IMPORTANT AUSTRALIAN ABORIGINAL ART by Deutscher and Hackett

IMPORTANT AUSTRALIAN ABORIGINAL ART • MELBOURNE • 18 MARCH 2020

important australian aboriginal art Lots 1 – 105

IMPORTANT AUSTRALIAN ABORIGINAL ART AUCTION • MELBOURNE • 18 MARCH 2020

MELBOURNE • AUCTION + VIEWING 105 commercial road, south yarra, victoria, 3141 telephone: 03 9865 6333 • facsimile: 03 9865 6344 info@deutscherandhackett.com

SYDNEY • VIEWING 16 goodhope street, paddington, new south wales, 2021 telephone: 02 9287 0600 • facsimile: 02 9287 0611 info@deutscherandhackett.com

melbourne auction

sydney viewing

melbourne viewing

absentee/telephone bids

live online bidding

LOTS 1 – 105 WEDNESDAY 18 MARCH 2020 7:00pm 105 commercial road south yarra, vic telephone: 03 9865 6333 THURSDAY 5 – SUNDAY 8 MARCH 16 goodhope street paddington, NSW telephone: 02 9287 0600 11:00am – 6:00pm THURSDAY 12 – TUESDAY 17 MARCH 105 commercial road south yarra, vic telephone: 03 9865 6333 11:00am – 6:00pm email bids to: info@deutscherandhackett.com telephone: 03 9865 6333 fax: 03 9865 6344 telephone bid form – p. 163 absentee bid form – p. 164 www.deutscherandhackett.com/watch-live-auction

www.deutscherandhackett.com • info@deutscherandhackett.com

specialists

CHRIS DEUTSCHER executive director — melbourne Chris is a graduate of Melbourne University and has over 40 years art dealing, auction and valuation experience as Director of Deutscher Fine Art and subsequently as co-founder and Executive Director of Deutscher~Menzies. He has extensively advised private, corporate and museum art collections and been responsible for numerous Australian art publications and landmark exhibitions. He is also an approved valuer under the Cultural Gifts Program.

DAMIAN HACKETT executive director — sydney Damian has over 25 years experience in public and commercial galleries, and the fine art auction market. He completed a BA (Visual Arts) at the University of New England, was Assistant Director of the Gold Coast City Art Gallery, and in 1993 joined Rex Irwin Art Dealer, a leading commercial gallery in Sydney. In 2001 Damian moved into the fine art auction market as Head of Australian and International art for Phillips de Pury and Luxembourg, and from 2002 – 2006 was National Director of Deutscher~Menzies. HENRY MULHOLLAND senior art specialist Henry Mulholland is a graduate of the National Art School in Sydney, and has had a successful career as an exhibiting artist. Since 2000, Henry has also been a regular art critic on ABC Radio 702. He was artistic advisor to the Sydney Cricket Ground Trust Basil Sellers Sculpture Project, and since 2007 a regular feature of Sculpture by the Sea, leading tours for corporate stakeholders and conducting artist talks in Sydney, Tasmania and New Zealand. Prior to joining Deutscher & Hackett, Henry’s fine art consultancy provided a range of services, with a particular focus on collection management and acquiring artworks for clients on the secondary market.

CRISPIN GUTTERIDGE head of aboriginal art and senior art specialist Crispin holds a Bachelor of Arts (Visual Arts and History) from Monash University. In 1995, he began working for Sotheby’s Australia, where he became the representative for Aboriginal art in Melbourne. In 2006 Crispin joined Joel Fine Art as head of Aboriginal and Contemporary Art and later was appointed head of the Sydney office. He possesses extensive knowledge of Aboriginal art and has over 20 years experience in the Australian fine art auction market.

LUCIE REEVES-SMITH contemporary art specialist and gallery manager – sydney Lucie completed her studies in Belgium, obtaining Masters of Arts in Art History (Modern and Contemporary Art), together with a Bachelors of Art History, Archaeology and Musicology from the Université Catholique de Louvain. Since returning to Australia in 2014, she has gained sound experience in cataloguing, research and arts writing through various roles with the Museum of Contemporary Art Australia, S.H. Ervin Gallery, Casula Powerhouse Arts Centre and with private art advisory firms Tutela Capital and LoveArt International.

ALEX CRESWICK head of finance With a Bachelor of Business Accounting at RMIT, Alex has almost 15 years experience within financial management roles. He has spent much of his early years within the corporate sector with companies such as IBM, Macquarie Bank and ANZ. With a strong passion for the arts more recently he was the Financial Controller for Ross Mollison Group, a leading provider of marketing services to the performing arts. Alex is currently completing his CPA.

specialists

ROGER McILROY head auctioneer Roger was the Chairman, Managing Director and auctioneer for Christie’s Australia and Asia from 1989 to 2006, having joined the firm in London in 1977. He presided over many significant auctions, including Alan Bond’s Dallhold Collection (1992) and The Harold E. Mertz Collection of Australian Art (2000). Since 2006, Roger has built a highly distinguished art consultancy in Australian and International works of art. Roger will continue to independently operate his privately-owned art dealing and consultancy business alongside his role at Deutscher and Hackett.

SCOTT LIVESEY auctioneer Scott Livesey began his career in fine art with Leonard Joel Auctions from 1988 to 1994 before moving to Sotheby’s Australia in 1994, as auctioneer and specialist in Australian Art. Scott founded his eponymous gallery in 2000, which represents both emerging and established contemporary Australian artists, and includes a regular exhibition program of indigenous Art. Along with running his contemporary art gallery, Scott has been an auctioneer for Deutscher and Hackett since 2010.

MARA SISON registrar Mara has a Bachelor of Arts (Humanities) from the University of Asia and the Pacific, Philippines and a Master of Cultural Heritage and Museum Studies from Deakin University. She gained her experience in the private and not-for-profit sectors as a Gallery Manager and Exhibitions Coordinator for MiFA Asian Contemporary Art and Melbourne Fine Art Galleries and as an Administration Officer for Australia China Art Foundation.

MELISSA HELLARD head of online sales Melissa has a Bachelor of Communication (Media) from RMIT University, and a Master of Art Curatorship from The University of Melbourne. Melissa gained experience in the corporate sector assisting companies such as NAB, AFL and Fiat Chrysler Group in a variety of fields including marketing, events and sponsorship. With an enduring passion for the visual arts, Melissa was more recently the Head of Marketing and Client Services for Deutscher and Hackett.

CLAIRE KURZMANN gallery manager - melbourne Claire has a Bachelor of Fine Arts (Visual Art) from the University of Melbourne. She gained several years’ experience working as Gallery Assistant at Metro Gallery, Melbourne, assisting with exhibitions, events and marketing. She has acted as Artist Liaison for the Arts Centre Melbourne, coordinating aspects of artist care and has gained experience as a Studio Assistant for a number of emerging Australian artists.

VERONICA ANGELATOS senior researcher & writer Veronica has a Master of Arts (Art Curatorship and Museum Management), together with a Bachelor of Arts/Law (Honours) and Diploma of Modern Languages from the University of Melbourne. She has strong curatorial and research expertise, having worked at various art museums including the Peggy Guggenheim Collection, Venice and National Gallery of Victoria, and more recently, in the commercial sphere as Senior Art Specialist at Deutscher~Menzies. She is also the author of numerous articles and publications on Australian and International Art.

specialists for this auction

Crispin Gutteridge 0411 883 052 Henry Mulholland 0424 487 738 Chris Deutscher 0411 350 150 Damian Hackett 0422 811 034 AUCTIONEER Scott Livesey ADMINISTRATION AND ACCOUNTS Alex Creswick (Melbourne) 03 9865 6333 Lucie Reeves-Smith (Sydney) 02 9287 0600 ABSENTEE AND TELEPHONE BIDS Claire Kurzmann 03 9865 6333 please complete the absentee bid form (p. 164) or telephone bid form (p. 163) SHIPPING Mara Sison 03 9865 6333 CATALOGUE SUBSCRIPTIONS Claire Kurzmann 03 9865 633

contents lots 1 â&#x20AC;&#x201D; 105

page

prospective buyers and sellers guide

page 156

conditions of auction and sale

page 158

catalogue subscription form

page 161

attendee pre-registration form

page 162

telephone bid form

page 163

absentee bid form

page 164

index

page 179

IMPORTANT NOTICE

CULTURAL HERITAGE PERMITS

Some imagery on bark and early western desert paintings in this catalogue may be deemed unsuitable for viewing by women, children or uninitiated men. We sug gest ar t co - ordinators at Aboriginal communities show this catalogue to community elders for approval before distributing the catalogue for general viewing. Co-ordinators may wish to mask or remove certain images prior to circulation. The English spelling of aboriginal names has evolved over the years. In this catalogue every effort has been made to use the current linguistic form. However original information from certificates has been transcribed as written with the result that there are different spellings of the same name, title, language group and story.

Under the provisions of the Protection of Movable Cultural Heritage Act, 1986, buyers may be required to obtain an export permit for certain categories of items in this sale from the Cultural Property Section: Department of Communications and the Arts GPO Box 2154 Canberra ACT 2601 Email: movable.heritage@arts.gov.au Phone: 1800 819 461 Under the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES), permits are required for the movement of wildlife, wildlife specimens and products made or derived from wildlife. This includes species on the endangered species list. Buyers may be required to obtain an export permit for certain categories of items offered at auction. Permits must be obtained from: Wildlife Trade Regulation Section Environment Australia GPO Box 787 Canberra ACT 2601 Email: wildlifetrade@environment.gov.au Phone: (02) 6274 1900 Under the provisions of the Wildlife and Protection (Regulation of Exports and Imports) Act, 1982, buyers may be required to obtain an export permit for certain categories of items offered at auction (including plant or animal products derived from an Australian native species such as: ivory, tortoise shell, feathers, etc). Permits must be obtained from the Wildlife Protection Section, Environment Australia-Biodiversity Group at the address above, prior to items being export from Australia.

Minjilang (Croker Island) Bathurst Island

Wyndham Kununurra

Melville Island Maningrida Darwin

Galiwinku (Echo Island) Milingimbi Yirrkala Aurukun

Warmun (Turkey Creek)

Groote Eylandt

Wadeye (Port Keats) Broome

Halls Creek

Fitzroy Crossing

Lockhart River

Ramingining

Alligator River

Roper River

Ngukurr

Bidyadanga (La Grange)

Mornington Island Billiluna

KIMBERLEY

ARNHEM LAND

Balgo Hills

Darwin

Mornington Island

NORTHERN TERRITORY Alice Springs

QUEENSLAND

WESTERN AUSTRALIA SOUTH AUSTRALIA

Brisbane

NEW SOUTH WALES

Perth Adelaide Warmun (Turkey Creek)

ACT

Sydney Canberra

VICTORIA

Lajamanu

Melbourne

Halls Creek

CENTRAL DESERT TAS

Balgo Hills

Yuendumu

Hobart

Utopia

Kiwirrkurra Papunya

Kintore Mt Liebig Patjarr

Alice Springs Hermannsberg

Warakurna Warburton

Papulankutja (Blackstone) Amata Ernabella

Important Australian Aboriginal Art

Lots 1 â&#x20AC;&#x201C; 105 Featuring Jirrawun Artists: Important Paintings from the Helene Teichmann Collection Lots 23 â&#x20AC;&#x201C; 29 Contemporary Indigenous Art from Maclean Collection Part 1 Lots 39 - 56 Contemporary Indigenous Art from Maclean Collection Part 2 Lots 80 - 100

JOHN MAWURNDJUL

born 1952 BILLABONG AT MILMILNGKAN, 2006 natural earth pigments on eucalyptus bark 154.0 x 52.0 cm (irregular) ESTIMATE: $45,000 – 65,000

PROVENANCE Maningrida Arts and Culture, Maningrida, Northern Territory (cat. 2760-06) (label attached verso) Annandale Galleries, Sydney (cat. JMa 531) (label attached verso) Private collection, Melbourne EXHIBITED John Mawurndjul: Mapping Djang, Annandale Galleries, Sydney, 7 November – 9 December 2006

This work is accompanied by a certificate of authenticity from Maningrida Arts and Culture, Maningrida.

‘Milmilngkan is a duwa moiety place belonging to us. This is the place where I live. There is a sacred site, a Djang, near the billabong… Milmilngkan is where the Rainbow Serpent pierced the ground. There is a Rainbow Serpent there that watches over us’.1 Situated 60 kilometres south of Maningrida in central Arnhem Land, Milmilngkan is a spring not far from a billabong where John Mawurndjul has a seasonal camp. As disclosed in the accompanying certificate, Milmilngkan is a site of immense significance within the structures and dynamics of Kuninjku culture, for ‘the Rainbow serpent resides under the water’. 2 A familiar subject of contemporary Kuninjku bark paintings, Ngalyod is the protector of all sacred sites and its power is present in each one. Ngalyod has both powers of creation and destruction and is most strongly associated with rain, monsoon seasons and rainbows which are a manifestation of Ngalyod’s power and presence. Ngalyod is associated with the destructive power of the storms and with the plenty of the wet season, being both a destroyer and a giver of life. Ngalyod’s power controls the fertility of the country and the seasons. 3

Mawurndjul was recognised as an exceptional painter of body designs for ceremony. As the artist recalls, ‘I saw my father doing the rarrk (cross hatching) for the Mardayin ceremony and tried to do it myself with my back all doubled over, I ended up being better than any of them at it. They gave me a job in the Mardayin ceremony to paint some rarrk’.4 Originally painting figures and creatures in Kuningku mythology, he has over the years developed a more metaphysical representation of specific sites, events and landscape. Constantly striving for new ways to interpret his country, Mawurndjul’s innovative use of rarrk to map important locations is evident in the fine lineal clan designs spread across the surface of his paintings, creating shifting patterns of grids that are rendered in fine interlocking lines. Utilising his explorations of rarrk designs, Mawurndjul set on a path of creating site specific Mardayin works depicting important ceremonial sites. Showing all his skill as a painter, places such as Dilebang, Murmeka, Kakodbebuldi, Kudjarnngal and his home of Mlilmilngkan, are all represented in a superb display of fine rarrk. As explained by the artist, ‘the blocks of rarrk are the body of the mardayin ceremony. Mardayin phenomena are located in water, underneath bodies of water… as at Kakodbebuldi, Mlilmilngka and Murmeka. It’s always in the water, lying under the water’. 5 Mawurndjul’s paintings have pioneered a new interpretation of clan sites and djang that inspired the next generation of bark painters. Indeed, his influence can be seen in the work of his younger brother James Iyuna, his wife Kay Lindjuwanga and other younger artists such as Ivan Namirrikki, Samuel Namundja, Owen Yalandra and his daughter Anna Wurrkidj. 1. The artist quoted in I am the Old and the New, Museum of Contemporary Art, Sydney, 2018, p. 181 2. Taken from the accompanying certificate of authenticity from Maningrida Arts and Culture. 3. ibid.

Guided by his father Anchor Kulunba, elder brother Jimmy Njiminjuma and his uncle Peter Marralwanga, Mawurndjul received a very traditional upbringing that resulted in his extensive knowledge of ritual ceremony and strong interest in cultural heritage. Whilst still at a young age,

4. rarrk: John Mawurndjul, Journey Through Time in Northern Australia, Museum Tinguely, Basel, 2005, p. 43 5. Perkins H., ‘Mardayin Maestro’ in John Mawurndjul, I am the Old and the New, Museum of Contemporary Art, Sydney, 2018, p. 32 CRISPIN GUTTERIDGE

ALBERT NAMATJIRA

(1902 – 1959) THE GHOST GUM OF PALM VALLEY, c.1943 watercolour and pencil on card 38.5 x 27.0 cm signed lower right: ALBERT NAMATJIRA ESTIMATE: $30,000 – 40,000

PROVENANCE Private collection Leonard Joel, Melbourne, 12 April 1989, lot 205 Private collection, Melbourne RELATED WORK The Ghost Gum of Palm Valley, 1942, illus. in Mountford, C.P., The Art of Albert Namatjira, Bread and Cheese Club, Melbourne, 1945, p. 35 ‘He was definitely the beginning of a recognition of Aboriginal people by white Australia’.1 The first Indigenous artist to achieve both local and international renown, Albert Namatjira is heralded as the pioneer of contemporary Indigenous art in Australia through his groundbreaking depictions of desert locations in the Western MacDonnell Ranges that fuse European pictorial techniques and methods with a deep ancestral connection to his Arrente country. Today synonymous with our vision of the Australian outback, Namatjira’s art nevertheless experienced many vicissitudes over the course of the last century. Although his first solo exhibition in 1938 at the Fine Arts Society in Melbourne was a sell-out success, with popularity and fame continuing throughout his lifetime, praise for Namatjira’s skillful adaptation of a Western medium was inevitably accompanied by a bitter twist; his paintings ‘…were appreciated because of their aesthetic appeal, but they were at the same time a curiosity and sign that Aborigines could be civilised’. 2 Ironically such perceived ‘assimilation’ would later bring his art into disrepute with Namatjira virtually ignored by the Australian art establishment during the 1960s and 70s. Fortunately, the Papunya Tula Aboriginal art ‘renaissance’ and cultural politics of reconciliation during the 80s prompted long overdue reassessment of Namatjira’s unique contribution. More recently, he has accordingly received the recognition he so deserves with three biographies published, and three major exhibitions mounted by public galleries, including a retrospective at the National Gallery of Australia in 2002 to celebrate the centenary of his birth, Seeing the Centre: The Art of Albert Namatjira 1902-1959.

Like many of Namatjira’s finest works, The Ghost Gum of Palm Valley, c.1943 evokes the artist’s distinctive compositional type with his muchloved, luminous white ghost gum typically dominating the foreground, silhouetted against a dramatic, brilliantly coloured backdrop of distant mountain ranges. Balanced on the left side of the composition and reaching beyond the picture, the majestic gum plays a pivotal role not only as a framing device and point of entry into the picture plane. More fundamentally perhaps, the signature cropped tree motif creates a tangible sense of being present in the landscape, of participating alongside the artist in seeing and identifying with the land – thus imbuing the work with an unmistakable intimacy, notwithstanding the panoramic view and monolithic forms. For while immortalising an ostensibly Western-style topographical view of the Central Australian landscape in all its myriad moods and rich textures, such depictions also resonate with important personal symbolism for the artist as statements of belonging – coded expressions embodying the memory and sacred knowledge of a traditional ancestral site, his ‘dreaming’ or totem place. Significantly, the present represents one of a handful of variations upon the same composition which were completed by Namatjira between c.1942 – 1944 including The Ghost Gum of Palm Valley, 1942 (formerly in the collection of CP Mountford), and reproduced in his celebrated monograph on the artist published in 1944. Mountford has documented that the watercolour he owned was painted in situ, depicting ‘the almost stark brilliancy of the Central Australian sunlight at mid-day’.3 It is not known if the work on offer was also painted in situ or derived from Mountford’s watercolour, but comparision of both compositions would suggest the present captures the landscape rather around late morning, with the similarly brilliant sunlight streaming through more sparsely depicted clouds. 1.

Charles Perkins, quoted on the 7.30 Report: McLaughlin, M., ‘A Report on the Life of Albert Namatjira’, 7.30 Report, Australian Broadcasting Corporation (ABC), broadcast, 3 July 2002.

Morphy, H., Aboriginal Art, Phaidon Press, Australia, 1998, p. 270

For a more detailed discussion of the variant compositions, see French, A., Seeing the Centre: The Art of Albert Namatjira, 1902 – 1959, National Gallery of Australia, Canberra, 2002, p. 157 (footnote no. 5)

VERONICA ANGELATOS

ALBERT NAMATJIRA

(1902 – 1959) GHOST GUM AND VALLEY, MACDONNELL RANGES, c.1950 watercolour on paper 37.5 x 27.5 cm signed lower right: ALBERT NAMATJIRA bears inscription verso: 20 ESTIMATE: $30,000 – 40,000

PROVENANCE Tom Silver Fine Art, Sydney Private collection, Melbourne, acquired from the above c.1988 ‘…Many years ago an Aboriginal man from central Australia, Albert Namatjira, became very famous as a painter. Using Western watercolour techniques he painted many landscapes. But what nonaboriginal people didn’t understand, or chose not to understand, was that he was painting his country, the land of the Arrernte people. He was demonstrating to the rest of the world the living title held by his people to the lands they had been on for thousands of years.’1 Although an accomplished craftsman producing poker work decorated woomeras, boomerangs and wooden plaques, it was not until viewing an exhibition of watercolours by Victorian artists Rex Battarbee and John Gardner at the Hermannsburg Mission in 1934, that Albert Namatjira truly embarked upon painting as a profession. Immediately captivated by the medium, Namatjira pleaded to be taught watercolour techniques and eventually Battarbee agreed to Namatjira accompanying him on two month-long expeditions in 1936 through the Palm Valley and MacDonnell Range areas. And thus began the cultural exchange that was to become a defining feature of their long relationship; Battarbee instructing Namatjira about the Western technique of watercolour painting, and in turn, Namatjira imparting his sacred knowledge about the subjects they were to paint, namely the land of the Western Aranda

people, his ‘Dreaming’ place. So impressive was Namatjira’s skill that Battarbee remarked after only a brief period, ‘I felt he had done so well that he had no more to learn from me about colour’ 2. Success and recognition soon followed and Namatjira was launched into the spotlight as a cultural ‘icon’ - internationally acclaimed and admired for his innovative, vibrantly coloured desert landscapes that encouraged ‘new ways of seeing the Centre.’ 3 With its striking aesthetic appeal and embedded, multi-layered possibilities of meaning, Ghost Gum and Valley, MacDonnell Ranges, c.1950 offers a superb example of Namatjira’s achievements, encapsulating the highly unique vision that has subsequently inspired generations of Indigenous and non-Indigenous artists alike across Australia. As Belinda Croft elucidates, however, ‘Albert’s Gift’ was more far-reaching than simply the tangible legacy of his art, ‘…more than the sum parts of watercolour paints on paper. It is an essence that resides in the strength of Namatjira’s work – his courage, his sorrow, his spirituality – in these days of ‘reconciliation’, but most of all, in the spiritual heritage of every indigenous person in Australia.’ 3 1. Galarrwuy Yunupingu cited in ‘The black/white conflict’ in Caruana, W. (ed.), Windows on the Dreaming, Australian National Gallery, Canberra, Ellsyd Press, Sydney, 1989, p14 2. Morphy, H., Aboriginal Art, Phaidon Press, London, 1998, p.268 3. Croft, B., ‘Albert’s Gift’ in French, A., Seeing the Centre: The Art of Albert Namatjira, 1902 – 1959, National Gallery of Australia, Canberra, 2002, p.148

VERONICA ANGELATOS

LONG JACK PHILLIPUS TJAKAMARRA

born c.1932 WATER STORY (VERSION 7), 1972 synthetic polymer powder paint and PVA on composition board 46.5 x 30.0 cm ESTIMATE: $30,000 – 50,000

PROVENANCE Painted at Papunya, Northern Territory in 1972 Stuart Art Centre, Alice Springs, Northern Territory (painting 29, consignment 12) Private collection, South Australia Deutscher and Hackett, Melbourne, 25 March 2009, lot 15 Private collection, Melbourne EXHIBITED Blue Chip XVIII: The Collectors’ Exhibition, Niagara Galleries, Melbourne, 3 May – 4 June 2016, cat. 15 (illus. in exhibition catalogue, and label attached verso) LITERATURE Bardon, G. and Bardon, J., Papunya, A Place Made After the Story: The Beginnings of the Western Desert Painting Movement, The Miegunyah Press, Melbourne, 2004, p. 173 for an illustration of the original field notes and drawing by Geoffrey Bardon. The annotated field notes depict the pattern variations for running water, waterholes, body paint designs and people (Men) dancing. RELATED WORK For a discussion of the Water Dreaming theme see Bardon and Bardon, 2004, p. 49, 53 and 84 and for other examples by the artist depicting the Water Dreaming see pp. 171 – 173 This work is accompanied by documentation from Stuart Art Centre, Alice Springs.

