brett Whiteley / 58’

Provenance: Peter Martin, Sydney, acquired from the artist in payment of a debt; Estate of the late Peter Martin of Elizabeth Bay, Sydney; James Martin, by succession from his brother; Philip Bacon Galleries, Brisbane, acquired from James Martin; Private collection, Sydney

Exhibited: Philip Bacon Galleries, Brisbane

Literature: Sutherland, 2010, p. 226 (cat. AA24).
Sutherland, 2020, vol. 7, Paintings; Rural Landscapes, p. 75.

Provenance: Mr and Mrs Jools, St Ives, Sydney, acquired from the artist; Private collection, Sydney, acquired by descent; Christie’s, Melbourne, 1 May 2000, lot 89; Private collection, Sydney; Sotheby’s Australia, Sydney, 23 November 2016, lot 42) (illus.); Private collection, Melbourne

Literature: Pearce, 1995, p. 15, fig. 12 (photog.).
Pearce and contributors, 2007, pp. 126, 127 (Photog. by David Christian of the artist, in the bush at Ulladulla, New South Wales, painting this work).
Sutherland, 2010, pp. 29 (photog. op cit.), 32, 226 (cat. AA21); p. 29 (illus.).
Wilson, 2016, p. 28.
Sutherland, 2020, vol. 1, p. 39 (illus.); vol. 7, Paintings; Rural Landscapes, p. 75.

Reference: Whiteley painting in the bush at Ulladulla, New South Wales, 1958, photog.© David Christian. Literature: Sutherland, 2010, p. 29 (photog. illus.); Sutherland, 2020, vol. 1, p. 38 (photog. illus.).

Primary Inscription: signed with initials and dated l.r. (ochre paint) ‘B.W. 1958’; inscribed with title u.r. ‘SOFALA’

Provenance: Purchased by the New South Wales Government in 1994; Art Gallery of New South Wales, Sydney, transferred to the gallery in 1998 (351.1998)

Exhibited: Italian Government Travelling Art Scholarship, AGNSW, 1959 (exhibited but not listed); Brett Whiteley, 1958–1989, The Central West, Orange Regional Gallery, Orange, 1990, cat. 1 (as Sofala, 1958); The Artists of Hill End: Art, Life and Landscape, AGNSW, 29 July–17 September 1995; toured to regional galleries in New South Wales and Victoria, 6 October 1995–29 July 1996; Brett Whiteley Retrospective, AGNSW, 1995, no. 4, then toured to state galleries, December 1995–November 1996, no. 3; Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, cat. 3 (illus.); Tangier to Byron Bay: Brett Whiteley’s travels 1960–1992, BWS, 1999, cat. 1; Sydney Genesis and Beyond 1955–1965, BWS, 2005; Whiteley & Rees: more affinities, BWS, December 2005–April 2006 and New England Regional Art Museum, Armidale, New South Wales, 2006; 9 Shades of Whiteley, BWS, December 2006–September 2007; 9 Shades of Whiteley, regional galleries touring exhibition, July 2008–August 2009; Blue, BWS, July 2011–July 2012; Brett Whiteley: West of the Divide, Blue Mountains Cultural Centre, 2014; West of the Divide: Bathurst, Bathurst Regional Art Gallery, Bathurst, New South Wales, November 2016–January 2017; Baldessin / Whiteley: Parallel Visions, NGV, 31 August 2018–29 January 2019

Literature: Burchall in The Age, Melbourne, 2 July 1966, p. 33 (illus.).
McGrath, 1979, pp. 23–25, 27; pp. 24, 25 (detail) (illus.).
Hawley in The Age Magazine, 2 July 1994, p. 22.
Pearce, 1995, p. 226; pl. 4 (illus.).
Wilson, 1995, p 101, p. 103 (illus.).
Hilton & Blundell, 1996, p. 37.
Pearce, 2000, p. 302; p. 246 (illus.).
Sutherland, 2010, pp. 32, 37, 226 (cat. AA23); pp. 34–35 (illus.).
Wilson, 2016, p. 29; (n.p.) [p. 88 i] (illus.).
Grishin and contributors, 2018, pp. 6, 193; p. 5 (illus.).
Sutherland, 2020, vol. 1, p. 40 (illus.); vol. 7, Paintings; Rural Landscapes, pp. 75–76.

