First Nations Fine Art Auction 2024 by Art Leven [formerly Cooee Art]

FINE ART AUCTION FIRST NATIONS

12 NOVEMBER 2024

Lot 71, Rover Joolama Thomas, Untitled, 1993

©Rover Joolama Thomas / Copyright Agency, 2024

FINE ART FIRST NATION

FIRST NATIONS

Tuesday 12th November | 7pm AEDT Start

17 Thurlow Street Redfern Gadigal NSW 2016

GALA OPENING

Thursday 7th November 2024 | 6 - 8 pm

AUCTION VIEWING

8th to 12th November 2024 | 10am - 6pm

ENQUIRIES

E: auction@artleven.com | P:+61 (0)2 9300 9533

DIRECTOR | Mirri Leven +61 416 379 691

SPECIALIST | Emma Lenyszyn +61 400 822 546 PHONE/ ABSENTEE LIVE ONLINE

BIDDING bidding forms pages 112 - 113 or QR below

Welcome to our November 2024 First Nations Fine Art Auction, the inaugural offering under the Art Leven banner.

I am proud to showcase the continuing evolution of ‘Australia’s’ oldest exhibiting First Nations-focused fine art gallery and only such specialised auction house. Art Leven aims to honour the legacy of Cooee Art, which was founded by Adrian Newstead and Louise Ferrier in 1981.

My journey with Cooee began in 2008, at which time the gallery was located in Bondi Beach, headed by Anne and Adrian Newstead. In 2016, I became co-owner and managing director of the gallery, entrusted with the role of the eventual successor as Adrian and Anne began pursuing other interests and gradually reduced their involvement with the gallery. By February 2023, Anne and Adrian officially stepped down as part owners, making me the sole owner.

While we embrace a new name, our focus remains unchanged— reflecting the evolving times while staying deeply committed to promoting Indigenous art and culture. Our goal is to foster a deeper, more intimate appreciation of First Nations artists, both past and present, within the continent’s art communities and beyond. Art Leven represents the evolution of Cooee Art’s legacy, forging new pathways for collaboration and growth.

I am pleased to present the collection we have carefully curated over the past six months, featuring a selected offering of 93 lots valued between $1,240,000 and $1,600,000. This collection showcases the diversity and richness of First Nations art across the continent.

Featuring heavily throughout this auction are key works that explore contemporary themes. Notable pieces include seminal works by Tracey Moffatt (Lot 23), Reko Rennie (Lot 25), and a video installation by Dr. Christian Thompson AO (Lot 26). Additionally, the cover lot (Lot 24) by Michael Riley, ‘‘Untitled (Bible) Cloud Series’, was carefully selected for its strong symbolism. As Michael Riley noted, “cloud was quite a resolved series for me, in that it brought all elements together: my childhood, the Christianity from my childhood, the problems with that, and also histories of Aboriginal peoples.”

Vendors from across Australia, the Americas, and Europe have contributed, featuring traditional bark paintings, sculptures, limited edition prints, drawings, and photographic works.

INTRODUCTION

Among the many notable lots is an early Papunya board painted during the ‘interregnum’ period and attributed to Timmy Payungka Tjapangati (Lot 10). The work is accompanied by a fascinating essay by John Kean, detailing his process for authenticating and attributing the work. Created around 1972, this highly intricate painting is a rare foundational work from one of the most significant moments in this continent’s art history. Its creation marks a pivotal turning point that transformed both the contemporary art movement and the nation’s identity.

The rare ceremonial figure, Lot 80, was believed to have been collected on Mornington Island and has been kept on display at The Zillman Museum of Wonders in Imbil, Queensland for decades. The 74 centimeter tall figure is adorned with a beard of human hair, ceremonial paint, and a conical ceremonial headdress. The rare and remarkable work carries an estimate of $18,000 - $22,000.

This year came the thrilling announcement of Emily Kame Kngwarreye’s (Emily Kam Kngwarray) solo retrospective to be held at the Tate Modern, London in 2025. We are excited to once again present a stunning selection of the legendary artist’s works. Lot 9, Untitled (Awelye), painted in January 1994 and estimated at $60,000 - $80,000, beautifully captures the subtle pink hues of Utopia in summer. Lot 17, Alalgura (My Country), from October 1994, estimated at $140,000 - $160,000, is a vibrant portrayal of Kngwarreye’s country after the rains, often referred to as the “green time”. This piece features a rare abundance of blue. Additionally, Lot 72, Summer Business (1992), estimated at $130,000 - $150,000, draws the viewer’s eye across the canvas with the dynamic movement of the landscape.

Other highlights include a work by Rover Joolama Thomas (Lot 71), created in 1993 for the Waringarri Aboriginal Arts Centre. With a conservative estimate of only $70,000 to $90,000, this piece exemplifies the artist’s exceptional skill and continues to define much of the East Kimberley’s artistic lexicon.

Among the standout lots is 7, a striking gouache by Lin Onus, estimated at $30,000 to $40,000. Also featured are three works by the artist du jour, Mirdidingkingathi Juwarnda Sally Gabori (Lots 3, 13, and 88). Lot 30 presents a captivating piece by Bill Whiskey Tjapaltjarri, with a modest estimate of $20,000 to $25,000. Rounding out the highlights is Lot 11, a monumental, classic painting by the legendary Ronnie Tjampitjinpa, a key figure of the Papunya Tula collective.

I hope you enjoy this catalogue as much as we have enjoyed curating it, and I look forward to welcoming you to our gallery during the viewing.

Mirri

Leven, Director September 2024

MIRRI LEVEN

ARTIST INDEX

A - M

Abie Loy Kemarre 46

Angelina George 84

Angelina Pwerle Ngal 73

Artist Once Known 80

Biddee Baadjo 52

Bill Whiskey Tjapaltjarri 27, 36, 60

Billy Benn Perrurle 49

Boxer Milner Tjampitjin 33

Charlie Djurritjini 76

Charlie Wallabi (Walapayi) Tjungurrayi 40

Christian Thompson AO 26

Djirrirra Yukuwa Wunungmurra 12, 67

Dorothy Robinson Napangardi 4

Emily Kame Kngwarreye (Emily Kam Kngwarray) 1, 9, 17, 53, 72

Eubena Nampitjin 32, 55

Freddie Timms Ngarrmaliny 14

Gali Yalkarriwuy Gurruwiwi 68

Gordon Bennett 18

Inawintji Williamson 57

Jack Maranbarra 43

Jan Billycan (Djan Nanundie) 31

Joanne Currie Nalingu 6

John Mawurndjul 34

Johnny Dayngangan 78

Judith Walkabout 38

Judy Watson Napangardi 87

Kathleen Petyarre 5, 90

Kitty Kantilla (Kutuwulumi Purawarrumpatu) 35

Kunmanara (Wawiriya) Burton 8, 86

Kunmanara (Wingu) Tingima 65

Lin Onus 7, 92

Lisa Uhl & Tommy May Ngarralja 64

Lydia Balbal 48

Maria Josette Orsto 82

Mawukura (Mulgra) Jimmy Nerrimah 61

Michael Riley 24

M - Z

Milatjari Pumani 56

Minnie Pwerle 83

Mirdidingkingathi Juwarnda Sally Gabori 3, 13, 88

Mitjili Gibson Napanangka 50

Molly Karadada 42

Morris Gibson Tjapaltjarri 39

Ngoia Pollard Napaltjarri 41

Nora Wompi Nungurrayi 2

Paddy Bedford Nyunkuny 28

Paddy Compass Namatbarra 77

Patju Presley 37

Poly Ngal 47

Prince of Wales (Midpul) 29

Queenie McKenzie Nakarra 69, 70, 89

Rammey Ramsey 63, 79

Reko Rennie 25

Ronnie Tjampitjinpa 11, 93

Rosella Namok 16

Rover Joolama Thomas 71

Sally Gabori (Mirdidingkingathi Juwarnda) 3, 13, 88

Sally Scales 62

Silas Hobson 59

Susan Marawarr 45

Susie Bootja Bootja Napaltjarri 66

Tanya Van Horen 85

Tim Leura Tjapaltjarri 74

Timmy Payungka Tjapangati 10

Tjukupati James 58

Tommy May Ngarralja & Lisa Uhl 64

Tommy Mitchell 15

Tony Albert 19, 20

Tracey Moffatt 21, 22, 23

Tuppy Ngintja Goodwin 51

Turkey Tolson Tjupurrula 75

Various Artists 54, 81, 91

Wakartu Cory Surprise 30

Yalanba Waambi 44

EMILY KAME KNGWARREYE (EMILY KAM KNGWARRAY) (1910 - 1996)

Untitled (Alhakere - My Country), 1992

75.5 x 55 cm; 78 x 58 cm (framed) acrylic on canvas signed verso ‘Emily’

$30,000 - $40,000

PROVENANCE

Delmore Gallery, NT Cat No. 92C161 Private collection, NSW

NORA WOMPI NUNGURRAYI (1935 - 2017)

Untitled (Kunawarritji), 2012

91 x 122 cm

acrylic on linen

$3,000 - $6,000

PROVENANCE

Martumili Artists, WA Cat No. 12-752

Private collection, Vic

Cooee Art Leven, NSW

Private collection, NSW

Accompanied by a certificate of authenticity from Martumili Artists

MIRDIDINGKINGATHI JUWARNDA SALLY GABORI (1924 - 2015)

Hunting Ground, Dibirdibi, 2005

91 x 121.5 cm

acrylic on linen

$16,000 - $18,000

PROVENANCE

Mornington Island Arts, Qld Cat. No 530-0-SG-1005

The Jacquie McPhee Collection, WA

Accompanied by a certificate of authenticity from Mornington Island Arts

EXHIBITED

First exhibition of Mirdidingkingathi Juwarnda Sally Gabori: Woolloongabba Art Gallery, ‘Sally’s Story’, 2005

ILLUSTRATED

Woolloongabba Art Gallery, Sally’s Story, p.16

The Greatest Passion of All: The Jacquie McPhee Collection, 2017, p.299

DOROTHY

ROBINSON NAPANGARDI (c. 1956 - 2013)