Geoff Bardon records that ‘Water Dreamings as a concept was seemingly a matter of significant and ritual celebration and often secret’, which contrasts with more secular subject matter like bush tucker stories. Symmetrical designs form the patterns and motifs of Tjakamarra’s Water Story (version 7), 1972. Waterholes, indicated by roundels, are connected by running water shown in the painting as undulating lines joining each roundel. The sweeping arched segment running vertically through the centre of the painting represents men dancing while the dotting clusters with associated short bars represents body paint for the Water Men who are decorated for ritual celebration.1 Long Jack Phillipus Tjakamarra was part of the Papunya Community from 1962. He was employed as a grounds man and was a member of the community council. A deeply religious man, he was both a missionary and pastor for the Western Desert People and learned in traditional culture. In 1971 Tjakamarra, along with Billy Stockman, painted small murals around the Papunya School preceding the major Honey Ant murals collaboration by Papunya artists. These early works were highly iconographic often made up of simple geometric shapes, such as roundels, ovoid forms and crescent shapes. The classic water dreaming design of roundels linked by meandering lines was evident in the earliest of the Papunya boards. Artists such as Jonny Warangkula Tjupurrula, Charlie Wartuma Tjungurrayi, Old Walter Tjampitjinpa together with Long Jack Phillipus Tjakamarra all executed versions of the Water Dreaming. The ability to find water in a desert environment is paramount to survival, and the knowledge of where springs, rockholes and other sources of water were to be found, was an indication of importance. Consequently, Water Dreaming stories were secret and only available to initiated men of senior standing. Of the 40 founding painters, known as the painting men, of the Western Desert School, only three remain. Long Jack Phillipus Tjakamarra began painting for Papunya Tula Artists at its inception in 1973 and went on to become the organization’s Chairman in the early 1990s. 1. Bardon, G. and Bardon, J., Papunya, A Place Made After the Story: The Beginnings of the Western Desert Painting Movement, The Miegunyah Press, Melbourne, 2004, p. 49 CRISPIN GUTTERIDGE

CHARLIE WARD TJAKAMARRA

(c.1940 – 2005) STORY OF TWO OLD MEN, 1972 synthetic polymer powder paint and PVA on composition board 46.0 x 29.0 cm (irregular) ESTIMATE: $50,000 – 70,000

PROVENANCE Painted at Papunya, Northern Territory in 1972 Stuart Art Centre, Alice Springs, Northern Territory (painting 13, consignment 15) Private collection, USA, acquired from the above in November 1972

the name of Charlie Ward Tjakamarra. He became a leading exponent of the minimal linear style of painting favoured by Pintupi artists such as the brothers Willy Tjungurrayi (born c.1932) and George Ward Tjungurrayi (born c.1945).

Private collection, USA

Among Tjakarmarra’s major achievements was a leading role in the great collaborative Kiwirrkurra Men’s Painting Untitled, 1999 that featured in the landmark exhibition of Papunya painting, Genesis and Genius at the Art Gallery of New South Wales, Sydney in 2000. 2 At Kiwirrkurra, Charlie Tjakamarra also collaborated on paintings with his third wife, Yukultji Napangardi who is now at the vanguard of contemporary Pintupi painters.

This work is accompanied by documentation from the Stuart Art Centre, Alice Springs. In his recollections of the early years of the Western Desert painting movement at Papunya, Geoffrey Bardon referred to Charlie Tjakamarra as an occasional painter who ‘would sometimes visit the Great Painting Room … and sit with Anatjari No. III Tjakamarra and sometimes with George Tjangala’.1 However Charlie Tjakamarra soon moved away from Papunya to live at Warakurna, Docker River and Warburton before settling in the Pintupi community of Kiwirrkurra in the mid-1980s. From then-on he painted consistently for Papunya Tula Artists under

Story of Two Old Men, 1972 is one of three known paintings by the artist from the early 1970s. It was recorded as Painting number 13 in Consignment 15 from Papunya to the Stuart Art Centre, Alice Springs, the main outlet for Papunya paintings at that time. Two other paintings by Tjakamarra were recorded in the previous consignment to the Stuart gallery. One is a double-sided board from 1971, Tingari men sitting around waterholes, in the collection of the Museum and Art Gallery of the Northern Territory, Darwin 3 that features an image related to this lot. The second painting, Two Snake Dreaming painted in March – April 1972,4 features bold black forms outlined in dots against an ochre red ground similar to those found in Story of Two Old Men. According to Bardon’s documentation accompanying the painting, the two black verticals represent places where two Old Tingari Men rested, the horizontals are the pathways connecting these places, and the roundels symbolize the waterholes near the men’s camps. The crossed lines of white dots represent ridges of desert sandhills. 1. Bardon, G. and J. Bardon, Papunya, A Place Made After the Story: The Beginnings of the Western Desert Painting Movement, The Miegunyah Press, Melbourne, 2004, p. 71 2. Held in the Kerry Stokes Collection, Perth and illustrated in Perkins, H. and H. Fink (eds), Papunya Tula: Genesis and Genius, Art Gallery of New South Wales in association with Papunya Tula Artists, Sydney, 2000, p. 161 3. Scholes, L. (ed.), Tjungunutja: From having come together, Museum and Art Gallery of the Northern Territory, Darwin, 2017, p. 48 (illus.) 4. Bardon, G. and J. Bardon, p. 342, painting 288 (illus.)

WALLY CARUANA

MICK NAMARARI TJAPALTJARRI

(c.1926 – 1998) UNTITLED, 1972 synthetic polymer powder paint on composition board 62.0 x 51.0 cm ESTIMATE: $50,000 – 70,000

PROVENANCE Painted at Papunya, Northern Territory in 1972 Private collection, Sydney Sotheby’s, Melbourne, 25 July 2005, lot 150 Private collection, Victoria Lawson~Menzies, Sydney, 23 May 2007, lot 22 (as ‘Wind Spirit’) Private collection, Melbourne

This intriguing work by one of the doyens of the original Western Desert painting movement has been separated from its original documentation. The composition of the image and the palette bear comparison, however, to a number of paintings from the 1970s by Namarari that relate to the sun, the moon and the element of wind. The paintings in this group all feature a compositional structure based around a dominant central roundel from which emanate rays or lines in a symmetrical pattern to the corners of the picture plane. One of these works, Wind Story, 1972, in the collection of the Museum and Art Gallery of the Northern Territory, Darwin1 features eight symmetrically arranged sets of lines or journey tracks radiating from a central roundel. The image refers to a north-westerly wind gusting out of a cave at Mount Liebig, one of the highest points in the MacDonnell Ranges. The painting relates to another of the same site created around 1972, Cave at Mount Liebig in the collection of the Art Gallery of South Australia, Adelaide. 2 Mount Liebig occupies a significant place in Namarari’s life history. The artist lived there from time to time as an adult, but it was also the place where he first encountered Europeans. In 1932, an expedition lead

by the eminent anthropologist Norman Tindale, from the University of Adelaide, camped at Mount Liebig and recorded all those living there. Namarari was aged nine at the time, and his photographic record is held at the South Australian Museum, Adelaide. 3 The undulating lines that radiate in Cave at Mount Liebig also appear in another of painting by Namarari from 1972 – Birth of the Sun. This painting was originally collected by Geoffrey Bardon’s successor as manager of the Papunya Tula Artists cooperative, Peter Fannin and is now held in the collection of the National Gallery of Australia, Canberra.4 During the 1970s Namarari painted a number of works that depict celestial bodies apart from those commissioned by Bardon for his biodocumentary on the artist, Mick and the Moon of 1979. These include Moon Dreaming, 1978, and, Sunrise Chasing Away the Night, 1977 – 78, both in the national art collection in Canberra.5 This painting, Untitled, 1972, sits comfortably within this suite of works, most likely referencing Mount Liebig where the circular motion created by the sets of parallel arcs suggests the rush of wind. 1. Scholes, L. (ed.), Tjungunutja: From having come together, Museum and Art Gallery of the Northern Territory, Darwin, 2017, p. 104 (illus.) 2. O’Halloran, A. B., The Master from Marnpi: Mick Namarari Tjapaltjarri, LifeDesign Australia, Sydney, 2018, pl. PS3.2 (illus.), p. 164 3. Batty, P. (ed.), Colliding Worlds: First Contact in the Western Desert 1932–1984, Museum Victoria and National Aboriginal Cultural Institute Tandanya, Melbourne and Adelaide, 2006, p. 41 4. O’Halloran, A. B., pl. PS3.1, p. 164 5. illustrated in Cubillo, F. and W. Caruana (eds), Aboriginal & Torres Strait Islander Art: Collection highlights, National Gallery of Australia, Canberra, 2010, pp. 40 – 42 and also in Bardon, G. and J. Bardon, Papunya, A Place Made After the Story: The Beginnings of the Western Desert Painting Movement, The Miegunyah Press, Melbourne, 2004, pp. 248 – 9, painting numbers 169 and 170

WALLY CARUANA

BILL WHISKEY TJAPALTJARRI

(c.1920 – 2008) ROCKHOLES NEAR THE OLGAS, 2008 synthetic polymer paint on linen 182.0 x 183.0 cm bears inscription verso: Watiyawanu cat. AEBWT77-08479PG ESTIMATE: $40,000 – 60,000

PROVENANCE Watiyawanu Artists of Amunturrungu, Mt Liebig, Northern Territory Art Equity, Sydney Private collection, Brisbane

At the venerable age of 85 Bill Whiskey Tjapaltjarri (c.1920 – 2008) began painting at the Watiyawanu Artists of Amunturrngu Cooperative and almost immediately rose to national prominence as a Western Desert artist with a singular and powerful voice. Over a four-year period, he produced canvases of often monumental scale laden with almost microscopic subtlety and shimmering pointillist effects. In effect he seamlessly wove together an epic impulse (one intent on amplification of the totemic significance of his birthplace country) and a miniaturist’s eye for detail as befits a traditional nomadic man attuned to the import of the slightest dislodgement of a single pebble in a dry creek bed or the tremble in a tussock of grass. It is said that Bill Whiskey did not see a white person until a teenager. In later years, based at Mount Liebig near Papunya, Whiskey had witnessed the evolution of the Western Desert Art Movement and recognizing the importance of painting as a medium for preserving and broadcasting cultural identity heritage had one day decided to simply pick up the brush! His wife, Colleen Nampitjinpa was also already well established as an artist. Though such background might go some way to explain the instant confidence with which he approached a rolled-out canvas it does not explain that inimitable quality that allows us to identify a Bill Whiskey painting at a glance. There is a luminous buoyancy to his often-giant

roundels (concentric circles) representing key totem sites connected to the Cockatoo Dreaming; they seem to somehow detach from the surface of the painting and hover. Likewise, as can also be seen in the present work, there is an oscillating quality to the over-all structure of the image. It seems to contract to an invisible central point and at the same time expand pervasively outwards. In this way it playfully acknowledges the inevitable four-sided constraint imposed by the physical medium of “Western” painting and defies it. The result is an endlessly stimulating kinetic dynamism, one richly and densely reinforced by the same oscillating momentum created by the swathes and colour-field boundaries of swarming “dots” that might be said to perform in the background – but only in a certain sense, as this is far from the illustrative terrain of the picturesque landscape belonging to Western Cartesian culture. “Dots” is itself a tricky word in these circumstances as they variously represent fields of flowers, outcrops of brilliantly sparkling quartz shards, sudden rocky outcrops, fringed surges of grassland, beds of brightly coloured sand, etc. If one looks carefully and deeply into this swarming activity, one can even discern in some passages the tracery of significant walking tracks carefully mapped and then obscured beneath dots now performing as camouflaging veil, just as did Emily Kngwarreye – in her case to disguise sacred body painting designs. With its tender pastel palette and constantly circulating trio of bold icons this is an impressive example of the artist’s work. Dated 2008, it belongs to the last phase of his all-too short career. ROSS MOORE

EMILY KAME KNGWARREYE

(c.1910 – 1996) DESERT WINTER, 1994 synthetic polymer paint on linen 125.0 x 397.0 cm signed verso: Emlly [sic] bears inscription verso: artist’s name and Commissioned by Delmore ESTIMATE: $250,000 – 350,000

PROVENANCE Commissioned by Delmore Gallery, via Alice Springs, Northern Territory, Northern Territory (cat. 94FO54) Private collection, Melbourne, since 1994 Menzies, Melbourne, 26 April 2018, lot 28 Private collection, Sydney RELATED WORK Alalgura Awelye I, 1994, synthetic polymer paint on canvas, 120.0 x 90.0 cm, The Holt Collection, illus. in Isaacs, J., Smith, T., Ryan, J., Holt, D. & Holt, J., Emily Kngwarreye Paintings, Craftsman House, Sydney, 1998, pl. 49, p. 120 Alalgura Awelye II, 1994, synthetic polymer paint on canvas, 151.0 x 90.0 cm, The Holt Collection, illus. in Isaacs, J., Smith, T., Ryan, J., Holt, D. & Holt, J., Emily Kngwarreye Paintings, Craftsman House, Sydney, 1998, pl. 50, p. 121 A senior member of the Anmatyerre people, Emily Kngwarreye held a position of respect as a law-holder and custodian of her country of Alhalkere, adjoining the lands of Utopia, north of Alice Springs – the ancestral lands of the Anmatyerre and Alyawarra people. This country was Kngwarrreye’s raison d’être, and the intimate physical and spiritual knowledge held within the ceremonial cycles, translating the land and dictating peoples’ relation to it, informed each and every one of her many artworks. Desert Winter, 1994, is major high-colourist work, expansive in scale, celebrating the cyclical phases that govern the natural world and the potent life-giving and spiritual forces stored within it. Resonant in a restricted palette of warm reds, yellows and oranges, the organic dancing trails of Kngwarreye’s hand reflect with surprising immediacy an ancient continuity of knowledge and interaction with the land. As Judith Ryan notes, the potency of Kngwarreye’s paint in her later work obviated the need for a written explanation – the raw power of her colour and gesture can be appreciated across cultures and creeds.1 In the 1990s, Emily Kngwarreye, already in her eighth decade, publicly emerged as one of the world’s leading contemporary painters. Reflecting the total connectedness to the land to which she belongs, each painting

became a metaphorical self-portrait and declaration of her people’s profound sovereignty over the land. Tackling massive canvases with confidence and verve beyond her years, Kngwarreye produced many masterpieces in her twilight years between 1992 and 1996. Her advancing years endowed her an increased motivation and impetus to visually express her country’s tjukurrpa, displaying extraordinary dynamism and nimble inventiveness in her varied mark making. Alhalkere, while extraordinarily remote, arid and hostile to life, is home to native yams, grasses as well as emus, dingos and lizards. The ceremonial cycles of many of these separate elements fell under Kngwarreye’s own purview as an elder within her community. Consequently, these multifarious dreamings coexist within her artworks – hidden amongst the densely packed dots and vigorous rhythmic parallel lines. 1994 was a year characterised by below-average rainfall and shortage of water across the country felt particularly keenly in the Simpson Desert and Central Australia. Characterised as a broad, flat area of desert covered by windswept sand hills and little vegetation, Alhalkere’s landscape is dramatic and astoundingly resilient. Desert Winter is an intensely bright and joyous celebration of this resilience – the imminent burgeoning of the yam seed, the bush potato from which Kngwarreye derived her name. The underlying graphic matrix of parallel lines (reflecting the network of the branching tuberous plant) is painted here in bold red, gradually obliterated by superimposed broad stippled blotches systematically weaving across the surface of the painting. Desert Winter is unusual in its transitionary place in the progression of the artist’s work – disparate compositional and stylistic devices coexisting on the one expansive canvas, an apt symbolic expression of the swift seasonal changes about to animate the desert landscape of the artist’s country. 1. Neale, M. (ed.), EMILY KAME KNGWARREYE: Alhalkere paintings from Utopia, Queensland Art Gallery, Brisbane, 1998, p. 43 LUCIE REEVES-SMITH

EMILY KAME KNGWARREYE

(c.1910 – 1996) A DESERT LIFE CYCLE III, 1991 synthetic polymer paint on linen 230.0 x 130.0 cm bears inscription verso: artist’s name, Commissioned by Delmore Gallery, CHAPMAN and Delmore Gallery cat. 1S14 ESTIMATE: $100,000 – 140,000

PROVENANCE Commissioned by Delmore Gallery, via Alice Springs, Northern Territory Chapman Gallery, Canberra Private collection, Canberra This work is accompanied by a certificate of authenticity from Delmore Gallery, via Alice Springs. Undoubtedly one of Australia’s greatest painters of the twentieth century, Emily Kame Kngwarreye’s success came after a lifetime making art – initially in her role of ceremonial leader, painting the bodies of fellow Anmatjerre women for ceremony; subsequently as a prominent member of the Utopia Women’s batik movement and in the later years of her life, sustaining the unprecedented demand for her paintings following the successes of her early exhibitions. Often a response to the everchanging landscape of her traditional homelands at Alhalker (Alalgura) close to Utopia, north east of Alice Springs, the paintings of country by Emily Kngwarreye record her acute observation, often in minute detail, of the shifting fluctuations in the state of the flora around her, alerting her to the readiness of bush food or medicinal plants. Painted in 1991, A Desert Life Cycle III celebrates the post-summer dryness, where a muted carpet of scattered seeds and grasses dot the landscape yet despite the dryness, underground tuber vegetables and certain berries are ripe for picking. Judith Ryan notes that, ‘clearly Emily Kngwarreye was a mark-maker extraordinaire…. she

ventured further with masses of dots and marks, making intimate and grand gestures layering and intensifying the dots to the exclusion of graphic elements’1 and here the layers of white, olive, yellow, purple, and grey dots, in many places applied by the artist using her fingers, faithfully evoke the colours of her country. The black ground may be seen as the spread of the roots of Emily Kame Kngwarrere’s totemic yam plant underground, and the spread of ancestral forces through the earth. The accompanying certificate notes that; ‘To look on Emily’s work from an aerial perspective is necessary to understanding her view of her country. In a layered approach with colour, we see the sporadic clustered growth of plants in different stages of maturity. Knowledge about the life cycles of plants is learned in everyday situations and reinforced in ceremony. Ceremony asserts that the combined spiritual power of women assures fertility and future seasons for all desert life forms’. 2 Although following in the wake of the success of Western Desert painting, Emily Kngwarreye became nationally and internationally recognised for the way in which her painting intuitively responded to her specific cultural experience. The many stylistic shifts she effortlessly adopted allowed her work to evolve, yet be constantly fresh. 1. Ryan, J. cited in Isaacs, J. et al., Emily Kngwarreye Paintings, Craftsman House, Sydney, 1998, p. 77 2. Taken from the accompanying certificate of authenticity from Delmore Gallery.

CRISPIN GUTTERIDGE

FREDDIE TIMMS (c.1946 – 2017) GREENVALE, 2005 ochres, pigments and synthetic binder on linen 150.0 x 180.0 cm bears inscription verso: artist’s name, title, size and Jirrawun Arts cat. FT-8-2005-230 ESTIMATE: $10,000 – 15,000

PROVENANCE Jirrawun Arts, Kununurra, Western Australia Private collection, Perth This work is accompanied by a certificate of authenticity from Jirrawun Arts, Kununurra which states: ‘The V-shaped section at the top left represents roads meeting at Greenvale Station, shown as the small black circle right at the junction. Freddie Timms spent part of his childhood at Greenvale. Moat Creek stockyard is shown as the black circle located below the waterhole on Greenvale River seen flowing across the painting from centre left to the bottom right hand corner. Kurrajong Creek runs from the top of the painting across to the right hand side and Kurrajong waterhole can be seen on the edge of the ranges – the two black shapes on either side. The black and red planes at the centre of the painting represent flat country which is mixed red and black soil plains – ‘bulldust country’ as Freddie calls it. The large red ‘circle’ at upper right centre represents a little hill. The black shape projecting into the painting from the lower edge is ‘one big rock’. The black, red and grey sections surrounding the painting on both left and right sides are rocky places – hills.’

PRINCE OF WALES (MIDPUL) (c.1935 – 2002) BODY MARKS, 2001 synthetic polymer paint on linen 120.0 x 91.0 cm bears inscription verso with artist’s name, title, date, size and Karen Brown Gallery cat. KB0511 ESTIMATE: $15,000 – 20,000

PROVENANCE Karen Brown Gallery, Darwin Private collection, Darwin “In taking up painting in 1995, Prince found a medium through which he could retain the essence of his active ceremonial life. His paintings have a musicality imparted by the lively staccato-effect of dots and intermittent bars, as if to be read like the sheet music for an improvised symphony. Prince’s uninhibited use of colour belies the origins of these designs, which were passed on by his ancestors as marks on the bodies of ceremonial participants. His early works were painted on scraps of cardboard and other found materials, their compact size emulating the proportions of the body. In his last years, Prince ‘upped the ante’, scaling up his Body Marks paintings to assert his cultural authority as a Larrakia elder, as embodied in his statement, ‘… I make the marks.’”1 1. Perkins, H. and Pinchbeck, C., Tradition today: Indigenous art in Australia, Art Gallery of New South Wales, Sydney, 2014 (revised edition)

GINGER RILEY MUNDUWALAWALA

(c.1936 – 2002) LIMMEN BIGHT COUNTRY, 1992 synthetic polymer paint on linen 153.0 x 143.5 cm signed lower centre: GinGER RiLEY bears inscription verso: artist’s name, title and Alcaston Gallery cat. AK1956 ESTIMATE: $30,000 – 40,000

PROVENANCE Anthony W. Knight, Melbourne Alcaston Gallery, Melbourne Private collection, Melbourne EXHIBITED Colour Country: Art from Roper River, Wagga Wagga Art Gallery, New South Wales, 5 June – 2 August 2009; Flinders University Art Museum, Adelaide, 4 December 2009 – 14 February 2010; Drill Hall Gallery, Canberra, 25 February – 11 April 2010; Museum and Art Gallery of the Northern Territory, Darwin, 22 May 2010 – 12 July 2010 LITERATURE Bowdler, B., Colour Country: Art from Roper River, Wagga Wagga Art Gallery, New South Wales, 2009, pp. 8 (illus.), 91 ‘My mother’s country is in my mind.’1 Distinguished by their daring palette, dynamic energy and strongly flattened forms, Riley’s bold, brilliantly coloured depictions celebrating the landscape and mythology of his mother’s country are admired among the finest in contemporary Indigenous art. Emerging at a time when barks were the familiar output for his Arnhem Land country and Papunya Tula paintings were considered the norm, his striking interpretations not only challenged, but irrevocably changed, preconceived notions of Indigenous art – thus earning him the moniker ‘the boss of colour’ by artist David Larwill. Notably influential upon such idiom was Riley’s chance encounter during his adolescence with celebrated watercolourist Albert Namatjira, whose non-traditional aesthetic and concept of ‘colour country’ left an indelible impression upon the young artist. Encouraged by ‘…the idea that the colours of the land as seen in his imagination could be captured in art with munanga (white fella) paints’, 2 it was not, however, until three decades later that Riley would have the opportunity to fully explore his talent when the Northern Territory Open College of TAFE established a printmaking workshop in the Ngukurr Aboriginal Community (formerly known as the Roper River Mission). Notwithstanding his mature age of 50, Riley rapidly developed his own highly sophisticated style and distinct iconography and, after initially exhibiting with the other Ngukurr-

based painters, soon established an independent career at Alcaston Gallery. Enjoying tremendous success both locally and abroad over the following sixteen years before his untimely death in 2002, Riley received a plethora of awards including the inaugural National Heritage Commission Aboriginal and Torres Strait Islander Art Award in 1993 and an Australia Council Fellowship in 1997 – 98, and in 1997, was the first living indigenous artist to be honoured with a retrospective at the National Gallery of Victoria, Melbourne. Capturing the saltwater area extending from the coast of the Gulf of Carpentaria along the Limmen Bight River to the weather-worn rocky outcrops known as the ‘Four Arches’, Limmen Bight River, 1992 offers a stunning example of Riley’s heroic landscapes. Pivotal to the composition is Garimala, the mythological Taipan who, according to the ancestral dreaming, created the Four Arches – an area regarded as ‘… the centre of the earth, where all things start and finish’ 3 – and lives in the waterhole nearby. Here the mythological serpent is depicted as a pair of snakes (a typical convention to denote his travelling), while the Four Arches are envisaged in multiple, emphasising their significance and reflecting different viewpoints – in the foreground riverside, as dark rounded rocks, and in the middle ground as pink towers, with vegetation atop. Significantly, such aerial overview is informed by the artist’s strong sense of place; as Riley observes, he often paints ‘…on a cloud, on top of the world looking down… In my mind, I have to go up to the top and look down to see where I’ve come from, not very easy for somebody else, but all right for me. I just think in my mind and paint from top to bottom, I like that’.4 A vibrant celebration of the joy of belonging to the saltwater country of the Mara people, indeed the work embodies Riley’s powerful vision of his mother’s country as a mythic space – a mindscape whose kaleidoscope of dazzling colours and icons continually evoke wonder and mystery in the viewer with each new encounter. 1. Riley cited in Ryan, J., Ginger Riley, National Gallery of Victoria, Melbourne, 1997, p. 15 2. Riley cited ibid. 3. Riley, ibid., p. 29 4. Riley, ibid., p. 27 VERONICA ANGELATOS

JOHN MAWURNDJUL born 1952 MILMILNGKAN, 2009 natural earth pigments on eucalyptus bark 130.0 x 71.0 cm (irregular) bears inscription verso: artist’s name and Maningrida Arts and Culture cat. 1948-09 ESTIMATE: $20,000 – 30,000

PROVENANCE Maningrida Arts and Culture, Maningrida, Northern Territory (label attached verso) Gallery Gabrielle Pizzi, Melbourne Private collection, Melbourne, acquired from the above in March 2012 EXHIBITED New Work from Maningrida, Gallery Gabrielle Pizzi in association with Maningrida Arts and Culture, Melbourne, 6 – 31 March 2012 This work is accompanied by a certificate of authenticity from Maningrida Arts and Culture, Maningrida which states: ‘John Mawurndjul lives at Milmilngkan near a billabong and says that underneath the water lies the power of Ngalyod. In this painting, he depicts the power of the place with rarrk -cross-hatching- which contains Mardayin power. John Mawurndjul has depicted Milmilngkan place where Ngalyod -the rainbow serpent- resides under the water. Kuninjku people say there are two Rainbow serpents. One is Yingarna who is said to have been the original creator of all ancestral beings, the ‘first mother’. Yingarna’s first born is a Rainbow serpent call Ngaloyd. Yingarna -the Rainbow serpent – or her son Ngalyod are common subject on contemporary Kuninjku bark paintings. Ngalyod is very important in Kuninjku cosmology and is associated with the creation of all sacred sites, djang, in Kuninjku clan lands. For example, ancestral stories relate how creator or ancestral beings had travelled across the country and had angered Ngalyod who swallowed them and returned to the earth to create the site. Today, Ngalyod protects these sites and its power is present in each one. Ngalyod has both powers of creation and destruction and is most strongly associated with rain, monsoon seasons and rainbows which are a manifestation of Ngalyod’s power and presence. Ngalyod is associated with the destructive power of the storms and with the plenty of the wet season, being both a destroyer and a giver of life. Ngalyod’s power controls the fertility of the country and the seasons.’