Related Work: painting: Hill End 1985–90 (cat. 194.85)
Refer Persistent Themes, Subjects and Motifs (Sofala and Hill End) p. 958

Primary Inscription: signed, dated and inscribed verso ‘Brett Whiteley /1958 or 59 / “Sofala”’

Provenance: Fischer Fine Art, London (label attached verso); The Holmes à Court Collection, Heytesbury, Perth, purchased 5 November 1982, [probably] from Fischer; Janet Holmes à Court Collection, Perth, acquired by succession

Exhibited: Tadashi Sato / America: Douglas Swan / Scotland: Philip Weichberger / Germany: Brett Whiteley /Australia, McRoberts & Tunnard Gallery, London, 20 July–1 September 1960, no. 28 (as Sofala – Hill End [incorrectly dated 1960, believed to have sold for £18]; Fischer Fine Art Gallery, London; Works by Brett Whiteley from the Holmes à Court Collection & Lenders, Holmes à Court Gallery, East Perth, 2005

Literature: Sutherland, 2010, pp. 32, 37, 230 (cat. AA29); p. 36 (illus.).
Sutherland, 2020, vol. 1, p. 41 (illus.); vol. 7, Paintings; Abstraction, p. 76.

Related Work: Refer Persistent Themes, Subjects and Motifs (Sofala and Hill End) p. 958

Primary Inscription: signed and dated u.r. (in black oil) ‘Brett Whiteley 58’

Provenance: Private collection, a gift from the artist to a colleague who was also working at Lintas; Private collection, acquired by descent; Sotheby’s, Melbourne, 25 August 1997, lot 251 (illus.); Sandra Powell and Andrew King, Melbourne; The Australian Art Collection of Sandra Powell and Andrew King, Mossgreen Auctions, Melbourne, 19 March 2014, lot 23 (illus.); Private collection

Literature: Sutherland, 2010, pp. 30, 226 (cat. AA22); p. 30 (illus.).
Sutherland, 2020, vol. 1, p. 43 (illus.); vol. 7, Paintings; Abstraction, p. 76.

Provenance: Private collection, purchased through Paul Collins, a friend of the artist, to help fund Whiteley’s first trip overseas; Private collection, Sydney, acquired by descent to a son of the former owner

Literature: Sutherland, 2010, p. 230 (cat. AA30).
Sutherland, 2020, vol. 7, Paintings; Abstraction, p. 76.

Primary Inscription: signed and dated l.r. (pen and black ink) ‘Brett Whiteley 58’; signed, dated and inscribed verso (in pencil) ‘“Outback” / brett whiteley / 1958’

Provenance: John Laisby, Sydney, acquired from the artist; Private collection, New South Wales (a friend of Laisby and purchased from him); Private collection, New South Wales, acquired by descent

Literature: Addendum to Sutherland, 2020, Paintings, 1958; Abstraction, cat. 67.58

Note: John Laisby was a colleague of the artist when both worked at Lintas Advertising.

Primary Inscription: signed and dated l.r. ‘Brett Whiteley 58’

Provenance: James R. Lawson, Sydney, 16 June 1987, lot 352; Private collection, Ireland; Menzies Art Brands, Sydney, 28 June 2023, lot 61 (illus.); Private collection, Melbourne

Literature: Addendum to Sutherland 2020, Paintings, 1958; Abstraction, cat. 65.58

Primary Inscription: signed l.l. 'Brett Whiteley'

Provenance: Private collection; Christie’s, Melbourne, 11 March 1977, lot 92 ($1,000); Private collection, Melbourne; Deutscher–Menzies, Sydney, 14 June 2006, lot 83 (illus.); Private collection, New South Wales

Literature: Sutherland, 2010, p. 224 (cat. AA8); p. 225 (illus.).
Sutherland, 2020, vol. 1, p. 46 (illus.); vol. 7, Paintings; Still Life, p. 76.