Karntakurlangu Jukurrpa (Women’s Dreaming), 1999

46.5 x 46 cm

acrylic on linen signed verso ‘Dorothy’

$2,000 - $4,000

PROVENANCE

Gallery Gondwana, NT Cat No. 3987

Private collection, NSW

Accompanied by a certificate of authenticity from Gallery Gondwana

KATHLEEN PETYARRE (1940 - 2018)

Mountain Devil Lizard Dreaming, 2005

76.5 x 76.5 cm

acrylic on linen signed verso ‘KATHLEEN PETYARRE’

$6,000 - $8,000

PROVENANCE

Gallerie Australis, SA Cat No. GAKP0405466 Private collection, Vic

Accompanied by a certificate of authenticity from Gallerie Australis

JOANNE CURRIE NALINGU (1964 - )

Dusk River II, 2010

123 x 180 cm acrylic on canvas

$8,000 - $12,000

PROVENANCE

artwork consigned from the artist, Qld c/o Fireworks Gallery, Qld Cat No. FW11990

Accompanied by a certificate of authenticity from Fireworks Gallery

LIN ONUS (1948

- 1996)

Frogs in Rivergrass , 1996

27 x 63.5 cm; 55.5 x 86 cm (framed) gouache on illustration board signed lower left ‘Lin Onus’

$30,000 - $40,000

PROVENANCE

Direct from the artist to Belinda Dennis nee Baker, Lin Onus’ personal assistant (1991-1996) The Belinda and Craig Dennis Collection, Vic

KUNMANARA

(WAWIRIYA) BURTON (c. 1928 - 2021)

Ngayuku Ngura (My Country), 2019 182 x 144 cm; 184.5 x 147 cm (framed) acrylic on linen

$16,000 - $18,000

PROVENANCE

Tjala Arts, SA Cat No. 393-19 Olsen Gallery, NSW

D’lan Contemporary, Vic Cat No. INV-BURW-0001 Private collection, Vic

Accompanied by a certificate of authenticity from Tjala Arts

EXHIBITED

Reverence 2022, D’lan Contemporary, Melbourne, Vic 27 October – 03 December 2022

EMILY KAME KNGWARREYE (EMILY KAM KNGWARRAY) (1910 - 1996)

Untitled (Awelye), 1994 122 x 92 cm; 125 x 95 cm (framed) acrylic on linen

$60,000 - $80,000

PROVENANCE

Delmore Gallery, NT Cat No. 94A050 Gallery Gondwana, NT Private collection, NSW

Accompanied by a certificate of authenticity from Gallery Gondwana

ATTRIBUTED TO TIMMY PAYUNGKA

Untitled, c. 1972

71.5 × 68 cm; 83 x 79.5 cm (framed) acrylic on composition board

$110,000 - $140,000

PROVENANCE

Painted at Papunya, NT, 1972

Seddell McLean, Vic acquired in the late 1970s thence by decent in 2010 Private collection, Vic D’Lan Contemporary, Vic Cat No. INV-TJAA-0006

EXHIBITED

Significant-2023 Part One, D’Lan Contemporary, Melbourne, Vic 2 June - 22 July 2023

TJAPANGATI

(1940 - 2000)

This unusual painting appeared without a detailed provenance, its treatment and material qualities suggested that it might have been painted at Papunya 19711972. Its significance stems from the possibility that a renowned artist created it during the founding of contemporary desert art. While several of the painting’s pictorial elements are common to other early Papunya boards, others are unique and as a consequence, raise the bar required for positive attribution. Yet the object’s material qualities are compelling, for they are redolent of the properties of well-known and definitively provenance paintings produced at Papunya in the second half of 1972.

While I was initially wary of its authenticity, the painting’s idiosyncratic iconography demanded attention. If a founding Papunya artist, as suggested, created the work, the painting would substantially expand the already impressive range and scope of treatments employed by the 25 artists who founded contemporary art in Central Australia. After detailed examination together with Luke Scholes, I concluded the painting was, in all likelihood painted by a founding Papunya artist. There follows a summary of the reasoning behind my contention.

Period

The painting is most likely to have been created in a period that Vivien Johnson has characterised by as the ‘interregnum’.1 The interregnum commences in August 1972, with the departure of Geoffrey Bardon; a teacher widely attributed with facilitating the emergence of painting at Papunya and concludes with the employment of Peter Fannin as the first art advisor under the Papunya Tula Artists banner in December of that year. Paintings produced during the interregnum are frequently experimental, for the artists were working in advance of the conventions that came to characterise Papunya Tula painting as a recognisable style. Moreover, the artists worked in the Men’s Painting Room without the intervention of a non-Indigenous advisor.2 Excited and working with extraordinary freedom, the artists innovated, inventing diverse approaches to the articulation of icons and decorative application. Some elements of these early Papunya painting, most notably, the imbrication of background patterns to form an expansive overall schema were used for a short period, then abandoned in favour of the now familiar dotted approach. Working as a collective, the artists called on elements drawn from ceremonial life, while taking inspiration from the innovations of the peers - the period resulted in a ‘blooming of a hundred ﬂowers.’3

Many of the works created during the interregnum were subsequently documented and dispatched by Patricia Hogan, director of the Stuart Centre in Alice Springs, who at that moment, was the sole representative of the Papunya artists. Thus the majority of paintings produced during the period were lumped into Consignment 19, the largest and most diverse of the early consignments to have left Papunya. The stylistic mysteries of the consignment have yet to be fully disentangled.

Another consequence of the independence with which the founding artists operated during at the interregnum was the freedom with which they could sell their work to whom they pleased. A select group of customers consisted of an assortment of non-Aboriginal settlement workers and government officials. Other buyers were found among the visitors who stayed with friends and family members working at Papunya. As a result of these arbitrary acquisitions, an unknown number of undocumented paintings left the community to be transported to disparate locations, where they hung on study walls, or stored for decades, unsighted in a dark cupboard. Now, a full half-century after their

TIMMY PAYUNGKA TJAPANGATI

acquisition, such paintings are occasionally uncovered in the estates of those who lived at or visited Papunya - undocumented jewels whose provenance is lost with the passing of a painting’s original purchaser. In these instances, the authenticity of a particular work must be assayed by the object’s material, iconographic and stylistic qualities. Such is the case with this mysterious board.

Materiality

The humble materials used in this work are typical of the interregnum. The Masonite substrate was a proprietary product used in many buildings on the community. Bardon and the artists had developed the restricted palette typical of paintings produced at Papunya. The paint in this work - black, deep red-oxide and white - is typical of works produced in the Men’s Painting Room in 1972. Notably, each line and dot is created with a stroke of carefully thinned paint. Despite having painted for such a short period, the artists approached their task with confidence. A close examination of any detail of the work reveals the direction and pressure of each stroke. The brushstrokes are typical of the most proficient of the early Papunya artists. The paint is often semi-transparent, and modulation of tone (both between various marks and within a single stroke of the brush) is critical to my confidence that the painting was created at Papunya in 1972.

Variations in transparency and the frequency of the dotted surface produce an uneven, shimmering surface typical of artists of this period. Johnny Warangkula Tjupurrula first developed the effect of massed dots to evoke shimmering meteorological qualities associated with the Water Dreaming at Kalipinypa.4 The proficiency required to produce such attractive shimmering effects narrows the number of artists likely to have produced this work. Inspired by Warangkula’s ground breaking innovation, Anatjarri Tjakamarra, John Tjakamarra, Kaapa Tjampitjinpa, Mick Namarari Tjapaltjarri, Tim Leura Tjapaltjarri, Timmy Payunka Tjapangati and Yala Yala Gibson Tjungurrayi produced exceptional paintings whose icons were embedded in a scintillating field of dots.

The back of the current work is cryptic, for there are no catalogue numbers or gallery labels to suggest or confirm the painting’s provenance. A simple baton has been attached to the Masonite from which a rough copper wire has been slung. The support structure is aged, unassuming and improvised. This utilitarian treatment is consistent with a work that has been purchased directly from the artist and hung with little fuss by the painting’s purchaser.

Iconography

This painting’s unique iconography is especially intriguing. When I was made aware of the painting in mid 2022, (via digital photographs taken on mobile phone), three dominant, rather eccentric icons initially raised my suspicion - they felt just too odd. Firstly, the large black negative space, with its crooked line and curious grouping of outfacing bird prints (small red arrows) is striking, yet unfamiliar. Further the helicopter blade-shaped icon at the painting’s centre is quite unlike anything I had previously seen in a Papunya painting. Surely no one who wanted to fake and early Papunya board would use such uncharacteristic icons. Thirdly, the ‘pear-shaped’ object at the bottom of the board felt more familiar but took some untangling, before I could begin to interpret its form.

After some time however, I recognised that the general form and striated decoration of the pear-shaped object corresponded with character and incised treatment of a pearl shell pendant, such as those traded across the desert from Broome to be used as objects of power in rainmaking ceremonies. The identification of this object as a pearl shell informs my subsequent interpretation of the work.

1 Vivien Johnson, Once Upon a Time in Papunya, University of New South Wales Press, Sydney, 2010.

2 See Bardon’s description of his own interventions in Geoffrey Bardon and James Bardon, Papunya: A Place Made After the Story: The Beginnings of the Western Desert Painting Movement, The Miegunyah Press, Melbourne, 2004.

3 See Kean 2023, Johnson 2010, Bardon 2004, Scholes 2017

4 Kean, 2023

When understood as representing a pearl shell, the overlapping ‘umbilical’ line could be read as a hair-string belt to which the nacre was attached, particularly if the loop (adjacent and immediately right of the top of the proposed shell) provided a means of attachment, through which the other end of the hair-string would be tied around a performers’ waist.

