Important Australian Aboriginal Art by Deutscher and Hackett

IMPORTANT AUSTRALIAN ABORIGINAL ART • MELBOURNE • 17 MARCH 2021

important australian aboriginal art Lots 1 – 54

IMPORTANT AUSTRALIAN ABORIGINAL ART AUCTION • MELBOURNE • 17 MARCH 2021

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 – 54 WEDNESDAY 17 MARCH 2021 7:00pm 105 commercial road south yarra, vic telephone: 03 9865 6333 THURSDAY 4 – SUNDAY 7 MARCH 16 goodhope street paddington, NSW telephone: 02 9287 0600 11:00am – 6:00pm THURSDAY 11 – TUESDAY 16 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 30 years experience in public and commercial galleries and the fine art auction market. After completing a BA (Visual Arts) at the University of New England, he 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.

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

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.

CLAIRE KURZMANN head of online sales, 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.

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.

DIANA McPHILLIPS social media and online bidding Diana has a Bachelor of Arts (Art History and Theory, History) together with a Master of Art Curatorship from the University of Sydney. She has also completed studies in Interior Design from the New York Institute of Art and Design. As a member of an Australian diplomatic family, Diana has lived extensively overseas and has gained a strong appreciation for the arts and culture.

DANNY KNEEBONE design and photography manager Danny Kneebone is an award-winning Photographer and Graphic Designer with over 30 years of experience. He was Art Director at Christie’s Australia from 19982007 and then Senior Designer and Photographer at Sotheby’s Australia from 2007-2019. Danny specialises in design, photography, colour management and production and has won many print and design awards for his work. Danny is also an artist in his own right, holding regular solo and group exhibitions, and winning over 50 national and international photography awards.

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. 154) or telephone bid form (p. 153) SHIPPING Veronica Angelatos 03 9865 6333 CATALOGUE SUBSCRIPTIONS Claire Kurzmann 03 9865 6333

contents lots 1 — 54

page

prospective buyers and sellers guide

page 106

conditions of auction and sale

page 108

catalogue subscription form

page 111

attendee pre-registration form

page 112

telephone bid form

page 113

absentee bid form

page 114

index

page 123

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 – 54 Featuring Early bark paintings from The Estate of Gary Bradley Lots 20 – 24

LIN ONUS

(1948 – 1996) FROG AT BULLITA CREEK, 1996 gouache on card 27.0 x 63.0 cm signed lower right: Lin Onus bears inscription verso: artist’s name, title and cat 96LO2AN ESTIMATE: $18,000 – 25,000

PROVENANCE Dreamtime Gallery, Santa Fe, New Mexico, USA (gallery stamp verso) Private collection, Melbourne acquired from the above in 2000

Of Yorta Yorta and Scottish descent, Lin Onus was a ‘self-confessed cultural mechanic’1 whose vision, genius and generosity of spirit changed forever perceptions of Aboriginal culture through his manifold roles as artist, educator, activist and administrator. Straddling such dualistic perspectives – one Western and representational, the other Aboriginal and spiritual – Onus was thus able to explore fresh ideas from a diverse range of influences, cleverly subverting Western perceptions of Indigenous art through a deceptively light-hearted dialogue punctuated with irony and wit. Indeed, akin to other urban-based Australian artists of Aboriginal and Torres Strait ancestry such as Gordon Bennett, Tracey Moffatt (lot 29) and Trevor Nickolls, Onus occupied what anthropologist Levi Strauss defines as that ‘in-between’ space between multiple worlds – afforded that rare opportunity ‘to glimpse through many slightly ajar doors’, yet paradoxically belonging everywhere, and nowhere. As Margo Neale elaborates in the catalogue accompanying the artist’s retrospective at Queensland Art Gallery in 2000, ‘…his works are like the tales of a roving storyteller or mythmaker.’ 2 Animating this mixed cultural perspective and expanding his consciousness to accommodate both Indigenous and non-Indigenous ‘ways of seeing’ was Onus’ reconnection to his father’s ancestral country and spiritual home – the Barmah Forest and its environs located on the Victorian banks of the Murray River, near Echuca – where his uncle

Aaron Briggs, ‘the old man of the forest’ would illuminate the young artist about his Koori heritage and stories of the river. 3 Such experience, together with the sixteen pilgrimages Onus undertook to Arnhem Land over the decade preceding his untimely death in 1996, served as an important ‘form of spiritual awakening’4 for Onus, liberating him from the struggle of working in a Western manner while trying to engage with his Indigenous background. Accordingly, he began to embrace a new visual language in which elements of his immaculately painted photorealist landscapes – typically the fauna such as fish, lizards, stingrays or frogs (as exemplified here) – were realistically rendered yet ‘indigenised’ by the over-layering of rarrk designs in aboriginal colours of ochre, black and gold. Symbolically, the inclusion of indigenised fauna within the landscape no doubt suggest a personal claim of custodianship or sense of belonging; as Onus, an initiated man, observed of the creatures that populate his paintings: ‘They’re part of me and I am part of them now.’ 5 More universally however, such hybrid images make powerful and resonant comment on the sense of displacement, dispossession, inequity and disorientation that has been the experience and history of Australian Indigenous people since colonialisation – thus inviting the viewer to not only consider the beauty and fragility of the natural world he celebrates, but the complexity of relationships to both country and one another. 1. Neale, M., Lin Onus, exhibition catalogue, Savill Galleries, Melbourne, 2003, p. 1 2. Neale, M., Urban Dingo: The Art of Lin Onus 1948–1996, Queensland Art Gallery, Brisbane, 2000, p. 18 3. ibid., p. 13 – 14 4. Lin Onus, quoted in Leslie, D., ‘Earth, spirit and belonging in Australian art’ in Spirit in the Land, McClelland Gallery + Sculpture Park, Langwarrin, 2010 – 2011, p. 19 5. Neale, 2000, op.cit., p. 14 VERONICA ANGELATOS

JOHN MAWURNDJUL born 1952 MILMILNGKAN, 2009 natural earth pigments on eucalyptus bark 166.0 x 81.0 cm (irregular) bears inscription verso: Maningrida Arts and Culture cat. 1630 – 09 ESTIMATE: $35,000 – 45,000

PROVENANCE Maningrida Arts and Culture, Maningrida, Northern Territory (label and certificate of authenticity attached verso) Annandale Galleries, Sydney (label attached verso) Private collection, Sydney, acquired from the above in 2015 EXHIBITED John Mawurndjul and John Bulunbulun, New Work: bark paintings and ceremonial poles, Annandale Galleries, Sydney, 16 April 2015 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 subjects 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.’

PRINCE OF WALES (MIDPUL)

(c.1935 – 2002) BODY MARKS, 1998 synthetic polymer paint on linen 152.0 x 91.5 cm bears inscription verso: artist’s name, title, date and cat. 00206 ESTIMATE: $10,000 – 15,000

PROVENANCE Karen Brown Gallery, Darwin Galerie Exler, Frankfurt, Germany Private collection, Hesse, Germany Van Ham Kunstauktionen, Cologne, Germany, 17 June 2020, lot 787 Private collection, United Kingdom Renowned for his unique interpretations of body decorations and markings used in the ceremonial activities of the Larrakia people, Prince of Wales (Midpul) drew inspiration from these traditional activities for the imagery in his contemporary paintings. Born Midpul at Kah’lin (Cullen) Beach, Darwin in 1935, Prince grew up at Belyuen (Dellisaville), a small community on the far side of Darwin Harbour. He was the son of acknowledged Larrakia leader and traditional land owner Imabul (Old King George) and was also known as Prince of Wales – a title that was re-enforced when he danced for Queen Elizabeth during a royal trip to Australia in the 1960s. A custodian and leader of Larrakia ceremonies and dances, a leading didgeridoo player and ceremonial body painter for much of his life, Prince started painting in 1995, initially on discarded pieces of wood and cardboard, and participated in his first exhibition the following year.

‘In taking up painting, 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 the dots and intermittent bars, as if to read like 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.’1 Painted on an ochre ground, Body Marks, 1998 reinforces the ceremonial body decorations that Prince of Wales wanted to preserve in his painting. The alternate-coloured dotting of black, white, yellow and brown dots combines together to create an intense energy. These markings evoke the patterns Prince would have originally painted onto the bodies of his clansmen prior to a ceremonial dance, but here they are transferred as a permanent record for posterity. His first solo show was in Melbourne in 1997 at Gallery Gabrielle Pizzi, and in 2001, he won the painting section at the Telstra National Aboriginal and Torres Strait Islander Art Award in Darwin. 1. Perkins, H., Tradition Today; Indigenous Art in Australia, Art Gallery of New South Wales, Sydney, 2004, p. 166

BILL WHISKEY TJAPALTJARRI

(c.1920 – 2008) ROCKHOLES NEAR THE OLGAS, 2008 synthetic polymer paint on linen 152.0 x 183.0 cm bears inscription verso: artist’s name, title, size and Watiyawanu Artists of Amunturrungu cat. 77 – 08455 ESTIMATE: $25,000 – 35,000

PROVENANCE Watiyawanu Artists of Amunturrungu, Mt Leibig, Northern Territory Metro Gallery, Melbourne (label verso) Company collection, Melbourne A Pitjantjatjara man, Bill Whiskey Tjapaltjarri was born at Pirupa Akla near Kata Tjuta (Olgas) to the west of Uluru around 1920. As a young man he traveled across country eventually taking up residence at the Lutheran Mission at Haasts Bluff where he worked as a cook and where he met his wife Colleen Nampitjinpa. Later, he moved with his family north-west to the Amanturrungu Outstation near Mount Liebig in the Central Desert. In 2004 he began to paint, making use of the studio facilities of the local Watiyawanu Artist collective renowned for its support of local women artists such as Wentja Morgan Napaltjarri, Lilly Kelly Napangardi, Ngoia Pollard Napaljarri and his wife Colleen Nampitjinpa. Under the guidance of Watiyawanu Artists, his work was included in six group exhibitions in 2006 and his first solo exhibition was held in Coffs Harbour the following year.

Rockholes Near The Olgas, 2008 is a large and bold painting that belongs to a group of works done just prior to his death in 2008 at the age of 87. These last works are distinguished by the introduction to his palette of cadmium orange and as in this case, an equally strong cadmium red. Based on his beloved country to the north-west of the Olgas, the paintings are evocative with a sense of ancient, traditional knowledge commensurate with his role as a senior ngangkari or traditional healer. The painting tells of the ancestral creative acts of the Cockatoo, Crow and Eagle, who, through a series of epic confrontations, created the features of the Landscape. The rock holes were formed where the battling birds tumbled and crashed to the ground and the shards of white stone depicted here represent the cockatoo’s feathers.

KITTY KANTILLA (c.1928 – 2003) UNTITLED, 2000 natural earth pigments and synthetic binder on canvas 133.0 x 80.0 cm bears inscription verso: artist’s name and Jilamarra Arts and Crafts cat.137 – 00 ESTIMATE: $16,000 – 20,000

PROVENANCE Jilamara Arts and Crafts, Milikapiti, Melville Island, Northern Territory Aboriginal and Pacific Art, Sydney Private collection, Sydney EXHIBITED Kitty Kantilla, Aboriginal and Pacific Art, Sydney, November 2001, cat. 9 This work is accompanied by a certificate of authenticity from Jilamara Arts and Crafts, Milikapiti. Acquired from Kitty Kantilla’s 5th solo exhibition held in December 2000 at Aboriginal and Pacific Art in Sydney, Untitled, 2000 is painted on a white ground and encompasses all the elements of the artist’s lexicon: pwanga (dots), marlipinyini (lines) and turtiyangimari (colours of white, red, yellow and black). Although seemingly abstract in appearance, Kantilla’s mark making is far from arbitrary, her designs evoke cultural history and ritual, particularly the Pukumani ceremony, where the Tiwi gather to farewell the dead. Here performers in full body decoration participate in a cycle of song and dance.