MAWALAN MARIKA

(c.1908 – 1967) DJAN’KAWU AT YALANGBARA, c.1961 natural earth pigments on eucalyptus bark 117.0 x 44.5 cm ESTIMATE: $20,000 – 30,000

PROVENANCE Dorothy Bennett for Australian Aboriginal Art Trust, Darwin (label attached verso) Private collection, Adelaide Sotheby’s, Melbourne, 24 June 2002, lot 301 Lauraine Diggins Fine Art, Melbourne (label attached verso, stock no. 220128) Private collection, Melbourne Deutscher and Hackett, Melbourne, 14 October 2009, lot 33 Private collection, Melbourne EXHIBITED Annual Collectors’ Exhibition 2008, Lauraine Diggins Fine Art, Melbourne, 1 October – 8 November 2008, cat. 19 An Individual Perspective: From the Indigenous Collection of Lauraine Diggins, Deakin University Art Gallery, Melbourne, 25 February – 4 April 2009 LITERATURE Diggins, L. (ed), An Individual Perspective: from the Indigenous collection of Lauraine Diggins, Deakin University Art Gallery, Melbourne, 2009, p. 12 (illus.)

The descriptive label on the reverse reads: ‘This is one of the dances performed in a sacred ceremony The Djungguan. The Wawilak [sic] Sisters wandered throughout Arnhem Land naming plants, animals and fish, reptiles and places, killing many animals and fish. When they arrived at well of Mirrirmina (rock pythons back) they made a fire and threw the food on to it but immediately everything came to life and ran into the sacred well and thus becoming totemic emblems. Yurlungurr the giant python came out of the well and swallowed the Wawilak Sisters. In a desperate attempt to avoid themselves from being swallowed the sisters had sung and danced all the taboo songs and dances they could think of starting with the crab dance as the crab had been the first to jump from the fire and run sideways down to the well. Yurlungurr took the sisters back through the [subterranean] waters beneath the well to their own country and regurgitated them onto dry land. They appeared in a dream to two Wongar men and told them that all the people must dance the same dances and sing the same songs as they had before being swallowed and these were to be performed at the time of the circumcision rites. Each sister had had a baby with her at the well and had intended to circumcise them but now they passed on instructions to the men to do this for them. Here two men representing the Wongar mythological figures dance with woomeras and spears around a sacred well. Goannas shown represent one of the totems of the artist handed down to him by his father.’

CHARLIE WARTUMA (TARAWA) TJUNGURRAYI

(c.1921 – 1999) TINGARI AT NYIRRIPI, 1990 synthetic polymer paint on board 153.0 x 34.5 cm ESTIMATE: $20,000 – 30,000

PROVENANCE Papunya Tula Artists, Alice Springs, Northern Territory Private collection, Melbourne EXHIBITED Aboriginal Art & Spirituality, The High Court of Australia, Canberra, 27 February – 14 March 1991; The Exhibition Gallery, The Waverley Centre, Wheelers Hill, Melbourne, 24 March – 5 May 1991; The Ballarat Fine Art Gallery, Ballarat, Victoria, 24 May – July 1991 (stamped verso) LITERATURE Crumlin, R. and Knight, A., Aboriginal Art and Spirituality, Dove Publications, Victoria, 1991, pl. 49, pp. 83 (illus.), 140 This work is accompanied by a certificate of authenticity from Papunya Tula Artists, Alice Springs which states: ‘In a fascinating traditional design of concentric circles almost haptic in concept, the artist has depicted the Tingari Cycle associated with the travels of the Tingari ancestors west of Nyirripi. The roundels represent water soakages where the Tingari stopped to rest and drink during their long journey.’

Charlie Wartuma (or Tarawa or Tararu) Tjungurrayi was one of the leading lights in the genesis of the modern Western Desert painting movement that originated at Papunya in the early 1970s. Although painted in 1990, the format of Tingari at Nyirripi and the composition board support, hark back to the so-called ‘panel paintings’ made in the early 1970s on oblong sheets of board, usually off-cuts from the very building materials from which Papunya was constructed. The work relates to such paintings of similar proportions as Medicine Man or Man Dreaming, 1971, in the collection of the Museum and Art Gallery of the Northern Territory, Darwin, which also refers to the travels of the apical Tingari ancestors in the vicinity of Nyirripi.1 In the latter work, the sequence of the stack of roundels forms a type of headdress for a figure depicted naturalistically. By way of contrast, Tingari at Nyirripi retains a sense of ancestral geometry devoid of any naturalistic imagery. 1. Illustrated in Scholes, L. (ed.), Tjungunutja: From having come together, Museum and Art Gallery of the Northern Territory, Darwin, 2017, p. 30; and in Croker, A., Charlie Tjararu Tjungurrayi: A Retrospective 1970–1986, Orange Regional Gallery, Orange, New South Wales, 1987, p. 53

CLIFFORD POSSUM TJAPALTJARRI (c.1932 – 2002) CEREMONIAL DANCING MEN, 1990 synthetic polymer paint on canvas 123.5 x 168.5 cm bears inscription verso: Papunya Tula Artists cat. CP900141 ESTIMATE: $20,000 – 30,000

PROVENANCE Papunya Tula Artists, Alice Springs, Northern Territory Utopia Art Sydney, Sydney Private collection, Sydney, acquired from the above in 1990 Clifford Possum Tjapaltjarri was an innovative painter who experimented with combinations of traditional and Western European visual perspectives, as in this deceptively literal painting. The work depicts two men belonging to the Tjungurrayi and Tjapaltjarri kinship groups – a father and son relationship – performing ritual dances. The figures are drawn naturalistically, wearing ceremonial regalia and body paint. The grey and red flecked area represents the dirt kick up by their feet as they dance. The men are also represented symbolically by the U-shapes adjacent to the roundels to either side of the main figures. Tracks of the ancestral Bush Turkey and Kangaroo course through the picture in a rhythm that mimics the choreography of the dance. Given the autobiographical nature of much of Tjapaltjarri’s painting, the two figures possibly represent him with his father Jajirdi Tjungurrayi or his adoptive father, Jajirdi’s younger brother Gwoya Tjungurrayi (c.1895 – 1965).1 Gwoya is known popularly by the nickname One Pound Jimmy because he was the first Aboriginal person to be featured on an Australian stamp in 1950. 1. Johnson, V., The Art of Clifford Possum Tjapaltjarri, Gordon and Breach Arts International, Sydney, 1994, p. 28

RONNIE TJAMPITJINPA

born c.1943 PALKARULKULNGA, 2002 synthetic polymer paint on linen 122.0 x 152.5 cm bears inscription verso: artist’s name, size, and Papunya Tula Artists cat. RT0204077 ESTIMATE: $55,000 – 75,000

PROVENANCE Papunya Tula Artists, Alice Springs, Northern Territory Utopia Art Sydney, Sydney (label attached verso) Private collection, Melbourne EXHIBITED Ab Op Art II - Exploring the Visual Intensity of Contemporary Aboriginal Art, Utopia Art Sydney, Sydney, 28 June – July 2003, cat. 22 This work is accompanied by a certificate of authenticity from Papunya Tula Artists, Alice Springs. Of all the artists who emerged from the Papunya movement, the paintings of Ronnie Tjampitjinpa are some of the most recognisable. Often composed from one or more geometric forms enlarged to monumental size and highlighted in alternating bands of bright colours, the simplicity of his painting belies the complexity of that which is depicted. Tjampitjinpa offers glimpses into the expansive and diverse geography that surrounds his homeland and fragments of the multi-layered stories of the Tingari – a mythical group of Ancestors who moved across vast stretches of the Western Desert sharing law and creating and naming places. One of the youngest men to begin painting at Papunya in 1971 – 72 and one of the founders of the hugely influential Papunya Tula Artists group, Tjampitjinpa began painting under the tutelage of Uta Uta Tjangala and was encouraged by school teacher Geoffrey Bardon. Tjampitjinpa’s painting output for Papunya Tula during the 1970s was limited as his focus at that time was directed towards the outstation movement and the return of the Pintupi to their homelands in the Western Desert. With the establishment of Walungurru (Kintore) in 1981, Tjampitjinpa could now turn his attention to his art, and he soon emerged as one of the major painters of the movement. Seeking to establish himself as a serious painter, Ronnie took an independent direction and began to expand various elements of the Pintupi painting lexicon, increasing them in size and proportion, resulting in what Vivien Johnson described as ‘the bold, scaled-up, linear style that came to dominate many of the Walungurru painters’ work during the 1990s’.1

Ronnie Tjampitjinpa’s later paintings are reductive and vivid optical works that pulsate with energy and this distinctive aesthetic is exemplified by Palkarulkulnga, 2002. In this painting, Tjampitjinpa has taken a single component from his visual lexicon, the roundel. Comprised of ever-larger ovoid bands of alternate colours that radiate out from the centre, the roundel has evolved into a single monumental form. This upscaled geometric element representing just one part of the Tingari story, is the result of two decades of refinement by the artist in charting the vast terrain of the Western Desert in his own deft visual language. The related story is part of the Tingari cycle and tells that in mythological times a man of the Tjakamarra kinship subsection camped at Palkarulkulnga, a place of sandhills and spinifex to the eastern side of Wilkinkarra (Lake Mackay) in the northern Territory, close to the Western Australian border. While camped here, the Tjakamarra man was spinning hair to make a hair-belt to be worn in future ceremonies. 2 Ronnie Tjampitjinpa has been the recipient of a number of awards, including the 1988 Alice Prize. His first solo exhibition was held at Gallery Gabrielle Pizzi, Melbourne in 1989, and his work was included in Dreaming at the Asia Society Gallery, New York in 1988, and Australian Perspecta in 1993. More recently, an exhibition celebrating 40 years of the artist’s work was held at the Art Gallery of New South Wales, Sydney in 2015. His work is included in various Australian and international collections, including the National Gallery of Australia, Canberra; the Art Gallery of New South Wales, Sydney; the Musée du Quai Branly, Paris; Collection Fondation Opale, Lens, Switzerland; and the Seattle Art Museum, USA. 1. Johnson, V., ‘Ronnie Tjampitjinpa’, in Perkins, H., Tradition Today, Indigenous Art in Australia, Art Gallery of New South Wales, Sydney, 2006, p. 140 2. Taken from the accompanying certificate of authenticity from Papunya Tula Artists.

CRISPIN GUTTERIDGE

GEORGE TJUNGURRAYI born c.1947 UNTITLED, 2005 synthetic polymer paint on Belgian linen 122.0 x 153.0 cm bears inscription verso: artist’s name, size and Papunya Tula Artists cat. GT0503198 ESTIMATE: $25,000 – 35,000

PROVENANCE Papunya Tula Artists, Alice Springs, Northern Territory Shalom Gamarada Art Exhibition, University of New South Wales, Sydney Private collection, Sydney, acquired from the above in 2005 EXHIBITED Shalom Gamarada Art Exhibition, Eric Caspary Learning Centre at Shalom College, University of New South Wales, Sydney, 24 – 28 July 2005, cat. 17

Since the late 1980s art emerging from Papunya Tula has re-invented itself at regular intervals. Traditional representations of the Tingari creation cycle, the roundels, connecting meandering lines and dots have given way to optical line work that reduce the painting to a simplicity of rhythm and tone, a variation and development that Judith Ryan refers to as ‘a radical form of expression akin to western forms of minimalism in art and music’.1 The repeated rhythmic and optical patterns in the paintings of George Tjungurrayi generate a hypnotic effect where the interplay of undulating broad parallel lines, composed of different tones of the one colour, creates a mesmerizing surface. His compositions inspired by traditional narratives are derived from the distinctive western desert style of fluted carving of fine parallel lines carved into men’s ceremonial shields and boomerangs. Tjungurrayi has transposed these designs onto canvas utilising both the motifs and the sculptural elements to create an extra dimension to the surface of his canvases. 1. Ryan, J., ‘Shock of the Ancient made New’, in Laverty, C., Laverty, E., and Kleimeyer, J., Beyond Sacred: Recent painting from Australia’s remote Aboriginal communities: The collection of Colin and Elizabeth Laverty, Hardie Grant Books, Prahran and Bambra Press, p. 16

WARLIMPIRRNGA TJAPALTJARRI

born c.1959 MARAWA, 2004 synthetic polymer paint on linen 182.0 x 242.0 cm bears inscription verso: artist’s name, size and Papunya Tula Artists cat. WT0410052 ESTIMATE: $80,000 – 120,000

PROVENANCE Papunya Tula Artists, Alice Springs, Northern Territory Gallery Gabrielle Pizzi, Melbourne (label attached verso) Private collection, Sydney, acquired from the above in April 2005 This work is accompanied by a certificate of authenticity from Papunya Tula Artists, Alice Springs. When Warlimpirrnga Tjapaltjarri arrived in the settlement at Kiwirrkurra (a remote community near the Pollock Hills in Western Australia) in 1984, having led his small family group out of the desert for the last time, he not only made international headlines as one of “the last uncontacted nomadic tribesmen of the world”, but was subsequently catapulted into a vastly different way of life. His Pintupi relatives had almost all been brought out of the Gibson Desert decades earlier by the infamous ‘Pintubi Patrols’, settling in Ikuntji and Papunya. The extended time Warlimpirrnga spent living a traditional way of life on remote lands west of Lake MacKay and his precocious attainment of the role of maparntjarra (healer) commanded instant respect amongst his relatives in Kiwirrkurra and further afield. Notwithstanding these auspicious beginnings, Warlimpirrnga’s experience in joining the community and seeking out art materials to paint his tjukurrpa, were no different to that of his relatives Freddy West Tjakamarra or Yanyatjarri Tjakamarra, who some decades earlier had introduced the men’s stories of the Tingari to Western art audiences.1 Marawa, 2004, is a distinctive dichromatic painting of interlocking Tingari designs carefully mapped out in Warlimpirrnga’s subtly individual fine, shimmering meandering lines and stippled dots on an ochre and black ground. Pintupi men had a profound influence on the emergence of Western Desert art in Papunya from the early 1970s, with artists such as Ronnie Tjampitjinpa, Uta Uta Tjangala and Antatjari

Tjakamarra presenting their sacred stories of Tingari creation of the natural landscape and advocating for their people’s return to country (leading to the establishment of Kintore and Kiwirrkurra). These songlines were gradually adapted from and reflected the potency of ritual sand drawings and incised objects. On the most literal level of interpretation, Marawa, like many other Western Desert paintings, is a “map”, a topographical aerial view of ancestral lands combined with a codified mnemonic system of symbols conveying the tjukurrpa and ceremonies associated with this site west of Wilkinkarra (Lake Mackay). This tight and well-resolved composition is a painting referring this site of rockhole and soakage water from which Warlimpirrnga came, a vast land that he continues to roam to this day. Oral histories speak of the Tingari beings arriving at this site from the west, travelling beneath the earth’s surface to create the ridges and windswept sandhills that unfold across the canvas, pulsating and radiating beyond the physical limits of the rectilinear canvas. While Warlimpirrnga’s abstraction, similar to that of George Tjungurrayi, undoubtedly creates a range of rich optical effects, reminiscent of Western Modernist artworks, the cosmological power of his artworks surpasses their aesthetic and formal qualities. The partial revelation of certain elements of the artist’s tjukurrpa, keeping most hidden from the uninitiated, quietly commands recognition and respect of the persistence and beauty of aboriginal culture, the world’s oldest continual line, and the law that underpins it. Warlimpirrnga’s skill and confidence as a painter has led to global recognition of his work and its stories, with his paintings held in prestigious public collections and exhibited internationally alongside the best examples of contemporary art. 1. a Tjukurrpa, regionally specific to the Western Desert, referring to travelling ancestral beings responsible for the creation of the landscape and generally depicted as interconnected concentric circles LUCIE REEVES-SMITH

PATRICK TJUNGURRAYI

(c.1935 – 2017) NGARRU, 2008 synthetic polymer paint on Belgian linen 121.0 x 153.0 cm bears inscription verso: artist’s name, size and Papunya Tula Artists cat. PT0803074 ESTIMATE: $10,000 – 15,000

PROVENANCE Papunya Tula Artists, Alice Springs, Northern Territory Gallery Gabrielle Pizzi, Melbourne (label attached verso) Private collection, Melbourne EXHIBITED Papunya Tula 2009, Gallery Gabrielle Pizzi, Melbourne, 14 April – 9 May 2009 (as ‘Designs Associated with the Site of Ngarru’) Patrick Tjungurrayi was born in the Western Desert at Yalangerri (near Jupiter Well) on the Canning Stock Route, about 200 kilometres west of Wilkinkarra (Lake Mackay) around 1940 and lived with his family group moving from rockhole to rockhole through Pintupi country. By the 1940s Anangu (people of the Western Desert cultural bloc) were vacating their homelands to various settlements on the fringe of the desert. In the late 1950s Tjungurrayi’s group walked out of the desert and settled at Balgo. In the mid-1980s after many years of moving across the country Tjungurrayi returned to Balgo, where he began painting (under the name Patrick Olodoodi Tjungurrayi) for the newly

established Warlayirti Artists. This great migration out of the desert during the mid-twentieth century and then back again in the 1980s shaped his life and art. A few years later he moved to Kiwirrkurra and began painting for Papunya Tula Artists but he returned regularly to Balgo. At first he painted in different styles, depending on whether he was in Balgo or Kiwirrkurra, but over time developed a hybrid of the two. In combining the colour of Balgo art with the geometry of the classic Papunya Tula style, his paintings symbolically reunite Anangu culture from around Wilkinkarra. Tjungurrayi regularly painted his country around Yalangerri and the setting for this painting is the lake at Ngarru, west of Jupiter Well in the Gibson Desert, where a large group of mythical ancestral Tingari Men camped on their journey east to Tarkul and on to Wilkinkarra (Lake Mackay). The designs in the painting relate to those used in rituals associated with the Tingari where the law is revealed to initiates. The painting evokes the spiritual nature of the landscape, endowed by the life-sustaining powers of the ancestors.

NINGURA NAPURRULA

(c.1938 – 2013) WOMEN AT NGAMINYA, 2005 synthetic polymer paint on linen 210.0 x 280.0 cm bears inscription verso: artist’s name, size and Papunya Tula Artists cat. NN0504019 ESTIMATE: $80,000 – 120,000

PROVENANCE Papunya Tula Artists, Alice Springs, Northern Territory Pool Party Art Auction, Art Gallery of New South Wales, Sydney, 3 November 2005, lot 42 Private collection, Sydney EXHIBITED Wonderful World: celebrating the University of South Australia’s new Anne And Gordon Samstag Museum of Art, Anne And Gordon Samstag Museum of Art, University of South Australia, Adelaide, 12 October – 7 December 2007 LITERATURE Pool Party Art Auction catalogue, Art Gallery of New South Wales, Sydney, 3 November 2005, cat. 42 (illus. and front cover) Green, E., and Hansen, D., et al., Wonderful World: celebrating the University of South Australia’s new Anne And Gordon Samstag Museum of Art, Anne And Gordon Samstag Museum of Art, Adelaide, 2007, p. 41 (illus.)

Women at Ngaminya was painted when Napurrula was at the peak of her powers, a decade before she passed. It is one of a small number of major large canvases made around that time. These include Untitled (Wirrulnga), 2000, in the collection of the Art Gallery of New South Wales, Sydney, 2 Women at Wirrulnga, 2004, and two untitled paintings from 2004 and 2006, the latter three in the collection of the National Gallery of Australia, Canberra. 3 Women at Ngaminya features Napurrula’s distinct method of layered, undulating paint application that is based on the technique desert women use to depict narratives in palimpsests of drawing in sand. The imagery celebrates a fecund, landscape redolent with ancestral women’s powers that are tapped by successive generations of Pintupi women. Wirrulnga is associated with birth and the lines emanating from the roundels in the painting allude to pregnant women generally, and specifically to an ancestral woman of the Napaltjarri sub-section. 1. Perkins, H., Tradition Today: Indigenous Art in Australia, Art Gallery of New South Wales, Sydney, 2004, p. 159 (illus.) 2. Perkins, H., pp. 108 – 9 (illus.) 3. For Untitled, 2006, see Cubillo, F. and W. Caruana (eds), Aboriginal & Torres Strait Islander Art: Collection highlights, National Gallery of Australia, Canberra, 2010, p. 63 (illus.)

Ningura Napurrula was one of the undisputed leaders of the group of Pintupi women artists who emerged on the public art scene through the Papunya Tula Artists cooperative in the second half of the 1990s. The widow of one of the founding members of the Papunya painting group in the early 1970s, Yala Yala Gibbs Tjungurrayi (c.1928 – 1998), Napurrula was instrumental in the collaborative Kintore Women’s Painting1 made for the Western Desert Dialysis Appeal in 1999 that announced the arrival of a new direction in desert painting. Included in the project, was another large canvas completed by Kintore men and both these works belong to a continuing tradition of collaborative art making as practiced in ritual circumstances, now extended to creating art to raise funds for specific community needs. Painted in April 2005, Women at Ngaminya was held over by Papunya Tula Artists to be placed in another communal project, this time to raise funds through the Charles Perkins Children’s Trust to build swimming pools in the communities of Maningrida in Arnhem Land and Kintore (Walungurru) in the lands of the Pintupi in the Gibson Desert. The so-called Pool Party auction was held on the fortieth anniversary of the famous 1965 Freedom Rides lead by Charles Perkins to challenge segregation in rural Australian towns and included the famous protest at the public swimming pool in Moree, New South Wales.