The painting’s background treatment feels more familiar. I contend the conjunction between the expansive underlying zigzag pattern and the pearl shell reinforces the painting’s subject as a Water Dreaming, and point towards a likely artist. But before jumping to any attribution, it is important to emphasise the underlying zigzag pattern is more redolent of the Pintupi art of the Western Desert than it is of the Anmatyerr artists of Central Australia thus eliminating at least two potential artists listed above.

Of the Pintupi painters, Johnny Warangkula is most powerfully associated with the Water Dreaming themed paintings, nonetheless Warangkula’s Water and bush tucker story (1972) possesses several similar features to the current work by an unknown artist: these features include a pearl shell shape (the imbricated shape at the painting’s centre), attenuated undulating lines (top) that are similar to the zigzag lines in the recently uncovered work, and a scintillating dotted surface. While I am confidant the current work is not by Warangkula, the correlation of shared attributes described above indicates its subject is probably Water Dreaming. The elimination of Warangkula further reduced the list of likely artists to Anatjarri Tjakamarra, John Tjakamarra, Mick Namarari Tjapaltjarri, Timmy Payunka Tjapangati and Yala Yala Gibson Tjungurrayi.

Of the above artists, Mick Namarari painted several Water Dreaming subjects, however he tended to utilise a form of relaxed symmetry that is entirely absent this painting. Moreover, Namarari’s paintings generally reach a more harmonic resolution than is the case with the current work. In contrast, Timmy Payunka Tjapangati always sought varity to his subject manner over the search for aesthetic resolution. Like Namarari, Timmy Tjapangati created Water Dreaming paintings during the period in question; see ‘Big Rain Story’ and ‘Ngapa Tjukurrpa’ (Water Dreaming). Further, Timmy Tjapangati painted with a notably individuality, surely a defining quality of the artist who created the work under question. Further weight as to Timmy Tjapangati being a probable artist comes with the painting’s combination of geometric elements from the Western Desert with the more familiar dotted treatments, an identifiable property of several of Timmy Tjapangati early boards. Returning for a moment to the painting’s curious ‘pearl shell’ element, the organic shape of the associated hair string ‘belt’ is reminiscent of several biomorphic figures in Tjapangati’s paintings and painted artefacts. In summary, the proficiency, subject manner, together with the combination of disparate stylistic traditions, and the eccentricity exhibited in this work are distinguishing attributes that can be found in Timmy Tjapangati’s paintings of the 1970s.

Timmy Payunka Tjapangati was a mercurial figure, sometimes camping to the west of Papunya though frequently travelling several hundred kilometers to the northwest to stay with relatives in Balgo. Tjapangati was an exceptional artist who, until the last phase of his career did not paint in a consistent style. His edgy paintings, while difficult to corral into a single neat category, are quite unlike those of any other Pintupi artist. According to my reasoning, the eccentricity of this work, which in all probability represents Water Dreaming suggests that it was painted by a singular artist, who even within the experimental excitement of the Men’s Painting Room was brave enough to stretch the emerging conventions. Timmy Payunka Tjapangati was a proud man of high degree. Of all the individuals present at the Men’s Painting Room during the interregnum, I believe Timmy Payunka Tjapangati was is most likely to have painted the current work.

Art Leven would like to thank John Kean for the use of the essay

RONNIE

TJAMPITJINPA (c. 1943 - 2023)

Tingari, 1999

183 x 122 cm acrylic on linen

$20,000 - $30,000

PROVENANCE

Papunya Tula Artists, NT Cat No. RT990175 Mossenson Galleries, WA Private collection, SA

Accompanied by a certificate of authenticity from Papunya Tula Artists

DJIRRIRRA YUKUWA WUNUNGMURRA (1968 - )

Yukuwa (Bush Yam), 2020

162 x 55 cm ochres on bark

$3,500 - $4,500

PROVENANCE

Buku-Larrnggay Mulka Arts, NT

Cat No. 4655W

Private collection, NSW

Accompanied by a certificate of authenticity from Buku-Larrnggay Mulka Centre

MIRDIDINGKINGATHI JUWARNDA SALLY GABORI (1924 - 2015)

Mirdidingki (My Country), 2009 152 x 101 cm acrylic on canvas

$30,000 - $40,000

PROVENANCE

Mornington Island Arts, Qld Cat No. 4529-L-SG-0709 Raft Artspace, NT

Sotheby’s Australia, Aboriginal Employment Services, October 2010, organised by Anne Lewis AO and Wally Caruana Richard Martin Art, NSW Private Collection, Vic

Accompanied by a certificate of authenticity from Mornington Island Arts

FREDDIE TIMMS NGARRMALINY JANAMA (1946 - 2017)

Ant Creek, 1997

150 x 150 cm

acrylic on linen

$16,000 - $20,000

PROVENANCE

Watters Gallery, NSW Cat No. FT10

The collection of J R Gibb, NSW Private collection, NSW

EXHIBITED

Freddie Timms. Recent Paintings, Watters Gallery, Sydney, NSW, 1997

Untitled, 2005

152 x 79 cm

acrylic on canvas

$6,000 - $8,000

PROVENANCE

Warakurna Artists, WA Cat No. 161-05

Private collection, NT

Private collection, NSW

TOMMY MITCHELL (1943 - 2013)

ROSELLA NAMOK (1979 - )

Old Girls Talking about the Salmon Season (5 panels), 2016

150 x 58 cm (each); 150 x 290 cm (overall) acrylic on canvas

$18,000 - $22,000

PROVENANCE

Fireworks Gallery, Qld Cat No. FW17241 Private collection, Qld

Accompanied by a certificate of authenticity from Fireworks Gallery

EMILY KAME KNGWARREYE (EMILY KAM KNGWARRAY) (1910 - 1996)

Alalgura (My Country), 1994

89.5 x 151 cm; 93.5 x 154.5 cm (framed) acrylic on linen

$140,000 - $160,000

PROVENANCE

Delmore Gallery, NT Cat No. 94J004 Australian & Oceanic Art Gallery, Qld Private collection, SA

Accompanied by a certificate of authenticity from Delmore Gallery

Anmatyerr woman Emily Kame Kngwarreye (Emily Kam Kngwarray) was born in Alhalker on the edge of Utopia cattle station. Preceding the start of her professional painting career in the late 1980’s, she worked as a batik artist for 10 years. Her career as a painter was as prolific as it was passionate; after only a few short years she had established herself internationally. She died in September 1996 leaving behind a profound and invaluable legacy which continues to grow.

Emily Kame Kngwarreye, often referred to simply as ‘EMILY,’ had her name adjusted to Emily Kam Kngwarray ahead of the National Gallery of Australia’s 2023 retrospective. This contentious new spelling, described as aligning with “the most up-to-date conventions” will also feature in the artist’s solo retrospective at the Tate Modern in London, scheduled for July 2025.

Kngwarreye moved through a series of artistic periods in her short yet prolific eight-year career. From 1989 until 1991 she painted intimate tracking and animal prints interspersed under fine, sharp-dotted colour fields. These highly prized early works gave way to running dotted lines over ethereal landscapes consisting of parallel horizontal and vertical stripes representing ceremonial body painting. By 1993, she was painting floral images in a profusion of colour by double dipping brushes into layers of paint. In 1995 and 1996 Kngwarreye’s painting series ‘Anooralya (Yam)’ and ‘Sacred Grasses’ show her lineal body painting imagery yield to scrambling yam roots. Kngwarreye’s ‘Final Seres’ consisting of 24 revelatory canvases painted with large flat brushes just two weeks before her passing in 1996.

While her preoccupation was with both the life cycle of the yam and the women’s ceremonies celebrating its importance, Emily painted many interrelated themes using these subjects to illustrate her country as a whole. In an interview with Rodney Gooch, translated by Kathleen Petyarre, Knwarreye described her subject as

‘Whole lot, that’s all, whole lot, awelye, arlatyeye, ankerrthe, ntange, dingo, ankerre, intekwe, anthwerle and kame. That’s what I paint: whole lot. My Dreaming, pencil yam, mountain devil lizard, grass seed, dingo, emu, small plant emu food, green bean and yam seed.’

Posthumously, Kngwarreye’s phenomenal oeuvre was chronologically curated in Margo Neale’s groundbreaking exhibition, ‘Utopia: The Genius of Emily Kngwarreye’ at the National Museum of Australia in 2007 and The National Gallery of Tokyo in 2008. Her mammoth ‘Earth’s Creation I’ was selected by Okwui Enwezor to be exhibited at the Venice Biennale in 2015. In recent years, Kngwarreye’s work has experienced a further surge, in part due to a host of commercial and institutional exhibitions, including ‘Emily Kam Kngwarray’ curated by Hettie Perkins and Kelli Cole for the NGA and ‘Emily: Desert Painter’ held at the influential Gagosian Gallery Paris in 2023.

The four mid-career works offered in this auction (Lots 1, 9, 17 and 72) are excellent examples of Kngwarreye’s work for Delmore Gallery, each a luminous celebration of her country. With her status as an elder and senior law holder of Country during a seminal time in social history, works of this calibre are becoming increasingly important to her artistic legacy. These works pay reverence to the sacredness of the Earth, the seasons, vegetation, her spiritual ancestors, and the ceremonies that Emily Kame Kngwarreye engaged with in her daily life.