EMILY KAME KNGWARREYE

(c.1910 – 1996) ANOORALYA (WILD YAM), 1989 synthetic polymer paint on linen 150.0 x 121.0 cm bears inscription verso: artist’s name and Delmore Gallery cat. B154 ESTIMATE: $150,000 – 250,000

PROVENANCE Delmore Gallery, Alice Springs The Delmore Collection, Alice Springs Private collection, Melbourne

canvases ‘retain the linear network as an underlayer or foundation, but the dots that were subsidiary in her batik come to the surface … lines and dots converge in a dense field of irregular textured marks which create a sense of depth.’ 2

LITERATURE Isaacs, J., Smith, T., Ryan, J., Holt, D., and Holt, J., Emily Kame Kngwarreye Paintings, Craftsman House, Sydney, 1998, p. 46, pl.3 (illus.) Hart, D., Emily Kame Kngwarreye, Paintings from 1989-1995, Works from the Delmore Collection, Parliament House, Canberra, 1995, p.7 (illus.)

Janet Holt records in the accompanying certificate from Delmore Gallery that Anooralya (Wild Yam) was the eleventh canvas painted by Emily Kame Kngwarreye at Delmore Downs Station in 1989. 3 A significant early work, the surface is replete with a full complement of the artist’s stylistic elements. Painted on a black ground, the underlying tracery of milky lines signifies the meandering roots of the yam below the earth and the tracks of the travelling emu moving between nesting sites above. The underlying pattern is covered by layers of dots painted in a traditional palette of earth colours; red, yellow and white, which represent the blanketing of seeds, flowers and leaves. Fundamentally, this work depicts the relationship between the emu and country. Beneath the soil the bush yam is ready for digging, while above, there is a flurry of movement as the male emu moves across the landscape feeding on various seeds, simultaneously shepherding his chicks into areas where the yam thrives.

EXHIBITED Emily Kame Kngwarreye, Paintings from 1989-1995, Works from the Delmore Collection, Parliament House, Canberra, 7 November – 3 December 1995: My Mother Country, Malerei Der Aborigines, Kunsthaus Zug, Switzerland, 29 Sept 2019 – 10 Feb 2020 RELATED WORKS Emu Story, 1989, synthetic polymer paint on canvas, 150.5 × 122.0 cm, in the collection of the National Gallery of Victoria, Melbourne, illus. in Isaacs, J., Smith, T., Ryan, J., Holt, D., and Holt, J., Emily Kame Kngwarreye Paintings, Craftsman House, Sydney, 1998, pl. 2, p. 45 Untitled, 1990, synthetic polymer paint on canvas, 211.0 × 122.0 cm, in the collection of the National Gallery of Victoria, Melbourne, illus. in Isaacs, J., Smith, T., Ryan, J., Holt, D., and Holt, J., Emily Kame Kngwarreye Paintings, Craftsman House, Sydney, 1998, pl. 8, p. 52 ‘All the paintings of Emily Kngwarreye, so spectacular and diverse in style, express a central theme – that of her identification with the earth and land itself: Anmatyerre country, the country of the yam and the emu’.1 When describing the first paintings on canvas produced by Kngwarreye such as Anooralya (Wild Yam), 1989, Judith Ryan sees a connection to, as well as an evolution from her earlier batiks, noting that these

The importance of Emily Kngwarreye in the history of twentieth century Australian art cannot be overstated, the body of work produced in the final stage of her life radically altered the way in which we view and appreciate modern Aboriginal art. Stemming from a lifetime of making art, where the visual and performative aspects are as important as language, her paintings reveal a deep affinity to country and a devotion to women’s ceremony in song, dance and the ceremonial painting of bodies. Celebrating the ever-changing seasonal variations in her homeland of Alhalkere and the related spiritual and domestic obligations to country, Kngwarreye’s painting demonstrate the interconnectedness of life, landscape and culture. 1. Isaacs, J., ‘Anmatyerre Woman’ in Emily Kngwarreye Paintings, Craftsman House, Sydney, 1998, p. 12 2. Ryan, J., ‘Emily Kngwarreye in the National Gallery of Victoria’ in Emily Kngwarreye Paintings, ibid., p. 79 3. From the accompanying Delmore Gallery certificate of authenticity CRISPIN GUTTERIDGE

EMILY KAME KNGWARREYE (c.1910 – 1996) UNTITLED, 1994 synthetic polymer paint on canvas 150.0 x 91.0 cm bears inscription verso: artist’s name and Delmore Gallery cat. 94K31 ESTIMATE: $50,000 – 70,000

PROVENANCE Commissioned by Delmore Gallery, via Alice Springs in November 1994 William Mora Galleries, Melbourne Private collection, Melbourne, acquired from the above in December 1998

This work is accompanied by a certificate of authenticity from Delmore Gallery which states: ‘This painting ‘Untitled 1994’ by Emily Kame Kngwarreye, is a beautiful expression of carefully crafted textures and colour created by gently placed light-infused dots demonstrating Kngwarreye’s wonderful painterly skill. Her focus is a seasonal one, her painting conveying the dramatic colours of abundance within in the arid lands of north-east of Alice Springs. Kngwarreye leans into her canvas and builds up a landscape loaded with various plums, berries, flowers and seeds, as a celebration of replenishment of her country, and a reminder that colour is a vital indicator of ripeness and availability to harvest. We feel her connection to this surface and linking into those special places where these fruits and seed are located, and of past experiences of being there.’

JOHN MAWURNDJUL

born 1952 NGALYOD RAINBOW SERPENT, 2004 natural earth pigments on eucalyptus bark 148.0 x 63.0 cm (irregular) bears inscription on label attached verso: artist’s name, medium, size, language group and Maningrida Arts and Culture cat. 757 - 04 ESTIMATE: $80,000 – 120,000

PROVENANCE Maningrida Arts and Culture, Maningrida, Northern Territory Private collection, Melbourne, acquired from the above in 2004 EXHIBITED John Mawurndjul: I am the Old and the New, Museum of Contemporary Art, Sydney, 6 July – 23 September 2018; Art Gallery of South Australia, Adelaide, 26 October 2018 – 28 January 2019 LITERATURE Altman, J., et al., John Mawurndjul: I am the Old and the New, Museum of Contemporary Art, Sydney and Art Gallery of South Australia, Adelaide, 2018, pp. 200 – 201 (illus.), 378

‘The Rainbow Serpent rose up at Ngandarryo and pulled the people down into the earth, killing them all and turning them into bones. Rainbow Serpents are found in many places in both dua and yirridjdja moiety. They live in the earth under the ground or in bodies of water at places such as Dilebang or Benedjangngarlwend. The white clay in the ground at Kudjarnngal is the faeces of the serpent. Waterlilies at certain places tell us that the Rainbow Serpent lives there. When the wet season storms come, we can see her in the sky (as a Rainbow). She makes the rain. When we the floodwaters of the wet season rise, we say the Rainbow Serpent is making the electrical storms of the monsoon wet season. Rainbow Serpents are dangerous, just like crocodiles, they can kill people and other animals.’1 Uniquely Australian, the art of John Mawurndjul is the culmination of decades of learning and the fine tuning of his craft over time, resulting in a distinct record of country and an individual style of storytelling subtly contained within his intricate and beautiful paintings on bark. Since he first began painting in the late 1970s, Mawurndjul has quietly transformed Kuningku bark painting. His early works of figures and creatures in Kuningku mythology evolved into a more metaphysical representation of specific sites, events and landscape and it is perhaps in his renditions of Ngalyod, the Rainbow Serpent, that this evolution is most evident. An omnipotent and significant creature in Kuninjku cosmology, Ngalyod is associated with the creation of all sacred sites, djang, in Kuninjku clan lands.

Ngalyod appears as a subject in his early paintings, but as Mawurndjul’s knowledge grew through the guidance of his late elder brother Jimmy Njiminjuma and his participation in ritual ceremonies, his work reflects the more transformative power of Ngalyod. His paintings become representative of the destructive potential of this being and ‘many of his works, particularly the Ngalyod paintings, act as definitive warnings to family, friends and visitors alike, illustrating the vengeful capacity of beings to punish transgressors or those who do not have ritual authority.’ 2 As the artist describes in the catalogue entry for this painting above, Ngalyod resides in the waterholes and water courses. Waterlilies growing around their edges may indicate the presence of Naglyod, and Kuninjku are careful not to damage the lilies or disturb the still bodies of water so not to anger the spirit. The Power of Nagalyod is clearly evident in Ngalyod Rainbow Serpent, 2004, the twisting energy of its body indicates the presence and potential power within that is both life-giving with the rejuvenating rains of the annual monsoon, and at the same time, threatening with the destructive power of storms. Mawurndjul’s paintings have pioneered a new interpretation of Kuningku clan sites and djang that inspire the next generation of bark painters. 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. As Hetti Perkins writes ‘His works, lovingly crafted and sculpted depictions of flora and fauna, ancestral events, supernatural beings, significant sites and encrypted ceremonial designs are at once country and mnemonic of country.’ 3 1. The artist quoted in John Mawurndjul, I am the Old and the New, Museum of Contemporary Art, Sydney, 2018, p. 200 2. Perkins, H., ‘Mardayin Maestro’ in John Mawurndjul, I am the Old and the New, Museum of Contemporary Art, Sydney, 2018, p. 26 3. ibid., p. 21 CRISPIN GUTTERIDGE

LIN ONUS

(1948 – 1996) GUYI RIRRKYAN (FISH AND ROCKS), 1990 synthetic polymer paint on canvas 91.5 x 151.5 cm signed lower right: Lin Onus bears inscription with title verso: GUYI RIRRKYAN ESTIMATE: $150,000 – 200,000

PROVENANCE Painters Gallery, Sydney Private collection, Melbourne EXHIBITED Paintings and Sculpture by Lin Onus, Painters Gallery, Sydney, May – June 1990