Provenance: Whiteley Estate (BWS723)

Literature: Sutherland, 2010, p. 77.
Sutherland, 2020, vol. 7, Drawings and Photographs; Portraits and People, p. 77.

Note: This is a portrait of the artist’s father (confirmed by Wendy Whiteley 19 March 2012).

Primary Inscription: signed, dated and inscribed l.r. (black ink) ‘Miller’s Point Wife. / Brett Whiteley 59’

Provenance: Geoff K. Gray [auctions], Sydney, 23 June 1980, lot 169 ($500); Elinor and Fred Wrobel, Sydney, purchased some thirty years ago; Andrea Wrobel, Sydney, a gift from her mother

Literature: Sutherland, 2010, p. 230 (cat. B2).
Sutherland, 2020, vol. 7, Drawings and Photographs; Portraits and People, p. 77.

Primary Inscription: signed and dated l.r. ‘Brett Whiteley 59’

Provenance: Signora Rosina Tedeschi, a lecturer at Sydney University; Private collection, acquired by descent to the son of Signora Tedeschi in 1971; and then by descent to her grandson

Literature: Sutherland, 2020, vol. 7, Drawings and Photographs; Portraits and People, p. 77

Note: One of three paintings given by the artist to Rosina Tedeschi (prior to his departure for Italy) in gratitude for Italian lessons that she gave him free of charge. The subject of this portrait bears a striking likeness to a photographic portrait by Wayne Miller in his book, The World is Young, published in 1958 (p. 57).

Primary Inscription: signed and dated l.r. ‘Brett Whiteley 59’

Provenance: Signora Rosina Tedeschi, Sydney; Private collection, acquired by descent to the son of Rosina Tedeschi; Private collection, acquired by descent to the granddaughter of Signora Tedeschi, 1971

Literature: Sutherland, 2020, vol. 7, Drawings and Photographs; Portraits and People, p. 77

Note: One of three paintings given by the artist to Rosina Tedeschi (prior to his departure for Italy) in gratitude for Italian lessons that she gave him free of charge.

Primary Inscription: dated l.l. '1959'

Provenance: Arkie Whiteley; Private collection, London; Whiteley Estate (BWS304)

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

Exhibited: Brett Whiteley Retrospective, AGNSW, 1995, no. 60 (as Standing Nude); Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, no. 2; Brett Whiteley Nudes, BWS, December 1999–April 2000; Aspects from the Estate, BWS, July 2002–February 2003; Key Works from the Studio, BWS, July–September 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; 9 Shades of Whiteley, BWS, December 2006–September 2007

Literature: Pearce, 1995, p. 225; fig. 32 (illus.).
Sutherland, 2010, p. 100; p. 231 (B2) (illus.).
Sutherland, 2020, vol. 1, p.44 (illus.); vol. 7, Drawings and Photographs; The Nude, p. 77.

Primary Inscription: signed with initials and dated l.r. (pen and ink) 6/5/59’ [in pencil] ‘BW’

Provenance: Whiteley Estate (BWS1361)

Literature: Sutherland, 2010, p. 230 (cat. B3).
Sutherland, 2020, vol. 7, Drawings and Photographs; Landscapes, p. 78.

Primary Inscription: signed with initials and dated l.c. ‘Brett Whiteley 59’

Provenance: David Hughes, London; Joseph Brown Gallery, Melbourne, purchased from David Hughes, 10 December 1969; Queensland Art Gallery, Brisbane, purchased from Joseph Brown, 7 April 1970; Private collection; Christie’s Melbourne, 14 March 1972, lot 340; Private collection, Sydney; Sotheby’s, Melbourne, 19 April 1994, lot 293M; Art dealer, Sydney, purchased from Sotheby’s in 1994; Private collection

Exhibited: Spring Exhibition 1971, Joseph Brown Gallery, Melbourne, 13 October–5 November 1971, cat. 48 (as Abstract) (illus.)