GORDON BENNETT (1955 - 2014)

The Reverb (Jackson Pollock 2), 2001 70 x 50 cm; 84 x 64 (framed) chalk pastels on Colourfix paper signed verso ‘G Bennett’

$10,000 - $14,000

PROVENANCE

Greenaway Art Gallery, SA Private collection, SA

EXHIBITED

Gordon Bennett: Notes to Basquiat (911), Greenaway Art Gallery, SA, 1 - 30 March 2002

ALBERT (1981 - )

My Palette (2 Parts), 2008 - 2013

29 x 22 cm each; 46 x 60 cm (framed) ink, marker, watercolor and mixed media collage on paper

$3,000 - $5,000

PROVENANCE

Conceptio Art, NZ Private collection, UK

ALBERT (1981 - )

Deck of Cards (2 Parts), 2008 - 2013

29 x 22 cm each; 46 x 60 cm (framed) marker and collage on paper

$3,000 - $5,000

PROVENANCE

Conceptio Art, NZ Private collection, UK

TONY

TRACEY MOFFATT (1960- )

Invocations Series, ed. 45/60, 2000

#1. 122 x 146 cm; 131 x 156 (framed #4. 109 x 96.5 cm; 118 x 106 cm (framed) photo silkscreen signed front bottom right ‘Tracey Moffatt’

$8,000 - $10,000

PROVENANCE

Roslyn Oxley9 Gallery, Sydney, NSW Private collection, NSW

EXHIBITED

Tracey Moffatt, Invocations, Roslyn Oxley9 Gallery, Sydney, NSW, 20 July – 12 August 2000

TRACEY MOFFATT (1960 - )

Laudanum Series, ed. 21/60, 1998

#1. 76 x 57 cm (paper); 99 x 70 cm (framed) #3. 76 x 57 cm (paper); 99 x 70 cm (framed) #9. 57 x 76 cm (paper); 70 x 99 cm (framed) #14. 76 x 57 cm (paper); 99 x 70 cm (framed) toned photogravure print on rag paper signed front bottom right ‘Tracey Moffatt, 98’

$8,000 - $10,000

PROVENANCE

Roslyn Oxley9 Gallery, Sydney, NSW Private collection, NSW

EXHIBITED

Tracey Moffatt, Laudanum, Roslyn Oxley9 Gallery, NSW, 14 April – 8 May 1999

TRACEY MOFFAT (1960 - )

Invocations #2, ed. 46/60, 2000 124 x 101 cm; 146 x 122 cm (paper); 149.5 x 125.5 cm (framed) photo silkscreen signed front bottom right ‘Tracey Moffatt’

$7,000 - $9,000

PROVENANCE

Roslyn Oxley9 Gallery, Sydney NSW Private collection, NSW

EXHIBITED

Tracey Moffatt, Invocations, Roslyn Oxley9 Gallery

Sydney, NSW, 20 July – 12 August 2000

MICHAEL RILEY (1960 - 2004)

Untitled (Bible); from the Cloud Series ed. 2/5, 2000

106.5 x 150 cm; 117 x 167.5 cm (framed) inkjet print on Ilford Galerie Pearl paper

$9,000 - $12,000

PROVENANCE

Printed 2004 on Epson Stylus Pro 9600 by Sandy Barnard

Gallery Gabrielle Pizzi, Vic

Private collection, Vic Deutscher & Hackett, Important Aboriginal Art: Part 2, 26 November 2014 Vic Cat No.DH140838

Private collection, WA

RELATED WORKS

Ed. 1/5 held in the collection of the National Gallery of Australia, Canberra; Ed. AP held in the collection of the Art Gallery of New South Wales, Sydney

REKO RENNIE (1974 - )

No Sleep Till Dreamtime #15, 2014

70 x 70 x 4 cm; 120.5 x 101.5 x 6 cm (framed) hand pressed foil and ink on board

$12,000 - $15,000

PROVENANCE

BlackArtProjects, Vic

Chalk Horse Gallery, NSW Private collection, WA

EXHIBITED

Reko Rennie: No Sleep Till Dreamtime. BlackArtsProjects in association with Chalk Horse Gallery, Sydney, NSW 26 June - 12 July 2014

DR CHRISTIAN THOMPSON AO (1978 - )

Heat, 2010 5 minutes 52 secs three channel HD video installation, ed 5/5

$5,000 - $8,000

Chalk Horse, NSW Private collection, WA

PROVENANCE

Artwork presented in a folio with accompanying certificate of authenticity from Chalk Horse signed by Christian Thompson

EXHIBITED

Heat, Christian Thompson, Chalk Horse, Sydney NSW, 23 September - 8 October 2010

unDISCLOSED: 2nd National Indigenous Art Triennial, The National Gallery of Australia, Canberra, AC, 11 May - 22 July 2012

BILL WHISKEY TJAPALTJARRI

(1920 - 2008)

Rock Holes near the Olgas, 2008

125 x 91 cm; 128 x 94 cm (framed) acrylic on linen

$20,000 - $25,000

PROVENANCE

Watiyawanu Artists of Amunturrungu, NT

Cat No. 77-08400

Honey Ant Gallery, NSW Private collection, WA

Accompanied by a certificate of authenticity from Watiyawanu Artists

EXHIBITED

Rockholes, Honey Ant Gallery, Sydney, NSW, 7 August - 27 September 2008

PADDY BEDFORD

NYUNKUNY (1922 - 2007)

Untitled, 2003

50.5 x 76.5 cm; 78.5 x 102 cm (framed) gouache and blue chalk on crescent board signed verso

$10,000 - $12,000

PROVENANCE

Jirrawun Arts, WA Cat No. PB WB 2003-84 Private collection, Qld

Deutscher & Hackett, December 2015, Sydney, NSW, Lot 109 Private collection, WA

ILLUSTRATED

Petitjean, G., et. al., Paddy Bedford: Crossing Frontiers, Aboriginal Art Museum Utrecht and Snoeck Editions, Utrecht, the Netherlands, 2010, pp. 68-69

PRINCE OF WALES (MIDPUL) (c. 1937 - 2002)

Body Marks, 1999

83 x 81 cm

acrylic on linen

$8,000 - $10,000

PROVENANCE

Karen Brown Gallery, NT

Cat No. KB0585

Private collection, NT

Private collection, WA

Accompanied by a certificate of authenticity from Karen Brown Gallery

WAKARTU CORY SURPRISE (c. 1929 - 2011)

Untitled, 2007

89.5 x 119.5 cm; 93.5 x 123 cm (framed) acrylic on linen

$4,000 - $6,000

PROVENANCE

Mangkaja Arts, WA Cat No. 415/07 Raft Artspace, NT

The K.D.H. Ainsworth Collection, Qld Deutscher & Hackett, Works from the K.D.H. Ainsworth Collection, 26 March 2014, Melbourne, Vic, Lot 46 Private collection, WA

JAN BILLYCAN

(DJAN NANUNDIE) (1930 - 2016)

Three Jila, 2005

101.5 x 54 cm acrylic on canvas

$4,000 - $6,000

PROVENANCE

Yulparitja Arts, WA Cat No. 3205

Short St Gallery, WA Cat No. 781457

Bim Bam Gallery, Qld

Private collection, Qld

Accompanied by a certificate of authenticity from Short St Gallery

EUBENA NAMPITJIN (1921 -

2013)

Kinyu, 2007

150 x 76.5 cm acrylic on linen

$12,000 - $14,000

PROVENANCE

Warlayirti Artists, WA Cat No. 617/07 Private collection, WA

Accompanied by a certificate of authenticity from Warlayirti Artists

BOXER

MILNER TJAMPITJIN (c. 1935 - 2009)

Muyun, 2001

149.5 x 75 cm acrylic on linen

$8,000 - $10,000

PROVENANCE

Warlayirti Artists, WA Cat No. 384/01 Private collection, WA

Accompanied by a certificate of authenticity from Warlayirti Artists

JOHN MAWURNDJUL (1951 - )

Gormdon (Freshwater Turtle), 1988 62 x 55 cm; 81.5 x 74 cm (framed) ochre on Eucalyptus bark

$10,000 - $12,000

PROVENANCE

Maningrida Arts & Crafts, NT

Cat No. MAW 48

Galleries Primitif, NSW

Dr Peter Elliot Collection, NSW

Mossgreen Auctions, The Peter Elliot Collection, 31 August 2015, Sydney, Lot 323 Private collection, WA

Accompanied by a letter on Mossgreen letterhead attesting to the artworks authenticity as catalogued by Australian Indigenous art specialist D’lan Davidson

KITTY KANTILLA (KUTUWULUMI PURAWARRUMPATU) (c. 1928 - 2003)

Jillamara, 2001

77 x 57 cm; 88.5 x 69 cm (framed) ochre on paper

$5,000 - $7,000

PROVENANCE

Jilamara Arts and Crafts, NT Cat No. 97-01 Aboriginal and Pacific Art, NSW Private collection, NSW Private collection, NSW

EXHIBITED

Ngaruwanajirri Yirrara Paintings by Tiwi Artists from Nguiu”, Aboriginal and Pacific Arts, Sydney NSW, 2001

BILL WHISKEY TJAPALTJARRI

(1920 - 2008)

Rockholes Near the Olgas, 2007

101 x 37.5 cm acrylic on linen

$3,000 - $5,000

PROVENANCE

Watiyawarnu Artists, NT Cat No. 7707-508

Private collection, NT

Private collection, NSW

Accompanied by a certificate of authenticity from Watiyawanu Artists

PATJU PRESLEY (c.1945 - )

Ngirpanta, 2021

85 x 110 cm

acrylic on linen

$6,000 - $8,000

PROVENANCE

Spinifex Arts Project, WA

Cat No. SAPPP21-265

Aboriginal & Pacific Art, NSW

The National Centre of Indigenous Excellence Art Auction, Redfern NSW Private collection, NSW

5% of the proceeds from the sale of this artwork will be donated to The National Centre of Indigenous Excellence

JUDITH WALKABOUT (1982 - )

Iwantja Springs, 2021

152 x 122 cm

acrylic on linen

$2,000 - $4,000

PROVENANCE

Iwantja Arts, SA Cat No. 284-21 Private collection, NSW

Accompanied by a certificate of authenticity from Iwantja Arts

MORRIS GIBSON TJAPALTJARRI (1957 - )

Rockholes at Patantjanya, 2002

152 x 121.5 cm

acrylic on linen

$4,000 - $6,000

PROVENANCE

Papunya Tula Artists, NT

Cat No. MG0203268

Private collection, SA

Private collection, NSW

Accompanied by a certificate of authenticity from Papunya Tula Artists

CHARLIE WALLABI (WALAPAYI) TJUNGURRAYI (c. 1937 - 2009)