Described by curator Margo Neale as a ‘cultural terrorist of gentle irreverence’1, Lin Onus today remains acclaimed for his unique ability to challenge cultural hegemonies with subtlety and sophistication through his distinctive hybrid style that integrated Indigenous spirituality and narrative with Western representational systems. Of both Yorta Yorta and Scottish descent, not only did Onus straddle a rare cusp in cultural history between millennia, but rather than resolve such differences through fusion, he sought to span the divides - expanding the parameters of post-colonialism to incorporate the Indigenous voice. Infiltrating issues of Aboriginality into everyday Australian experience, thus Onus’ artistic achievements rely upon inclusion rather than alienation for their impact, poignantly embodying his aspirations for healing and reconciliation more broadly: ‘I hope that history might see me as some sort of bridge between cultures…’ 2 Of particular relevance to his celebrated ‘water and reflection’ paintings such as the impressive Guyi Rirrkyan (Fish and Rocks) 1990 featured here, were Onus’s regular spiritual pilgrimages to Arnhem Land which, he later mused, gave him ‘back all the stuff that colonialism had taken away.’ 3 As Neale observes, ‘…now, in addition to his own ancestral site at Barmah forest he was permitted to access new sites of significance such as Arafura Swamp, or his adoptive community at the outstation Garmedi; to kinship systems in which he and his family were assigned skin names; to language that he used for many of the titles of his works; to ceremony and Dreaming stories.’4 Arguably most influential upon his stylistic evolution, however, was the relationship he fostered in Arnhem Land with the highly esteemed Aboriginal painter who became his adoptive father and mentor, Jack Wunuwun. Admiring the older artist’s

rarrk technique (cross-hatching designs) – exemplified by his important bark painting of a transparent fish-trap Barnumbirr the Morning Star, 1987 in the National Gallery of Australia, Canberra - Onus subsequently embarked upon his highly acclaimed series of watery landscapes which, rich in reflections and ambiguities, substitute the traditional European panoramic view for one described by his mentor Wunuwun as ‘seeing below the surface.’ Mesmerisingly beautiful in its technical virtuosity and aesthetic power, Guyi Rirrkyan (Fish and Rocks) 1990 offers a stunning example of the way in which Onus sought to portray the landscape as a ‘cultural archive’ – a repository of myth, history and ideology. Exuding a dream-like ‘otherworldliness’, the composition features the artist’s signature motif of ‘indigenised’ fish decorated in rarrk, swimming between exquisitely rendered layers of fallen russet-coloured leaves and the reflections of tall spindly gum trees on the waterhole surface. Significantly, such emphasis upon reflection and water surface in these mature, more resolved works has been recently perceived as ‘a call for deep consideration of one’s experience of life, or more specifically, to make connections between oneself and the world.’5 A poetic yet potent statement of cultural authority - of Onus’ Indigenous understanding of that which ‘lies beneath the surface of things’ 6 - indeed the work encapsulates well the artist’s declaration that there is no distinction between the political and the beautiful. As Neale elucidates, considering the multifaceted meaning of such works, ‘…they are deceptively picturesque, for things are not always what they seem. Laden with cross-cultural references, visual deceits, totemic relationships and a sense of displacement, they, amongst other things, challenge one’s viewing position: Are you looking up through water towards the sky, down into a waterhole from above, across the surface only or all three positions simultaneously?’ 7 1. Neale, M., Urban Dingo: The Art of Lin Onus 1948–1996, Queensland Art Gallery, Brisbane, 2000, p. 67 2. Lin Onus, artist statement, 1990 3. Onus cited Neale, op.cit., p. 15 4. ibid., p. 15 – 16 5. Lindsay, F., Lin Onus: Yinya Wala, Mossgreen, Melbourne, 2016, p. 3 6. Sequeira, D, Lin Onus Eternal Landscape, Margaret Lawrence Gallery, University of Melbourne, Melbourne, Victoria, 2019, n.p. 7. Neale, M., Lin Onus, exhibition catalogue, Savill Galleries, Melbourne, 2003, p. 1 VERONICA ANGELATOS

GINGER RILEY MUNDUWALAWALA

(c.1936 – 2002) LIMMEN BIGHT COUNTRY – THE WET, 1992 synthetic polymer paint on linen 142.0 x 149.0 cm signed lower left: GINGER RILEY bears inscription verso: artist’s name, title and Alcaston Gallery cat. AK2435 / 2.12.92 ESTIMATE: $30,000 – 50,000

PROVENANCE Alcaston Gallery, Melbourne Chapman Gallery, Canberra Private collection, Canberra, acquired from the above in 1994 ‘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 Country – The Wet, 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 him travelling), while the Four Arches are envisaged in multiple, emphasising their significance and reflecting different viewpoints. A dominant motif of Riley’s oeuvre, such aerial overview is informed by the artist’s strong sense of place; as he 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 Similarly presiding over the landscape, in the foreground here the totemic white-breasted sea eagle, Ngak Ngak, fulfils the role of a sentinel or guardian protecting the country, while in the distance, heavy, rain-filled clouds not only herald the fertile abundance of the wet season, but poignantly symbolise the artist’s mother and continuing cycle of life. 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

EMILY KAME KNGWARREYE

(c.1910 – 1996) EARLY SUMMER FLOWERS, 1990 synthetic polymer paint on linen 120.0 x 214.0 cm bears inscription verso: artist’s name and Delmore Gallery cat. no. 0Q06 ESTIMATE: $250,000 – 350,000

PROVENANCE Commissioned by Delmore Gallery, via Alice Springs, Northern Territory in December 1990 Gallery Gabrielle Pizzi, Melbourne Private collection, Melbourne, acquired from the above in 1991 EXHIBITED Emily Kame Kngwarreye, Gallery Gabrielle Pizzi, Melbourne, 1991 This work is accompanied by a certificate of authenticity from Delmore Gallery.

One year into Emily Kame Kngwarreye’s acrylic painting career, Early Summer Flowers, 1990, was the sixth work she created in the summer of 1990-91 for the Delmore Gallery via Alice Springs. The gallery’s documentation of the work records the artist painting ‘under the shelter of a huge camp-sheet whilst “follow-up” rain fell on newly sprouted native seedlings.’ This rain following on from the good winter rains earlier that year would guarantee a season of prolific growth of iylaw (Eastern Anamtyerr for munyeroo grass) and alyatywereng (woollybutt grass). The reference here lends the work a metaphysical association in so far as these grasses are the favoured food of emus, while the emu is an important ancestral being and the subject of several of the artist’s major works.

Ultimately, Early Summer Flowers is a celebration of the natural and spiritual wonders of Kngwarreye’s ancestral land of Alhalker (Alagura), the source of inspiration and focus of her art. The use of luscious viridian and greens in this painting was a recent introduction to the artist’s palette and reflects the colour of the desert landscape after the seasonal inundations. It puts a lie to the myth that the desert can be anything but green. Early Summer Flowers belongs among a sequence of major works on a similar scale in which Kngwarreye celebrates the natural bounty of the desert in favourable seasons. Related works in this series include After Rain painted in the winter of 1990 (June) now in the collection of the National Gallery of Victoria,1 Seeds of Abundance, painted in October of that year, now in the collection of the National Gallery of Australia, 2 and Alagura – My Country, painted in mid-summer, January 1991, in the collection of the Art Gallery of South Australia. 3 1. Isaacs, J., T. Smith, J. Ryan et al., Emily Kngwarreye Paintings, Craftsman House, Roseville East, NSW, 1998, plate 7, p. 50 (illus.) 2. Ibid., plate 12, p. 57 (illus.) 3. See https://www.agsa.sa.gov.au/collection-publications/collection/works/alagura-mycountry/22893/ WALLY CARUANA

EMILY KAME KNGWARREYE (c.1910 – 1996) EARLY SUMMER FLOWERS, 1990

ROVER THOMAS (JOOLAMA)

(c.1926 – 1998) STATION HILL, TEXAS DOWNS, 1991 natural earth pigments on canvas 59.5 x 100.0 cm ESTIMATE: $40,000 – 60,000

PROVENANCE Mary Macha, Perth Private collection, Melbourne To paraphrase the early twentieth century avant-garde artist Paul Klee, Rover Thomas was adept at taking a line for a walk. In Station Hill, Texas Downs, 1991 the central linear arch emanating from the painted frame of the composition – a metaphorical frame of reference – divides the top of Station Hill from the bottom according to the artist’s description of his image. The tension within the composition is achieved through the yellow ochre line angling and curving back on itself in the lower right register of the painting, approaching but not touching either the frame or the arching form at the focal point of the work. (According to Thomas, this is a ‘gap’ through which kangaroos are corralled.) Two lines in opposition, forming a space within a space. The artist’s assured, rhythmical lightness of touch creates an image of stark dynamism. Thomas’ genius lay in his ability to achieve such complex visions through the most minimal of means. Station Hill, Texas Downs is comparable in this respect to paintings such as Frog Hollow country, 1987, in the

collection of the National Gallery of Australia, where the meandering lines represent roads to towns and settlements, and tracks to an ancestral site.1 A similar rendition of mapping roads for cars appears in Yunurr (Spring Creek), 1991, in the collection of the National Gallery of Victoria. 2 And in Gurirr Gurirr Serpent Wungkurr of 1994, in the collection of the Fondation Opale, the wandering line becomes the Rainbow Serpent of Thomas’ revelatory Gurirr Gurirr ceremony about the destruction of Darwin by the snake in the guise of Cyclone Tracy in 1974. 3 As in many of Thomas’ paintings of country, the perspective can be ambiguous; one is either looking down on the landscape in plan view, in profile, as if one were standing in the landscape; or, as in Station Hill, Texas Downs, both perspectives operate simultaneously. 1. Thomas, R. with Akerman, K., Macha, M., Christensen, W., and Caruana, W., Roads Cross: The paintings of Rover Thomas, National Gallery of Australia, Canberra, 1994, pp. 13 and 58 (illus.) 2. Planella, G. (ed.), Porta Oberta al Dreamtime: Art Aborigen Contemporani d’Austràlia, 19712003, Fundació Caixa de Girona, Girona, Spain, 2004, pp. 40-1 (illus.); and illustrated on the National Gallery of Victoria’s website at https://www.ngv.vic.gov.au/essay/rover-thomas-yunurrspring-creek/ 3. Petitjean, G. and Primat, B., (eds.), Before Time Began, Fondation Opale, Lens, Switzerland, and 5 Continents Editions, Milan, 2019, cat. 61, p. 124 (illus.) WALLY CARUANA

PADDY NYUNKUNY BEDFORD

(c.1922 – 2007) THOOWOONGGOONARRIN, 2000 natural earth pigments and synthetic binder on linen 122.0 x 135.0 cm signed with initials verso: PB bears inscription verso: Jirrawun Arts cat. PB 8 2000.91 ESTIMATE: $35,000 – 45,000

PROVENANCE Jirrawun Arts, Kununurra, Western Australia Martin Browne Fine Art, Sydney Private collection, Melbourne, acquired from the above in 2000 Thence by descent Private collection, Victoria

(who was instrumental in Bedford’s career and the development of Jirrawun Aboriginal Art Corporation), Bedford was close friends with Paddy Jaminji, Hector Jandany and Rover Thomas, whose canvases he helped to prepare and whose progress he quietly observed. It was only after these pioneers of the Kimberley movement died however, that Bedford took on the responsibility of painting ceremonial boards.

EXHIBITED My Mother’s Country, My Father’s Country: New Paintings by Paddy Bedford, Martin Browne Fine

Bedford painted his first stories on board in 1997 and within several years acquired a reputation for pushing new boundaries with his famously fluent ‘walking line’. His work was also hailed as that of a ‘new’ Rover Thomas, even though he was born a few years before him. Steeped in traditional law and the Ngarranggarrni (Gija dreaming), he drew on a seemingly endless source of traditional lore and knowledge of significant sites. His paintings combine important family Dreamings such as Garnanganyjen (Emu), Birnkirrbal (Bush Turkey) and Ngayilanji (White Cockatoo), with the physical world of roads, rivers, traditional life, stock camp life, stock yards and country visited while mustering.