WALLY CARUANA

MAKINTI NAPANANGKA (c.1930 – 2011) LUPULNGA, 2008 synthetic polymer paint on linen 117.0 x 121.0 cm bears inscription verso; artist’s name, size and Papunya Tula Artists cat. MN0809079 ESTIMATE: $15,000 – 20,000

PROVENANCE Papunya Tula Artists, Alice Springs, Northern Territory Alcaston Gallery, Melbourne (cat. AK14811) Private collection, Melbourne

This work is accompanied by a certificate of authenticity from Papunya Tula Artists, Alice Springs which states: ‘This painting depicts designs associated with the site of Lupulnga, a rockhole situated south of the Kintore Community. The Peewee (small bird) Dreaming is associated with this site, as well as the Kungka Kutjarra or Two Travelling Women Dreaming. During mythological times a group of ancestral women visited this site holding ceremonies associated with the area, before continuing their travels north to Kaakuratintja (Lake MacDonald), and later the Kintore area. The lines in the painting represent spun hairstring which is used in the making of nyimparra (hair-belts), which are worn by both men and women during ceremonies.’

IMPORTANT JIRRAWUN PAINTINGS FROM THE HELENE TEICHMANN COLLECTION • LOTS 23 – 29

JIRRAWUN ARTISTS: IMPORTANT PAINTINGS FROM THE HELENE TEICHMANN COLLECTION LOTS 23 – 29 It is with great pleasure that Deutscher and Hackett offer important paintings by Jirrawun artists from the collection of Helene Teichmann. Helene has a strong connection with Jirrawun Arts, being a former Chairman of the organisation and the works from her collection represents the artists at their prime. Each painting tells a story of the Gija lived experience from the conflict of colonial expansion as shown in the works by Freddie Timms and Peggy Patrick to Phyllis Thomas’ expression of traditional body paint designs and Paddy Bedford’s unique depiction of the Kimberley landscape and history. We are most grateful to Quentin Sprague for his fine introductory essay based on a longer composition he wrote in the Bathurst Regional Gallery exhibition catalogue Looking Forward Looking Back, an exhibition where the majority of the paintings were exhibited.

HOW TO DESCRIBE BROKEN L ANDSCAPES The most widely circulated story of Jirrawun Arts – the unique Aboriginal-owned organisation that operated in the East Kimberley region of Western Australia for a decade from 1998 – frames it as a shining example of the Gija notion of Two-Way. Two-Way is a simple idea: it refers to the bringing together of two previously separate worlds. The artists who worked with the exMelbourne gallerist Tony Oliver to form Jirrawun – key among them Freddie Timms, Paddy Bedford, Peggy Patrick, Phyllis Thomas, Rusty Peters, Goody Barrett and Rammey Ramsey – surely understood this well. They were born before the introduction of equal wages brought to an end the broadscale Aboriginal participation in the northern pastoral industry: theirs was a time when working between worlds was the way of Kimberley life; not an option, but a necessity. But as specific as it is, Two-Way carries a wider resonance. In the case of Australia – a nation that remains heavily weighted by its colonial inheritance – the phrase evokes the bringing together of settler-Australian, or settler-colonial, ways, with Aboriginal ways. The notion is not strictly Gija in formation. One hears it widely, the kind of ideal it expresses has often manifested in Australia as two worlds with largely antagonistic histories try to find a means to move forward as one. Often such ideals are symbolic in form, more aspiration than actuality. In 2017, for example, this was captured on a national scale by the Yolngu Matha word Makarrata: an idea not dissimilar to Two-Way that was attached to the political ideals that drew together around the Uluru Statement From The Heart, and the

attendant debate around constitutional recognition for First Nations people. Described as a ‘complex’ word, Makarrata refers to a tribal mediation between warring parties: a coming together after the storm of conflict. Like Two-Way, the fashion in which it crystalises something longed-for yet held largely out of reach grants it a certain alluring appeal. It’s easy to think that it offers something ameliorative, that it lays history at rest, that it forgives. But such concepts are often layered with meanings: they can be read in more than one way. As Merrikiyawuy Ganambarr-Stubbs, a Yolngu woman of the Gumatj clan and principal of the Yirrkala school in northeast Arnhem Land, explained in 2018 to the ABC, Makarrata at one level speaks of a spear penetrating the thigh of a wrongful party: tribal punishment in its barest form. This is done, Ganambarr-Stubbs said, ‘so that they cannot hunt any more, that they cannot walk properly, that they cannot run properly; to maim them, to settle them down, to calm them – that’s Makarrata.’ No surprise, perhaps, that in a political context where symbolism too often trumps meaningful action, the word’s more general meaning was the one taken to heart: peace after a dispute; a negotiation after which each party looks upon the other with no bad feeling. Although rooted in another part of Aboriginal Australia, Two-Way can be seen in similar terms: a symbolic ideal that nonetheless speaks of the more direct sacrifices that working between cultures truly demands. It can be taken at face value, but it might equally be seen as a challenge as much as anything, a laying down of the gauntlet that asks what it would take for the broken landscapes left in the wake of colonisation to once again become places of vitality and health.

PADDY BEDFORD AND BLAYDE, 2005 photograph by Peter Eve

Among the Gija people who first championed the concept of Two-Way was the late Hector Jandany. In the early 1980s he helped establish a school in the East Kimberley community of Warmun, putting in place a series of lessons that bookended for children a day’s lessons. Painting formed part of this: Jandany was among those who used the medium as a key teaching tool at a time that artists in the community were working towards the invention of what would become known as East Kimberley art, the movement most closely associated with its initial figurehead, Rover Thomas. Like them, Jandany would transcribe his iconic images onto whatever was at hand: a sheet of cardboard, perhaps, or a plywood off-cut. When the teaching was done, these images would be hung in the classroom: evidence, one imagines, of an ideal striving for actual form. Years later, when Jandany met Tony Oliver, who had travelled to the Kimberley at the invitation of the late artist Freddie Timms, he imparted the same lesson. Oliver and Timms were intent on creating a new kind of bush art studio, soon to become Jirrawun Arts, and Jandany had a simple instruction: the enterprise had to be underpinned by the notion he held dear: Two-Way had to lie at its heart.

Under Oliver’s stewardship, Jirrawun Arts took this idea and ran with it. Over a decade that traced the most pronounced period of Australia’s market-driven fascination with Aboriginal art, the organisation and its artists went from strength to strength. The works that constitute the collection presented here represent the organisation’s high watermark: they were made in the years where the vision that underwrote Jirrawun came as close as it ever would to some kind of fulfillment. For this reason, Two-Way threads its way through these paintings like a kind of mantra. It’s not simply that they reach out for some kind of resolution to difficult histories (although a number of them do exactly this), but more that they speak a language of exchange that we are yet to fully comprehend. Take, for example, Peggy Patrick’s Mistake Creek, 2004, a work that draws forth its energies not just from the story of the Mistake Creek massacre, in which Patrick’s own family were killed, but from the graphic sensibilities of Pop Art’s fey master, Andy Warhol. This is a different kind of coming-together, but it’s equally as charged. At one level, it’s simply evidence of how Oliver himself helped shape the Jirrawun vision. As a young art dealer he had been an enthusiastic advocate

IMPORTANT JIRRAWUN PAINTINGS FROM THE HELENE TEICHMANN COLLECTION • LOTS 23 – 29

of American art, and had in Melbourne staged exhibitions by figures as celebrated as Warhol and Philip Guston. What resulted in the Kimberley was a kind of doubling between artistic traditions: Gija painting on the one hand, and the currents of American modernism and Pop Art on the other. This is perhaps most evident in the simple fact of scale and intensity that came to mark much of the work associated with the Jirrawun artists. These are qualities that have always lain latent in Aboriginal art – from its earliest days it presented a core difference wrapped in the familiarity of the painted medium – but the work presented here reaches further. It reminds us that in the artists of Jirrawun Oliver found a reciprocal willingness to take him in, to use their knowledge to shape his. The works that resulted seemed often to argue that the simple function of art was to answer the very question Two-Way first strived to articulate: how might the space between two previously irreconcilable worlds be bridged? Yet if these paintings do provide an answer, it is far from an easy one. If we are to understand it in the fashion proposed above, Two-Way carries with it a challenge for white Australia. It is often romanticised, as if the phrase alone creates the outcome it seeks, yet little attention is given to how difficult it is to reach that mix of consensus, respect and compromise that actively working between cultures demands. Little attention is given to that fact that in Australia such ideals often falter and fade: that they often leave dashed hopes in their aftermath. In this, they become a measure of how far we, as a nation, have to go. The idea that art might somehow reconcile the colonial inheritance of a nation is, of course, as admirable as it is impossible. Surely Jirrawun, as both a group of artists and as an organisation, knew this. That’s why the paintings, even as they might be called ‘beautiful’ without a second thought, are also so hard, so evocative of the violence that carried settlers into the Kimberley. It’s why an artist like Paddy Bedford became synonymous not just with paintings of country, but with the story of the Bedford Downs massacre: an act perpetrated by Paddy Quilty, the same white man who gave Bedford his gardiya name. Such contrasts betray the patterns of the frontier, the way it continues to underscore so clearly the interactions that play out between Aboriginal and non-Aboriginal people in this country. It’s for this reason that these paintings show aspects of two worlds vying for common ground: a space staged here as the symbolic space of the painted canvas, but which elsewhere might be understood as a political space, or elsewhere again a legal one, even one of revolutionary promise.

PEGGY PATRICK – MISTAKE CREEK MASSACRE SITE, 2005 photograph by Peter Eve

As we look at these paintings more than a decade since they were first made, they urge a more complicated understanding of TwoWay. Two separate ways can perhaps never become one without true sacrifice. Perhaps this is the lesson that the artists of Jirrawun sought to impart: without the wrongful party being ritually maimed, without that party being forced to settle, to be calmed, to be halted from hunting with impunity on Aboriginal land, Two-Way is nothing at all. QUENTIN SPRAGUE

PADDY NYUNKUNY BEDFORD (c.1922 – 2007) JINANGGANY – CATTLE CREEK, 2004 ochres and pigment with synthetic binder on Belgian linen 150.0 x 180.0 cm signed with initials verso: PB bears inscription verso: title and Jirrawun Arts cat. PB 6-2004-172 ESTIMATE: $120,000 – 150,000

PROVENANCE Jirrawun Art Corporation, Wyndham, Western Australia Helene Teichmann collection, Melbourne EXHIBITED Looking Forward – Looking Back: Contemporary Works from the East Kimberley, Bathurst Regional Art Gallery, New South Wales, 12 October – 9 December 2018 (illus. in exhibition catalogue, p. 17) LITERATURE Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 154 (illus.)

IMPORTANT JIRRAWUN PAINTINGS FROM THE HELENE TEICHMANN COLLECTION • LOTS 23 – 29

FREDDIE TIMMS (c.1946 – 2017) JACK YARD, 2005 ochres and pigment with synthetic binder on two Belgian linen panels diptych 180.0 x 300.0 cm overall each bears inscription verso: artist’s name, title, date and Jirrawun Arts cat. FT 3-2005-225 A+B ESTIMATE: $25,000 – 35,000 (2) PROVENANCE Jirrawun Art Corporation, Wyndham, Western Australia Helene Teichmann collection, Melbourne RELATED WORK Jack Yard, 2004, ochres and pigments with synthetic binder on linen, 150.0 x 360.0 cm overall, in the collection of Art Gallery of New South Wales, Sydney, illus. in Perkins, H., One Sun One Moon: Aboriginal Art in Australia, Art Gallery of New South Wales, Sydney, 2007, pp. 244 – 245 and front cover

IMPORTANT JIRRAWUN PAINTINGS FROM THE HELENE TEICHMANN COLLECTION • LOTS 23 – 29

RAMMEY RAMSEY born c.1935 WARLAWOON COUNTRY, 2005 ochres and synthetic polymer paint on Belgian linen 180.0 x 150.0 cm bears inscription verso: artist’s name and Jirrawun Arts cat. RR 2-2005-59 ESTIMATE: $12,000 – 15,000

IMPORTANT JIRRAWUN PAINTINGS FROM THE HELENE TEICHMANN COLLECTION • LOTS 23 – 29

PEGGY PATRICK born c.1935 MISTAKE CREEK, 2004 ochres and pigment with synthetic binder on Belgian linen 150.0 x 180.0 cm signed verso: Peggy bears inscription verso: title and Jirrawun Arts cat. PP 102004-19

ESTIMATE: $10,000 – 15,000

PHYLLIS THOMAS (1933 – 2018) GEMERRE, 2005 ochres and pigment with synthetic binder on four Belgian linen panels 200.0 x 200.0 cm overall first panel bears inscription verso: artist’s name and date each bears inscription verso: artist’s initials, title and Jirrawun Arts cat. PT 7-2005-28A - D ESTIMATE: $8,000 – 12,000 (4)

IMPORTANT JIRRAWUN PAINTINGS FROM THE HELENE TEICHMANN COLLECTION • LOTS 23 – 29

RUSTY PETERS born 1935 SUGAR LEAF DREAMING, 2008 ochres and pigment with synthetic binder on Belgian linen 120.0 x 120.0 cm bears inscription verso: artist’s name, title and Jirrawun Arts cat. RP 2008 04139 ESTIMATE: $4,000 – 6,000

PETER EVE born 1968 FREDDIE TIMMS – NED KELLY, 2005 PEGGY PATRICK – MISTAKE CREEK MASSACRE SITE, 2005 RAMMEY RAMSEY WITH BRANDING IRON AND FAMILY, 2005 RUSTY PETERS – BLACK ROCK POOL, 2005 PADDY BEDFORD AND BLAYDE, 2005 PHYLLIS THOMAS, 2005 pigment print on cotton rag 78.0 x 52.0 cm (5) 52.0 x 78.0 cm (1) edition: 1/20 each signed with initials and numbered below image ESTIMATE: $4,000 – 6,000 (6)

PROVENANCE Sherman Galleries, Sydney (stamped verso) Helene Teichmann collection, Melbourne EXHIBITED Beyond the Frontier: Portraits and landscapes featuring the artists from Jirrawun Arts based in the Kimberley, Sherman Galleries, Sydney, 7 – 30 April 2005 Looking Forward – Looking Back: Contemporary Works from the East Kimberley, Bathurst Regional Art Gallery, New South Wales, 12 October – 9 December 2018

IMPORTANT JIRRAWUN PAINTINGS FROM THE HELENE TEICHMANN COLLECTION • LOTS 23 – 29

PROPERTY OF VARIOUS VENDORS

EMILY KAME KNGWARREYE (c.1910 – 1996) CEREMONY, 1994 synthetic polymer paint on linen 152.0 x 121.5 cm signed lower right: Emlly [sic] signed verso: Emlly [sic] bears inscription verso: artist’s name, size and Delmore Gallery cat. 94H054 ESTIMATE: $45,000 – 65,000

PROVENANCE Commissioned by Delmore Gallery, via Alice Springs, Northern Territory William Mora Galleries, Melbourne Applied Chemicals Collection, Melbourne Deutscher and Hackett, Melbourne, 29 November 2007, lot 35 Private Collection, Sydney EXHIBITED Of My Country: Emily Kame Kngwarreye, The Applied Chemicals Collection, Bendigo Art Gallery, Victoria, 1 May – 30 May 1999; Hamilton Art Gallery, Victoria, 4 June – 10 July 1999; Swan Hill Regional Gallery, Victoria, 16 July – 22 August 1999; Wagga Wagga Gallery, New South Wales, 27 August – 19 September 1999; Mornington Peninsula Regional Gallery, Victoria, 28 December 1999 – 2 February 2000; George Adams Gallery, Victorian Arts Centre, Victoria, 31 March – 30 April 2000 (illus. in exhibition catalogue) This work is accompanied by a certificate of authenticity from Delmore Gallery, via Alice Springs which states: ‘On this canvas, the artist’s choice of a rich yellow represents the most important plant in her custodianship, namely the “Anooralya”, a hardy and fertile plant that provides both a tuber vegetable and a seed-bearing flower called “kame” – Emily’s tribal name. Other colours reflect the time of the season when particular bush flowers flourish. These flowers contain seeds that are collected to make types of seed cake, damper, medicines and love potions. Other colours symbolises the ‘ndorkwa’, or bush plum, when unripe. The dots being placed in lineal fashion and placed amongst lines, connects with the practise of anointing the body with lineal designs during ceremony, thus adding another dimension of celebration in the execution of this painting. Ceremony reinforces through narrative, the significance of this knowledge. As well, it teaches basic social codes and obligations through her paintings, she serves to reinforce her knowledge amongst those who are to carry on after her.’

EMILY KAME KNGWARREYE (c.1910 – 1996) UNTITLED, 1992 synthetic polymer painting on linen 149.0 x 121.0 cm bears inscription verso: artist’s name and Delmore Gallery cat. 92H028 ESTIMATE: $30,000 – 40,000

PROVENANCE Commissioned by Delmore Gallery, via Alice Springs, Northern Territory Chapman Gallery, Canberra (inscribed verso) Private collection, Melbourne, acquired from the above in 1995 This work is accompanied by a certificate of authenticity from Delmore Gallery, via Alice Springs which states in part: ‘Emily’s country, Alalgura, has many varieties of bush tucker and animals associated with it. Often she will select a tree, vine or fruit bearing plant, whose seed, fruit, leaves and flowers will lie on, above or below the earth and intermingle with the other forms of life in the preferred area. Each work brings an enthusiastic verbal patter about her country.’

CHRISTINE YUKENBARRI NAKAMARRA born 1977 WINPURPURLA, 2010 synthetic polymer paint on linen 150.0 x 75.0 cm bears inscription verso: artist’s name, size, Warlayirti Artists cat. 469/10 and Alcaston Gallery cat. AK16649

PROVENANCE Warlayirti Artists, Balgo Hills, Western Australia Alcaston Gallery, Melbourne (stamped on stretcher bar verso) Private collection, Melbourne EXHIBITED Christine Yukenbarri: New Paintings, Alcaston Gallery, Melbourne, 8 February – 4 March 2011

ESTIMATE: $7,000 – 9,000 This work is accompanied by a certificate of authenticity from Warlayirti Artists, Warakurna.

EUBENA NAMPITJIN (c.1921 – 2013) WATI KUTJARRA, 2004 synthetic polymer paint on linen 150.0 x 75.0 cm bears inscription verso: artist’s name, size, Warlayirti Artists cat. 490/04 and Alcaston Gallery cat. AK10893 ESTIMATE: $12,000 – 15,000

PROVENANCE Warlayirti Artists, Balgo Hills, Western Australia Alcaston Gallery, Melbourne Private collection, Melbourne EXHIBITED Eubena Nampitjin, Alcaston Gallery, Melbourne, 8 September – 2 October 2004 and Alcaston Gallery at Melbourne Art Fair, Melbourne, 29 September – 4 October (illus. in exhibition catalogue, pl. 26)

EUBENA NAMPITJIN (c.1921 – 2013) KINYU, 2005 synthetic polymer paint on linen 180.0 x 150.0 cm bears inscription verso: artist’s name, size and Warlayirti Artists cat. 268/05 ESTIMATE: $20,000 – 30,000

PROVENANCE Warlayirti Artists, Balgo Hills, Western Australia Private collection Sotheby’s, Sydney, 20 October 2008, lot 136 Private collection, Melbourne

TJUMPO TJAPANANGKA (c.1929 – 2007) UNTITLED, 2002 synthetic polymer paint on linen 180.0 x 120.0 cm bears inscription verso: artist’s name, size and Warlayirti Artists cat. 79-02

PROVENANCE Warlayirti Artists, Balgo Hills, Western Australia William Mora Galleries, Melbourne (stamped verso) The Collection of William and Lucy Mora, Melbourne Deutscher and Hackett, Melbourne, 21 July 2010, lot 51 Private collection, Melbourne

ESTIMATE: $15,000 – 20,000

PADDY NYUNKUNY BEDFORD

(c.1922 – 2007) CAMEL GAP, 2001 ochres and pigments with synthetic binder on linen 180.0 x 150.0 cm signed with initials verso: PB ESTIMATE: $80,000 – 120,000

PROVENANCE Jirrawun Arts, Kununurra, Western Australia (cat. PB 3-2001-97) RAFT Artspace, Darwin Private collection, Darwin, acquired from the above in 2002 EXHIBITED Four Men, Four Paintings, RAFT Artspace, Darwin, March 2001 (as ‘Goanna Dreaming – Camel Gap’) Paddy Bedford, Museum of Contemporary Art, Sydney, 6 December 2006 – 15 April 2007, then touring to: Art Gallery of Western Australia, Perth, 12 May – 22 July 2007; Bendigo Art Gallery, Victoria, 11 August – 16 September 2007; University Art Museum, University of Queensland, Brisbane, 16 November 2007 – 1 March 2008 LITERATURE Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, pp. 36 (illus.), 37, 149 (illus.) From the time he first began painting on canvas in 1998, it took less than a decade for Paddy Bedford to be one of the most sought-after contemporary artists in Australia’s metropolitan galleries with collectors and museum curators keenly chasing his works at commercial exhibitions in East coast capitals. Like many of the first generation of contemporary indigenous artists, Paddy Bedford had lived a long and eventful life before taking up a brush to apply pigments and ochres to a stretched canvas of Belgian linen. As Michael Dolk comments in his introduction to the 2007 retrospective catalogue for the Museum of Contemporary Art, Sydney ‘Paddy Bedford’s paintings articulate a complex dialectic between modern materials and traditional pictorial conventions, contemporary experience and ancient belief systems’.1 Bedford painted with a deep sense of history and cultural responsibility, using stories from his father’s country, or his mother’s and uncle’s country. Bedford explored the rich history of the east Kimberley and the important stories that have mapped its past, painting the bones of the

landscape with the waterholes, stockyards and roads that he traversed all his life. Within his canvases, historical events and more mundane stories about daily life on cattle stations co-exist creating a body of work with profound and lyrical knowledge of the land and its creation stories. Camel Gap, 2001 documents an evolution in his painting style and characterises Bedford’s link between the more familiar style of the earlier East Kimberley painters and his own innovative changes in style and technique in representations of country. Camel Gap is a story from the artist’s mother’s traditional lands that illustrates the shared recent history of Gija and non-Aboriginal people. Known as Gernawarliyan to the local Gija people, it is located to the south-east of Bedford Downs adjacent to Marty’s bore, a few kilometres east of the Springvale – Lansdowne Road. It is connected to a ngarranggarni (Dreamtime) story of the goanna Garndoowoolany who camped here. Garndoowoolany called out to Marranyi, the dingo, who he saw at the top of the hill. It was here that Marranyi got stuck and became part of the rock. Its English name refers to the shape of the hill and also to the Afghan cameleers who, in the early twentieth century, travelled past this place on their journey south from the port at Wyndham to remote Kimberley communities and further afield for trade. Until the time of his passing in 2007, Bedford continued to experiment with form and pictorial convention, his use of wet-on-wet painting techniques and gestural mark making elevated his work to new heights of contemporary expression. With his dramatic monochromatic contrasts and hints of pure figuration, his simple, minimalist approach was in stark contrast to the more recognised desert (dot) paintings that had become so-well known before the advent of the Jirrawun movement. 1. Storer, R., ‘Paddy Bedford’ in Michael, L., Paddy Bedford, Museum of Contemporary Art, Sydney 2006, p. 11

CRISPIN GUTTERIDGE

FREDDIE TIMMS (c.1946 – 2017) JARLALU COUNTRY, 2001 natural earth pigments and synthetic binder on linen 122.0 x 135.0 cm bears inscription verso: title, CHAPMAN, and Jirrawun Arts cat. FT32001-120 ESTIMATE: $10,000 – 12,000

PROVENANCE Jirrawun Arts, Kununurra, Western Australia Chapman Gallery, Canberra Private collection, Brisbane, acquired from the above in December 2001 Deutscher and Hackett, Melbourne, 13 June 2018, lot 91 Private collection, Sydney EXHIBITED Seven Senior Aboriginal Artists, Chapman Gallery, Canberra, 7 – 30 December 2001 This work is accompanied by a certificate of authenticity from Jirrawun Arts, Kununurra.