Ngarru (Tingari), 2004

153 x 61 cm

acrylic on linen

$2,000 - $3,000

PROVENANCE

Papunya Tula Artists, NT

Cat No. CW0407212

Private collection, NSW

Accompanied by a certificate of authenticity from Papunya Tula Artists

ILLUSTRATED

Johnson, V., Lives of the Papunya Tula Artists, LAD Press, Alice Springs, 2008, p. 256

NGOIA POLLARD NAPALTJARRI (c. 1948 - 2022)

Father’s Country, 2020

120 x 61 cm

acrylic on linen

$2,000 - $3,000

PROVENANCE

Papunya Tula Artists, NT

Cat No. NN2005023

Private collection, NSW

Accompanied by a certificate of authenticity from Papunya Tula Artists

MOLLY

KARADADA (c. 1930 - 2008)

Wandjina, 1987

48 x 31 cm and 53 x 22 cm ochre on bark inscribed verso (vertically) in chalk

$3,000 - $4,000

PROVENANCE

Painted at Kalumburu, WA

Coo-ee Aboriginal Art, NSW

Private collection, Berlin, Germany

Certificate of authenticity adhered to the back from Coo-ee Aboriginal Art

JACK

MARANBARRA (1941 - )

Loorkon (Hollow Log), c. 1990 108 x 18.5 x 18.5 cm ochre on carved wood

$1,500 - $3,000

PROVENANCE

Maningrida Arts and Culture, NT Coo-ee Aboriginal Art, NSW Private collection, NSW

Lawson-Menzies, Sydney, NSW, May 2006, Lot No. 100 Menzies Estate collection, Vic Private collection, NSW

)

Yalanba (Trial Bay), 2014 264 x 18 x 18 cm ochre on carved wood

$2,500 - $3,500

PROVENANCE

Buku-Larrnggay Mulka Centre, NT Cat No. 4984X Private collection, NSW

Accompanied by a certificate of authenticity from Buku-Larrnggay Mulka Centre

YALANBA WANAMBI (1973 -

SUSAN

Wak Wak, 2014

179 x 31 cm ochre on bark

$1,500 - $3,000

PROVENANCE

Maningrida Arts, NT Cat No. 982-14 Private collection, NSW

MARAWARR (1967 - )

ABIE

KEMARRE LOY (1972 - )

Body Painting, 2010 120 x 192 cm acrylic on linen

$6,000 - $8,000

PROVENANCE

Gallerie Australis, SA Cat No. GAAL05101579

Private collection, SA

Private collection, NSW

Accompanied by a certificate of authenticity from Gallerie Australis

POLY NGAL (c. 1936 - 2022)

Anwekety (Conkerberry), 2021 102 x 100 cm acrylic on linen

$4,000 - $6,000

PROVENANCE

Believed to be the last work painted by Poly Ngal, Utopia, NT Utopia Art Centre, NT Cat No. 167-21 Private collection, NSW

Accompanied by a certificate of authenticity from Utopia Art Centre

ILLUSTRATED

The Australian: Mansion At Home, August 3-4, 2024

LYDIA BALBAL (1958 -)

Martakulu, 2022

100 x 90 cm acrylic on board

$3,000 - $4,000

PROVENANCE

Short St Gallery, WA Cat No. 841374

The National Centre of Indigenous Excellence Art Auction, Redfern, NSW Private collection, NSW

5% of the proceeds from the sale of this artwork will be donated to The National Centre of Indigenous Excellence

BILLY

PERRURLE BENN (1943 - 2012)

Artetyerre, 2008

91 x 46.5 cm acrylic on linen

$4,000 - $6,000

PROVENANCE

Bindi Mwerre Anthurre Artists, NT Cat No. BB080955 Private collection, NSW

Accompanied by a certificate of authenticity from Bindi Mwerre Anthurre Artists

MITJILI NAPANANGKA GIBSON

(1930 - 2010)

Marruwa, 2006

91 x 91 cm acrylic on linen

$2,500 - $3,500

PROVENANCE

Gallery Gondwana, NT Cat No. 9439MN

Private collection, NSW

Accompanied by a certificate of authenticity from Gallery Gondwana

EXHIBITED

Beyond Time, Booker-Lowe Gallery, Houston USA, August 2019

TUPPY NGINTJA GOODWIN (1952 - )

Antara, 2020

153 x 122 cm

acrylic on linen

$7,000 - $9,000

PROVENANCE

Mimili Maku Arts, SA Cat No. 212-20 Araluen Art Centre, NT Private collection, NSW

Accompanied by a certificate of authenticity from Mimili Maku Arts

EXHIBITED

Desert Mob, Araluen Art Centre, Alice Spings, NT, September 2020

BIDDEE BAADJO (1938 - )

Piyurr, 2009

79 x 61 cm (each)

acrylic on canvas

$4,000 - $6,000

PROVENANCE

Wangkatjungka Artists, WA

Cat No. WJ 2234, 2233, and 2231

Japingka Aboriginal Art Gallery, WA

Cat No. Jap 005516, 005515 and 005513

Private collection, NSW

Accompanied by a certificate of authenticity from Japingka Aboriginal Art Gallery

EMILY KAME KNGWARREYE (EMILY KAM KNGWARRAY) (1910 - 1996)

Awelye (Body Paint), 1995

77 x 52 cm; 89.5 x 64 cm (framed)

acrylic on paper bears inscription verso: ‘Emily Kngwarreye, painted Dec ‘95 Utopia N.T. Australia, signed R Gooch’

$16,000 - $22,000

PROVENANCE

Painted in December, 1995

Rodney Gooch, NT Cat Nu. 31-1197

Aboriginal Dreamings Gallery, ACT Cat No. 1568

Private collection, ACT

The National Centre of Indigenous Excellence Art Auction, Redfern, NSW

Private collection, NSW

5% of the proceeds from the sale of this artwork will be donated to The National Centre of Indigenous Excellence

ARTISTS FROM BALGO HILLS, LAJAMANU AND YUENDUMU

Yilpinji, Love Magic Ceremony (folio of 15 prints) ed. 34/99, 2002 - 2003

76 x 56 cm (paper); 78 x 59 x 4 cm (folio) limited edition etchings and screenprints signed front bottom

$8,000 - $10,000

PROVENANCE

Print Makers: Basil Hall Editions, NT Editions Tremblay, Qld

Published by the Australian Art Print Network, NSW Private collection, NSW

Accompanied by a Book: Yilpinji, Love Magic and Ceremony

ILLUSTRATED

Illustrated in Nicholls Dr. C, Yilpinji, Love Magic and Ceremony, Craftsman House, Sydney, 2006

EXHIBITED

Australian Museum NSW, Darwin Entertainment Centre Gallery NT, Flinders University SA, Alcheringa Gallery Canada, Fisketorvet Denmark,The Orangery Sweden, Bruun’s Galleri Aarhus Denmark, Kluge Rhue Collection USA

EUBENA NAMPITJIN

(c. 1921 - 2013)

Mindiki, 2003

40 x 30 cm acrylic on linen

$2,000 - $3,000

PROVENANCE

Warlayirti Artits, WA Cat No. 1261/03 Private collection, Tas Private collection, Vic

Accompanied by a certificate of authenticity from Warlayirti Artits

MILATJARI PUMANI (1928 - 2014)

Ngura Walytja Antara, 2012

152 x 122 cm acrylic on linen

$3,000 - $5,000

PROVENANCE

Mimili Maku Arts, SA Cat No. MIM110-2012

The Pat Corrigan collection, NSW Private collection, NSW

Accompanied by a certificate of authenticity from Mimili Maku Arts

INAWINTJI WILLIAMSON (1953 - )

Kupi Kupi, 2021

151 x 151 cm acrylic on linen

$3,000 - $5,000

PROVENANCE

APY Art Centre Collective, Adelaide Studio, SA

Cat No. 491-21AS

Private collection, NSW

TJUKUPATI JAMES (1936 - 2022) 58

Kungka Kutjara, 2020

91 x 121 cm; 93 x 123 cm (framed) acrylic on canvas

$2,000 - $3,000

PROVENANCE

Tjarlirli Art, NT Cat No. 20-367KA

Private collection, Vic

Accompanied by a certificate of authenticity from Tjarlirli Art

Movements of Our People

- )

Through Many Generations, 2019

88.5 x 126.5 cm

acrylic on canvas

signed and dated front RHC

$2,000 - $3,000

PROVENANCE

Lockhart River Arts, Qld Cat No. 19-134

Private collection, NSW

Accompanied by a certificate of authenticity from Lockhart River Arts

SILAS HOBSON (1978

BILL TJAPALTJARRI WHISKEY (1920 - 2008)

Untitled (Rockholes Near the Ogas), 2008

50 x 25 cm (each); 53 x 28 cm (each framed)

acrylic on board

$5,000 - $7,000

PROVENANCE

Watiyawarnu Art Centre, NT

Cat No. 77-080025, 77-080020 and 77-080017

Private collection, NT

Private collection, NSW

Accompanied by certificates of authenticity from Watiyawarnu Art Centre

JIMMY

Mulura Mulura, 1999

64.5 x 75 cm

acrylic on canvas

$1,500 - $2,500

PROVENANCE

Mangkaja Arts, WA Cat No. PC178/99

Art Place Gallery, Perth, WA

Private collection, USA

Private collection, NSW

MAWUKURA (MULGRA) NERRIMAH (c. 1929 - 2014)

SALLY SCALES (1989 - )

282–24AS, 2024

90 x 60 cm; 93 x 63 cm framed acrylic on corflute ‘Vote YES’ 2023 Referendum sign

$2,000 - $3,000

PROVENANCE

APY Studio Adelaide, SA Cat No. 282–24AS

N. Smith Gallery, NSW

The National Centre of Indigenous Excellence Art Auction, Redfern NSW Private Collection, NSW

EXHIBITED

Sally Scales: Ngayuku Manta Ngayuku Wangka, N. Smith Gallery, Sydney, May 2024

5% of the proceeds from the sale of this artwork will be donated to The National Centre of Indigenous Excellence

RAMMEY RAMSEY (1935 - 2021)