Art, Sydney, 12 September – 8 October 2000 LITERATURE Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, pp. 43 (illus.), 149 (illus.) In his eulogy to Paddy Bedford, Sir William Deane recalled him as a man of ‘great dignity and spiritual strength – a much loved senior Elder and lawman who late in the story of his life discovered a rare artistic genius that resulted in him being recognised as one of the great painters of our continent’.1 Nyunkuny, commonly known by his nickname ‘Kuwumji’ and by his ‘gardiya’ name Paddy Bedford, was a Gija lawman of Jawalyi skin. Born at Bedford Downs Station in the East Kimberley in 1922, he was named by and after the infamous Paddy Quilty, owner of the station, his surname coming from Bedford Downs, where he had worked as a stockman in his youth. When Aboriginal pastoral workers were finally awarded equal wages in 1969, Indigenous stockmen were unceremoniously expelled from cattle stations across the Kimberleys. From this time, Bedford lived between Nine Mile camp at Wyndham and Turkey Creek Mission settlement, which was to become the home of the first great generation of East Kimberley artists in the early 1980s. According to Tony Oliver

Thoowoonggoonarrin is characteristic of Bedford’s move away from the more familiar style of the earlier East Kimberley painters to his own distinctive representations of country. His use of colour evolved with the elimination of the ochre palette and introduction of starkly contrasting black and white, where the forms become dominant alongside the interplay between the positive and negative space. In 2006, in recognition of his outstanding contribution to Australian, and indeed, world culture, Bedford was honoured by a major retrospective at the Museum of Contemporary Art, Sydney. He was also one of the handful of Aboriginal artists commissioned to contribute to the permanent collection of the Musée du Quai Branly in Paris. Since his death in 2007 at the age of 85, Bedford’s paintings have continued to be keenly sought after as the significance and quality of his astonishing body of work becomes increasingly evident. 1. ‘Eulogy for Old Man’, in Paddy Bedford; Bury My Heart at Bow River, exhibition catalogue, William Mora Galleries, Melbourne, 2009, p. 14 CRISPIN GUTTERIDGE

FREDDIE TIMMS (c.1946 – 2017) GILLFOIL, 1999 natural earth pigments and synthetic binder on linen 122.0 x 135.0 cm signed verso: F TIMMS bears inscription verso: artist’s name, title and Jirrawun Aboriginal Arts cat. FT599.81 ESTIMATE: $10,000 – 15,000

PROVENANCE Jirrawun Aboriginal Arts, Kununurra, Western Australia Watters Gallery, Sydney (label verso) Private collection, Sydney, acquired from the above in 1999 EXHIBITED Freddie Timms, Recent Paintings, Watters Gallery, 16 June – 3 July 1999, cat. 10

Born around 1946 at Wirwirji (Police Hole), located just to the north west of Bedford Downs station, Freddie Timms lived as a child for a time at Bow River and followed his father in becoming a stockman at Lissadell Station. He later worked as a stockman and fencer on several stations throughout the East Kimberley and it was during this time that he met and worked alongside Rover Thomas while both were employed at Bow River and Texas Downs. Thomas was to have a deep and lasting influence on the art of Timms so much so, that when he began painting in 1995 after settling at Warmun (Turkey Creek), his paintings conformed to the East Kimberley archetype, originated by Thomas. Timms is noted for his careful aerial landscapes and mapping that has a feeling of familiarity that can only stem from someone who has an indisputable knowledge of the land and his works are recognized by discrete areas of colour outlined in double rows of white dots. In a career that spanned more than 30 years, Freddie Timms was recognised as the foremost painter amongst the second generation of Gija artists. He became known for painting works that chronicled the interactions between the Gija and the settler/colonisers, recording the devastating consequences on the local people from the brutality of colonisation and station life in the cattle industry.

FREDDIE TIMMS

(c.1946 – 2017) JACK YARD, 2005 natural earth pigments and 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 EXHIBITED Looking Forward – Looking Back: Contemporary Works from the East Kimberley, Bathurst Regional Art Gallery, New South Wales, 12 October – 9 December 2018 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

Freddie Timms lived as a child on Bow River and Lissadell Stations, later working as a stockman and fencer on several stations throughout the East Kimberley. He knew Rover Thomas when they both worked at Bow River and Texas Downs, where Timms danced and helped paint boards for early performances of Thomas’ Gurirr-Gurirr. He first began painting in the mid-1980s while living at Frog Hollow, south of Turkey Creek. Timms asked for canvases from Joel Smoker of Waringarri Arts who was supplying canvases to Jack Britten, Rover Thomas, Hector Jandany and his father-in-law, George Mung-Mung. He paints in a style that conforms to the East Kimberley archetype, originated by Rover Thomas,

but is recognisably his own with discrete areas of colour outlined in double rows of white dots. He is noted for his careful aerial landscapes and mapping that bears a feeling of familiarity that can only stem from someone who has an indisputable knowledge of this land. Painted across two canvases, Jack Yard, 2005 is a monumental depiction of the artist’s country. Located on the Wilson River with the large permanent waterholes, Jack Yard is part of Bow River Station approximately forty kilometres to the north of the Warmun Community. It is where Freddie Timms lived as a boy and his knowledge of the country comes from the years spent working as a stockman on Bow River and Lissadell Stations. The pastoral lease for this area has now been granted to members of his extended family. Like many of his paintings this work evokes features of the landscape such as black and red soils, the sandy ground, hills, creeks and water holes. It shows roads, stockyards, buildings and at a spiritual level, dreaming places. The site is characterised by spectacular gorge country and is a haven for wildlife, boab trees and permanent water. Timms was pivotal in the establishment of Jirrawun Aboriginal Art Corporation in 1998 and, with the help of Tony Oliver, Jirrawun began to market the work of a wide group of Kimberley artists including Paddy Bedford, Hector Jandany, Rusty Peters, Goody Barrett, Phyllis Thomas, and his father’s brother Timmy Timms. CRISPIN GUTTERIDGE

ROVER THOMAS (JOOLAMA)

(c.1926 – 1998) BARRAGOO (LAKE GREGORY), 1996 natural earth pigments and synthetic binder on canvas 160.0 x 200.0 cm bears inscription verso: artist’s name, size and Waringarri Aboriginal Arts cat. AP0785 ESTIMATE: $80,000 – 120,000

PROVENANCE Waringarri Aboriginal Arts, Kununurra, Western Australia Chapman Gallery, Canberra Private collection, Sydney, acquired from the above in 1997

Celebrated as one of Australia’s most distinguished artists, Rover Thomas did not pick up the paintbrush until he was in his mid-50s, after an arduous career as a stockman which took him and his family across Western Australia and the Northern Territory. He began painting on a regular basis and within a decade his prolific creativity was widely recognised, leading to his selection, alongside Trevor Nickolls, as one of the first indigenous artists to represent Australia at the Venice Biennale in 1990.1 Solo exhibitions and awards followed, with major art institutions and private collectors quick to acquire his works. Thomas is widely credited as the founder of the East Kimberley style of painting, in which spacious plains of textured ochre depict the landscape in aerial perspective. Incorporating the traditions of rock painting, white dots serve to create emphasis, drawing the eye along forms of the land in which important cultural events are encoded. Thomas’ extensive travels and intense awareness of the land informed his art and his use of local earth pigments grounded them with a deep connection to his country. This painting depicts Lake Gregory – known now by its Walmajarri name, Paruku – located where the Tanami Desert and the Great Sandy Desert merge in Western Australia. A vast desert lake teeming with life and a

haven for waterbirds, it is represented as a large circle in the centre of the canvas with the surrounding circles indicating nearby waterholes. Outlined in white dots and set against a background of rich yellow ochre, Barragoo (Lake Gregory) is a large-scale work, consistent with Thomas’ minimalist composition style and restrained colour palette. Thomas painted the lake several times in his lifetime, encountering it first as a young man travelling up the Canning Stock Route from the desert country. Now declared as an Indigenous Protected Area (IPA), Lake Gregory is a site of spiritual significance and enduring home to the Walmajarri traditional owners. They believe that it was formed during the Dreamtime, whereby the ancestral hero Kiki, a star from the east, fell from the sky and landing in the lake, became a man who would go on to create life. 2 The lake is also home to the Billiluna Rainbow Snake who, according to the accompanying Waringarri Arts certificate, was dangerous and responsible for a man’s drowning. Through this work, Thomas pays homage to an ancient landscape and its ceremonial stories that continue to inspire. 1. Thomas, R. with Akerman, K., Macha, M., Christensen, W. and Caruana, W., Roads Cross: The paintings of Rover Thomas, National Gallery of Australia, Canberra, 1994, p. 3 2. Morton, S., Martin, M., Mahood, K., Carty, J., Desert Lake: Art, Science and Stories from Paruku, CSIRO Publishing, 2012, p. 8 DIANA MCPHILLIPS

MICHAEL COOK

born 1968 CIVILISED #13, 2012 from the series CIVILISED inkjet print on canvas 160.0 x 140.0 cm edition of 3 ESTIMATE: $15,000 – 20,000

PROVENANCE Andrew Baker Art Dealer, Brisbane Corrigan Collection, Sydney, acquired from the above in November 2012 On long-term loan to the Macquarie University, Sydney EXHIBITED Michael Cook. Civilised, Andrew Baker Art Dealer, Brisbane, 9 – 22 December 2012 (another example) Seventh Asia-Pacific Triennial APT7, Queensland Art Gallery/Gallery of Modern Art, Brisbane, 8 December 2012 – 14 April 2013 (another example) Michael Cook : hear no... see no... speak no..., Queensland Centre for Photography at The Depot Gallery, Sydney, 14 – 25 May 2013 (illus. on exhibition invitation, another example) My Country, I Still Call Australia Home: Contemporary Art from Black Australia, Queensland Art Gallery/Gallery of Modern Art, Brisbane, 1 June – 7 October 2013 (another example) Episodes: Australia Photography Now, 13 th DongGang International Photo Festival, Yeongwol, South Korea, 18 July – 21 September 2014 (another example) Michael Cook – Civilised, The Cat Street Gallery, Hong Kong, 5 – 28 February 2015 (another example) Mapping Australia: Country Cartography, Museum of Contemporary Aboriginal Art, Utrecht, Netherlands, 4 October 2015 – 15 January 2016 (another example) All Dressed Up, Hawkesbury Regional Gallery, New South Wales, 9 December 2016 – 5 February 2017 (another example)

LITERATURE Watson, B., ‘Public Works’, The Australian, 31 August – 1 September 2013 (illus., another example) Emmerich, D., ‘Michael Cook’s ‘What-If’ Retake on Australia’s History’, Write About Art – Eyeline Contemporary Visual Arts, Queensland, issue 5, 2015 Arcilla, M., ‘Michael Cook. The Skins We Live In’, Vault, Issue 13, February 2016, p. 49 (illus., another example) Meanjin, vol. 75, issue. 4, summer 2016 (illus. cover, another example) RELATED WORK Another example of this print is held in the collection of the Queensland Art Gallery| Gallery of Modern Art, Brisbane

BROOK ANDREW

born 1970 SEXY AND DANGEROUS II, 1997 printed 2006 duraclear print on Perspex 144.5 x 108.0 cm edition: 8/10 ESTIMATE: $20,000 – 30,000

