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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Dec 3, 2024 | Bonhams | Sydney | Important Australian Art | 27 | $****** - ****** | North Queensland |
Works on Paper
76 x 101 cm (29.92 x 39.76 in)
pencil on paper
signed lower left: "brett whiteley"
Australian Galleries, Melbourne (label attached verso)
Company Collection, Melbourne, acquired from the above in 1978
Australian Galleries, Melbourne
Private collection, Melbourne
Recent Paintings and Drawings , Fischer Fine Art, London, September 1977, cat. 51
Brett Whiteley: Paintings, Drawings & Three Scrolls... , Australian Galleries, Melbourne, 12 - 25 July 1978, cat. 22
Sandra McGrath, Brett Whiteley , Bay Books, Sydney, 1979, no. 27, p. 222 (illus., upside-down)
Kathie Sutherland, Brett Whiteley: Catalogue Raisonne , Schwartz Publishing, Melbourne, 2020, cat. 165.76, vol. 3, p. 375 (illus.), vol. 7, p. 372
"Of all the subjects Whiteley painted in his career, landscape gave him the greatest sense of release. At school in Bathurst he set up his easel at the back of the classroom and drew the views though the window. The soft hills and fields of the surrounding countryside were indelibly embedded in his repertoire of images, and fed his imagination over many years.
After leaving school he explored the edges of Sydney Harbour to emulate the visions of Lloyd Rees; he travelled to the old gold-mining towns of Sofala and Hill End in western New South Wales in the path of Russell Drysdale; and from the late 1970s, the influence of Japanese and Chinese art and Gauguin"s painting The Yellow Christ reinforced his need to create landscape as a sanctuary. If in many of his other themes Whiteley confronted the difficult questions of his psyche, landscape provided a means of escape, an unencumbered absorption into a painless, floating world.
He made paintings of central Australia as early as 1970. As he moved around the countryside of New South Wales - Oberon, Marulan, Carcoar, Bathurst - and to the Glasshouse Mountains in Queensland, he depicted the landscape in all its seasons with a tendency he called "Chinese". Repetition of certain motifs symbolized states of mind: the arabesques of rivers echoed the flight paths of birds, which in turn represented the artist"s relaxed journey through his own domain."1
1. Barry Pearce, Brett Whiteley, Art & Life 1939-1992 , Art Gallery of New South Wales, Sydney, 1995, pp. 196
Brett Whiteley (1939-1992)
North Queensland, 1976
signed lower left: "brett whiteley"
pencil on paper
76.0 x 101.0cm (29 15/16 x 39 3/4in).