Stony Creek - Warlawoon Country, 2017 50 x 90 cm ochre and pigments on canvas

$2,500 - $3,500

PROVENANCE

Warmun Art Centre, WA Cat No. 215/17 Private collection, NSW

Accompanied by a certificate of authenticity from Warmun Art Centre

TOMMY MAY NGARRALJA (1935 - 2022) and LISA UHL (1976 - 2018)

Kurtal, 2017 and Kurrkapi, 2018

60 x 60 cm (each)

acrylic on perspex

$4,000 - $6,000

PROVENANCE

Mangkaja Arts, WA Cat No. 316b/17 and 260/18

Private collection, NSW

Accompanied by certificates of authenticity from Mangkaja Arts

KUNMANARA

(WINGU) TINGIMA (c. 1920- 2010)

Kungkarrakalpa Tjukurpa, 2005

137 x 100 cm

acrylic on canvas signed verso ‘Wingu’

$2,500 - $3,500

PROVENANCE

Irrunytju Arts Centre, SA Cat no. IRR05376 Private collection, NSW

SUSIE BOOTJA BOOTJA NAPALTJARRI (c. 1935 - 2003)

Kaningarra, 2001

120 x 80 cm; 122.5 x 82.5 cm (framed) acrylic on linen

$4,000 - $6,000

PROVENANCE

Warlayirti Artists, WA Cat No. 720/01 Private collection, Vic Private collection, ACT

Accompanied by a certificate of authenticity from Warlayirti Artists

DJIRRIRRA YUKUWA WUNUNGMURRA (1968 - )

Yukuwa, 2016

120 x 60 cm (each); 124 x 63 cm (each framed) ochre on board

$6,000 - $8,000

PROVENANCE

Buku-Larrnggay Mulka Centre, NT Cat No. 4138-16 and 3922-16 Outstation Gallery, NT Private collection, NSW

Accompanied by certificates of authenticity from Buku-Larrnggay Mulka Centre

EXHIBITED

Black and White – Nawurapu and Djirrirra Wunungmurra, Outstation Gallery, Darwin NT, 5 - 20 August 2017

GALI GURRUWIWI YALKARRIWUY (1942 -

2020)

Banumbirr (Morning Star Poles), 2009 - 2019 210 cm and 180 cm and 164 cm feathers and pandanus on carved wood

$6,000 - $8,000

PROVENANCE

Elcho Island Arts and Craft, NT Cat No. 09-1721, 19-15188 and 19-15192 Private collection, NSW

QUEENIE MCKENZIE NAKARRA

Queenie McKenzie Nakarra was born on Old Texas Station on the Ord River in the northwest of Western Australia. As a child, she lived her life cooking for the stockmen, tending and riding horses, and journeying as they drove cattle across the vast pastoral region of the north.

During the 1970’s, McKenzie, then in her fifties, became actively involved in the community affairs and experimented with representational art as an educational tool in the local school. She taught Gija language and cultural traditions as part of the ‘two-way’ education model. This approach helped to maintain ancient knowledge of sacred sites and the Dreaming mythology. It seamlessly intertwined with the biblical stories, providing the young with spiritual awareness and encouraging their involvement in community activities.

Queenie McKenzie Nakarra earned worldwide acclaim for her distinct and influential artworks depicting the country of her childhood and early working life around Texas Station, as well as other sites throughout the East Kimberley region. She was, in her lifetime and still to this day, recognised as a spiritual and cultural icon, whose commitment to art has left an indelible impact on ‘Australian’ history and culture.

QUEENIE MCKENZIE NAKARRA (1915 - 1998)

High Country on Texas Downs, 1998

80.5 x 100 cm; 86 x 105.5 cm (framed) ochre on canvas

$22,000 - $25,000

PROVENANCE

Waringarri Aboriginal Arts, WA Cat No. AP1884

Red Rock Art, WA Cat No. QE63

The Jacquie McPhee Collection, WA

EXHIBITED

Queenie McKenzie, Red Rock Art Gallery, August 2009

ILLUSTRATED

The Greatest passion of all: The Jacquie McPhee Collection, 2017, p.85

QUEENIE MCKENZIE NAKARRA (1915 - 1998)

Folio of 20 Drawings, 1995 felt-tipped pen on paper signed and titled verso

$20,000 - $30,000

PROVENANCE

Drawn at the Warmun School, WA

Private collection, Vic

1. “God and Angels Presents for the Jesus Baby. He Came across from the Sky His Hair Got Caught up in the Cloud”, 34 x 51 cm

2. “God Man in the Sky. Bodies of People Funeral”, 57 x 38.5 cm

3. “Angels above in the Sky Mr Jobst our God Man from Broome”, 39 x 43 cm

4. “3 Wisemen”, 36 x 50 cm

5. “Untitled”, 28.5 x 37.5 cm

6. “That Young Kids Get Baptised to the God Star”, 29 x 51 cm

7. “Mother Mary Jesus Baby and Mary’s Husband the God Man”, 35.5 x 26 cm

8. “Jesus God Man and the Angels”, 40 x 30 cm

9. “Praying Time with the God Jesus”, 35 x 25 cm

10. “Jesus on the Cross”, 41 x 60 cm

11. “Jesus Said Stop Fighting Make Friends Come to Church next Sunday”, 51 x 33.5 cm

12. “Jesus and the Gifts from the Three Wise Men”, 39 x 27 cm

13. “Jesus Visiting the Bow Shed his Second Home”, 36 x 28 cm

14. “God Carrying Presents Given to Jesus by the Wise Men”, 50 x 35 cm

15. “God and Sheep. Presents forJesus in the Bed”, 51 x 33.5 cm

16. “Blackfellows Creek. Road to Home Country from Warmup to Texas”, 32 x 43.5 cm

17. “Archbishop Jobst from Broome we call Peacock Man He Parked his Car Long Way, and Walk up the Road Like a Jesus Man. With the White Dress Little Bit Dirty from the Walk. He Teach us the Bible Dance”, 40 x 56 cm

18. “God in the Clouds Looking Down with the Bible Book”, 51 x 34 cm

19. “The God Jesus Man in the Sky and Carrying the Sheep to the Manger Sheep Woman and Man Mr Jobst our Second Teacher with Two Sheeps”, 58 x 38 cm

20. “God is Sad Today you Kids Didn’t Come to School You Just Mucking About too Much”, 51 x 33 cm

The works on paper in this collection were all created at the Warmun School in 1995. McKenzie chronicles encounters with God in the Kimberley, perhaps in the form of Bishop Jobst who at the time had recently visited. She recalls his visit in the subtle and palpable details: “Archbishop Jobst from Broome we call Peacock Man He Parked his Car Long Way, and Walk up the Road Like a Jesus Man. With the White Dress Little Bit Dirty from the Walk. He Teach us the Bible Dance,” or depicts the “God in the Cloud” looking down from the Heavens and weeping because the students are “Just Mucking About Too Much” instead of going to school.

In this suite McKenzie marries traditional Gija culture with the missionary-imported Christianity. The mythology is a lot more practical than mainstream Christianity, as is the case in many First Nations belief systems, be it tracing maps to water sources created by living spirits, or utilising concrete teaching stories about survival and food gathering.

The series relates a connection to the Christian God much more practical and immediate than is common. Here, the Holy Trinity - consisting of some version of ‘Jesus Man’, ‘The God Man/God in the Cloud’, and ‘the God Jesus Baby’ - resides closer to Earth, with a concrete impact on daily life. In one work, Jesus “Pushes the School Bus Toyota” when it stalls and speaks to the youth: Jesus said “Stop Fighting Make Friends Come to Church next Sunday”. This God doesn’t feel all-powerful. He helps carry the presents from the three wise men. He can smile over the “Bible Dance” and despair as the children “Muck About”. McKenzie’s God takes part in the everyday.

ROVER JOOLAMA THOMAS

(1926 - 1998)

Untitled, 1993

90 x 120 cm ochre on canvas signed verso ‘Rover’

$70,000 - $90,000

PROVENANCE

Waringarri Aboriginal Arts, WA Cat No. AP 3746

William Mora Galleries, Melbourne Cat No. S3981

Private collection, Vic

Accompanied by a faxed copy of the original certificate of authenticity from Waringarri Aboriginal Arts

ROVER JOOLAMA THOMAS

Acclaimed as a cultural leader and the seminal figure in establishing the ‘East Kimberley School’, Rover Joolama Thomas is, according to almost every empirical measure, among the most influential First Nations artists in the history of this movement.

Thomas began painting in 1981, at a time when the Warmun community was still small and populated by a core of older Gija people.There were very few private galleries that specialised in Indigenous ‘Australian’ art at the time. The Federal Government’s marketing company, Traditional Aboriginal Arts (Aboriginal Arts Australia), had galleries in most state capitals, including Perth, where Mary Macha, who had been a project officer with the W.A. Native Welfare Department since 1971, ran the company gallery.

In 1983 Macha left Aboriginal Arts Australia, frustrated at their insistence on centralised buying and accounting from its Sydney headquarters. Macha became an independent agent and consultant. She remembered fondly a moment during a prior visit, when the artist emerged from a crowd at Warmun and announced himself to her, ‘Rover Thomas, I want to paint’. As a now independent dealer she chose to work with Rover Joolama Thomas and Paddy Jampin Jaminji, bringing them down to Perth in 1984 to paint at her home in Subiaco where she had converted her garage into a studio, the first of many such trips. The artist’s ascent sparked a cultural revival within the community, gradually expanding its influence and establishing the distinctive East Kimberley painting style. In 1986, following a report written by Joel Smoker, the Kimberley Law and Culture Centre established Waringarri Aboriginal Arts in Kununurra and Goolarabooloo Arts in Broome to help market the art of the region. While his public profile and reputation grew and his work gained wider commercial exposure through Waringarri’s exhibitions, Thomas, along with other artists including George Mung Mung and Jack Britten, produced artworks of exceptional quality.