PROVENANCE Greenaway Gallery, Adelaide Private collection, Melbourne, acquired from the above in 2006 EXHIBITED Brook Andrew: Eye to Eye, Monash University Art Museum, Melbourne, 4 April – 23 June 2007; Penrith Regional Gallery and the Lewers Bequest, Sydney, 18 August – 14 October 2007; The John Curtin Gallery, Curtin University of Technology, Perth, 4 April – 30 May 2008 (another example, illus. in exhibition catalogue, pp. 6, 11) RELATED WORK Another example of this print is held in the collection of the National Gallery of Victoria, Melbourne Brook Andrew is a contemporary artist whose conceptual approach to his art production focuses on how we view images. In both his use of mediums, print, neon and photo-media and in his investigation of power relationships, particularly global ideas of cultural and race constructions, he quietly confronts the viewer. His often seemingly benign work will house an underlying assault on conventional values. Ashley Crawford has observed that Brook Andrew’s photography ‘is imbued with a gentle poetry and a savage anger at the same time, a strange balance that he describes as extremely powerful... a finely honed aesthetic sense, humour and tough political social commentary are Andrews signature.’1

Sexy and Dangerous II, 1997 is the twin of Andrew’s most well-known work Sexy and Dangerous 1996, first exhibited in 1998 at the Ian Potter Museum University of Melbourne, where it was awarded the RAKA prize. In 1999 the National Gallery of Victoria acquired a copy of Sexy and Dangerous for its permanent collection. Both works subvert anthropological representations of Aboriginal men, re-contextualising them out of the museum diorama and into a space which is both sexy and dangerous, political and poetic. The work highlights one of the central tenets of Andrew’s practice, described by him as being ‘the joy and the mystery of art. That we can somehow work out a strategy of conveying the world or parts of it. In many cases, art has been a moveable social justice system; a system that condenses and clarifies questions about morality, nationhood, personal expression, beliefs, etc’ So maybe it is a loop - a loop where artists address and imagine other possibilities.’ 2 1. Loxley, A., ‘The Battles continue: Brook Andrew’, in Ryan, J., (ed.) Colour Power: Aboriginal Art Post 1984 in the collection of the National Gallery of Victoria, National Gallery of Victoria, Melbourne, 2004, p. 142 2. From a conversation between Brook Andrew and Maria Hlavajova, ‘The Imagined Place Down Under’, in Brook Andrew: Theme Park, Museum of Contemporary Aboriginal Art, The Netherlands, 2008, p. 22

TRACEY MOFFATT

born 1960 SOMETHING MORE, 1989 the full suite of six Cibachrome and three gelatin silver photographs 104.5 x 144.5 cm (each) artist’s proof, aside from an edition of 30 each signed, dated and inscribed verso: T. Moffatt ‘89 A/P ESTIMATE: $200,000 – 300,000 (9)

PROVENANCE L. A Galerie, Frankfurt, Germany Private collection, Germany Christies, Sydney, 23 August 2004, lot 61 Private collection, Sydney

Travis, L., ‘Mirage: Drysdale and Moffatt in the Australian Outback’, Art and Australia, Fine Arts Press, Sydney, 2000, vol. 37, no. 4, pp. 548 – 555 (illus. p. 552, another example) Summerhayes, C., The Moving Images of Tracey Moffat t,

EXHIBITED (Selected) Other examples of this suite have been exhibited and published widely including: Something More, Australian Centre for Photography, Sydney, and touring through regional galleries, 1989 Tracey Moffatt, Institute of Modern Art, Brisbane and Asia Link, Melbourne, 1990 (illus. in exhibition catalogue, p. 55) Antipodean Currents, John F. Kennedy Centre for Performing Arts, Washington D.C., USA, 9 – 16 October 1994 (and touring, another example, illus. in exhibition catalogue, pp. 86, 87) Tracey Moffatt, Kunsthalle Wien, Vienna, 10 April – 7 June 1998 and travelling throughout Europe (illus. in exhibition catalogue, p. 55) Tracey Moffatt, Nassau County Museum of Art, New York, February – April 2001 Tracey Moffatt, City Gallery Wellington, Wellington, 1 February – 26 May 2002 (illus. in exhibition catalogue, p. 26) Tracey Moffatt, Museum of Contemporary Art, Sydney, 17 December – 29 February 2004 Tracey Moffatt. Between Dreams and Reality, Spazio Oberdan, Milan, 28 June – 1 October 2006 (illus. in exhibition catalogue, p. 120) Tracey Moffatt, Lismore Regional Gallery, New South Wales, 13 March – 25 April 2009 Know My Name: Australian Women Artists 1900 to Now, National Gallery of Australia, Canberra, 14

RELATED WORKS Other examples of this suite are held in the collections of the National Gallery of Australia, Canberra, Museum of Contemporary Art, Sydney, Art Gallery of New South Wales, Sydney, the National Gallery of Victoria, Melbourne, Murray Art Museum Albury, New South Wales, and Artbank, Sydney

Edizioni Charta, Milan, 2007, p. 15 (illus., another example)

Tracey Moffatt’s seminal photographic series from 1989, Something More, presents the artist as the protagonist of a pastiched and tawdry melodrama: a wide-eyed ingénue in a cheongsam dreaming of deliverance from her shack in a featureless landscape some 300 miles from the Big Smoke. The collection of nine photographs (six Cibachrome prints and three silver gelatin monochromes) appears as a series of freezeframes of a film that was never produced. Perhaps Moffatt’s most famous work, Something More established a defining characteristic of her artistic practice for years to come: a multiplicity of readings and a presentation of an open-ended, enigmatic narrative. Applying the cinematic art of montage to still photography, Moffatt presents a narrative sequence disrupted by omitted details and abrupt changes in composition and style. These lacunae allow Moffatt to hand over the final authorship of her work to the audience, endowing them with the authority to imagine what may fill the blanks.

November 2020 – 4 July 2021 (another example) LITERATURE Williams, D., and Simpson, C., Art Now. Contemporary Art Post-1970, Mcgraw-Hill Book Company, Sydney, 1994, p. 141 (illus., another example) Newton, G., Tracey Moffatt: Fever Pitch, Piper Press, Sydney, 1995, pp. 13, 16, 17 (illus.), 39 (illus., another example) Martin, A., ‘Tracey Moffatt’s Australia (A Reconnaissance)’, Parkett, no .53, 1998, p. 23 (illus. another example) Reinhardt, B. et al., Tracey Moffatt: Laudanum, Hatje Cantze, Germany, 1999, p. 10 (illus., another example)

With carefully contrived, lush artifice, Moffatt’s tableaux transcend simple photographic practice. Instead, they inhabit an in-between photofilmic space reminiscent of popular cinema, particularly B-grade teledramas. Tracey Moffatt is thus a contemporary storyteller, creating often humorous social commentary derived from her personal memory, classic tropes of Hollywood film, current affairs, and history itself. She belongs to a generation of photographic artists from the 1980s (such as Jeff Wall, Cindy Sherman, and Yasumasa Morimura) who each subverted the camera’s claim to naturalism by creating fanciful tableaux sometimes entirely incompatible with reality, harnessing images and tropes from the incessant stream of photomedia in which they were raised.

Installation photograph - TRACEY MOFFATT, Something More, 1989the full series of nine Cibachrome prints, Collection MONA Museum of Old and New Art, Hobart photograph by Rémi Chauvin courtesy of MONA Museum of Old and New Art, Hobart © reproduced with the permission of Copyright Agency, and Roslyn Oxley9 Gallery

Moffatt created this series in 1989, the year following the Bicentennial of colonised Australia, during an artistic residency at the border town of Albury. There she enlisted the help of local art schools and the community, directing them around painted sets of rural hinterlands. The heavily saturated colours of the red soil, and blue skies, swirling clouds and swaying wheatfields bordered by spindly Drysdale-esque gumtrees are familiar to Australian audiences from the tradition of modern Australian landscape painting. It is clear, however, that the actors of this drama do not profit directly from the agricultural wealth of their environs.1 Following the first frame, an alterpiece-like image (Something More No. 1) the successive frames of the series are shot from a low viewpoint, blurred and cropped so as to obscure the protagonist’s face. We do not see her expression as her clothes gradually disintegrate, signifying the progressive debasement of her character that up to her tragic demise on the side of the road, salvation just out of reach. These close-ups and cutaways draw the focus toward the cheap materiality of Moffatt’s props, and the seductive violence they suggest. The broken detritus of cars, remnants of other failed journeys, in the first frame presage the inevitable futility of the girl’s aspirations. While this adaptation of the story of the Fallen Woman is only implied, it is rendered with wry humour, a strong foundation of autobiographical subjectivity and contradictory feelings of pleasure and unease. The aesthetic sensuality of the images

and the voyeuristic appeal of the penny-dreadful drama attract the viewer, yet its obvious artifice and puzzling narrative creates instead a distancing effect, stymieing any deep identification with the characters. Something More quickly won Tracey Moffatt international acclaim and was exhibited extensively throughout the world alongside her short film Night Cries, screened at the 1990 Cannes Festival. While the artistic references for this series are in part subjective and personal, Moffatt is insistent that her work should speak to the human condition as a whole, not merely reflective of her experience as a woman or a first nations person. A desperate longing to change the course of one’s destiny is a desire that transcends ideas of race and class, and one that has sustained folk tales in text, music and images the world over for many hundreds of years. Her original visual repertoire drawn from the sultry glamour of Hollywood, mass-produced advertisement pulp and generic character stereotypes, allows Moffat to create a story that could be familiar to any society with ethnically diverse populations and decaying colonial power structures. Following a period of great social and political change in the mid-20th century, Aboriginal artists flourished in urban centres, using art to foster political activism and create space for self-representation. In the early

SOMETHING MORE #1, 1989 Cibachrome photograph

SOMETHING MORE #2, 1989 Cibachrome photograph

SOMETHING MORE #3, 1989 gelatin silver photograph

SOMETHING MORE #4, 1989 Cibachrome photograph

1980s, many Indigenous Australian photographers grouped together in key exhibitions and events now recognised as cornerstones of a coherent artistic movement. While Tracey Moffatt was present and active in this group early in her career, she soon preferred to forge her own path. Her titillating images straddling the spheres of private experience and public performance were instead aimed at a target audience of the international avant-garde. While ostensibly addressing the same questions of race and gender, here they reached wider appeal. 2 The wistful expression on her face is central to Moffatt’s message and artistic practice. Catherine Summerhayes notes in her 2007 survey of Moffatt’s cinematic practice that this look is pervasive throughout Moffatt’s oeuvre – ‘Moffatt looks out beyond the foreground of her visual frames; she is looking for “something more” than the immediately obvious. Her searching gaze is directed outwards at what being in the world means.’ 3

Although Moffatt plays the part of the fatefully doomed young woman in Something More, her presence as the protagonist in this story betrays the reliability of any autobiographical foundation. Moffatt’s artistic ambitions have undeniably been realised. She can be counted among Australia’s most successful visual artists and filmmakers, collecting accolades locally and internationally. In 2017, Moffatt was chosen to represent Australia in the 57th International Art Exhibition at the Venice Biennale. Complete sets of these seminal prints in private hands are rare and have not been seen at auction in Australia for over fifteen years. 1. Newton, G., ‘Tracey Moffatt: Histories/ Herstories’ in Antipodean Currents: Ten Contemporary Artists from Australia, Guggenheim Museum, New York, 1995, p. 84 2. Wallace, M., ‘Tracey Moffatt’s Visual Pleasures’ in Brought to Light II: Contemporary Australian Art 1966 – 2006, Queensland Art Gallery, Brisbane, 2007, p. 239 3. Summerhayes, C., The Moving Images of Tracey Moffatt, Edizioni Charta, Milan, 2007, p. 16 LUCIE REEVES-SMITH