RAMMEY RAMSEY born c.1935 WARLAWOON COUNTRY, 2007 ochres and pigments with synthetic binder on linen 150.0 x 180.0 cm bears inscription verso: artist’s initials and Jirrawun Arts cat. RR 11 2007 147

PROVENANCE Jirrawun Arts, Wyndham, Western Australia RAFT Artspace, Darwin Private collection, Darwin EXHIBITED Last Tango at Wyndham, RAFT Artspace, Darwin, 22 February – 15 March 2008, cat. 4

ESTIMATE: $10,000 – 15,000

CONTEMPORARY INDIGENOUS ART FROM THE MACLEAN COLLECTION PART 1: LOTS 39 – 56 PART 2: LOTS 80 – 100 Deutscher and Hackett are delighted to offer important works of art by indigenous artists from the Maclean collection. With a strong focus on acquisitions from the communities of Arnhem Land and the newer art centres in the APY lands, the collection includes significant work by many of the most well-known artists from these communities at the heights of their creativity. For more than a decade the Macleans selected works from major exhibitions at galleries in Melbourne and Sydney, augmented by annual pilgrimages to indigenous art festivals such as Desert Mob in Alice Springs and the NATSIAA and associated exhibitions held in Darwin each August. Trips to remote communities also enabled the development of strong relationships with art centre co-ordinators and friendships amongst artists. Anchoring the collection are paintings from Arnhem Land executed on both stringybark bark and on the hollow trunks of eucalypts. Exemplified by the extraordinary Untitled (White Circles), 2015 by Yolngu painter Nyapanyapa Yunupingu, renowned for the spontaneity and freeness of her mark making, this large painting on bark was selected for inclusion in the 2015 NATSIAA exhibition at the Museum and Art Galleries of the Northern Territory in Darwin. An accompanying work by Nyapanyapa painted on the trunk of a hollowed log, Untitled (Circles in Grey and Black), 2013 is also offered. Similarly, from the Buku Larrngay Mulka art centre at Yirrkala, a large and imposing painting by Madarrpa clan leader Djambawa Marawili is included in the auction. Painted in 2013 and portraying Burrut’tji (the lightning serpent) at the tidal mudflats at Baraltja, this imposing work, standing at over 2 metres tall, is one of the finest paintings by this artist to come to auction. Further highlights from Buku Larrngay include a bark painting and a suite of three poles depicting Garak – the Universe, by Gulumbu Yunupingu and we are pleased to include three paintings on bark by Nonggirrnga Marawili. Among the highlights from Maningrida Arts and Culture, is a painted Lorrkon (hollow log) by celebrated artist John Mawurndjul. Constantly striving for new ways to interpret his country, Mawurndjul’s innovative use of rarrk to map important locations is evident in the fine lineal clan designs that spread across the surface of this work. Likewise, from Maningrida is a monumental Mimih spirit by Crusoe Kurddal and two Yawkyawk spirits by Owen Yalandja. Other notable three-dimensional work from the collection include a fibre echidna by Riverland artist Yvonne Koolmatrie. A feature of the Maclean collection are vibrant and colourful paintings of country by artists for the Anangu Pitjantjatjara Yankunytjatjara communities (APY lands) of the tri-state border region of South Australia, the Northern Territory and Western Australia. Consistent with the up-scaling of much contemporary indigenous art from these communities, the Maclean collection embraced a number of monumental works by some of the current high-profile indigenous artists. These paintings by artists such as Sylvia Kantjupai Ken and Tjunkara Ken from Tjala Arts at Amata, and Maringka Baker and Kay Baker from Tjungu Palya Artists at Nyapari, South Australia represent mapped country and pulsate with colour and energy.

JOHN MAWURNDJUL

born 1952 LORRKON, 2007 natural earth pigments with synthetic binder on hollowed stringybark log 186.0 cm height ESTIMATE: $25,000 – 35,000

PROVENANCE Maningrida Arts and Culture, Maningrida, Northern Territory (cat. 4014–07) Gallery Gabrielle Pizzi, Melbourne Maclean collection, Melbourne, acquired from the above in November 2007 EXHIBITED John Mawurndjul, Gallery Gabrielle Pizzi in association with Maningrida Arts and Culture, Melbourne, 20 November – 22 December 2007

The western Arnhem Land version of the Lorrkon ceremony involves the singing of sacred songs to the accompaniment of the karlikarli, a pair of sacred boomerangs used as rhythm instruments. During the final evening of the ceremony, dancers decorate themselves with kapok down, or today, cotton wool and conduct much of the final segments of the ceremony in the secrecy of a restricted mens’ camp. The complete ceremony may stretch over a period of two weeks, but on the last night the bones of the deceased, which have been kept in a bark container or today wrapped in cloth and kept in a suitcase are taken out, painted with red ochre and placed inside the hollow log. This ceremony may take place years after the person has died.

This work is accompanied by a certificate of authenticity from Maningrida Arts and Culture, Maningrida which states: ‘The Lorrkon or bone pole coffin ceremony was the final ceremony in a sequence of mortuary rituals celebrated by the people of Arnhem Land. This ceremony involves the placing of the deceased’s bones into a hollow log which was decorated with painted clan designs and ceremonially placed into the ground where it remained until it slowly decayed over many years.

At first light on the final morning of the Lorrkon ceremony, the men appear, coming out of their secret bush camp carrying the pole towards the women’s camp. The two groups call to each other using distinct ceremonial calls. The women have prepared a hole for the pole to be placed into and when it is stood upright, women in particular kinship relationships to the deceased dance around the pole in a jumping / shuffling motion. The Lorrkon is then often covered with a tarpaulin and left to slowly decay.’

The log is made from a termite hollowed Stringybark tree (Eucalyptus tetradonta) and is decorated with totemic emblems.

THE MACLEAN COLLECTION PART 1 • LOTS 39 – 56

GULUMBU YUNUPINGU (c.1945 – 2012) GARAK (LARRAKITJ), 2011 natural earth pigments on hollow logs 189.0, 189.0 and 152.0 cm heights ESTIMATE: $15,000 – 20,000 (3)

PROVENANCE Buku–Larrnggay Mulka Arts, Yirrkala, Northern Territory (cats. 4112R, 4110X and 4110Y) Maclean collection, Melbourne, acquired from the above in September 2013

These works are accompanied by certificates of authenticity from Buku–Larrnggay Mulka which states in part: ‘This painting illustrates two dreamtime stories, which each represent different constellations, that the artist was told by her father as a child. The first story is about two sisters called Guthayguthay and Nhayay. Guthayguthay is the elder sister and sits at the biggest fire, she and Nhayay who is the younger sister and has a smaller fire. The elder sister is able to carry bigger firewood than the younger sister who can only carry small firewood. In the olden days these two sisters used to be people, but they turned into stars that sit in the sky under the Milky Way. The second story is about seven sisters who went out in their canoe called Djulpan. During certain seasons they go hunting for food and always come back with different types of food. They come back with turtle, fish, freshwater snakes and also bush foods like yams and berries. They can be seen in the sky of a night, seven stars that come out together. The stars come in the season when the food and berries come out; the stars will travel through the sky during that month until the season is over and they don’t come out until the next season.’

THE MACLEAN COLLECTION PART 1 • LOTS 39 – 56

GULUMBU YUNUPINGU (c.1945 – 2012) GARAK UNIVERSE, 2011 natural earth pigments on eucalyptus bark 90.0 x 56.0 cm (irregular) ESTIMATE: $5,000 – 7,000

PROVENANCE Buku–Larrnggay Mulka Arts, Yirrkala, Northern Territory (cat. 3995W) (label attached verso) Maclean collection, Melbourne, acquired from the above in July 2013 This work is accompanied by a certificate of authenticity from Buku–Larrnggay Mulka Arts, Yirrkala.

THE MACLEAN COLLECTION PART 1 • LOTS 39 – 56

NONGGIRRNGA MARAWILI born c.1939 YATHIKPA, 2013 natural earth pigments on eucalyptus bark 140.0 x 92.0 cm (irregular) bears inscription verso: Buku–Larrngay Mulka Arts cat. 4421S bears inscription on aluminium brace verso: Alcaston Gallery cat. AK18907

PROVENANCE Buku–Larrnggay Mulka Arts, Yirrkala, Northern Territory Alcaston Gallery, Melbourne Maclean collection, Melbourne, acquired from the above in January 2014 EXHIBITED Nonggirrnga Marawili: Yathikpa, Alcaston Gallery, Melbourne, 14 January – 14 February 2014

ESTIMATE: $6,000 – 8,000 This work is accompanied by a certificate of authenticity from Buku–Larrnggay Mulka Arts, Yirrkala.

NONGGIRRNGA MARAWILI born c.1939 GUYKTHUN, 2014 natural earth pigments on eucalyptus bark 154.0 x 64.0 cm (irregular) bears inscription verso: Buku–Larrngay Mulka Arts cat. 4581A and Alcaston Gallery cat. AK19734 ESTIMATE: $6,000 – 8,000

PROVENANCE Buku–Larrnggay Mulka Arts, Yirrkala, Northern Territory (label attached verso) Alcaston Gallery, Melbourne Maclean collection, Melbourne, acquired from the above in April 2015 EXHIBITED Nonggirrnga Marawili Lightning and the Rock, Alcaston Gallery, Melbourne, 7 April – 2 May 2015, cat. 8 (illus. in exhibition catalogue) This work is accompanied by a certificate of authenticity from Buku–Larrnggay Mulka Arts, Yirrkala.

THE MACLEAN COLLECTION PART 1 • LOTS 39 – 56

NYAPANYAPA YUNUPINGU

born c.1945 UNTITLED (CIRCLES IN GREY AND BLACK), 2013 natural earth pigments on hollow log 218.0 cm height ESTIMATE: $10,000 – 15,000

PROVENANCE Buku–Larrnggay Mulka Arts, Yirrkala, Northern Territory (cat. 4430Z) Roslyn Oxley9 Gallery, Sydney Maclean collection, Melbourne, acquired from the above in January 2014 EXHIBITED Nyapanyapa Yunupingu, My Sister’s Ceremony, Roslyn Oxley9 Gallery, Sydney, 9 January – 8 February 2014, cat. 30 This work is accompanied by a certificate of authenticity from Buku–Larrnggay Mulka Arts, Yirrkala.

NYAPANYAPA YUNUPINGU

born c.1945 UNTITLED (WHITE CIRCLES), 2015 natural earth pigments on eucalyptus bark 195.5 x 82.0 cm (irregular) bears inscription verso: Buku–Larrnggay Mulka Arts cat. 4740Z ESTIMATE: $25,000 – 35,000

PROVENANCE Buku–Larrnggay Mulka Arts, Yirrkala, Northern Territory Maclean collection, Melbourne, acquired from the above in September 2015 EXHIBITED National Aboriginal and Torres Strait Islander Art Award (NATSIAA), Museum and Art Galleries of the Northern Territory, Darwin, 7 August – 1 November 2015 (illus. in exhibition catalogue) This work is accompanied by a certificate of authenticity from Buku– Larrnggay Mulka Arts, Yirrkala which states: ‘Nyapanyapa’s work has been more valued for the spontaneity and texture of her hand. She expresses her capacity to live in the moment in the freeness of her mark making. There is no calculation or even regard for the audience in her renditions. Their final appearance is almost random. They are an expression of the movements of her hand as they happen to have taken place on that particular day. In early 2008 she made a dramatic departure from the previous conventions of Yolngu art. The grammatic tense which Volngu sing/paint/discuss the creation forces that shape their world is unknown to non-Indigenous. Sometimes simplified as ‘Dreamtime’ in English it conveys a temporal union

between prehistory, the present and the distant future. All of these time zones are happening simultaneously! This is the tense in which the creation events happened/are happening/will happen. All Volngu art until this point was either sacred and in this tense or decorative. Decorative paintings were expressly ‘ordinary’ and without meaning or story of any kind. But once prompted to treat the story of her almost fatal goring by a Buffalo in the seventies Nyapanyapa threw these conventions over and unleashed a unique set of personal narrative paintings revolving around her own experiences. This subjective, individualistic and linear narrative construction was totally out of step with all previous Volngu art. The first of these was so surprising it was entered in the 2008 Telstra NATSIAA Award. To bolster the chances of preselection an explanatory video was produced by the newly founded digital archive and studio attached to Buku-Larrnggay Mulka Centre, The Mulka Project. As it happened the video was completed after the bark had been accepted but the entry was varied to include the bark and video as a 30 installation. Another first was achieved when it won that prize in the Telstra Award. On the night she received the prize she had a nightmare of the Buffalo and vowed never to paint the beast again. From here she d/evolved into works that initially showed the forest without the Buffalo and then simple abstraction. This work was entered in the 2015 NATSIAA at MAGNT Darwin.’

THE MACLEAN COLLECTION PART 1 • LOTS 39 – 56

DJAMBAWA MARAWILI

born 1953 BARALTJPA, 2013 natural earth pigments on eucalyptus bark 235.0 x 80.0 cm (irregular) ESTIMATE: $12,000 – 15,000

PROVENANCE Buku–Larrnggay Mulka Arts, Yirrkala, Northern Territory (cat. 4314C) (label attached verso) Vivien Anderson Gallery, Melbourne Maclean collection, Melbourne, acquired from the above in May 2013 EXHIBITED Djambawa Marawili AM: Master of Ceremony, Vivien Anderson Gallery, Melbourne, 17 April – 11 May 2013, cat. 4 This work is accompanied by a certificate of authenticity from Buku–Larrnggay Mulka Arts, Yirrkala which states: ‘Baraltja is the residence of Burrut’tji (also known as Mundukul) the lightning serpent. It is an area of flood plains that drain into northern Blue Mud Bay. It is on country belonging to the Madarrpa and denotes an area of special qualities pertaining to fertility and the mixing of waters. From Madarrpa (and Dhalwau clan) land freshwater spreads onto the Baraltja flood plains with the onset of the Wet. A tidal creek into the Bay flows with the freshwater flushing the brackish mix into the sea over an ever shifting sandbar (the snake manifest). Freshwater enters the tidal mud flats at Baraltja that is residence of the Lightning Snake for the Madarrpa. The lightning Snake facing upstream, upon tasting the freshwater coming down stands on his tail and by way of spitting lightning into the sky communicates with the Ngungurrdulpuyngu and his contemporaries from other associated clans. The same can be said for the other who faces towards the south towards another Madarrpa area called Guminiyawiny, Numbulwar way, producing storm fronts and boomerang shaped jet streams with its message. These events are sung with the aid of Napunda the boomerang shaped click sticks that are represented by the same shapes of the jet–steams that feather the storms front. Songs associated with Baraltja are normally intoned at the completion of men’s ceremonv for the Madarroa and associate clans.

Wangupini or thunderheads are seen flicking lightning on the horizon in the deep water named Muurru connecting with Madarrpa ancestors of the Dhiliyalyal tribe who lived at Boway Ngipangwuy further down the coast. This Ancestral kinship tie is linked over sea country as well as the land and a cycle of events that also connect by lightning wind and rain has it so. The cloud is sung as femininity and fecundity, pregnant with life–giving freshwater. So as a harpoon travels or does lightning the estates are connected spiritually in a multi directional way – both to and from, a cyclic phenomenon which is chronicled in the sacred songs that narrate these Ancestral actions over land, through the sea and ether. It is worth noting that Yolngu ‘science’ portrays this energy burst as coming up from the land which is now recognised by Western science as the precursor to downward lightning ‘strikes’. From this beach Ancestral Hunters on seeing Dugong took their hunting harpoon and canoe out to the sea of Yathikpa in pursuit. The hunters were lured too close to a dangerous rock by the dugong seeking shelter. The dugong here feed on the Gamata, a sea grass that is a manifestation of flames on the sea bed. Wavy ribbons of seagrass sway in the sunlit water. Fire at this sacred site boiled the water capsizing the canoe. This is sometimes called an ancestral tide and it is speculated that this is the oral tradition of an ancient tsunami which initiates death and founds existing mortuary ceremonies in the region like the sacred sand sculpture yinapunapu which is a canoe shaped space which holds the contamination of decay at bay. The sacred harpoon changed into Dhakandjali the hollow log coffin/memorial pole that floats on the seas of Yathikpa and further afield within Blue Mud Bay, its directions connecting other Yirritja clans (Manggalili and Dhalwangu) through association of kin across the Bay.’

THE MACLEAN COLLECTION PART 1 • LOTS 39 – 56

GARAWAN WANAMBI born 1965 MARRANGU (LARRAKITJ), 2015 natural earth pigments on hollow log 218.0 cm height ESTIMATE: $8,000 – 12,000

PROVENANCE Buku–Larrnggay Mulka Arts, Yirrkala, Northern Territory (cat. 4786X) RAFT Artspace, Alice Springs Maclean collection, Melbourne, acquired from the above in September 2015 EXHIBITED Yirrkala Mob – Bangarra Boards, RAFT Artspace, Alice Springs, 5 – 26 September 2015 RELATED WORK Marrangu, 2013, natural pigments on wood, 181.0 cm height, in the collection of the Art Gallery of New South Wales, Sydney This work is accompanied by a certificate of authenticity from Buku–Larrnggay Mulka Arts, Yirrkala.

100

THE MACLEAN COLLECTION PART 1 • LOTS 39 – 56

GARAWAN WANAMBI born 1965 MARRANGU, 2015 natural earth pigments and synthetic binder on board 152.0 x 121.5 cm bears inscription verso: Buku–Larrngay Mulka Arts cat. 4709A ESTIMATE: $6,000 – 8,000

PROVENANCE Buku–Larrnggay Mulka Arts, Yirrkala, Northern Territory Maclean collection, Melbourne, acquired from the above in August 2015 RELATED WORK Marrangu, 2013, natural ochre on hardboard, 122.0 x 84.0 cm, in the collection of the Art Gallery of New South Wales, Sydney This work is accompanied by a certificate of authenticity from Buku–Larrnggay Mulka Arts, Yirrkala.

101

SYLVIA KANTJUPAI KEN born 1965 SEVEN SISTERS, 2010 synthetic polymer paint on Belgian linen 122.0 x 198.0 cm bears inscription verso: artist’s name and Tjala Arts cat. 594-10 ESTIMATE: $6,000 – 8,000

PROVENANCE Tjala Arts, Amata, South Australia Aboriginal and Pacific Art, Sydney Maclean collection, Melbourne, acquired from the above in June 2011 EXHIBITED Ngura wiru mulapa – Beautiful Country, Aboriginal and Pacific Art in association with Tjala Arts, Sydney, 28 May – 18 June 2011, cat. 9 This work is accompanied by a certificate of authenticity from Tjala Arts, Amata.

102

THE MACLEAN COLLECTION PART 1 • LOTS 39 – 56

TJUNGKARA KEN born 1969 NGAYUKU NGURA – MY COUNTRY, 2009 synthetic polymer paint on Belgian linen 122.0 x 152.5 cm bears inscription verso: artist’s name and Tjala Arts cat. 010–09 ESTIMATE: $7,000 – 9,000

PROVENANCE Tjala Arts, Amata, South Australia (stamped verso) Marshall Arts, Adelaide Maclean collection, Melbourne, acquired from the above in March 2009 This work is accompanied by a certificate of authenticity from Tjala Arts, Amata.

103

WAWIRIYA BURTON born 1925 NGAYUKA NGURA – MY COUNTRY, 2010 synthetic polymer paint on Belgian linen 152.0 x 122.0 cm bears inscription verso: artist’s name and Tjala Arts cat. 056-10 ESTIMATE: $5,000 – 7,000

PROVENANCE Tjala Arts, Amata, South Australia Desert Mob, Araluen Arts Centre, Alice Springs Maclean collection, Melbourne, acquired from the above in October 2010 EXHIBITED Desert Mob 2010, Araluen Arts Centre, Alice Springs, 10 September – 24 October 2010, cat. TJL03 This work is accompanied by a certificate of authenticity from Tjala Arts, Amata.

104

THE MACLEAN COLLECTION PART 1 • LOTS 39 – 56

TJUNGKARA KEN born 1969 NGAYUKU NGURA – MY COUNTRY, 2010 synthetic polymer paint on canvas 152.5 x 122.0 cm bears inscription verso: artist’s name and Tjala Arts cat. 26010 ESTIMATE: $7,000 – 9,000

PROVENANCE Tjala Arts, Amata, South Australia Desert Mob, Araluen Arts Centre, Alice Springs Maclean collection, Melbourne, acquired from the above in October 2010 EXHIBITED Desert Mob 2010, Araluen Arts Centre, Alice Springs, 10 September – 24 October 2010, cat. TJL07 This work is accompanied by a certificate of authenticity from Tjala Arts, Amata.

105

TOMMY MITCHELL (c.1943 – 2013) WALU, 2011 synthetic polymer paint on canvas 102.0 x 76.5 cm bears inscription verso: artist’s name, size and Warakurna Artists cat. 499-11 ESTIMATE: $5,000 – 7,000

106

PROVENANCE Warakurna Artists, Warakurna, Western Australia Maclean collection, Melbourne, acquired from the above in August 2012 This work is accompanied by a certificate of authenticity from Warakurna Artists, Warakurna.

THE MACLEAN COLLECTION PART 1 • LOTS 39 – 56

TOMMY MITCHELL (c.1943 – 2013) WAKALPUKA, 2012 synthetic polymer paint on canvas 101.0 x 152.0 cm bears inscription verso: artist’s name, size and Warakurna Artists cat. 484-12 ESTIMATE: $6,000 – 8,000

PROVENANCE Warakurna Artists, Warakurna, Western Australia Desert Mob, Araluen Art Centre, Alice Springs Maclean collection, Melbourne, acquired from the above in October 2012 EXHIBITED Desert Mob 2012, Araluen Arts Centre, Alice Springs, 7 September – 21 October 2012 This work is accompanied by a certificate of authenticity from Warakurna Artists, Warakurna.

107

MARINGKA BAKER born c.1952 WANA WANI, 2008 synthetic polymer paint on canvas 112.5 x 197.5 cm bears inscription verso: artist’s name, date and Tjungu Palya cat. TPMB08425 ESTIMATE: $12,000 – 15,000

108

PROVENANCE Tjungu Palya Artists, Nyapari, South Australia Marshall Arts, Adelaide Maclean collection, Melbourne, acquired from the above in September 2008 This work is accompanied by a certificate of authenticity from Tjungu Palya Artists, Nyapari.

THE MACLEAN COLLECTION PART 1 • LOTS 39 – 56

KAY BAKER born c.1950 assisted by JIMMY BAKER, PATRICIA TUNKIN and TERESA BAKER MALILU, 2008 synthetic polymer paint on canvas 107.0 x 203.0 cm bears inscription verso: artists’ names, date, and Tjungu Palya cat. 08-030

PROVENANCE Tjungu Palya Artists, Nyapari, South Australia Marshall Arts, Adelaide Maclean collection, Melbourne, acquired in February 2008 This work is accompanied by a certificate of authenticity from Tjungu Palya Artists, Nyapari.

ESTIMATE: $7,000 – 10,000

109

PROPERTY OF VARIOUS VENDORS

MIRDIDINGKINGATHI JUWARNDA SALLY GABORI (c.1924 – 2015) DIBIRDIBI COUNTRY, 2011 synthetic polymer paint on linen 122.0 x 122.0 cm bears inscription verso: artist’s name, title, medium and Mornington Island Arts and Crafts cat. 7000-L-SG-0611 ESTIMATE: $6,000 – 8,000

110

PROVENANCE Mornington Island Arts and Crafts, Queensland RAFT Artspace, Alice Springs, Northern Territory Private collection, Darwin EXHIBITED Sally Gabori from Mornington Island Arts and Crafts, RAFT Artspace, Alice Springs, 15 July – 9 August 2011

MIRDIDINGKINGATHI JUWARNDA SALLY GABORI (c.1924 – 2015) DIBIRDIBI COUNTRY, 2008 synthetic polymer paint on linen 153.0 x 101.5 cm bears inscription verso: artist’s name, title, medium and Mornington Island Arts and Crafts cat. 2893-L-SG-0108 ESTIMATE: $8,000 – 12,000

PROVENANCE Mornington Island Arts and Crafts, Queensland (stamped verso) RAFT Artspace, Darwin Private collection, Darwin EXHIBITED Painters of Bentinck, RAFT Artspace, Darwin, 28 March – 19 April 2008, cat. 2 This work is accompanied by a certificate of authenticity from Mornington Island Arts and Crafts, Queensland.