Exhibitions organised by the Art Gallery of Western Australia and the National Gallery of Australia followed, culminating in Thomas’ selection as one of Australia’s two representatives at the Venice Biennale in 1990, along with Trevor Nicholls. These events, as well as the recognition from winning the John McCaughey prize, increased his national and international prominence.

Rover Joolama Thomas died on April 11, 1998 and was posthumously awarded an honorary doctorate from the University of Western Australia. The power of his work was reflected in the attention it commanded from the beginning of his 15-year career, during which he is estimated to have painted only 500 paintings. More then 100 of these are now represented in major Australian and international institutions and galleries. Offered in this auction, Lot 71 is amongst the finest examples Rover Thomas painted with Warringarri Aboriginal Arts. The important work is characterised by spacious planes of textured ochre with the prominent white dotting, likely depicting the vast saltlake near Purman.

EMILY KAME KNGWARREYE (EMILY KAM KNGWARRAY) (1910 - 1996)

Summer Business, 1992

152.5 x 91 cm; 154.5 x 94 cm (framed) acrylic on linen

$130,000 - $150,000

PROVENANCE

Delmore Gallery, NT Cat No. 92L98

Coo-ee Aboriginal Art, NSW Cat No. 135 Private collection, NSW

Barry Stern Galleries, NSW Private collection, NSW

ANGELINA

PWERLE NGAL (c. 1939 - )

$8,000 - $10,000

PROVENANCE

Waterhole Arts, NSW Cat No. W200

Private collection, NSW

Private collection, Vic

Anwekety (Bush Plum), c. 2005

122 x 91 cm acrylic on canvas

TIM

LEURA TJAPALTJARRI (c. 1936 - 1984)

Rock Wallaby Dreaming at Karlal-Kintja, 1977

164 x 47.5 cm; 167 x 50 cm (framed) acrylic on canvas

$8,000 - $12,000

PROVENANCE

Papunya Tula Artists, NT Cat No. TL77627

Tim and Vivien Johnson Collection, NSW Private collection, SA

Accompanied by a certificate of authenticity from Papunya Tula Artists

TURKEY

TOLSON TJUPURRULA (1942 - 2001)

Untitled (Snake Dreaming at Lampitjinya), 1985

81 x 101 cm; 83.5 x 103.5 cm (framed) acrylic on linen

$18,000 - $25,000

PROVENANCE

Papunya Tula Artists, NT Cat No. TT83

Daphne Williams Collection, Vic Private collection, Vic

Lauraine Diggins Fine Art, Vic Cat No. 280201 Private collection, Vic

Accompanied by a certificate of authenticity from Papunya Tula Artists

CHARLIE DJURRITJINI (1952

- )

Warrnyu (Flying Foxes), Gurrumatji (Magpie Geese) and Karritjar (Water Python), 1991 120 x 269 cm; 126 x 275 cm (framed) ochre on plywood signed verso ‘Charlie Djurritjini’

$4,000 - $5,000

PROVENANCE

Bula’bula Arts, Ramingining, NT

Cat No. BP***2 (code partially obscured) Roslyn Oxley9 Gallery, NSW Kimberly Art, Vic

EXHIBITED

Group Show Ramingining. Curated by Djon Mundine, Roslyn Oxley9 Gallery, Sydney, NSW, 30 January – 16 February 1991

PADDY COMPASS NAMATBARRA

(c. 1880 - 1973)

Untitled (Two Echidnas), c. 1965

30.5 x 81 cm ochre on bark Bears the inscription ‘Porcupine Nabadbarra’ (sic) and Cat No. CR350 in chalk and H44-FTO verso

$1,800 - $2,200

PROVENANCE

Collected at Minjilang, Croker Island, Western Arnhem Land, NT The Kerry William’s Collection, NSW

JOHNNY DAYNGANGAN (c. 1892 - 1959)

Untitled (Djunkgao Ceremony), c. 1958

179 x 63 cm ochre on bark

$6,000 - $8,000

PROVENANCE

Collected by Dorothy Bennett of the BennettCampbell Australian Aboriginal Trust, NT Cat No. 507

Private collection, NSW

Original paperwork and label ‘Bennett- Campbell Australian Aboriginal Trust’adhered to back of artwork

RAMMEY RAMSEY (1935 - 2021)

Ragiban (Rocky Bar), 2004

150.5 x 180 cm; 153 x 182.5 cm (framed) ochre and acrylic on canvas signed verso ‘RAMMEY RAMSEY’

$9,000 - $12,000

PROVENANCE

Jirrawun Arts, WA Cat No. RR62004-31 William Mora Galleries, Vic

Sandra and Peter Geyer Collection, Vic Sotheby’s Australia, October 2012, Sydney, NSW, Lot 26 Private collection, NSW

EXHIBITED

Rammy Ramsey: Deeper than Paint on Canvas, William Mora Galleries, Vic, 18 August - 11 September 2004

ARTIST ONCE KNOWN

Untitled (Rare Carved Ceremonial Figure), c. 1950

74.5h x 13w x 6d cm;

79.5h x 13.5w x 11d cm (including stand) ochre on carved wood, human hair and fabric

$18,000 - $22,000

PROVENANCE

Chris Zillman Collection, Qld

The Zillman Museum of Wonders, Imbil, Qld

The Todd Barlin Collection, NSW Cat No. T4274

Private collection, Vic

ARTISTS FROM TIWI ISLANDS

A Collection of Four Pukumani Poles

$16,000 - 20,000

a. Immaculata Tipiloura (1959 - ), Tessie Tipungwuit (1955 - ) and Jane Aliminkinni (1952 - ) Wayai, 2006

232h x 20w x 20.5d cm ochre on carved iron wood

b. John Patrick Kelantuma (1952 - ) Moonman, 2006

240h x 14w x 15d cm ochre on carved iron wood

c. Immaculata Tipiloura (1959 - ), Tessie Tipungwuit (1955 - ) and Jane Aliminkinni (1952 - ) Purukupali, 2006

205h x 18w x 20d cm ochre on carved iron wood

d. Bede Tungatalum (1952 - ) Bima, 2002

171h x 15w x 15d cm ochre on carved iron wood

PROVENANCE

Tiwi Designs, NT Private collection, NSW

Accompanied by a certificates of authenticity from Tiwi Design

EXHIBITED

Darwin Festival Sculpture in the Park, Darwin, NT, 2006

- 2020)

Jirtaka (Sword Fish), 2017

200 x 159 cm ochre on linen

$3,000 - $4,000

PROVENANCE

Tiwi Design, NT Cat No. 302-17 Private collection, NSW

Accompanied by a certificate of authenticity from Tiwi Design

MARIA JOSETTE ORSTO (1962

MINNIE

PWERLE (1910 - 2006)

Awelye - Atnwengerrp, 1999

122 x 91.5 cm

acrylic on canvas

$8,000 - $10,000

PROVENANCE

Aboriginal Gallery of Dreamings, Vic Cat No. AGOD 12327

Private collection, Vic

Accompanied by a certificate of authenticity from Aboriginal Gallery of Dreamings

ANGELINA GEORGE (1937 - 2014)

Near Ruined City, 2007

120 x 157.5 cm

acrylic on canvas

$12,000 - $16,000

PROVENANCE

Karen Brown Gallery, NT Cat No. 3248

The Jacquie McPhee Collection, WA

ILLUSTRATED

The Greatest Passion of All: The Jacquie McPhee Collection, 2017, p.157

TANYA VAN HOREN (1975 - )

Umoona (Painted Desert), 2022 153 x 240 cm acrylic on linen

$16,000 - $20,000

PROVENANCE

Ku Arts (Ananguku Arts and Cultural Aboriginal Corporation), SA Cat No. 23-CP47 Private collection, Vic

Accompanied by a certificate of authenticity from Ku Arts

PRIZES

Finalist, 40th National Aboriginal and Torres Strait islanders Art Awards, MAGNT, Darwin, NT, 2023

EXHIBITED

40th National Aboriginal and Torres Strait islanders Art Awards, MAGNT, Darwin, NT, 2023

KUNMANARA

(WAWIRIYA) BURTON (c. 1928 - 2021)

Ngayuku Mamaku NguraMy Father’s Country, 2016 120 x 300 cm acrylic on linen

$22,000 - $26,000

PROVENANCE

Tjala Arts, SA Cat No. 299-16 Outstation Gallery, NT Private collection, NSW

Accompanied by a certificate of authenticity from Tjala Arts

JUDY

WATSON NAPANGARDI (c. 1925 - 2016)

90 x 180.5; 92.5 x 183 cm (framed)

$8,000 - $12,000

PROVENANCE

Warlukurlangu Artists, NT Cat No. 3449/09 Private collection, Vic

Accompanied by a certificate of authenticity from Warlukurlangu Artists

Mina Mina Jukurrpa, 2009

acrylic on linen

MIRDIDINGKINGATHI JUWARNDA SALLY GABORI (1924 - 2015)

Mullett and Bluefish, 2006

121.5 x 61.5 cm acrylic on canvas

$8,000 - $10,000

PROVENANCE

Mornington Island Arts, Qld Cat. No 905-C-SG-0206

Art Mob, Tas Cat No. AM 3763/06 Private collection, Vic

Accompanied by a certificate of authenticity from Mornington Island Arts and Art Mob

QUEENIE

MCKENZIE NAKARRA

(1915 - 1998)

Jutany Country, 1995

60 x 90 cm; 64 x 94 cm (framed) ochre on linen

$14,000 - $16,000

PROVENANCE

Waringarri Aboriginal Arts, WA

Cat. No AP0521: S680

Private collection, Qld

Private collection, NSW

Accompanied by a faxed copy of the certificate of authenticity from Waringarri Aboriginal Arts

KATHLEEN

PETYARRE (1940 - 2018)