SOMETHING MORE #5, 1989 gelatin silver photograph

SOMETHING MORE #6, 1989 Cibachrome photograph

SOMETHING MORE #7, 1989 Cibachrome photograph

SOMETHING MORE #8, 1989 gelatin silver photograph

SOMETHING MORE #9, 1989 Cibachrome photograph

EARLY BARK PAINTINGS FROM THE ESTATE OF GARY BRADLEY LOTS 20 – 24

MAWALAN MARIKA

(c.1908 – 1967) SYDNEY, c.1962 natural earth pigments on eucalyptus bark 121.0 x 27.0 cm (irregular) bears inscription verso: title ‘Sydney’, Location ‘Melville Bay’, language group ‘Riratjinga’ together with a description of the story depicted on old label ESTIMATE: $20,000 – 30,000

PROVENANCE Painted in the Yirrkala region of North–East Arnhem Land, Northern Territory, c.1960 Gary Bradley, Victoria Thence by descent Private collection, Victoria EXHIBITED Open Air: Portraits in the Landscape, National Portrait Gallery, Canberra, 3 December 2008 – 1 March 2009 LITERATURE Sayers, A, Engledow, S., and Caruana, W., Open Air: Portraits in the Landscape, National Portrait Gallery, Canberra, 2008, p. 14 (illus.) Mawalan Marika was one of the exceptional ceremonial leaders of his generation who witnessed the encroachment of foreigners onto his country and bridged the gap between Aboriginal and European Australian societies. His main medium was art. An innovative and highly influential artist, he painted countless ancestral and ceremonial images, as well as taking a lead role in the painting of the renowned Yirrkala Church Panels in 1963. Mawalan also used painting as a means to record his personal experiences in a changing world and Sydney, c.1962, is one of the few autobiographical works that records his visit to a large urban centre. In fact, Mawalan was one of the first Yolngu to travel interstate when, in 1961, he flew to Sydney to participate in the exhibition Art from Arnhem Land at Qantas House.

of Sydney harbour must have presented an awe-inspiring view for the artist who had not travelled further than the ‘Top End’ of the Northern Territory. Another bark painting features two rows of people walking along opposite sides of a street in a rectangular matrix of clan designs, dotted lights and windows. 2 Sydney, painted in or about 1962, offers a more arresting expression of the artist in a large, bustling city full of people and big buildings, quite the opposite of the small community of Yirrkala in north east Arnhem Land that was his home at the time. Mawalan’s painting features a throng of people wearing hats walking along streets lined with bright lights. The images are arranged in a conventional Yolngu compositional grid, where the lines of dots ‘create an impression of the shimmering city at night,’ 3 and the ground consists of variations on the Rirratjingu clan pattern. The painting brings to mind the iconic image of an Australian city by John Brack (1920-99), Collins St, 5pm, painted some six years earlier and now in the collection of National Gallery of Victoria. While Brack’s setting is Melbourne, not Sydney, the paintings present comparable but differing attitudes to viewing crowded streets. Brack’s version is slightly detached, observing the passing parade as if through a window. In contrast, by positioning himself ‘in the street’, Mawalan produces an engaging image that expresses his amazement at facing long lines of people, so much so that he described them as three devil-devils with tall head gear. 1. Sydney from the air, c.1962, is illustrated in Caruana, W., Duff, A., Morphy, H., & Taylor, L., Old Masters: Australia’s great bark painters, National Museum of Australia, Canberra, 2013, p. 156, and in Morphy, H., Aboriginal Art, Phaidon, London, 1998, p. 40, plate 22, under the title Map of Painter’s Travel by Plane from Yirrkala to Sydney. 2. A trip to Sydney, n.d., is illustrated in Allen, L. A., Time Before Morning: Art and Myth of the Australian Aborigines, Thomas V. Crowell, New York, 1975, p. 25. 3. Morphy 1998, p. 37.

Mawalan recorded this extraordinary experience in a number of bark paintings. One, in the collection of the National Museum of Australia, depicts Sydney from the air.1 Buildings, houses, roads and the profile

WALLY CARUANA

EARLY BARK PAINTINGS FROM THE ESTATE OF GARY BRADLEY • LOTS 20 – 24

WANDJUK MARIKA (1927 – 1987) DJUNGGAWAK AT PORT BRADSHAW, 1968 natural earth pigments on eucalyptus bark 110.0 x 48.0 cm (irregular) bears inscription verso: artist’s name, language group ‘Riratjinga’ together with a description of the story depicted on old label ESTIMATE: $10,000 – 15,000

PROVENANCE Painted in the Yirrkala region of North-East Arnhem Land, Northern Territory Gary Bradley, Victoria Thence by descent Private collection, Victoria The stretch of rolling sand dunes at Yalangbara (Port Bradshaw) where the apical ancestors of the Dhuwa moiety, the Djang’kawu, landed after their voyage from the east, is the main sacred site of the Wandjuk Marika’s clan, the Rirratjingu. Here, the Djang’kawu women drove their digging sticks into the ground to create freshwater wells and they gave birth to the first human beings. The first creatures they encountered and named were the sacred goanna Djanda and the bush turkey Buwata. Wandjuk has depicted the bush turkeys in pairs wandering across the landscape in search of food; their tracks are clearly visible. The Djanda are associated with fertility and images of the goannas may symbolise the Djang’kawu sisters themselves. In Port Bradshaw two goannas are depicted copulating while others are shown on the sand dunes of Yalangbara. As the goannas climb the dunes, lines of sand trickle down from their claws creating the distinctive Rirratjingu clan design that appears as blocks of parallel cross-hatched patterning. Related paintings by Wandjuk Marika in public collections that feature Djanda and Buwata include Djang’kawu story, 1964, in the collection of the Museum and Art Gallery of the Northern Territory;1 and Sunset, 1982, in the collection of the National Gallery of Australia. 2 1. Marika, B. and West, M., (ed.), Yalangbara: Art of the Djang’kawu, Darwin: Museum and Art Gallery of the Northern Territory, 2008, p. 96 (illus.) 2. Caruana, W. (ed), Windows on the Dreaming: Aboriginal Paintings in the Australian National Gallery, Australian National Gallery, Canberra and Ellsyd Press, Sydney, 1989, plate 64, p. 113 (illus.) WALLY CARUANA

EARLY BARK PAINTINGS FROM THE ESTATE OF GARY BRADLEY • LOTS 20 – 24

LARRTJANGA GANAMBARR (1934 – 2000) GUIYABUNARAMIRI, c.1960s natural earth pigments on eucalyptus bark 84.0 x 37.0 cm (irregular) bears inscription verso: artist’s name, title ‘Guiyabunaramiri’, language group ‘Galwingu’ together with a description of the story depicted on old label ESTIMATE: $5,000 – 7,000

PROVENANCE Painted in the Yirrkala region of North-East Arnhem Land, Northern Territory Gary Bradley, Victoria Thence by descent Private collection, Victoria

EARLY BARK PAINTINGS FROM THE ESTATE OF GARY BRADLEY • LOTS 20 – 24

MITHINARI GURRUWIWI (1929 – 1976) UNTITLED (CREATION STORY), c.1960s natural earth pigments on eucalyptus bark 139.0 x 54.0 cm (irregular) bears inscription verso: artist’s name, language group ‘Galpu’ together with a description of the story depicted on old label

PROVENANCE Painted in the Yirrkala region of North-East Arnhem Land, Northern Territory Gary Bradley, Victoria Thence by descent Private collection, Victoria

ESTIMATE: $5,000 – 7,000

ARTIST UNKNOWN (WADEYE) UNTITLED, c.1970s natural earth pigments on three eucalyptus barks (i) 82.5 x 30.0 cm (ii) 68.0 x 18.5 cm (iii) 62.0 x 19.0 cm bear inscriptions verso: cat. A652, A649 & A647 ESTIMATE: $2,000 – 3,000 (3)

PROVENANCE Painted in the Wadeye (Port Keats) region of North–Western Northern Territory, c. 1970s Gary Bradley, Victoria Thence by descent Private collection, Victoria

EARLY BARK PAINTINGS FROM THE ESTATE OF GARY BRADLEY • LOTS 20 – 24

PROPERTY OF VARIOUS VENDORS

JAMES IYUNA (1959 – 2016) RAINBOW SERPENT, 1984 natural earth pigments on eucalyptus bark 173.0 x 64.5 cm (irregular) bears Inscriptions verso: cats. 8428 (indistinct) and 0TTTTT ESTIMATE: $8,000 – 10,000

PROVENANCE Painted in West Arnhem Land, Northern Territory Private collection, Melbourne acquired by the vendor from an art gallery at Yulara, Uluru in 1987 whilst working on the film Evil Angels

NAMINAPU MAYMURU – WHITE

born 1952 MILNGIYAWUY (MILKY WAY) – LARRAKITJ, 2012 natural earth pigments on hollow log 198.0 cm height ESTIMATE: $4,000 – 6,000

PROVENANCE Buku – Larrngay Mulka Arts, Yirrkala, Northern Territory (cat. 4136Z) John Morse Art, Sydney Private collection, New South Wales, acquired from the above in 2014

NAMINAPU MAYMURU – WHITE

born 1952 MILNGIYAWUY (MILKY WAY) – LARRAKITJ, 2007 natural earth pigments on hollow log 218.0 cm height ESTIMATE: $5,000 – 7,000 PROVENANCE Buku – Larrngay Mulka Arts, Yirrkala, Northern Territory (cat. 3258K) John Morse Art, Sydney Private collection, New South Wales, acquired from the above in 2014

JOHNNY WARANGKULA TJUPURRULA (c. 1932 – 2001) DINGO DREAMING, 1973 synthetic polymer paint on composition board 78.5 x 61.5 cm bears inscription on label verso: artist’s name, title, language group, a description of the story depicted in Peter Fannin’s hand and Papunya Tula Artists cat. JW 731068 ESTIMATE: $25,000 – 35,000

PROVENANCE Painted at Papunya, Northern Territory Papunya Tula Artists, Alice Springs (cat. JW731068) Private collection, New South Wales Bonhams, Sydney, 16 June 2015, lot 73 Private collection, Sydney This work is accompanied by an annotated cataloguing card from Papunya Tula Artists in the hand of Peter Fannin which states: ‘The dingo was important to the Aboriginal people both as a pet (young ones) and a hunting dog (sometimes they kill the kangaroo). It is not surprising then, that the dingo pupping season gives us a series of dingo stories.’

MICK NAMARARI TJAPALTJARRI

(c.1926 – 1998) WULMULLA, 1996 synthetic polymer paint on canvas 122.0 x 122.0 cm bears inscription verso: artist’s name, size and Papunya Tula Artists cat. MN960853 ESTIMATE: $30,000 – 40,000

PROVENANCE Painted for Papunya Tula Artists in August 1996 Private collection, Melbourne acquired from the above in January 1997 This work is accompanied by a certificate of authenticity from Papunya Tula Artists which states in part: ‘This painting depicts designs associated with Walmulla, a swampy area close to Marnpi and south-east of the Kintore Community. A large number of Tingari Men gathered at this site to perform dances. While they were dancing, some of the men threw spears which the dancers dodged.

