Lot 64

This work is in good condition. There is a scratch over the center of the work, approximately 20cm in length. Colours are strong and glossy, no visible signs of foxing. The work is mounted and framed in a slim silver frame with wear to the edges. This work has not been expected outside of the frame.


The opinions expressed in the condition reports are a guide only and should not be treated as a statement of fact. Prospective buyers are encouraged to inspect articles for sale at our pre-sale viewing where Leonard Joel staff are available for advice.
Leonard Joel makes no guarantee of the originality of mechanical or applied components. Absence of reference to such modifications does not imply that a lot is free from modifications.

McGrath, S., Brett Whiteley, Bay Books, Sydney, 1979, p.50 (illus., another example)
Brett Whiteley: Graphics, Art Gallery of Western Australia, Perth, 1983, p.12, cat.3 (illus., another example)
Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, cat.3 (illus. p.14, another example)
Sutherland, K., Brett Whiteley: A Sensual Line 1957-67, Macmillan Art Publishing, Melbourne, 2010, p.324 (illus. p.115, another example)

"After several months spent in Italy in 1961, Brett Whiteley moved to London where he lived in an apartment close to where notorious murderer John Christie had strangled several women during the 1940s and early 1950s. Becoming preoccupied with these brutal murders, Whiteley produced a series of paintings depicting violated female bodies at close range, twisted and contorted near the point of abstraction. The nude female form became a recurrent motif for the artist and he returned to it repeatedly throughout his career, often in highly sexualised images of his wife Wendy." National Gallery of Victoria.


© Courtesy of Wendy Whiteley