Atnangkere (My Country), 2003 120 x 122.5 cm acrylic on linen

$14,000 - $16,000

PROVENANCE

Delmore Gallery, NT Cat No. 03I007 Private collection, NSW

Accompanied by a certificate of authenticity from Delmore Gallery

CROSSROADS: MILLENNIUM PORTFOLIO OF AUSTRALIAN ABORIGINAL ARTISTS

ed. 25/99, 1997 - 1999

56.0 x 76.0 cm each (paper size) limited edition prints

$10,000 - $12,000

PROVENANCE

Sherman Galleries, NSW Private collection, NSW

Editions of this folio of prints are held in the collection the Art Gallery of NSW and The National Gallery of Victoria

1. Ada Bird Petyarre, Aweyle, 89 x 68.5 cm (framed)

2. Gloria Tamerre Petyarre, Arnkerrthe, 89 x 68.5 cm (framed)

3. Johnny Bulunbulun, Gotiitj Wirrka, 96 x 74 cm (framed)

4. Mick Kubarkku, New Moon, Full Moon, 96 x 74 cm (framed)

5. Robert Cole, Spirit II, 89 x 68.5 cm (framed)

6. Ronnie Tjampitjinpa, Emu Dreaming, 96 x 74 cm (framed)

7. Rover Thomas, Well 33, 96 x 74 cm (framed)

8. Ginger Riley Munduwalawala, Ngak Ngak, 75 x 86 cm (framed)

9. Turkey Tolson Tjupyurrula, Straightening the Spears, 75 x 86 cm (framed)

10. Judy Watson, Red Rock, 68.5 x 89 cm (framed)

11. Kitty Kantilla, Pumpuni Jilamara (Good Design), 75 x 86 cm (framed)

12. Queenie McKenzie, Mingmarriya, 75 x 86 cm (framed)

LIN ONUS (1948 - 1996)

Sentinel, c. 1981

64 x 73 cm; 80 x 89 cm (framed) oil on board

$6,500 - $8,500

PROVENANCE

Direct from the artist, Belgrave, Vic Private collection, Vic Fireworks Gallery, Qld Cat No. FW9872 Private collection, Qld

Accompanied by a certificate of authenticity from Fireworks Gallery and a personal note from the collector

RONNIE TJAMPITJINPA

(c. 1943 - 2023)

Untitled (Kaakaratintja - Lake MacDonald), 1992

45 x 60 cm; 48.5 x 64.5 cm (framed) acrylic on canvas board

$3,500 - $5,500

PROVENANCE

Papunya Tula Artists, NT Cat No. RT 920406 Private collection, NSW

Accompanied by a certificate of authenticity from Papunya Tula Artists

Artek Armchair 41 Paimio Sanatorium Anniversary Edition

FULL TERMS AND CONDITIONS

BIDDING PROCESS EXPLAINED LIVE ONLINE BIDDING

Lot 6, Joanne Currie Nalingu, Dusk River II, 2010

BUYERS TERMS & CONDITIONS

This notice is addressed by Coo-ee Art Pty Ltd T/A Art Leven to any person who may be interested in a Lot, including registered Bidders and potential Bidders (including any eventual Buyer of the Lot).

OUR ROLE

Art Leven acts solely for and in the interests of the Seller. Our job is to sell the Lot at the highest price obtainable at the Sale to a Bidder.

DESCRIPTION OF GOODS

The Seller and Art Leven warrant that the goods are as described in the catalogue and that the seller has clear title to the works that they are offering for sale. Buyers are deemed to have inspected the item thoroughly and proceed with their own judgment.

LOTS

Lots are sold to the Buyer on an “as is” basis, with all faults and imperfections. It is your responsibility to examine any Lot in which you are interested or request a condition report.

ESTIMATES AND CONDITION

Estimates are printed beside the Lot Entry in the catalogue. They are an expression of Art Leven’s opinion of the range where Art Leven thinks the Hammer Price for the Lot is likely to be; it is not an Estimate of value.

A Condition Report will be produced regarding the Lot’s physical condition upon request. Art Leven is not entering into a contract with you in respect of the Condition Report and accordingly does not assume responsibility to you in respect of it.

BIDDING

We do not accept bids from any person/s who has not completed the Registration and Bidding Form to our satisfaction. In addition anyone intending to place bids by telephone must apply for and complete a Telephone/Absentee Bidding Form before the Sale. If you intend to bid through a third-party site (on-line aggregator) you must register your intention to do so and warrant that the information you provide is true and accurate. In all cases you must provide proof of identity, and your intended method of payment.

REGISTRATION

You are required to register before bidding and supply your correct name, telephone contact and supplementary information. We may refuse entry and registration to our Website and our Sale and expressly reserve the right not to grant a Paddle to any applicant.

WINNING BIDS

The Buyer will be the Bidder who makes the highest bid for any Lot providing this bid equals or exceeds the Reserve set prior to the sale by the seller as per their contract with Art Leven and subject to the auctioneer accepting the bid. The fall of the auctioneer’s hammer indicates the bid has been accepted and the work is sold, the buyer assumes full responsibility for the lot from this time.

ADDITIONAL CHARGES

A Buyer’s Premium of 25% (including GST) of the Hammer Price is payable on all lots. Collection and delivery is the responsibility of the buyer on lots.

TAX

A 10% Goods and Service Tax (GST) may be included in the Hammer Price (for lots owned by a GST registered entertiy), is included in the Buyers Premium and when additional fees required i.e. shipping. This is relevant only if the buyer is an Australian Resident

PAYMENT

If you are a successful Bidder, payment must be made no later than the end of the second working day after the Sale so that all sums are cleared by the fifth working day after the Sale. The day after the sale, the Art Leven team will send you an Invoice. The final amount due will include the hammer price, the 25% buyer’s premium. Electronic Bank Transfer is the simplest payment method and your invoice will include our bank details. A 2% surcharge applies to Visa, MasterCard, and AMEX payments. Alternatively, payment may be made by cheque, cash or eftpos. Please note: payments made by cheque are subject to a clearance period before goods can be collected.

FAILURE TO MAKE PAYMENT

If payment is not received by the seventh working day after the Sale, Art Leven reserves the right to rescind or stop the sale, re-offer the lot for sale to an underbidder and pursue the purchaser for any difference in price and in some instances pursue a legal remedy for breach of contract.

COLLECTION/DELIVERY/STORAGE

The Buyer is responsible to organise the Delivery or Collection of the Lot. Art Leven will provide the Buyer with a list of courier companies but will not organise or take responsibility for the delivery of artworksunless prior agreement is made. Art Leven will not release the artwork until the invoice has been paid in full (unless we have made a special arrangement with the Buyer). Storage Fees may be charged for items that have not been collected after 7 days of the sale at a rate of $5 per Lot per day.

BIDDING

BID IN PERSON

Our auctions are open to the public and held at our premises at 17 Thurlow Street, Redfern. We welcome your attendance if you are in Sydney. Once you have completed your registration you will be given a bidding paddle. When the hammer falls and you are the highest bidder you have entered a binding contract to buy the work.

BID ONLINE

You can bid for all Art Leven lots live and in real-time on our dedicated auction website at connect.invaluable.com/artleven or on Invaluable. Please ensure you register to bid online prior to the auction. Art Leven does not take responsibility for any issues with bidding online and suggest you contact Art Leven prior to the auction to discuss the reliability and alternatives of bidding online.

BID ABSENTEE

For those who prefer not to attend the auction in person or bid online, you can leave an Absentee bid with us by filling in the form found at the back of this catalogue, or contact the team at Art Leven prior to the auction. Once the team has confirmed your maximum bid on any lot, the Auctioneer will bid on your behalf up to, but not above, this amount.

BID TELEPHONE

By using this option, you can bid on any lot from anywhere in the world. You will be telephoned prior to your selected lot arising and one of our staff will act on your behalf and according to your instructions. An auction can be quick so it is advisable that you give clear instructions to the person bidding on hour behalf.

BIDDING INCREMENTS

Bidding typically opens below the listed pre-sale estimate and proceeds in the following increments (however it is at the discretion of the auctioneer, and may vary)

Between and Increments of

$1,000

$2,000

$5,000

$10,000

$20,000

$50,000

$100,000

$200,000

$500,000

$1,000 by $50

$2,000 by $100

$5,000 by $200

$10,000 by $500

$20,000 by $1000

$50,000 by $2,000

$100,000 by $5,000

$200,000 by $10,000

$500,000 by $20,000

$1,000,000 by $50,000

$1,000,000 and over by $100,000

(Mr/Mrs/Ms/Miss) Name (please print)

Business name

Address

City State Postcode

Telephone/Mobile 1 alternate numbers - listed in order of preference

Telephone/Mobile 2

Telephone/Mobile 3 Email

Signature Date

This completed and signed form authorizes Coo-ee Art Pty Ltd, trading as Art Leven, to bid on my behalf at the aforementioned auction for the specified lots, up to and including the indicated price. These bids will be executed at the lowest possible price levels.

I understand that, if successful, I will purchase the lot(s) at or below the listed prices, along with the applicable buyer’s premium. I also confirm that I have read, understood, and agree to comply with the conditions of sale as outlined in the catalogue.

*Not including buyer’s premium or GST (where applicable). Bids are made in Australian dollars. Telephone bids must be received a minimum of 4 hours prior to auction. All telephone bids received will be confirmed by phone or email. In the event that confirmation is not received, please resubmit or contact our office.

I accept that Art Leven provides this complimentary service as a courtesy to its clients, that there are inherent risks to telephone/absentee bidding, and I will not hold Art Leven responsible for any error. For a telephone bid, the Cover Bid Price can be used should a member of staff not be able to reach me.

SALE NO. 15

FIRST NATIONS FINE ART

12 NOVEMBER 2024 7:00PM AEDT

LOTS 1 - 93 17 THURLOW STREET

REDFERN NSW 2016

please email or post this completed form to:

ART LEVEN

[Formerly Cooee Art] 17 THURLOW STREET

REDFERN NSW 2016

tel: +61 (02) 9300 9533 auction@artleven.com

INTERNAL USE ONLY

RECEIVED BY

DATE TIME BIDDER NO.

Lot 10, Attributed to Timmy Payungka Tjapangati, Untitled, 1972