111

JARINYANU DAVID DOWNS (1925 – 1995) YAPURNU, 1987 natural earth pigments and synthetic polymer paint on linen 122.0 x 91.5 cm signed verso: Jarinyanu David / Downs bears inscription verso: size, cat. 009-87 and commissioned by Duncan Kentish ESTIMATE: $6,000 – 8,000

112

PROVENANCE Commissioned by Duncan Kentish in 1987 Roar.2 Studios, Melbourne Private collection, Melbourne, acquired from the above in April 1989 EXHIBITED Jarinyanu David Downs, Roar.2 Studios, Melbourne, 11 April – 30 April 1989, cat. 2

DANIEL WALBIDI born 1983 ILYARRA, 2005 synthetic polymer paint on canvas 151.0 x 120.0 cm signed and dated verso: DANIEL WALBIDI / 05 bears inscription verso: artist’s name, date, medium, size and Short Street Gallery cat. 10254

PROVENANCE Short Street Gallery, Broome, Western Australia Ronald McDonald House Charities WA Ball, Crown Towers, Perth (donated by Short Street Gallery, Broome) Private collection, Perth, acquired from the above in 2007 This work is accompanied by certificates of authenticity from Short Street Gallery, Broome.

ESTIMATE: $10,000 – 15,000

113

PADDY JAMINJI (c.1912 – 1996) UNTITLED, 1987 natural earth pigments and natural binder (bush gum) on board 60.0 x 90.0 cm bears inscription verso: PROPERTY OF MARY MACHA ESTIMATE: $10,000 – 15,000

114

PROVENANCE Aboriginal Traditional Arts, Perth (Mary Macha) Private collection Sotheby’s, Melbourne, 26 June 2000, lot 79 (as ‘Untitled, 1997’) Private collection, Melbourne

JACK BRITTEN JOOLAMA (c.1925 – 2002) PURNULULU (THE BUNGLE BUNGLES), 1993 natural earth pigments on canvas 120.0 x 160.0 cm bears inscription verso: artist’s name, size and Waringarri Aboriginal Arts cats. S-2938 & AP-3417

PROVENANCE Waringarri Aboriginal Arts, Kununurra, Western Australia Private collection, Switzerland Sotheby’s, Melbourne, 24 July 2007, lot 35 The Estate of Dr Paul Sutherland, Sydney

ESTIMATE: $10,000 – 15,000

115

JANANGOO BUTCHER CHEREL

(c.1920 – 2009) BOONGGA, 1999 synthetic polymer paint on Arches paper 50.0 x 65.5 cm bears inscription verso: artist’s name and Mangkaja Arts cat. WP 06599 ESTIMATE: $4,000 – 6,000 PROVENANCE Mangkaja Arts, Fitzroy Crossing, Western Australia Aboriginal and Pacific Art, Sydney Private collection, Melbourne, acquired from the above in September 1999 EXHIBITED Janangoo Butcher Cherel, Aboriginal and Pacific Art, Sydney, 26 August – 23 September 1999, cat. 3 This work is accompanied by documentation from Aboriginal and Pacific Art, Sydney.

JANANGOO BUTCHER CHEREL (c.1920 – 2009) MANOONGOO, 1999 synthetic polymer paint on Arches paper 50.0 x 65.5 cm bears inscription verso: artist’s name and Mangkaja Arts cat. WP 064/99 ESTIMATE: $4,000 – 6,000 PROVENANCE Mangkaja Arts, Fitzroy Crossing, Western Australia Aboriginal and Pacific Art, Sydney Private collection, Melbourne, acquired from the above in September 1999 EXHIBITED Janangoo Butcher Cherel, Aboriginal and Pacific Art, Sydney, 26 August – 23 September 1999, cat. 12 This work is accompanied by documentation from Aboriginal and Pacific Art, Sydney.

116

WAKARTU CORY SURPRISE (c.1929 – 2011) PITILL JILA, 2004 synthetic polymer paint on canvas 121.0 x 180.0 cm bears inscription verso: Artist’s name and Mangkaja Arts cat. PC479/04

PROVENANCE Mangkaja Arts, Fitzroy Crossing, Western Australia Private collection, Adelaide Sotheby’s Australia, Melbourne Private collection, Queensland, acquired from the above in 2012

ESTIMATE: $6,000 – 8,000

117

TIM LEURA TJAPALTJARRI (c.1929 – 1984) POSSUM CEREMONY NEAR NAPPERBY, c.1973 synthetic polymer powder paint on board 36.0 x 53.0 cm bears inscription verso: artist’s name, size, and Papunya Tula Artists cat. TL730604 and description of some of the iconography on the reverse ESTIMATE: $10,000 – 15,000

118

PROVENANCE Papunya Tula Artists, Alice Springs, Northern Territory Private collection, Melbourne, acquired from the above July 1973 Collection of William Nuttall and Annette Reeves, Melbourne Bonhams, Sydney, 28 May 2012, lot 29 Private collection, Melbourne EXHIBITED Blue Chip VIII: The Collectors’ Exhibition, Niagara Galleries, Melbourne, 7 March – 1 April 2006, cat. 29 (label attached verso)

JOHN TJAPALTJARRI (c.1940 – 1999) DJINTARA, c.1976 synthetic polymer powder paint on canvas on composition board 74.0 x 59.5 cm bears inscription on label verso: John Tjabaltjari [sic]

PROVENANCE Papunya Tula Artists, Alice Springs, Northern Territory (cat. JJ76655) Private collection, New South Wales Deutscher~Menzies, Melbourne, 27 June 2000, lot 17 Private collection, Victoria

ESTIMATE: $10,000 – 15,000

119

JOHNNY YUNGUT TJUPURRULA (c.1930 – 2016) TJUTALPI, 2003 synthetic polymer paint on linen 121.5 x 121.5 cm bears inscription verso: artist’s name, size and Papunya Tula Artists cat. JY0304117 ESTIMATE: $3,500 – 4,500

120

PROVENANCE Painted at Kiwirrkurra, Western Australia in 2003 Papunya Tula Artists, Alice Springs, Northern Territory AP Bond Gallery, Adelaide The Luczo Family Collection, USA Deutscher and Hackett, Melbourne, 19 October 2016, lot 45 Private collection, Melbourne

RONNIE TJAMPITJINPA

born c.1943 PIWALKU: A LARGE SWAMPY AREA NEAR LAKE MACKAY, 1998 synthetic polymer paint on linen 167.0 x 45.0 cm bears inscription verso: artist’s name, size and Papunya Tula Artists cat. RT 9807149 ESTIMATE: $10,000 – 15,000

PROVENANCE Papunya Tula Artists, Alice Springs, Northern Territory Gallery Gabrielle Pizzi, Melbourne (labels attached verso) Private collection, Melbourne EXHIBITED My Country, My Sites: paintings by major artists from Papunya Tula, Gallery Gabrielle Pizzi in association with Papunya Tula Artists and Melbourne Festival, Melbourne, 29 September – 7 November 1998 This work is accompanied by a certificate of authenticity from Papunya Tula Artists, Alice Springs which states: ‘This painting depicts designs associated with the site of Piwalku, a large swampy area with soakage water, on the eastern side of Lake Mackay. In mythological times a Snake Ancestor came to this site from Karrinyarra (Mt. Wedge) in the east. On arriving at Piwalku it went underground. This mythology forms part of the Tingari Cycle. Since events associated with the Tingari Cycle are of a secret nature no further detail was given. Generally, the Tingari are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari Men were usually followed by Tingari Women and accompanies by novices and their travels and adventures are enshrined in a number of song cycles. These mythologies from part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.’

121

NINGURA NAPURRULA (c.1938 – 2013) ROCKHOLES AT WIRRULNGA, 2003 synthetic polymer paint on canvas 152.0 x 183.0 cm bears inscription verso: artist’s name, size and Papunya Tula Artists cat. NN0301022 ESTIMATE: $15,000 – 20,000

PROVENANCE Papunya Tula Artists, Alice Springs, Northern Territory Ian Rogers Fine Art, Melbourne Private collection, Melbourne, acquired from the above in August 2005 This work is accompanied by a certificate of authenticity from Papunya Tula Artists, Alice Springs which states: ‘The roundels in this painting depict the rockholes at Wirrulnga, a site in a small rocky outcrop, east of the Kiwirrkurra Community. The sinuous lines in the centre represent the rocky hills with a creek running through the middle. A number of women camped here before continuing their travels east. Wirrulnga is associated with birth. A woman of the Napaltjarri kinship subsection gave birth at the site. The arcs are the sandhills surrounding the area.’

122

123

GINGER RILEY MUNDUWALAWALA

(c.1936 – 2002) LIMMEN BIGHT COUNTRY SUITE, 1995 (NGAK NGAK, GARIMALA AND THE LIMMEN BIGHT RIVER; THE LIMMEN BIGHT RIVER; THE GARIMALA IN LIMMEN BIGHT COUNTRY; NGAK NGAK IN LIMMEN BIGHT COUNTRY; NGAK NGAK AND THE TRAVELLING GARIMALA AT SUNSET; NGAK NGAK FLYING; NGAK NGAK THE HUNTER) synthetic polymer paint on paper 55.0 x 54.0 cm each image 57.0 x 57.0 cm each sheet each bears inscription verso: artist’s name and Alcaston Gallery cats. AK3094 – AK3100 ESTIMATE: $25,000 – 35,000 (7)

PROVENANCE Alcaston Gallery, Melbourne Private collection, Tasmania, acquired from the above in 1996 EXHIBITED Ginger Riley, National Gallery of Victoria, Melbourne, 17 July – 22 September 1997 LITERATURE Ryan, J., Ginger Riley, National Gallery of Victoria, Melbourne, 1997, p. 97 (illus. ‘Garimala in Limmen Bight country, 1995’ and ‘Ngak Ngak in Limmen Bight country, 1995’) This work is accompanied by certificates of authenticity from Alcaston Gallery, Melbourne.

Featured in the groundbreaking retrospective of Riley’s art organised by the National Gallery of Victoria, Melbourne in 1997, the present suite of seven paintings encapsulates a sequence of events inspired by his mother country – the coastal saltwater area in south-east Arnhem Land which extends from the Gulf of Carpentaria along the Limmen Bight River to the Four Arches, approximately 50 kilometres inland. Pulsating with energy and enlivened by his daring use of vibrant colour, dominant motifs from Riley’s repertoire typically punctuate the works, including the mythological serpent Garimala (here depicted as two snakes to denote him travelling); the totemic white-breasted sea eagle, Ngak Ngak, who fulfils the role of a sentinel or guardian protecting the country; the heavy, rain-filled clouds which herald the

124

fertile abundance of the wet season, while also symbolising the artist’s mother; and the V-shaped chevrons, used variously as a framing device, that directly relate to Riley’s Yidditja ritual body paint in ceremony. Indeed, according to the ancestral dreaming, Garimala journeyed from afar down the Limmen Bight River to create the geographical formation known as the Four Arches - an area to which Riley refers as ‘the centre of the earth, where all things start and finsh’1 and where the serpent lives nearby. The story continues that Garimala ‘travelled from the Four Arches to Nyamiyukanji in the Limmen Bight River, disappeared under the water and metamorphosed into the Rainbow Serpent’ 2, associated with the life-giving properties of fresh water, the monsoon season and the continuing cycle of life; while in another manifestation, this snake hero named Bulukbun becomes an aggressive, fire-breathing serpentdragon who rises out of the sea and kills people. Although much of Riley’s oeuvre is distinguished by the endurance of this singular narrative, his iconography is not restrictive, nor does it betray a lack of innovation. To the contrary, the repetition of his mother’s stories allows for greater depth of exploration and revelation; as Riley himself reflects, such paintings are ‘…the same, but different’ 3. Same referring to the consistently employed subject matter, story and country, but different in each work’s unique conception, paint and design. 1. Riley cited in Ryan, J., Ginger Riley, National Gallery of Victoria, Melbourne, 1997, p.15 2. Riley, ibid., p.30 3. Riley, ibid., p.10 VERONICA ANGELATOS

125

EMILY KAME KNGWARREYE (c.1910 – 1996) ALALGURA COUNTRY, 1993 synthetic polymer painting on linen 121.0 x 90.0 cm bears inscription verso: Delmore Gallery cat. 93I060 ESTIMATE: $15,000 – 20,000

126

PROVENANCE Delmore Gallery, via Alice Springs, Northern Territory Private collection, Melbourne, acquired from the above in 1996 This work is accompanied by a certificate of authenticity from Delmore Gallery, via Alice Springs.

EMILY KAME KNGWARREYE (c.1910 – 1996) UNTITLED, 1992 synthetic polymer painting on linen 84.5 x 120.0 cm bears inscription verso: artist’s name, Rodney Gooch and Mulga Bore Artists cat. 15-1092

PROVENANCE Commissioned by Rodney Gooch (Mulga Bore Artists), Alice Springs in October 1992 Chapman Gallery, Canberra Private collection, Canberra, acquired from the above early 1990s Thence by descent Private collection, Canberra

ESTIMATE: $20,000 – 30,000

127

RAY KEN (c.1940 – 2018) TALI – SAND DUNE, 2011 synthetic polymer paint on linen 121.5 x 102.0 cm bears inscription verso: artist’s name, Tjala Arts cat. 222-11 and Alcaston Gallery cat. AK17118 ESTIMATE: $4,000 – 6,000

128

PROVENANCE Tjala Arts, Amata, South Australia Alcaston Gallery, Melbourne Private collection, Melbourne EXHIBITED Tjala Artists. Anangu Maruku Mulapa – This is our real way, Alcaston Gallery, Melbourne, 19 July – 12 August 2011

BETTY KUNTIWA PUMANI born 1963 ANTARA, 2015 synthetic polymer paint on linen 80.0 x 120.0 cm bears inscription verso: artist’s name, date and Mimili Maku Arts cat. 289-15

PROVENANCE Mimili Maku Arts, Mimili, South Australia Outstation Gallery, Darwin Private collection, Melbourne, acquired from the above in July 2015 This work is accompanied by a certificate of authenticity from Mimili Maku Arts, Mimili.

ESTIMATE: $3,000 – 4,000

129

KITTY KANTILLA (c.1928 – 2003) UNTITLED, 1995 natural earth pigments on Arches paper 56.0 x 75.5 cm bears inscription verso, artist’s name, date, skin, dance and Jilamara Arts and Crafts cat. LP95KK095 and OA 142 ESTIMATE: $3,500 – 5,500

130

PROVENANCE Jilamara Arts and Crafts, Milikapiti, Melville Island, Northern Territory Private collection, Darwin

WATTIE KARRUWARA (c.1910 – 1983) WANDJINA, c.1962 natural earth pigments on eucalyptus bark 41.5 x 24.0 cm ESTIMATE: $7,000 – 10,000

PROVENANCE Private collection, New South Wales Sotheby’s, Sydney, 29 July 2003, lot 72 (as ‘Wanjina’) Niagara Galleries, Melbourne (label attached verso) Private collection, Melbourne Bonham’s, Sydney, 28 June 2011, lot 11 Private collection, Melbourne EXHIBITED Blue Chip VIII: The Collectors’ Exhibition, Niagara Galleries, Melbourne, 7 March – 1 April 2006, cat. 30 Blue Chip XII: The Collectors’ Exhibition, Niagara Galleries, Melbourne, 2 March– 1 April 2010, cat. 16

131

ROBERT CAMPBELL JUNIOR (1944 – 1993) UNTITLED, 1989 synthetic polymer paint on canvas 88.0 x 53.5 cm signed, dated and inscribed lower right: ROBERT CAMPBELL JNR / 5-7-1989 NGAKU ESTIMATE: $6,000 – 8,000

132

PROVENANCE Roslyn Oxley9 Gallery, Sydney (label attached verso) Private collection, Melbourne, acquired from the above in 1997 EXHIBITED Robert Campbell Junior: Selected Works from the Estate, Roslyn Oxley9 Gallery, Sydney, 3 June – 6 July 1997, cat. 31

NONGGIRRNGA MARAWILI born c.1939 GAPU, 2013 natural earth pigments on eucalyptus bark 127.0 x 46.0 cm (irregular) bears inscription verso: Buku–Larrnggay Mulka Arts cat. 4459B and Alcaston Gallery cat. AK19732 ESTIMATE: $4,000 – 6,000

PROVENANCE Buku-Larrnggay Mulka Arts, Yirrkala, Northern Territory (label attached verso) Alcaston Gallery, Melbourne Private collection, Sydney EXHIBITED Nonggirrnga Marawili: Lightning and the Rock, Alcaston Gallery, Melbourne, 2015, cat. 13 (illus. in exhibition catalogue, dated as ‘2014’) This work is accompanied by a certificate of authenticity from Buku–Larrnggay Mulka Arts, Yirrkala.

133

THE MACLEAN COLLECTION PART 2 • LOTS 80 – 100

CRUSOE KURDDAL

born 1960 MIMIH SPIRIT, 2007 natural earth pigments with synthetic binder on carved kurrajong 224.0 cm height

This work is accompanied by a certificate of authenticity from Maningrida Arts and Culture, Maningrida.

ESTIMATE: $3,000 – 4,000

OWEN YALANDJA

PROVENANCE Maningrida Arts and Culture, Maningrida, Northern Territory (cat. 424–07) William Mora Galleries, Melbourne Maclean collection, Melbourne, acquired from the above in May 2007

born 1960 YAWKYAWK, 2007 natural earth pigments with synthetic binder on carved kurrajong 214.0 cm height

PROVENANCE Maningrida Arts and Culture, Maningrida, Northern Territory (cat. 3045–07) William Mora Galleries, Melbourne Maclean collection, Melbourne, acquired from the above in June 2008 RELATED WORK Yawkyawk, 2007, natural earth pigment and PVA fixative on kurrajong wood, 212.0 x 16.0 x 40.0 cm, private collection, illus. in Clark, D., and Jenkins, S., (eds), Culture Warriors, National Indigenous Art Triennial 07, National Gallery of Australia, Canberra, 2007, p. 182

ESTIMATE: $5,000 – 7,000

This work is accompanied by a certificate of authenticity from Maningrida Arts and Culture, Maningrida.

OWEN YALANDJA born 1960 YAWKYAWK, 2008 natural earth pigments with synthetic binder on carved kurrajong 151.0 cm height ESTIMATE: $2,500 – 3,500

134

PROVENANCE Maningrida Arts and Culture, Maningrida, Northern Territory (cat. 2748–08) William Mora Galleries, Melbourne Maclean collection, Melbourne, acquired from the above in August 2008 This work is accompanied by a certificate of authenticity from Maningrida Arts and Culture, Maningrida.

THE MACLEAN COLLECTION PART 2 • LOTS 80 – 100

135

BARRUPU YUNUPINGU

(1948 – 2012) GURTHA, 2012 natural earth pigments on eucalyptus bark 197.0 x 59.0 cm (irregular) bears inscription verso: Buku–Larrnggay Mulka Arts cat. 4279G bears inscription on aluminium brace verso: Alcaston Gallery cat. AK18591 ESTIMATE: $4,000 – 6,000 PROVENANCE Buku–Larrnggay Mulka Arts, Yirrkala, Northern Territory (label attached verso) Alcaston Gallery, Melbourne Maclean collection, Melbourne, acquired from the above in May 2013 EXHIBITED Barrupu Yunupingu: The Woman of Fire – A Tribute, Alcaston Gallery, Melbourne, 4 – 28 June 2013, cat. 2 (illus. in exhibition catalogue and front page) This work is accompanied by a certificate of authenticity from Buku–Larrnggay Mulka Arts, Yirrkala.

NONGGIRRNGA MARAWILI born c.1939 FOUR ROCKS, 2015 natural earth pigments on eucalyptus bark 94.0 x 58.5 cm (irregular) bears inscription verso: Buku–Larrngay Mulka Arts cat. 4779N ESTIMATE: $3,000 – 4,000 PROVENANCE Buku–Larrnggay Mulka Arts, Yirrkala, Northern Territory (label attached verso) Maclean collection, Melbourne, acquired from the above in August 2015 This work is accompanied by a certificate of authenticity from Buku–Larrnggay Mulka Arts, Yirrkala.

136

THE MACLEAN COLLECTION PART 2 • LOTS 80 – 100

MALALUBA GUMANA

born 1952 DHATAM (LARRAKITJ), 2012 natural earth pigments and synthetic binder on hollow log 237.0 cm height ESTIMATE: $5,000 – 7,000 PROVENANCE Buku–Larrnggay Mulka, Yirrkala, Northern Territory (cat. 4140S) Maclean collection, Melbourne, acquired from the above in August 2012 This work is accompanied by a certificate of authenticity from Buku–Larrnggay Mulka Arts, Yirrkala.

YVONNE KOOLMATRIE

born 1944 ECHIDNA, 2010 woven sedge rushes, echidna quills 14.0 x 28.0 x 48.0 cm ESTIMATE: $4,000 – 6,000 PROVENANCE Aboriginal and Pacific Art, Sydney Maclean collection, Melbourne, acquired from the above in May 2010 RELATED WORK Echidna, 2010, sedge rushes and echidna quills, 25.0 x 50.0 x 11.0 cm, in the collection of the Art Gallery of New South Wales, Sydney, illus. in Koolmatrie, Y., Riverland: Yvonne Koolmatrie, Art Gallery of South Australia, Adelaide, pp. 82 – 83

137

JAN BILLYCAN (DJAN NAMUNDIE) (c.1930 – 2016) KIRRIWIRRI, 2007 synthetic polymer paint on linen 91.0 x 91.0 cm bears inscription verso: artist’s name, date, medium, size and Short Street Gallery cat. 11548 ESTIMATE: $5,000 – 7,000

PROVENANCE Short Street Gallery, Broome, Western Australia William Mora Galleries, Melbourne (stamped on stretcher bar verso) Maclean collection, Melbourne, acquired from the above in May 2007 EXHIBITED Jan Billycan – Kirriwirri, William Mora Galleries, Melbourne, 1 – 25 May 2007 This work is accompanied by a certificate of authenticity from Short Street Gallery, Broome.

138

THE MACLEAN COLLECTION PART 2 • LOTS 80 – 100

WEAVER JACK (c.1928 – 2010) LUNGARUNG, 2006 synthetic polymer paint on Belgian linen 182.0 x 111.0 cm bears inscription verso: artist’s name, date, medium, size and Short Street Gallery cat. 11492 ESTIMATE: $5,000 – 7,000

PROVENANCE Short Street Gallery, Broome, Western Australia William Mora Galleries, Melbourne (stamped on stretcher bar verso) Maclean collection, Melbourne, acquired from the above in May 2007 EXHIBITED New Legend: Recent works from the Kimberley (Part 3), William Mora Galleries, Melbourne, 6 – 30 March 2007 This work is accompanied by a certificate of authenticity from Short Street Gallery, Broome.

139

TOMMY MITCHELL (c.1943 – 2013) WAKALPUKA, 2011 synthetic polymer paint on canvas 76.0 x 76.0 cm bears inscription verso: artist’s name and Warakurna Artists cat. 266-11 ESTIMATE: $4,000 – 6,000

140

PROVENANCE Warakurna Artists, Warakurna, Western Australia Maclean collection, Melbourne, acquired from the above in August 2011 This work is accompanied by a certificate of authenticity from Warakurna Artists, Warakurna.