‘I paint real slow, no rush, just slow, big ones, little ones, just slow, every time’1 Described as a reserved man, Mick Namarari could also be characterised as an innovator whose impact on the Western Desert movement is only now starting to be fully understood. The breadth and scope of his ability, maintained with singular dedication over a painting career which spanned 27 years, is such that his work is considered to have ‘...transformed Papunya Tula art, heralding the ethereal minimalism of the late 1980s and 1990s… Up until he passed away in 1998, Mick Namarari was still quietly revolutionising the genre...’2 Born in sandhill country at Marnpi Rockhole, located south-west of the Mount Rennie Bore, Namarari and his sister were looked after by members of his extended family after the death of his father. He attended school at the Hermannsburg mission until he was eleven years old, and was initiated in the Areyonga region, eventually working in the cattle industry. He adopted the middle name ‘Namarari’ after his employer MacNamara - though it also expressed similarities to one of Namarari’s totems, the mallee fowl. Western Desert painting operates in the space between ceremony and country, referencing each whilst exploring ancestral inheritance. Mick Namarari’s works are loaded with symbolism which is closely tied to

traditional narratives in a densely and tightly coded abstraction. He developed a visual language which was influenced by cultural protocol, but never restrained by it. His innovation was a consequence of his continual need to paint and a refining of his imagery over time. Namarari was one of the first to experiment with fields of dotting devoid of figuration or traditional design motifs and in the early 1990s, together with Turkey Tolsen Tjupurrula, Namarari explored minimal representation. Utilising bold, undotted lines of colour and at the same time focusing on just one aspect of a story, this shift in direction would influence Papunya Tula painting from the late 1990s well into the 2000s. Wulmulla 1996 was painted in the final years of Namarari’s life. The painting is a gracefully controlled rendition of an episode of the Tingari cycle that takes place close to his birthplace of Marnpi, his homeland and a subject he returned to more and more in his later paintings. Painted on a black ground and framed by broad bands of red ochre, alternating lines of yellow, white and grey/blue create a minimal repetitious template that symbolize an excerpt from the mythical journeys of the Tingari ancestral men and women. A founding member of Papunya Tula Artists, Namarari also served on the Papunya Council. In 1991 he was awarded the National Aboriginal Art Award, a moment which heralded not only public at tention for the Papunya Tula ar tists, but also confirmed the importance of his practice within the community. In 1994 Namarari won both the Alice prize and was the recipient of the Australia Council’s emeritus award for Indigenous artists, the Red Ochre Award. 1. Mick Namarari in conversation with Wayne Eager at the Yuendumu Sports day 1992, quoted in O’Halloran, A.B., Mick Namarari Tjapaltjarri; The Master of Marnpi, Life Design Australia, Sydney 2018, p. 148 2. Perkins, H., and Fink, H., ‘Genesis and Genius: The Art of Papunya Tula Artists’ in One Sun, One Moon, Aboriginal Art in Australia, Art Gallery of New South Wales, Sydney, 2007, p. 184 CRISPIN GUTTERIDGE

DOREEN REID NAKAMARRA (c.1935 – 2009) MARRAPINTI, 2006 synthetic polymer paint on linen 122.0 x 122.0 cm bears inscription verso: artist’s name size and Papunya Tula Artists cat. DR0604105 ESTIMATE: $20,000 – 30,000

PROVENANCE Papunya Tula Artists, Alice Springs Elizabeth Jones collection, Melbourne Mossgreen, Melbourne, 14 August 2007, lot 43 Private collection, Adelaide This work is accompanied by a certificate of authenticity from Papunya Tula Artists which states in part: ‘This painting depicts designs associated with the rockhole site of Marrapinti, west of the Pollock Hills in Western Australia. The lines in the painting depict the creek at the site and the sandhills which surround it. In Mythological times a group of women of the Nangala and Napangati kinship subsection camped at this site during their travels towards the east. While at the site the women made nose bones, also known as Marrapinti, which are worn through a hole made in the nose web. During ceremonies relating to Marrapinti the older women pierced the nasal septums of the younger women who were participating in the ceremony. Nose bones were originally used by both men and women but are now only inserted by the older generation ceremonial occasions. Upon completion of the ceremonies at Marrapinti the women continued their travels east passing through Wala Wala, Ngaminya and Wirrulnga, before heading north east to Wilkinkarra (Lake Mackay).

YUKULTJI NAPANGATI

born 1970 SANDHILLS SURROUNDING THE ROCKHOLE AND WATER SITE OF YUNALA, 2005 synthetic polymer paint on Belgian linen 182.5 x 152.5 cm bears inscription verso: artist’s name, size and Papunya Tula Artist’s cat. YN0509153 ESTIMATE: $50,000 – 70,000

PROVENANCE Papunya Tula Artists, Alice Springs Gallery Gabrielle Pizzi, Melbourne Private collection, Sydney RELATED WORK Designs Associated with the Site of Yunala, 2008, 151.0 x 121.0 cm in the collection of the Museum of Contemporary Art, Sydney: acquisition no. 2008.45, illus. online at https:// www.mca.com.au/artists-works/works/2008.45/ Yunala 2005 was painted in the same year that Yukultji Napangati came to the attention of a wider audience through her inclusion in the Primavera exhibition at the Museum of Contemporary Art in Sydney. Composed of alternating lines created from conjoined white and cream dots on a black and red ochre ground that meander across the canvas, this work creates a three-dimensional land map that articulates her relationship to country and the experience of her upbringing. Yunala, a rockhole and soakage water site situated among sandhills just to the west of Kiwirrkura in Western Australia, is the site where in mythological times a group of ancestral women camped.

While at Yunala the women were digging for the edible roots of the bush banana or silky pear vine Marsdenia Australis, also known as yunala. The lines in the work represent both the sandhills surrounding the site as well as the yunala tubers underground. Born near Wilkinkarra (Lake Mackay) in the Western Desert in 1970, Yukultji Napangati is a Pintupi woman who, while still a young girl, came to national headlines when her family group walked out of the desert into Kiwirrkurra in 1984, prior to which she had been living a traditional life traversing the country close to Wilkinkarra with her eight family members. Yukultji began painting for Papunya Tula Artists in 1996. In 1999 she contributed to the Kiwirrkura Women’s painting as part of the ‘Western Desert Dialysis Appeal’ at the Art Gallery of New South Wales and in 2005 she was selected as one of nine artists to exhibit at the prestigious Primavera show at the Museum of Contemporary Art in Sydney. In 2018, she won the Wynne Prize at the Art Gallery of New South Wales and her work is included in significant public and private collections, including the Art Gallery of New South Wales, Sydney; National Gallery of Australia, Canberra; National Gallery of Victoria, Melbourne, and the Hood Museum of Art, USA.

GEORGE TJUNGURRAYI born c.1943 MULKUNUPALKANYA, 1997 synthetic polymer paint on Belgian linen 153.0 x 182.0 cm bears inscription verso: artist’s name, size and Papunya Tula Artists cat. GT970865 ESTIMATE: $25,000 – 35,000

PROVENANCE Papunya Tula Artists, Alice Springs Private collection, Victoria, acquired from the above in 1997 This work is accompanied by a certificate of authenticity from Papunya Tula Artists which states in part: ‘This painting depicts designs associated with the rockhole site of Mulkunupalkanya, near Lake Mackay. In mythological times a Tingari Man camped at this site. He caught and ate a snake which was living at the rockhole, only to have it burst out of his stomach afterwards. 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 accompanied by novices and their travels and adventures are enshrined in a number of song cycles. These mythologies form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.’

BOBBY WEST TJUPURRULA born 1958 PALIPALINTJA, 2003 synthetic polymer paint on linen 183.0 x 153.0 cm bears inscription verso: artist’s name, size and Papunya Tula Artists cat. BW0301182 ESTIMATE: $15,000 – 20,000

PROVENANCE Papunya Tula Artists, Alice Springs Pool Party Charity Art Auction, Art Gallery of New South Wales, Sydney, 3 November 2005, lot 28 Private collection, Sydney Sotheby’s, Melbourne, 24 July 2007, lot 190 Private collection, Sydney LITERATURE Pool Party Art Auction catalogue, Art Gallery of New South Wales, Sydney, 3 November 2005, cat. 28 (illus.) This work is accompanied by a certificate of authenticity from Papunya Tula Artists which states in part: ‘This painting depicts designs associated with the rockhole site of Palipalantja, west of Jupiter Well. In Mythological times a large group of Tingari Men camped at this site before continuing their travels north-east through Tarkul to Lake Mackay. 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 accompanied by novices and their travels and adventures are enshrined in a number of song cycles. These mythologies form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.’

GEORGE TJUNGURRAYI born c.1943 MAMULTJULKUNGA, 1999 synthetic polymer paint on canvas 246.0 x 121.0 cm inscribed verso: artist’s name, size and Papunya Tula Artists cat. GT9901127 ESTIMATE: $30,000 – 40,000

PROVENANCE Papunya Tula Artists, Alice Springs Scott Livesey Gallery, Melbourne (gallery stamp verso) Private collection, Melbourne Deutscher and Hackett, Melbourne, 26 March 2014, lot 111 Private collection, Melbourne This work is accompanied by a certificate of authenticity from Papunya Tula Artists which states in part: ‘This painting depicts designs associated with the claypan and soakage water site of Mamultjulkunga, north–west of Lake Mackay. Two Tingari men, one of the Tjapaltjarri kinship subsection and one of the Tjangala kinship subsection, made camp at this site.’

PATRICK TJUNGURRAYI (c.1935 – 2017) KULTULGULNGA, 2004 synthetic polymer paint on Belgian linen 122.0 x 153.0 cm bears inscription verso: artist’s name, size and Papunya Tula Artists cat. PT0407061 ESTIMATE: $15,000 – 20,000

PROVENANCE Painted at Kintore, Northern Territory in 2004 Papunya Tula Artists, Alice Springs Tony Bond Art Dealer, Adelaide Private collection, Sydney, acquired from the above in April 2005

MICK NAMARARI TJAPALTJARRI (c.1926 – 1998) NYUNMANU, 1992 synthetic polymer paint on linen 122.5 x 61.5 cm bears inscription verso: artist’s name, size and Papunya Tula Artists cat. MN921156 ESTIMATE: $10,000 – 15,000

PROVENANCE Painted for Papunya Tula Artists in November 1992 Private collection, Melbourne acquired from the above in January 1993 This work is accompanied by a certificate of authenticity from Papunya Tula Artists which states in part: ‘The centre panel in this painting represents the site of Nyunmanu to the east of the Kintore community. This site is associated with the Dingo Dreaming. In mythological times a mother dingo lived here with her puppies. She hunted in the surrounding area for food to feed her young.’

ANGELINA NGALE APWERL (PWERLE) born c.1952 ANOOKITJA (BUSH PLUM), 1997 synthetic polymer paint on linen 150.0 x 121.0 cm bears inscription verso: artist’s name and Delmore Gallery cat. 971015 ESTIMATE: $5,000 – 7,000

PROVENANCE Delmore Gallery, Alice Springs Private collection, Melbourne This work is accompanied by a certificate of authenticity from Delmore Gallery which states in part: ‘Angelina’s main custodial responsibility is for the Anookitja Bush Plum that responds quickly after rain. This characteristic along with its high nutritious value, make it a highly considered plant in such arid lands. The differing colours within the body of her dotwork define the degrees of ripeness of the fruit, indicating its readiness to be eaten.’