Literature: Sutherland, 2010, p. 230 (cat. B4); p. 36 (illus.).
Klepac, 2014, p. 38 (as Untitled Landscape) (illus.).
Wilson, 2016, p. 33 (illus.).
Sutherland, 2020, vol. 1, p. 42 (illus.); vol. 7, Drawings and Photographs; Landscapes, p. 78.

Primary Inscription: signed and dated l.r. ‘Brett Whiteley ‘59’

Provenance: Lauraine Diggins Gallery, Melbourne, 1985; Private collection; Savill Galleries, Sydney, 1987, purchased from Lauraine Diggins; Private collection, purchased from Savill Galleries in 1987; Christie’s, Melbourne, 6 December 1994, lot 114 (illus.); Private collection, Melbourne

Exhibited: Selected Australian Works of Art, Lauraine Diggins Gallery, 26 June–10 July 1985, cat. 56 (as ‘Boy Chewing his Finger Nails’) (illus.); A Collection of 20th Century Australian Paintings, Savill Galleries, Sydney, 18 June–9 July 1987, cat. 53 (as ‘Boy playing a Mouth Organ’); Brett Whiteley, Robin Gibson Gallery, Sydney, 1991 (RG3685a), no. 4 (as ‘Boy with Mouth Organ’) [returned to owner]

Literature: Sutherland, 2010, p.232 (cat. BB8); p. 233 (illus.).
Sutherland, 2020, vol. 1, p. 45 (illus.); vol. 7, Paintings; Portraits and People, p. 78.

Primary Inscription: signed verso ‘WHITELEY BRETT’

Provenance: Rudy Komon Art Gallery, Sydney (gallery label verso, stock no. 3266); Art Gallery of New South Wales, Sydney, gift of the Rudy Komon Memorial Fund in 1985 (6.1985)

Exhibited: Rudy Komon Art Gallery, Sydney; Brett Whiteley Retrospective, AGNSW, 1995, no. 3 (as Man contemplating, c. 1959); Brett Whiteley: Aspects & Insights: The Art Gallery of New South Wales Regional Tour, July 1996–March 1997, no. 1; Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, no. 4; Sydney Genesis and Beyond 1955–1965, BWS, 2005; 9 Shades of Whiteley, BWS, December 2006–September 2007; Blue, BWS, July 2011–July 2012

Literature: McCulloch, ‘The Whiteley Years’ in The Australian Way [Qantas magazine], October 1995, p. 85 (illus.).
Pearce, 1995, p. 226; pl. 3 (illus.).
Sutherland, 2010, p. 232 (cat. BB9).
Sutherland, 2020, vol. 1, p. 47 (illus.); vol. 7, Paintings, Portraits and People, p. 78.

Primary Inscription: signed l.r. and dated ‘59’

Provenance: whereabouts unknown

Literature: Sutherland, 2020, vol. 7, Paintings; Portraits and People, p. 78

Literature: Sutherland, 2010, p. 11 (photog. illus.).
Sutherland, 202, vol. 1, p. 49 (photog. illus.).

Primary Inscription: signed, dated and inscribed l.r. ‘Brett Whiteley 59 / Nature is so close to L.R. [Lloyd Rees] I can’t win’

Provenance: The Holmes à Court Collection, Heytesbury, Perth, since 14 September 1985

Exhibited: Sense of Place, Lawrence Wilson Art Gallery, The University of Western Australia, Perth, Western Australia, 23 July–19 September 1999, cat. 35; Whiteley: Works from the Holmes à Court Collection and Lenders, Holmes à Court Gallery, East Perth, 2005

Literature: Sutherland, 2010, pp. 22, 23, 230 (cat. BB1); p. 25 (illus.).
Sutherland, 2020, vol. 1, p. 48 (illus.); vol. 7, Paintings, Landscapes; Sydney, p. 79.