THE MACLEAN COLLECTION PART 2 • LOTS 80 – 100

TOMMY MITCHELL (c.1943 – 2013) WAKALPUKA, 2012 synthetic polymer paint on canvas 101.0 x 152.0 cm bears inscription verso: artist’s name, size and Warakurna Artists cat. 221-12 ESTIMATE: $8,000 – 12,000

PROVENANCE Warakurna Artists, Warakurna, Western Australia Aboriginal and Pacific Art, Sydney Maclean collection, Melbourne, acquired from the above in December 2012 EXHIBITED Warakurna and Wanarn Group Show, New Paintings in association with Warakurna Artists, WA, Aboriginal and Pacific Art, Sydney, 20 November – 8 December 2012, cat. 8 This work is accompanied by a certificate of authenticity from Warakurna Artists, Warakurna.

141

SYLVIA KANTJUPAI KEN born 1965 SEVEN SISTERS, 2010 synthetic polymer paint on Belgian linen 152.0 x 122.0 cm bears inscription verso: artist’s name and Tjala Arts cat. 181-10 ESTIMATE: $5,000 – 7,000

PROVENANCE Tjala Arts, Amata, South Australia Desert Mob, Araluen Centre, Alice Springs Maclean collection, Melbourne, acquired from the above in October 2010 EXHIBITED Desert Mob 2010, Araluen Centre, Alice Springs, 10 September – 24 October 2010, cat. TJL06 This work is accompanied by a certificate of authenticity from Tjala Arts, Amata.

142

THE MACLEAN COLLECTION PART 2 • LOTS 80 – 100

TJUNGKARA KEN born 1969 SEVEN SISTERS, 2010 synthetic polymer paint on Belgian linen 101.0 x 152.5 cm bears inscription verso: artist’s name and Tjala Arts cat. 130–10 ESTIMATE: $6,000 – 8,000

PROVENANCE Tjala Arts, Amata, South Australia Aboriginal and Pacific Art, Sydney Maclean collection, Melbourne, acquired from the above in June 2010 EXHIBITED Nganampa Tjukurpa Kunpu – Our Strong Stories, Aboriginal and Pacific Art in association with Tjala Arts, 27 May – 19 June 2010 This work is accompanied by a certificate of authenticity from Tjala Arts, Amata.

143

MICK WIKILYIRI born c.1940 NGAYUKU NGURA – MY COUNTRY, 2015 synthetic polymer paint on Belgian linen 121.0 x 200.0 cm bears inscription verso: artist’s name and Tjala Arts cat. 87-15 ESTIMATE: $4,000 – 6,000

PROVENANCE Tjala Arts, Amata, South Australia Short Street Gallery, Broome, Western Australia Maclean collection, Melbourne, acquired from the above in March 2017 EXHIBITED Kulini – Listen: New Works from Amata, Short Street Gallery, Broome, 9 – 30 March 2017, cat. 11 This work is accompanied by a certificate of authenticity from Tjala Arts, Amata.

144

THE MACLEAN COLLECTION PART 2 • LOTS 80 – 100

DICKIE MINYINTIRI (c.1915 – 2014) WATI WIILU–KU INMA TJUKURPA, 2010 synthetic polymer paint on canvas 100.0 x 170.0 cm bears inscription verso: artist’s name, date, size and Ernabella Arts cat. 316-10DM

PROVENANCE Ernabella Arts, Ernabella, South Australia Marshall Arts, Adelaide Maclean collection, Melbourne, acquired from the above in January 2011 This work is accompanied by a certificate of authenticity from Ernabella Arts, Ernabella.

ESTIMATE: $8,000 – 12,000

145

EUBENA NAMPITJIN (c.1921 – 2013) KUNAWARRITJI, 2006 synthetic polymer paint on canvas 120.0 x 80.0 cm bears inscription verso: artist’s name, size and Warlayirti Artists cat. 446/06 ESTIMATE: $6,000 – 8,000

PROVENANCE Warlayirti Artists, Balgo Hills, Western Australia Woolloongabba Art Gallery, Brisbane Maclean collection, Melbourne, acquired from the above in July 2007 EXHIBITED They Might Be Giants, Woolloongabba Art Gallery in association with Warlayirti Artists, Brisbane, 15 June – 28 July 2007 This work is accompanied by a certificate of authenticity from Warlayirti Artists, Warakurna.

146

THE MACLEAN COLLECTION PART 2 • LOTS 80 – 100

BIRRILIBURU ARTISTS OF WILUNA AND WARAKURNA ARTISTS COLLABORATIVE KUNGKARANGKALPA (PLEIADES), 2009 synthetic polymer paint on canvas 101.5 x 211.5 cm bears inscription verso: artists’ names and Warakurna Artists cats. 317-09.1 – 317-09.8

PROVENANCE Warakurna Artists, Warakurna, Western Australia Marshall Arts, Adelaide Maclean collection, Melbourne, acquired from the above in July 2009 This work is accompanied by a certificate of authenticity from Warakurna Artists, Warakurna.

ESTIMATE: $8,000 – 12,000

147

TIGER PALPATJA (1920 – 2014) NGINTAKA TUKURPA – PERENTIE MAN CREATION STORY, 2008 synthetic polymer paint on Belgian linen 152.5 x 100.0 cm bears inscription verso: artist’s name and Tjala Arts cat. 50808 and Alcaston Gallery cat. AK15024 ESTIMATE: $4,000 – 6,000

148

PROVENANCE Tjala Arts, Amata, South Australia Alcaston Gallery, Melbourne (stamped on stretcher bar verso) Maclean collection, Melbourne, acquired from the above in May 2009 This work is accompanied by a certificate of authenticity from Tjala Arts, Amata.

THE MACLEAN COLLECTION PART 2 • LOTS 80 – 100

HECTOR TJUPURA BURTON (1937 – 2017) ANUMARA TJUKURPA, 2013 synthetic polymer paint on Belgian linen 152.0 x 122.5 cm bears inscription verso: artist’s name and Tjala Arts cat. 44313 ESTIMATE: $4,000 – 6,000

PROVENANCE Tjala Arts, Amata, South Australia Desert Mob, Araluen Arts Centre, Alice Springs Maclean collection, Melbourne, acquired from the above in September 2013 EXHIBITED Desert Mob 2013, Araluen Arts Centre, Alice Springs, 5 – 7 September 2013, cat. TJAL06 This work is accompanied by a certificate of authenticity from Tjala Arts, Amata.

149

ANGKALIYA CURTIS born 1928 CAVE HILL, 2010 synthetic polymer paint on canvas 118.0 x 200.0 cm bears inscription verso: artist’s name, date and Tjungu Palya cat. TPAC10015 ESTIMATE: $7,000 – 9,000

150

PROVENANCE Tjungu Palya Artists, Nyapari, South Australia Marshall Arts, Adelaide Maclean collection, Melbourne, acquired from the above in February 2010 This work is accompanied by a certificate of authenticity from Tjungu Palya Artists, Nyapari.

THE MACLEAN COLLECTION PART 2 • LOTS 80 – 100

ROBERT FIELDING born 1969 MILKALI KUTJA, 2015 screenprint on paper 84.0 x 59.0 cm each edition: 3/5 ESTIMATE: $4,000 – 6,000 (2)

100

PROVENANCE Mimili Maku Arts, Mimili, South Australia (cat. 494–15-3/5) Maclean collection, Melbourne, acquired from the above in October 2015 EXHIBITED National Aboriginal and Torres Strait Islander Art Award (NATSIAA), Museum and Art Galleries of the Northern Territory, Darwin, 7 August – 1 November 2015 (Telstra Works on Paper winner) (illus. in exhibition catalogue, another example) This work is accompanied by a certificate of authenticity from Mimili Maku Arts, Mimili.

151

PROPERTY OF VARIOUS VENDORS

OTTO PAREROULTJA (1914 – 1973) CENTRAL AUSTRALIAN LANDSCAPE, c.1955 watercolour on card 36.5 x 54.5 cm signed lower centre: Otto Pareroultja. ESTIMATE: $2,500 – 3,500

152

101

PROVENANCE Private collection, Melbourne

GINGER RILEY MUNDUWALAWALA (c.1936 – 2002) UNTITLED, 1990 synthetic polymer paint on composition board 24.0 x 58.0 cm bears inscription verso: Alcaston Gallery cat. AK817 ESTIMATE: $7,000 – 9,000

102

PROVENANCE Alcaston Gallery, Melbourne Private collection, Melbourne Deutscher and Hackett, Melbourne, 24 March 2010, lot 35 Private collection, Malaysia This painting is accompanied by documentation from Alcaston Gallery, Melbourne.

153

103

KAAPA TJAMPITJINPA (c.1926 – 1989) WARLUGULONG, 1976 synthetic polymer paint on canvas board 91.0 x 60.5 cm ESTIMATE: $8,000 – 12,000

PROVENANCE Papunya Tula Artists, Alice Springs, Northern Territory (cat. K761263) Private collection, Victoria This work is accompanied by a certificate of authenticity from Papunya Tula Artists, Alice Springs which states in part: ‘Warlugulong is a site associated with a number of Anmatjera and Walpiri mythologies. It is situated approximately 300 km northwest of Alice Springs. This board depicts the details of several legends. The central legend being of a great bushfire that started this place.’

104

OLD TUTUMA TJAPANGATI

(c.1909 – 1987) KANGAROOS AT KARRKILYNGA (LAKE HOPKINS), c.1974 synthetic polymer paint on cement sheet 62.5 x 54.0 cm bears inscription verso: Site: Karrkilynga / at Lake Hopkins in W.A. / Three Kangaroos at tucker / a fire comes but the escaped / to the south (Pitjantjatjarra [sic] country) ESTIMATE: $6,000 – 8,000

PROVENANCE Private collection, Victoria, acquired directly from the artist in 1974

154

JOHN WILSON WURIBUDIWI

105

born 1955 TOKWAMIPINI, PURUKUPALI AND BIMA, 1998 natural earth pigments on carved ironwood 251.0 cm height ESTIMATE: $5,000 â&#x20AC;&#x201C; 7,000

PROVENANCE Jilamara Arts and Crafts, Milikapiti, Melville Island, Northern Territory Alcaston Gallery, Melbourne (cat. AK5954) Private collection, Melbourne, acquired from the above in August 2001

155

1. PRIOR TO AUCTION CATALOGUE SUBSCRIPTIONS Catalogues can be obtained at Deutscher and Hackett offices or by subscription (see the Catalogue Subscription Form at the back of this catalogue or online for more information). PRE-SALE ESTIMATES The price range estimated against each lot reflects the opinion of our art specialists as to the hammer price expected for the lot at auction and is informed by realised prices for comparable works as well as the particularities of each lot including condition, quality, provenance and rarity. While presale estimates are intended as a guide for prospective buyers, lots can be sold outside of these ranges. Pre-sale estimates include GST (if any) on a lot but do not include the buyer’s premium or other charges where applicable.

prospective buyers and sellers guide ALL PARTIES ARE STRONGLY URGED TO READ THE CONDITIONS OF AUCTION AND SALE INCLUDED IN THIS CATALOGUE

RESERVES The reserve is the minimum price including GST (if any) that the vendor will accept for a lot and below which the lot will not normally be sold. PRE-AUCTION VIEWINGS In both Sydney and Melbourne pre-auction viewings are scheduled for several days in advance of each auction. Deutscher and Hackett specialists are available to give obligation free advice at viewings or by appointment and prospective buyers are strongly encouraged to thoroughly examine and request condition reports for potential purchases. Pre-auction viewings are open to the public and are free to attend. SYMBOL KEY ▲ Unless ownership is clearly stated in the provenance, this symbol is used where a lot is offered which Deutscher and Hackett owns in whole or in part. In these instances, Deutscher and Hackett has a direct financial interest in the property or means that Deutscher and Hackett has guaranteed a minimum price. ● Used to indicate lots for sale without a reserve. EXPLANATION OF CATALOGUING PRACTICE AND TERMS All information published in Deutscher and Hackett catalogues represent statements of opinion and should not be relied upon as fact. All dimensions are listed in centimetres, height before width and are approximate. All prices are in Australian dollars. ARTIST’S NAMES All reference to artists make use of common and not full names in accordance with the standards outlined in the National Gallery of Australia reference publication Australian Art: Artist’s working names authority list. For instance, John Brack rather than Cecil John Brack; Roy de Maistre rather than Leroy Leveson Laurent De Maistre; Rosalie Gascoigne rather than Rosalie Norah Gascoigne. Terms used in this catalogue have the meanings ascribed to them below: a. NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work by the artist. b. Attributed to NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, probably a work by the artist, in whole or in part. c. Circle of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work showing the influence and style of the artist and of the artist’s period. d. Studio/Workshop of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work possibly executed under the supervision of the artist. e. School of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work by a follower or student of the artist. f. Manner of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work created in the style, but not necessarily in the period, of the artist. g. After NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a copy of a work by the artist. h. “signed” / “dated” in the opinion of Deutscher and Hackett, the work has been signed/dated by the artist. i. “bears signature” / “bears date” in the opinion of Deutscher and Hackett, the work has possibly been signed/dated by someone other than the artist.

156

PROVENANCE Where appropriate, Deutscher and Hackett will include the known provenance, or history of ownership of lots. Non disclosure may indicate that prior owners are unknown or that the seller wishes to maintain confidentiality. 2. THE AUCTION Auctions are open to the public and are free to attend. Deutscher and Hackett may exclude any person at any time in its discretion. REGISTRATION Bidders must register to bid prior to the commencement of an auction. Deutscher and Hackett may impose other obligations on the registration of bidders in its discretion. CONDUCT OF AUCTION Lots are offered for sale on a consecutive basis. Deutscher and Hackett will determine the conduct of the auction in its absolute discretion, including the regulation of bidding. Consecutive or responsive bids may be placed by the auctioneer on behalf of the vendor up to the reserve. ABSENTEE OR COMMISSION BIDS AND TELEPHONE BIDS As a courtesy service, Deutscher and Hackett will make reasonable efforts to place bids for prospective buyers in absentia provided written or verbal instructions (as indicated on absentee bid forms included at the back of this catalogue or online) are received 24 hours prior to auction. Where successful, lots will be purchased at the lowest possible bid and in the event of identical absentee bids, the bid received earliest will take precedence. Deutscher and Hackett accepts no responsibility for errors and omissions in relation to this courtesy service and reserves the right to record telephone bids. RESERVE Unless indicated otherwise, all lots are subject to a confidential reserve price determined by the vendor. Deutscher and Hackett or the auctioneer may place any number of bids on behalf of the vendor below the reserve price and is not obliged to identify that the bids are being placed on behalf of the vendor. BIDDING INCREMENTS Bidding usually opens below the listed pre-sale estimate and proceeds in the following increments (the auctioneer may vary the bidding increments at his or her discretion): $500 – 1,000 by $50 $1,000 – 2,000 by $100 $2,000 – 3,000 by $200 $3,000 – 5,000 by $200 / $500 / $800 $5,000 – 10,000 by $500 $10,000 – 20,000 by $1,000 $20,000 – 30,000 by $2,000 $30,000 – 50,000 by $2,000 / $5,000 / $8,000 $50,000 – 100,000 by $5,000 $100,000 – 200,000 by $10,000 $200,000 – 300,000 by $20,000 $300,000 – 500,000 by $20,000 / $50,000 / $80,000 $500,000 – 1,000,000 by $50,000 $1,000,000+ by $100,000 SUCCESSFUL BIDS The fall of the auctioneer’s hammer indicates the final bid and the buyer assumes full responsibility for the lot from this time. UNSOLD LOTS Where a lot is unsold, the auctioneer will announce that the lot is “bought in”, “passed”, “withdrawn” or “returned to owner”.

3. AFTER THE AUCTION PAYMENTS Payment must be made within seven days of the date of sale in Australian dollars by cash, cheque, direct deposit, approved credit cards or electronic funds transfer. If payment is made by credit card the price will increase by any merchant fees payable by Deutscher and Hackett (1.15% (including GST) for Visa and Mastercard and 1.65% (including GST) for American Express). In certain circumstances, extension of payment may be granted at the discretion of Deutscher and Hackett. Cleared funds will be held in an interest bearing trust account by Deutscher and Hackett until remitted to the vendor. Deutscher and Hackett will be entitled to retain any interest earned during this period. Payment by the vendor of any charge to Deutscher and Hackett is to be made within fourteen days of invoice. PURCHASE PRICE AND BUYER’S PREMIUM The purchase price will be the sum of the final bid price (including any GST) plus a buyer’s premium set at 22% (plus GST) of the final bid price. Buyers may be liable for other charges reasonably incurred once ownership has passed. GOODS AND SERVICES TAX Buyers are required to pay a 10% G.S.T which sum is: a. included in the final bid prices where buying from a GST registered vendor; and b. included in any additional fees charged by Deutscher and Hackett; and c. added to the buyer’s premium. Where GST applies to some lots the final bid price will be inclusive of the applicable GST. A list of those lots is set out in the catalogue on page 198. If a buyer is classified as a “non-resident” for the purpose of GST, the buyer may be able to recover GST paid on the final purchase price if certain conditions are met. COLLECTION Lots paid for in full may be collected from Deutscher and Hackett premises the day after the auction occurs but lots paid for by cheque may not be collected until all funds have cleared. Proof of identification is required upon collection and lots not collected within seven days of the sale may incur costs associated with external storage and freight. LOSS OR DAMAGE Risk in the lot, including risk of loss or damage, will pass to the buyer on either the date payment is due, whether or not it has been made, or on collection by the buyer, whichever is earlier. The buyer is therefore encouraged to make arrangements to ensure comprehensive cover is maintained from the payment due date. TRANSPORT AND SHIPPING Deutscher and Hackett directly offers services including storage, hanging and display, appraisals and valuations, collection management and research and in all instances will endeavour to coordinate or advise upon shipping and handling, insurance, transport, framing and conservation at the request and expense of the client. Deutscher and Hackett does not accept liability for the acts or omissions of contracted third parties. EXPORT Prospective bidders are advised to enquire about export licences — including endangered species licences and cultural heritage permits, where relevant — prior to bidding at auction. Telephone the Cultural Property and Gifts Section, Museums Section, Ministry for the Arts, on 1800 819 461 for further information. The delay or denial of such a licence will not be grounds for a rescission of sale. COPYRIGHT The copyright in the images and illustrations contained in this catalogue may be owned by third parties and used under licence by Deutscher and Hackett. As between Deutscher and Hackett and the buyer, Deutscher and Hackett retains all rights in the images and illustrations. Deutscher and Hackett retains copyright in the text contained in this catalogue. The buyer must not reproduce or otherwise use the images, illustrations or text without prior written consent.

157

The terms and conditions of business set forth below are subject to amendment by verbal or written notice prior to and during the auction and sale. They constitute the entire contractual agreement with the buyer in respect to any lot offered at auction. By bidding at auction in any manner compliant with bidding procedures, the buyer and all bidders agree to be bound by these terms and conditions and the terms of the prospective buyers and sellers guide contained in this catalogue, as amended. To the extent that an agent acts on behalf of the buyer, liability for obligations arising from these conditions of business will pass to the buyer. Multiple buyers are jointly and severally liable for obligations arising from this agreement. DEFINITIONS 1.

conditions of auction and sale ALL PARTIES ARE STRONGLY URGED TO READ THE CONDITIONS OF AUCTION AND SALE INCLUDED IN THIS CATALOGUE

Definition of terms: a. The ‘buyer’ refers to the party with the highest accepted bid for any lot at auction and/or such party’s principal where bidding as agent. b. The ‘vendor’ refers to the party consigning property for sale and/or such party’s principal where acting as agent. c. ‘Deutscher and Hackett’ refers to Deutscher and Hackett Pty Ltd ACN 123 119 022, its subsidiaries, officers, employees and agents. d. The ‘hammer price’ refers to the final bid price (including any GST) accepted by the auctioneer, or in the case of a post-auction sale, the agreed sale price (including any GST). e. The ‘buyer’s premium’ refers to the 22% charge (plus GST) payable by the buyer calculated as a percentage of the hammer price. f. ‘GST’ refers to the goods and services tax imposed by the A New Tax System (Goods and Services) Act 1999 as amended. g. The ‘lot’ refers to the item(s) described against any lot number in the catalogue. h. The ‘reserve’ refers to the minimum price (including any GST) the consignor will accept for a lot.

PRELIMINARY CONDITIONS AND DISCLAIMER 2. Agency: Deutscher and Hackett acts as agent for the vendor and the contract of sale for the lot will be between the buyer and the vendor. 3.

Property is sold ‘as is’: To the extent permitted by law: a. no guarantees, warranties or representations are made (express or implied) by Deutscher and Hackett or the vendor in relation to the nature and condition of any lot; and b. Deutscher and Hackett disclaims liability for any misrepresentations, errors or omissions, whether verbal or in writing, in the catalogue or any supplemental material. All factual information provided by the vendor is merely passed on by Deutscher and Hackett from the vendor or other source. Deutscher and Hackett has made no attempt to verify this information. All additional statements of opinion represent the specialist opinions of Deutscher and Hackett employees and should not be relied upon as statements of fact. 4. Responsibility to inspect: Responsibility remains with the buyer to satisfy its, his or her self by inspection and evaluation prior to purchase as to the nature and condition of any property. CONDITIONS AT AUCTION 5. Registration: Bidders must register to bid and obtain a bidder’s paddle prior to the commencement of the auction. Registration requires that bidders provide proof of identity and Deutscher and Hackett may impose other obligations on the registration of bidders in its discretion. 6. Auctioneer’s discretion: Deutscher and Hackett reserves the right to absolute discretion over the conduct of the auction including the regulation of bidding and its increments. This discretion extends to the challenge or rejection of any bid, the right to withdraw any lot and the right to determine the successful bidder or reoffer a lot in the event of a dispute. The prospective buyers and sellers guide details an indicative process for the conduct of auctions. All parties are strongly urged to read the prospective buyers and sellers guide included in this catalogue.

158

7. Bidding: Deutscher and Hackett may sell each lot to the highest bidder at auction provided the reserve price has been met or where the net amount accounted to the vendor is at least equivalent to the net amount that would have been achieved for a sale at the reserve price. The fall of the auctioneer’s hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the vendor and the buyer. Unless otherwise agreed in writing with Deutscher and Hackett, the individual physically present at the auction who signals the bid accepts personal liability to pay the purchase price, including the buyer’s premium and all additional fees, taxes and charges. GOODS AND SERVICES TAX 8. Amounts inclusive of GST: Unless otherwise specified, all amounts specified in this section as payable by the buyer, or otherwise used to calculate payment to Deutscher and Hackett, are inclusive of any GST component. Deutscher and Hackett will provide buyers with a tax invoice that meets the requirements of the Australian Taxation Office. 9. Application of GST to buyers: Buyers are required to pay a 10% GST which sum is: a. included in the final bid prices where buying from a GST registered vendor (a list of lots consigned by GST Registered Entities is set out on page 198 of the catalogue); and b. included in any additional fees charged by Deutscher and Hackett; and c. added to the buyer’s premium. If a buyer is classified as a “non-resident” for the purpose of GST, the buyer may be able to recover GST paid on the final purchase price if certain conditions are met. POST-SALE CONDITONS 10. Post auction private sale: Should the lot fail to sell at auction, Deutscher and Hackett is authorised to sell the lot privately for a period of seven days in which event this agreement shall apply to the relevant buyer to the full extent of its provisions. 11. Payment: The buyer will not acquire title until payment has cleared in full. Interest at a rate of 17.5% p.a. will be charged over outstanding accounts where no extension of terms has been granted. Interest will be payable from the payment due date. With respect to each lot purchased, the buyer agrees to make the following payments within seven days from the date of sale: a. The hammer price. b. In exchange for services rendered by Deutscher and Hacket t, a buyer’s premium calculated at 22% (plus GST) of the hammer price. c. Post sale packing, handling, shipping and storage where applicable. d. If payment is made via Visa, Mastercard or American Express, any merchant fees payable by Deutscher and Hackett on the transaction as indicated in the prospective buyers and sellers guide. Payment must be made within seven days of the date of sale in Australian dollars by cash, cheque, direct deposit, approved credit cards or electronic funds transfer using the form and/or trust account details provided at the back of this catalogue. In certain circumstances, extension of payment may be granted at the discretion of Deutscher and Hackett. Once funds have cleared, the proceeds of the sale less the buyer’s Premium, GST and any commission or costs charged as agreed will be remitted to the vendor within thirty-five days of the date of sale provided payment has been received in full. Funds will be held in an interest bearing account by Deutscher and Hackett until remitted to the vendor. Deutscher and Hackett will be entitled to any interest earned during this period. Application for a cultural heritage export licence or any other licence in no way affects the buyer’s obligation to make payment or collection within the periods specified in sections 10 and 13a. 12. Risk and Title: Risk in the lot, including risk of loss or damage, will pass to the buyer on the earlier of: a. the date payment is due, whether or not it has been made; and b. collection by the buyer. The buyer assumes risk for the property in all respects from this date and neither Deutscher and Hackett nor the vendor will be liable for loss or damage occurring after the payment due date. The buyer is encouraged to make arrangements to ensure comprehensive cover is maintained from this date. Title in the lot does not pass to the buyer, even if the lot is released to the buyer, until the buyer has paid all sums owing to Deutscher and Hackett. If a buyer makes a claim against Deutscher and Hackett for damage or loss after sale, the buyer’s premium and the final bid price shall be payable notwithstanding.