Related Work: Related works: Refer Persistent Themes, Subjects and Motifs (homage to Lloyd Rees) p. 916

Primary Inscription: signed with initials and dated l.l. (black ink) ‘B.W. ‘59’

Provenance: Barry Haseldene, New South Wales (a friend of Beryl Whiteley); Angie Kemety, New South Wales, purchased from Barry Haseldene; Sotheby’s, Melbourne, 26 April 1992, lot 390; Private collection, Rome; Christie’s, Melbourne, 28 November 2001, lot 312 (illus.); Private collection, Melbourne, purchased from the above Christie’s; Menzies Art Brands, Sydney, 23 June 2016, lot 5 (illus.); Private collection, Sydney

Exhibited: Gallery 460, Gosford, New South Wales, early 1990s

Literature: Sutherland, 2010, pp. 22, 230 (cat. BB2); p. 24 (illus.).
Sutherland, 2020, vol. 7, Paintings; Landscapes; Sydney, p. 79.

Primary Inscription: signed and dated l.l. ‘59’

Provenance: Geoff K. Gray, Sydney, June 1982, lot 34; Private collection, purchased from Gray’s

Literature: Sutherland, 2010, p. 232 (cat. BB10).
Sutherland, 2020, vol. 7, Paintings; Landscapes; Sydney, p. 79.

Primary Inscription: signed and dated l.l. ‘B. Whiteley 59’

Provenance: Sotheby’s, Melbourne, 19 April 1993, lot 244 (illus.) ($4,180); Private collection

Literature: Sutherland, 2020, vol. 7, Paintings; Landscapes; Sydney, p. 79

Primary Inscription: inscribed with location verso (white chalk): ‘DIXON STREET’

Provenance: Whiteley Estate (BWS37)

Exhibited: Italian Government Travelling Art Scholarship, AGNSW, 1959, cat. 48 (as Dixon Street); Brett Whiteley Retrospective, AGNSW, 1995, no. 5, then toured to state galleries, December 1995–November 1996, no. 5; Genesis of a Painter: The Early Abstractions of Brett Whiteley, BWS, August 1998–January 1999, cat. 6; Aspects from the Estate, BWS, July 2002–February 2003;Key Works from the Studio, BWS, 2004; Sydney Genesis and Beyond 1955–1965, BWS, 2005; 9 Shades of Whiteley, BWS, December 2006–September 2007; Blue, BWS, July 2011–July 2012; The Whiteley at 20: Twenty Years of Brett Whiteley, S. H. Ervin Gallery, Sydney, 22 March–5 May 2019; Brett Whiteley: Chapters 1959–1969, BWS, August 2023–June 2024

Literature: McGrath, 1979, p. 27.
Pearce, 1995, p. 226; pl. 5 (illus.).
Hopkirk, 1996, p. 108, (photograph) pl. 33 (n.p.).
Hilton & Blundell, 1996, p. 37.
Sutherland, 2010, pp. 23, 37, 232 (cat. BB11); p. 27 (illus.).
Wilson, 2016, p. 31.
Sutherland, 2020, vol. 1, p. 52 (illus.); vol. 7, Paintings; Landscapes; Sydney, pp. 79–80.

Provenance: Private collection, purchased through Paul Collins, a friend of the artist; Private collection, Sydney, acquired by descent; Private collection, acquired by descent

Literature: Sutherland, 2010, p. 232 (cat. BB12); p. 233 (illus.).
Sutherland, 2020, vol. 1, p. 53 (illus.); vol. 7, Paintings; Landscapes; Sydney, p. 80.

Primary Inscription: signed and dated l.r. ‘brett whiteley ‘59’

Provenance: Rudy Komon Gallery, Sydney; Newcastle Art Gallery, Newcastle, New South Wales (1959.018), purchased from the Italian Government Travelling Art Scholarship exhibition, 14 December 1959

Exhibited: Italian Government Travelling Art Scholarship, AGNSW, 1959) ((£26.5/–); The Whiteley at 20: Twenty Years of Brett Whiteley, S.H. Ervin Museum, Sydney, 22 March–5 May 2019

Literature: Art and Australia, September 1968, pp. 122, 123 (illus.).
Sutherland, 2010, p. 232 (cat. BB7); p. 31 (illus.).
Wilson, 2016, p. 31.
Sutherland, 2020, vol. 1, pp. 50–51 (illus.); vol. 7, Paintings; Abstraction, p. 80.

Note: An installation photograph taken at the Art Gallery of New South Wales shows Whiteley’s four entries in the Italian Government Travelling Art Scholarship, which include Autumn Abstract, hanging in a room that has been inundated with flood waters. This is the first work by Whiteley to enter a public collection. Gil Docking, Newcastle Gallery’s inaugural director, recalled how he approached the artist to purchase the painting and was confidently instructed by Whiteley to transact the purchase through his dealer, Rudy Komon.

Primary Inscription: Rudy Komon, Sydney; Art Gallery of New South Wales, Sydney, gift of the Rudy Komon Memorial Fund in 1985 (7.1985)

Provenance: Rudy Komon, Sydney; Art Gallery of New South Wales, Sydney, gift of the Rudy Komon Memorial Fund in 1985 (7.1985)

Exhibited: Italian Government Travelling Art Scholarship, AGNSW, 1959, cat. 50 (as July); A Selection from the Rudy Komon Collection, Gallery A, South Yarra, Melbourne, cat. 51 [no exhibition date given and marked ‘NFS’]; Rudy Komon 21st Anniversary Exhibition, Rudy Komon Art Gallery, Sydney, 6 December 1980, cat. 34; Genesis of a Painter: The Early Abstractions of Brett Whiteley, AGNSW, August 1998–January 1999, cat. 5 (illus.); Sydney Genesis and Beyond 1955–1965, BWS, 2005 (as July Painting); Seasons, BWS, 2006; 9 Shades of Whiteley, BWS, December 2006–September 2007; 9 Shades of Whiteley, regional galleries touring exhibition, July 2008–August 2009; Pathways to Figuration, BWS, March–October 2018; Baldessin / Whiteley: Parallel Visions, NGV, August 2018–January 2019; The Whiteley at 20: Twenty Years of Brett Whiteley, S. H. Ervin Gallery, Sydney, 22 March–5 May 2019

Literature: McGrath, 1979, p. 27.
Hilton & Blundell, 1996, p. 37.
Sutherland, 2010, pp. 37, 230 (cat. BB3); p. 39 (illus.).
Wilson, 2016, pp. 31, 32.
Grishin and contributors, 2018, p. 36 (illus.).
Sutherland, 2020, vol. 1, p. 54 (illus.); vol. 7, Paintings; Abstraction, p. 80.

Primary Inscription: inscribed verso (black fibre-tipped pen) ‘THE [words obscured by adhesive tape] / MAN / AND THE INDIAN]; [faintly in pencil on adhesive tape] ‘THE ICE CREAM MAN / AND THE INDIAN’

Provenance: Private collection, Sydney, a gift from the artist to Diana Harrison on the occasion of her twenty-first birthday in November 1959; Private collection, Sydney, acquired by descent

Literature: Sutherland, 2020, vol. 7, Paintings; Abstraction, p. 81

Note: Dianna Harrison met the artist while working for Lintas Advertising. This painting is in its original frame which was constructed by the artist.

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

Literature: Sutherland, 2020, vol. 7, Paintings; Abstraction, p. 81

Note: This painting belongs to the owners of the Street Scene, Lavender Bay (cat. 51.58) who bought Brett’s paintings to help him pay for his trip to Europe.