13. Freight: a. The buyer may only remove a lot from the Deutscher and Hackett premises once payment has been cleared in full and must be removed no later than seven days after the date of sale. Should items not be removed by this time, storage and insurance costs may be charged to the buyer. If a lot has not been collected within 30 days after the date of sale and alternative arrangements have not been with Deutscher and Hackett, the lot may be re-sold by Deutscher and Hackett without reserve at the next auction and Deutscher and Hackett may set off any amounts owed for storage and insurance costs and its standard commission before remitting the proceeds to the buyer. b. Buyers are required to make their own arrangements for packing, handling, shipping and transit insurance for their property. Deutscher and Hackett does not accept responsibility or liability for the acts or omissions of any third party, such as a shipping agent, whether or not such a party has been recommended or suggested by Deutscher and Hackett. 14. Limited Warranty of Authorship: If a buyer is able to establish that a lot is a forgery in accordance with these conditions for sale within five years of the date of sale, the buyer shall be entitled to rescind the sale and obtain a refund of the hammer price from the vendor. The buyer must return the lot in the state in which it was sold within fourteen days of notifying Deutscher and Hackett of the forgery allegations. For a lot to be established as a forgery, the following conditions must be satisfied: a. the buyer must supply two independent expert testimonies attesting to the forgery. Deutscher and Hackett is entitled to request further expert evidence where it deems the evidence provided to be unsatisfactory; b. there must be no conflict of opinion among accepted experts in the field; and c. the forgery must be able to be proven through means that at the time of publication of the catalogue were commonly employed and that will not damage or otherwise put the lot in jeopardy. The limited warranty and the right to rescind the sale is not assignable and the buyer must have retained title to the lot without disposing of any interest in it up until the buyer notifies Deutscher and Hackett of the forgery allegations. The buyer acknowledges that it has no rights directly against Deutscher and Hackett if a lot is established to be a forgery. 15. Termination, Breach and Legalities: a. Deutscher and Hackett breach: To the extent permitted by law, the sole and maximum remedy to a buyer for breach of warranty is a refund of original purchase price, including buyer’s premium. In such an event the sale contract shall be rescinded and all costs associated with returning the property (in the state in which it was sold) to the premises of Deutscher and Hackett are to be borne by the buyer. Deutscher and Hackett is not liable for any indirect or consequential loss or damage for any matter arising directly or indirectly as a result of the sale. b. Buyer breach: Deutscher and Hackett may, in addition to other remedies available by law, exercise one or more of the following rights or remedies for breach: i. Cancel the sale and retain any payment or property in Deutscher and Hackett custody as collateral or liquidated damages. ii. Charge the buyer interest at the rate of 2% above the rate fixed under section 2 of the Penalty Interest Rates Act 1984 (Vic). iii. Resell the property without reserve at the next auction or privately on five days notice. Any disparity between sale and resale prices, including associated costs such as, but not limited to, legal, storage and sale expenses, will be to the account of the defaulting buyer. iv. Apply any part payment received from the buyer in respect of any lots at its discretion. v. Retain any of the buyer’s property held by Deutscher and Hackett until the buyer has satisfied its obligations to Deutscher and Hackett. vi. Take any other action Deutscher and Hackett deems necessary or appropriate. vii. Refuse to permit the buyer to participate in future auctions. viii. Provide the vendor with the buyer’s details to permit the vendor to take action against the buyer to recover the money. 16. Governing law and jurisdiction: These terms and conditions and any matters concerned with the foregoing fall within the exclusive jurisdiction of the courts of the state in which the auction is held. 17. Severability: In the event that any provisions of this agreement should be found unenforceable in a court of law, that part shall be discounted and the remaining conditions shall continue in full force and effect to the extent permitted by law.

159

EXHIBITS ELEGANCE

EACH OF THE 2,772 BOTTLES PRODUCED FROM THE 2014 VINTAGE IS A CELEBRATION OF THIS NOBLE VARIETY; ONE OF A TINY RELEASE THAT IS DESTINED TO BE REMEMBERED LONG AFTER ITâ&#x20AC;&#x2122;S BEEN ENJOYED.

jansz.com.au

CATALOGUE SUBSCRIPTION FORM

SALE CODE: RONNIE SALE NO.: 060 IMPORTANT AUSTRALIAN ABORIGINAL ART MELBOURNE AUCTION 18 MARCH, 7:00 PM LOTS 1 â&#x20AC;&#x201D; 105 105 COMMERCIAL ROAD SOUTH YARRA VIC 3141

q Fine Art (Single issue) $45* q Aboriginal Art single issue (Single issue) $45* q Annual Fine Art Auctions (3 issues) $120* q Annual Fine Art & Aboriginal Art Auctions (4 issues) $160*

q Tax invoice required

* Price includes G.S.T. postage and handling. Additional $10 per catalogue for international orders

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

Business name

Address

City

State

Telephone/Home

Fax

Business/Mobile

Post Code

please email, post or fax this completed form to: DEUTSCHER AND HACKETT 105 COMMERCIAL ROAD SOUTH YARRA VIC 3141

tel: 03 9865 6333 fax: 03 9865 6344

Subscription Payment by:

q Visa q AMEX q Mastercard

Name on card

Card number

Signature

Expiry date

Date

info@deutscherandhackett.com

161

ATTENDEE PRE-REGISTRATION FORM SALE CODE: RONNIE SALE NO.: 060 IMPORTANT AUSTRALIAN ABORIGINAL ART

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

Business name

Address

City

Telephone/Mobile

State

Post Code

MELBOURNE AUCTION 18 MARCH, 7:00 PM LOTS 1 â&#x20AC;&#x201D; 105 105 COMMERCIAL ROAD SOUTH YARRA VIC 3141

please email, post or fax this completed form to: DEUTSCHER AND HACKETT 105 COMMERCIAL ROAD SOUTH YARRA VIC 3141

tel: 03 9865 6333 fax: 03 9865 6344 info@deutscherandhackett.com

162

TELEPHONE BID FORM SALE CODE: RONNIE SALE NO.: 060 IMPORTANT AUSTRALIAN ABORIGINAL ART MELBOURNE AUCTION 18 MARCH, 7:00 PM LOTS 1 — 105 105 COMMERCIAL ROAD SOUTH YARRA VIC 3141

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

Billing address (PO Box insufficient)

Address

City

State

Post Code

1. 2. Telephone numbers for auction date in order of preference

Facsimile Email

Signature (required)

please email, post or fax this completed form to:

LOT NO.

Date

ARTIST/TITLE

COVER BID*

DEUTSCHER AND HACKETT 105 COMMERCIAL ROAD SOUTH YARRA VIC 3141

tel: 03 9865 6333 fax: 03 9865 6344

info@deutscherandhackett.com

6. 7. 8. 9. 10. *Not including buyer’s premium or GST (where applicable). Bids are made in Australian dollars INTERNAL USE ONLY RECEIVED BY

DATE

TIME

Please refer to the Guidelines for Potential Purchasers and Buyer’s Conditions in this catalogue for information regarding sales. By completing this form, I authorise DEUTSCHER AND HACKETT to contact me by telephone on the contact number(s) nominated. I understand it is my responsibility to enquire whether any Sale-Room Notices relate to any lot on which I intend to bid. I also understand that should my bid(s) be successful, a buyer’s premium of 22% (plus GST), as described in the Guide to Potential Purchasers and Buyer’s Conditions printed in this catalogue, will be added to the final hammer price. I accept that DEUTSCHER AND HACKETT provides this complimentary service as a courtesy to its clients, that there are inherent risks to telephone bidding, and I will not hold DEUTSCHER AND HACKETT responsible for any error.

163

ABSENTEE BID FORM SALE CODE: RONNIE SALE NO.: 060 IMPORTANT AUSTRALIAN ABORIGINAL ART

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

Billing address (PO Box insufficient)

Address

City

Telephone

State

Post Code

Business/Mobile

MELBOURNE AUCTION 18 MARCH, 7:00 PM LOTS 1 — 105 105 COMMERCIAL ROAD SOUTH YARRA VIC 3141

Facsimile Email

Signature (required)

LOT NO.

ARTIST/TITLE

Date

MAXIMUM BID*

1. 2. 3.

please email, post or fax this completed form to: DEUTSCHER AND HACKETT 105 COMMERCIAL ROAD SOUTH YARRA VIC 3141

tel: 03 9865 6333 fax: 03 9865 6344

info@deutscherandhackett.com

6. 7. 8. 9. 10. *Not including buyer’s premium or GST (where applicable). Bids are made in Australian dollars

INTERNAL USE ONLY

Absentee bids must be received a minimum of twenty-four hours prior to auction. All absentee bids received will be confirmed by phone or fax. In the event that confirmation is not received, please resubmit or contact our office.

RECEIVED BY

Please refer to the Guidelines for Potential Purchasers and Buyer’s Conditions in this catalogue for information regarding sales. By completing this form, absentee bidders request and authorise DEUTSCHER AND HACKETT to place the following bids acting as agent on their behalf up to and including the maximum bid specified. Lots will be bought at the lowest possible bid authorised by a bidder in absentia.

DATE

Should the bid be successful, the buyer will be obliged to pay the final bid price plus buyer’s premium of 22% (plus GST) of the final bid price. DEUTSCHER AND HACKETT provides this complimentary service as a courtesy to clients and does not accept liability for errors and omissions in the execution of absentee bids.

164

TIME

presenting major fine art auctions in melbourne and sydney MAY • JUNE • AUGUST • NOVEMBER 2020 online auctions held regularly view at www.deutscherandhackett.com for appraisals please contact MELBOURNE • 03 9865 6333 SYDNEY • 02 9287 0600 info@deutscherandhackett.com

CHARLES BLACKMAN ALICE ON THE TABLE 1956 tempera and oil on composition board 120.5 x 111.5 cm EST: $1,500,000 – 2,000,000

NOW CONSIGNING

forthcoming auction of important australian + international fine art SYDNEY• 6 MAY 2020 sydney • 02 9287 0600 melbourne • 03 9865 6333 info@deutscherandhackett.com www.deutscherandhackett.com

Ngulla Wellamunagaa celebrates the survival, continuity and diversity of Aboriginal and Torres Strait Islander cultures, affirming ongoing connections to Country. EXHIBITION OPEN UNTIL 29 MARCH 2020 First Australians Focus Gallery, National Museum of Australia, Canberra nma.gov.au/ngulla-wellamunagaa Wupun (Sun Mat), c. 1980, Regina Pilawuk Wilson, Nganâ&#x20AC;&#x2122;gikurrungurr, Merrepen (sand palm) and natural dyes, 130 cm (diameter). AIATSIS, ATS899

Presented by

Supported by

FESTIVAL PARTNER

Destiny Deacon Kuku/Erub/Mer born 1957 Being there 1998 (detail). National Gallery of Victoria, Melbourne. Purchased, Victorian Foundation for Living Australian Artists, 2016. ÂŠ Destiny Deacon, courtesy Roslyn Oxley9 Gallery, Sydney

Experience A STAY A LITTLE extraordinary Grab life by the horns at The Cullen and leave inspired. Perfectly positioned opposite Deutscher and Hackett at 164 Commercial Road, Prahran. Enquire now at 1800 278 468 or thecullen.com.au

Presented in association with the Adelaide Festival, and with generous support received from the Art Gallery of South Australia Biennial Ambassadors Program and Principal Donor The Balnaves Foundation. This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body and by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments. image detail Abdul Abdullah, Australia, born 1986, Understudy, 2019, mixed media, dimensions variable; Courtesy the artist and Yavuz Gallery.

176

177

COPYRIGHT CREDITS Lot 1 Lot 2 Lot 3 Lot 4 Lot 5 Lot 6 Lot 7 Lot 8 Lot 9 Lot 10 Lot 11 Lot 12 Lot 13 Lot 14 Lot 15 Lot 16 Lot 17 Lot 18 Lot 19 Lot 20 Lot 21 Lot 22 Lot 23 Lot 24 Lot 25 Lot 26 Lot 27 Lot 28 Lot 29 Lot 30 Lot 31 Lot 32 Lot 33 Lot 34 Lot 35 Lot 36

© John Mawurndjul/Copyright Agency, 2020 © Namatjira Legacy Trust/Copyright Agency, 2020 © Namatjira Legacy Trust/Copyright Agency, 2020 © Long Jack Phillipus Tjakamarra/ Copyright Agency, 2020 © Charlie Ward Tjakamarra/Copyright Agency, 2020 © Mick Namarari Tjapaltjarri/Copyright Agency, 2020 © Bill Whiskey Tjapaltjarri/Copyright Agency, 2020 © Emily K Kngwarreye/Copyright Agency, 2020 © Emily K Kngwarreye/Copyright Agency, 2020 © Freddie Timms/Copyright Agency, 2020 © Estate of Prince of Wales © courtesy of The Estate of Ginger Riley and Alcaston Gallery, Melbourne © John Mawurndjul/Copyright Agency, 2020 © Mawalan Marika/Copyright Agency, 2020 © Charlie Wartuma (Tarawa) Tjungurrayi/ Copyright Agency, 2020 © Clifford Possum Tjapaltjarri/ Copyright Agency, 2020 © Ronnie Tjampitjinpa/Copyright Agency, 2020 © George Tjungurrayi/Copyright Agency, 2020 © Warlimpirrnga Tjapaltjarri/Copyright Agency, 2020 © Patrick Tjungarrayi/Copyright Agency, 2020 © Ningura Napurrula/Copyright Agency, 2020 © Makinti Napanangka/Copyright Agency, 2020 © courtesy of The Estate of Paddy Bedford © Freddie Timms/Copyright Agency, 2020 © Rammey Ramsey/Copyright Agency, 2020 © Peggy Patrick/Copyright Agency, 2020 © Phyllis Thomas/Copyright Agency, 2020 © Rusty Peters/Copyright Agency, 2020 © Peter Eve © Emily K Kngwarreye/Copyright Agency, 2020 © Emily K Kngwarreye/Copyright Agency, 2020 © Christine Yukenbarri Nakamarra/ Copyright Agency, 2020 © Eubena Nampitjin/Copyright Agency, 2020 © Eubena Nampitjin/Copyright Agency, 2020 © Tjumpo Tjapanangka/Copyright Agency, 2020 © courtesy of The Estate of Paddy Bedford

RESALE ROYALTY Some lots consigned for this sale may be subject to the Resale Royalty Right for Visual Artists Act 2009 (Cth). Any payments due under the obligations of the Act will be paid by the vendor.

ACKNOWLEDGEMENTS Design: Danny Kneebone Photography: Danny Kneebone © Published by Deutscher and Hackett Pty Ltd 2020 978-0-6483839-5-6

178

Lot 37 Lot 38 Lot 39 Lot 40 Lot 41 Lot 42 Lot 43 Lot 44 Lot 45 Lot 46 Lot 47 Lot 48 Lot 49 Lot 50 Lot 51 Lot 52 Lot 53 Lot 54 Lot 55 Lot 56 Lot 57 Lot 58 Lot 59 Lot 60 Lot 61 Lot 62 Lot 63 Lot 64 Lot 65 Lot 66 Lot 67 Lot 68

© Freddie Timms/Copyright Agency, 2020 © Rammey Ramsey/Copyright Agency, 2020 © John Mawurndjul/Copyright Agency, 2020 © Gulumbu Yunupingu, courtesy Buku- Larrnggay Mulka Art Centre © Gulumbu Yunupingu, courtesy BukuLarrnggay Mulka Art Centre © Nonggirrnga Marawili, courtesy Buku- Larrnggay Mulka Art Centre © Nonggirrnga Marawili, courtesy Buku- Larrnggay Mulka Art Centre © courtesy of the artist and Roslyn Oxley9 Gallery © courtesy of the artist and Roslyn Oxley9 Gallery © Djambawa Marawili. courtesy Buku- Larrnggay Mulka Art Centre © Garawan Wanambi, courtesy Buku- Larrnggay Mulka Art Centre © Garawan Wanambi, courtesy Buku- Larrnggay Mulka Art Centre © Sylvia Kantjupai Ken/Copyright Agency, 2020 © Tjungkara Ken/Copyright Agency, 2020 © Wawiriya Burton/Copyright Agency, 2020 © Tjungkara Ken/Copyright Agency, 2020 © Tommy Mitchell/Copyright Agency, 2020 © Tommy Mitchell/Copyright Agency, 2020 © Maringka Baker/Copyright Agency, 2020 © Kay Baker/Copyright Agency, 2020 © Mirdidingkingathi Juwarnda Sally Gabori/Copyright Agency, 2020 © Mirdidingkingathi Juwarnda Sally Gabori/Copyright Agency, 2020 © Jarinyanu David Downs/Copyright Agency, 2020 © courtesy of the artist and Short Street Gallery © Paddy Jaminji/Copyright Agency, 2020 © Estate of Jack Britten © Butcher C Janangoo/Copyright Agency, 2020 © Butcher C Janangoo/Copyright Agency, 2020 © Wakartu Cory Surprise/Copyright Agency, 2020 © Tim Leura Tjapaltjarri/Copyright Agency, 2020 © John Tjapaltjarri/Copyright Agency, 2020 © Johnny Yungut Tjupurrula/Copyright Agency, 2020

Lot 69 Lot 70 Lot 71 Lot 72 Lot 73 Lot 74 Lot 75 Lot 76 Lot 77 Lot 80 Lot 81 Lot 82 Lot 83 Lot 84 Lot 85 Lot 86 Lot 87 Lot 88 Lot 89 Lot 90 Lot 91 Lot 92 Lot 93 Lot 94 Lot 95 Lot 96 Lot 97 Lot 98 Lot 99 Lot 100 Lot 101 Lot 102 Lot 103 Lot 104

© Ronnie Tjampitjinpa/Copyright Agency, 2020 © Ningura Napurrula/Copyright Agency, 2020 © courtesy of The Estate of Ginger Riley and Alcaston Gallery, Melbourne © Emily K Kngwarreye/Copyright Agency, 2020 © Emily K Kngwarreye/Copyright Agency, 2020 © Ray Ken/Copyright Agency, 2020 © Betty Kuntiwa Pumani/Copyright Agency, 2020 © Kitty Kantilla/Copyright Agency, 2020 © Wattie Karrawara/Copyright Agency, 2020 © Crusoe Kurddal/Copyright Agency, 2020 © Owen Yalandja/Copyright Agency, 2020 © Owen Yalandja/Copyright Agency, 2020 © Barrupu Yunupingu, Buku- Larrngay Mulka Centre, Yirrkala © Nonggirrnga Marawili, courtesy Buku- Larrnggay Mulka Art Centre © Malaluba Gumana, courtesy Buku- Larrnggay Mulka Centre, Yirrkala. © courtesy of the artist and Aboriginal & Pacific Art, Sydney © Jan Billycan/Copyright Agency, 2020 © courtesy of the artist and Short Street Gallery © Tommy Mitchell/Copyright Agency, 2020 © Tommy Mitchell/Copyright Agency, 2020 © Sylvia Kantjupai Ken/Copyright Agency, 2020 © Tjungkara Ken/Copyright Agency, 2020 © Mick Wikilyiri/Copyright Agency, 2020 © Dickie Minyintiri/Copyright Agency, 2020 © Eubena Nampitjin/Copyright Agency, 2020 © Birriliburu Artists/Copyright Agency, 2020 © Tiger Palpatja/Copyright Agency, 2020 © Hector Tjupura Burton/Copyright Agency, 2020 © Angkaliya Curtis/Copyright Agency, 2020 © Robert Fielding/Copyright Agency, 2020 © Otto Pareroultja/Copyright Agency, 2020 © courtesy of The Estate of Ginger Riley and Alcaston Gallery, Melbourne © Kaapa Tjampitjinpa/Copyright Agency, 2020 © Old Tutuma Tjapangati/Copyright Agency, 2020

index M

TJAPALTJARRI, BILL WHISKEY

MARAWILI,

TJAPALTJARRI, CLIFFORD POSSUM

NONGGIRRNGA

B BAKER, KAY BAKER, MARINGKA BEDFORD, PADDY NYUNKUNY

23, 36

TJAPALTJARRI, WARLIMPIRRNGA

TJAPALTJARRI, TIM LEURA

TJAPALTJARRI, JOHN

TJAPANANGKA, TJUMPO

MARIKA, MAWALAN

BRITTEN JOOLAMA, JACK

MAWURNDJUL, JOHN

42, 43, 79, 84

1, 13, 39

BURTON, WAWIRIYA

MINYINTIRI, DICKIE

BURTON, HECTOR TJUPURA

MITCHELL, TOMMY

53, 54, 89, 90

CHEREL, JANANGOO BUTCHER CURTIS, ANGKALIYA

63, 64 99

D DOWNS, JARINYANU DAVID

NAKAMARRA, CHRISTINE

YUKENBARRI NAMATJIRA, ALBERT

2, 3

NAMPITJIN, EUBENA

33, 34, 95

NAPANANGKA, MAKINTI

NAPURRULA, NINGURA

21, 70

EVE, PETER

PALPATJA, TIGER

PAREROULTJA, OTTO F FIELDING, ROBERT

100

G GABORI, MIRDIDINGKINGATHI JUWARNDA SALLY GUMANA, MALALUBA

TJUPURRULA, JOHNNY YUNGUT

V VARIOUS ARTISTS (BIRRILIBURU AND WARAKURNA ARTISTS)

101

WALBIDI, DANIEL WANAMBI, GARAWAN

PATRICK, PEGGY

WIKILYIRI, MICK

PETERS, RUSTY

WURIBUDIWI, JOHN WILSON

PRINCE OF WALES (MIDPUL)

PUMANI, BETTY KUNTIWA

R RAMSEY, RAMMEY RILEY MUNDUWALAWALA, GINGER

J JACK, WEAVER

JAMINJI, PADDY

TJUNGURRAYI, PATRICK

25, 38 12, 71, 102

60 47, 48 93 105

Y YALANDJA, OWEN

57, 58

104

TJUNGURRAYI, CHARLIE WARTUMA (TARAWA) 15

TJAPANGATI, OLD TUTUMA

TJUNGURRAYI, GEORGE

CAMPBELL JUNIOR, ROBERT

MARAWILI, DJAMBAWA

BILLYCAN (DJAN NAMUNDIE), JAN

81, 82

YALANDJA, OWEN YUNUPINGU, GULUMBU

40, 41

YUNUPINGU, NYAPANYAPA

44, 45

YUNUPINGU, BARRUPU

S SURPRISE, WAKARTU CORY

K KANTILLA, KITTY

KARRAWARA, WATTIE KEN, SYLVIA KANTJUPAI KEN, TJUNGKARA

50, 52, 92

KEN, RAY KNGWARREYE,

77 49, 91 74

8, 9, 30, 31, 72, 73

T THOMAS, PHYLLIS TIMMS, FREDDIE

27 10, 24, 37

TJAKAMARRA, LONG JACK PHILLIPUS 4 TJAKAMARRA, CHARLIE WARD TJAMPITJINPA, RONNIE TJAMPITJINPA, KAAPA

EMILY KAME KOOLMATRIE, YVONNE

KURDDAL, CRUSOE

TJAPALTJARRI, MICK NAMARARI

5 17, 69 103 6

179

180

specialist fine art auction house and private gallery