Primary Inscription: signed and dated l.c. ‘Whiteley 59’; signed and inscribed with title verso

Provenance: Macquarie Galleries, Sydney; Private collection, purchased from Macquarie; James R. Lawson, Sydney, 17 September 1991, lot 486; Private collection, Sydney; Christie’s, Melbourne, 17 August 1999, lot 123 (illus.); Private collection, Perth, purchased from Christie’s

Literature: Sutherland, 2010, pp. 37, 230 (cat. BB4).
Sutherland, 2020, vol. 7, Paintings; Abstraction, p. 81.

Provenance: Whiteley Estate (BWS1539)

Literature: Sutherland, 2010, p. 230 (cat. BB5).
Sutherland, 2020, vol. 7, Paintings; Abstraction, p. 81.

Primary Inscription: signed and dated l.c. ‘Brett Whiteley ‘59’

Provenance: Rudy Komon Art Gallery, Sydney; Private collection, purchased from Rudy Komon; Private collection, Sydney; Private collection, acquired by descent; Lawson–Menzies, Sydney, 29 October 2002, lot 1; Art dealer and on-sold; Private collection, Victoria

Literature: Sutherland, 2010, pp. 37, 230 (cat. BB6); p. 33 (illus.).
Sutherland, 2020, vol. 1, p. 55 (illus.); vol. 7, Paintings, Abstraction, p. 81.

Provenance: Rudy Komon Art Gallery, Sydney, 1959; Private collection, New South Wales; Southern Cross Galleries, Melbourne; JGL Investments Pty Ltd., Melbourne, purchased from Southern Cross Galleries on 5 November 1984; Important Australian Art from the JGL Collection, Sotheby’s Australia, Sydney; Private collection, Melbourne, purchased by private treaty from Sotheby’s in December 2018; Smith & Singer, Sydney, 8 April 2025, lot 36 (illus.); Private collection

Exhibited: Italian Government Travelling Art Scholarship, AGNSW, 1959, cat. 49 (as Around Bathurst); Fifteenth Anniversary Exhibition, Rudy Komon Art Gallery, Sydney, 1974, cat. 39 (dated 1960); Rudy Komon Art Gallery, Sydney, during the late 1970s; The Whiteley at 20: Twenty Years of Brett Whiteley, S. H. Ervin Gallery, Sydney, 22 March–5 May 2019

Literature: (‘Our art critic’) ‘New and Old in Art Contest’ in Sydney Morning Herald, Sydney, 19 October l959, p. 8.
Coles, Mary, ‘Brett’s art will take him places’ in The Australian Women’s Weekly, Sydney, 18 November 1959, p. 13 (illus.).
The First Gallery in Paddington: The Artists and their Work tell the Story of the Rudy Komon Gallery, Edwards & Shaw, Sydney, 1981, p. 67 (illus.).
McGrath, 1979, p. 27.
Hilton & Blundell, 1996, pp. 37, 38.
Sutherland, 2010, pp. 37, 232 (cat. BB13); (photograph) p. 38 (illus.).
Wilson, 2016, pp. 31, 32.
Sutherland, 2020, vol. 1, p. 56 (illus.); vol. 7, Paintings, Abstraction, pp. 81–82.

Note: This photograph shows Whiteley standing in front of Around Bathurst 1959 and receiving the Travelling Art Scholarship from the Italian Consul in 1959.
Literature: Sutherland, 2010, p. 38 (photog. illus.); Sutherland, 2020, vol. 1, p. 57 (photog. illus.).

Primary Inscription: signed and dated l.r. ‘brett whiteley 59’

Inscription: verso: with inscription written by Robert Tedeschi explaining the circumstances of the gift

Provenance: Signora Rosina Tedeschi, lecturer at Sydney University; Private collection, acquired by descent to the son of Signora Tedeschi in 1971; and then by descent to her grandson

Literature: Sutherland, 2020, vol. 7, Paintings, Abstraction, p. 82

Note: One of three paintings given by the artist to Rosina Tedeschi (prior to his departure for Italy) in gratitude for Italian lessons that she gave him free of charge.