EMILY KAME KNGWARREYE (c.1910 – 1996) UNTITLED, 1992 synthetic polymer paint on linen 120.0 x 91.0 cm bears inscription verso: artist’s name and Delmore gallery cat. 92F036 ESTIMATE: $25,000 – 35,000

PROVENANCE Commissioned by Delmore Gallery, via Alice Springs, Northern Territory in June 1992 Gallery Gondwana, Alice Springs Private collection, United Kingdom, acquired from the above in 1992 Phillips, London, 5 November 2020, lot 25 Private collection, Melbourne Renowned for her colourful and vibrant paintings, Emily Kngwarreye chronicled on canvas the ever-changing desert country of her homeland Alhalkere. Located at the western edge of Utopia this triangular shaped country was where Emily was born and where she lived in the traditional ways of the eastern Anmatyerre, following a way of life that had continued unchanged from long before European presence. Her mark making recorded the seasonal variations, sometime subtle, often dramatic, of the harsh desert environment and the explosion of growth that occurred after rain. Untitled, 1992 records the cyclical change as desert plants bloom after summer rains. The work is atypical through its repeated semi-circular motif reminiscent of the paintings from Western desert communities further west. These motifs most likely representing the bodies of seated women participating in a ceremony at the artist’s community. Painted in June 1992, with its cascading layers of red, yellow, pink, purple and orange dots, this work is a celebration of nature at its most potent. CRISPIN GUTTERIDGE

BILL WHISKEY TJAPALTJARRI (c.1920 – 2008) ROCKHOLES AND COUNTRY NEAR THE OLGAS, 2007 synthetic polymer paint on linen 150.0 x 101.0 cm bears inscription verso: artist’s name, size and Watiyawanu Artists of Amunturrungu cat. 3 – 07245 ESTIMATE: $18,000 – 25,000

PROVENANCE Watiyawanu Artists of Amunturrungu, Mount Leibig, Northern Territory APS Bendi Lango Art Exhibition, Rio Tinto Offices, Melbourne Private collection, Melbourne

That cocky and crow and eagle that’s Whiskey, that’s the essence of Whiskey, that’s his spirit, that’s who he is.’1 Rockholes and Country Near the Olgas, 2007 is a fine example of Bill Whiskey Tjapaltjarri’s shimmering aerial paintings of his birth country Pirupa Akla, located west of Uluru. Completed in the year before Tjapaltjarri died, when the artist was in his late eighties, this work refers to the physical landscape, and to the spirits residing there. Specifically the White Cockatoo story which originated from Pirupa Akla, a creation story of the cockatoo, eagle and their adversary, the crow. The battle between the birds resulted in the formation of various topographical features, such as the rockholes. The artist and his family depended upon these rockholes, and they were a constant focus in Tjapaltjarri’s work. This painting is significant not just for the way it reveals his innate ‘genius’ for handling scale in a spontaneous fashion, but also because it demonstrates how his signature ‘style’ was fully (and uncannily) articulated at the outset. As Nicolas Kachel recalls, ‘in December 2004, Bill Whiskey Tjapaltjarri walked into the painting room at Mount Leibig, previously the exclusive reserve of women, and requested canvases and paints for himself. And so, at 85 years, he became an artist.’ 2 Although he had previously painted intricate dot designs on spears and small nulla nullas, over the years 2004 to 2008 he produced a body of work that was astounding in its shimmering vigour, pulsating colour and often monumental scale. 1. The artist quote in documentary Thornton, R. (Producer and Director), That Old Man, 2009, distributed by Thorny Vision, New South Wales 2. Kachel, N., Bill Whiskey Tjapaltjarri, John Gordon Gallery, Coffs Harbour, 2007, n.p. CRISPIN GUTTERIDGE

ROVER THOMAS (JOOLAMA) (c.1926 – 1998) YURLING, 1985 natural earth pigments and synthetic binder on plywood 86.0 x 59.0 cm bears Waringarri Aboriginal Arts Association label verso: artist’s name, title, date, descriptive notes and catalogue number BP1/1010 ESTIMATE: $30,000 – 40,000

PROVENANCE Waringarri Aboriginal Arts, Kununurra, Western Australia Private collection, Darwin Sotheby’s, Melbourne, 9 July 2001, lot 108 Private collection, Sydney, acquired from the above The label verso states: ‘Dreamtime dead people were thrown into a hole on top of a big hill near Texas Downs Station. The hill is called Yurling’. This painting was originally purchased from the Waringarri Arts Centre Kununurra in 1985 by a worker for the Kimberley Land Council and Warmun Community when he was conducting interviews at the Arts Centre whilst compiling information for a book.

JAN BILLYCAN (DJAN NAMUNDIE) (c.1930 – 2016) KIRRIWIRRI, 2007 synthetic polymer paint on two linen panels diptych 90.5 x 121.0 cm (overall) bears inscription verso: artist’s name and Short Street Gallery cat. 24171 ESTIMATE: $10,000 – 15,000 (2)

PROVENANCE Short Street Gallery, Broome Private collection, Sydney This work is accompanied by a certificate of authenticity from Short Street Gallery, Broome which states: ‘This place is the birth-place of my father’s clan. Our clan is also named Kirriwirri, and we call each individual members of this clan Kirriwirri. There is a big warla (mud flat) at this place. This is what this painting is about.” Kirriwirri is in the Great Sandy Desert close to and west of Well 33 on the Canning Stock Route. It is the birth place of Jan and her family. This work shows tali (sand dunes) and jila (living water).’

NYUJU STUMPY BROWN (c.1924 – 2011) JIRNTIJIRNTI – ON THE CANNING STOCK ROUTE, 2003 synthetic polymer paint on linen 152.0 x 183.0 cm signed verso bears inscription verso: artist’s name and Mangkaja Arts cat. Pc 278/03 ESTIMATE: $15,000 – 20,000

PROVENANCE Mangkaja Arts, Fitzroy Crossing, Western Australia Boutwell Draper Gallery, Sydney (label attached verso) Private collection, Sydney acquired from the above in 2013 EXHIBITED Nyuju Stumpy Brown, My Country, Boutwell Draper Gallery, Sydney, 12 November – 20 December 2003, cat. 9 This work is accompanied by a certificate of authenticity from Mangkaja Arts, Fitzroy Crossing which states: ‘This is a well on the Canning Stock Route (well 45). There is a wheel there and bullocks are used to draw up the water into drums.’

BILL ANDERSON (c. 1938 – 2011) and

ROY UNDERWOOD

PROVENANCE Spinifex Arts Project, Tjuntjuntjara Community, Western Australia Marshall Arts, Adelaide Private collection, Adelaide

(1937 – 2018) MAKURA, 2009 synthetic polymer paint on linen 152.0 x 122.0 cm bears inscription verso: artist’s name, community, date and Spinifex Arts Project cat. C858 ESTIMATE: $5,000 – 7,000

This work is accompanied by a certificate of authenticity from Spinifex Arts Project which states in part: ‘Bill Anderson teamed up with Roy Underwood to paint Bill’s father’s country Makura. Bill was born to the north east of Spinifex and came down into the spinifex area as a young, initiated man. He is highly knowledgeable about a range of areas and employs Roy here to lend a hand with both iconographic detail and story, thus creating a powerful piece of work. Makura is a sacred place east of Irrunytju. Bill indicates that Makura is the site of a young boy’s initiation ritual hence there is little detail that can be elaborated upon here…. The roundel represents the rockhole Makura, the background, dark blue shapes represent the female relatives who are sitting as part of the initiation business.’

SYLVIA KANTJUPAI KEN born 1965 SEVEN SISTERS, 2011 synthetic polymer paint on Belgian linen 197.0 x 198.0 cm bears inscription verso: artist’s name and Tjala Arts cat. 430– 11 ESTIMATE: $ 8,000 – 12,000

PROVENANCE Tjala Arts, Amata, South Australia Marshall Arts, Adelaide Private collection, Melbourne This work is accompanied by a certificate of authenticity from Tjala Arts, Amata which states in part: ‘Sylvia has painted the Seven Sisters Story. This is a Tjukurpa Story (Creation Story) about the constellation of Pleiades and Orion. The sisters are the constellation of Pleiades and the other star Orion is said to be Nyiru or Nyirunya (described as a bad or lusty man). Nyiru is forever chasing the sisters know as the Kunkarunkara women as it is said he wants to marry the oldest sister.’

JIMMY BAKER (c.1915 – 2010) KALAYA TJUKURPA (EMU STORY), 2009 synthetic polymer paint on canvas 91.0 x 115.0 cm bears inscription verso: artist’s name, community, date and Tjungu Palya cat. TPJB09545 ESTIMATE: $7,000 – 9,000

PROVENANCE Tjungu Palya, Nyapari, South Australia Marshall Arts, Adelaide Private collection, Melbourne

NYANKULYA WATSON (c.1938 – 2007) IWARA TJUTA, 2006 synthetic polymer paint on canvas 124.0 x 210.5 cm bears inscription verso: artist’s name, date and Tjungu Palya Artists cat. TPNKW06047 ESTIMATE: $7,000 – 10,000

PROVENANCE Tjungu Palya Artists, Nyapari, South Australia Marshall Arts, Adelaide Private collection, Adelaide This painting is accompanied by a certificate of authenticity from Tjungu Palya Artists which states: ‘These are all the travelling tracks in my country. I travelled around this country in the early days with my family. There’s a lot of rockholes and we used to walk to all of them. We would stop and camp for a while collecting food and then move on to another place. The rockhole at Mt Aloysius had good water. I was born here. The other rockholes are: Inurantja, Tjilpultjanga, Junpunga (watiku ngura), Mapantji (patilku ngura), Ultjutjara, Iltjutjanga, Yaliri, Palkarli, Numpanumpa, Pukara (wati kutjara tjukurpa), Anamarapiti, Palkini, Punu Wara, Apulunga, Attanga and Wanungtjiri.’

MAKINTI NAPANANGKA

(c.1930 – 2011) LUPULNGA, 2001 synthetic polymer paint on linen 91.0 x 61.0 cm inscribed verso: artist’s name, size and Papunya Tula Artists cat. MN0108114 ESTIMATE: $4,000 – 6,000 PROVENANCE Papunya Tula Artists, Alice Springs Bett Gallery, Hobart Private collection, Melbourne

MAKINTI NAPANANGKA (c.1930 – 2011) LUPULNGA, 2003 synthetic polymer paint on linen 91.0 x 46.0 cm inscribed verso: artist’s name, size and Papunya Tula Artists cat. MN0303063 ESTIMATE: $2,500 – 3,500 PROVENANCE Papunya Tula Artists, Alice Springs Bett Gallery, Hobart Private collection, Melbourne

100

WALANGKURA NAPANANGKA (c.1946 – 2014) TRAVELS OF KATUNGKA NAPANANGKA, 2001 synthetic polymer paint on linen 153.0 x 122.0 cm bears inscription verso: artist’s name, size and Papunya Tula Artists cat. WN0110140

PROVENANCE Papunya Tula Artists, Alice Springs Gallery Gabrielle Pizzi, Melbourne (label attached verso) Private collection, USA Sotheby’s, Aboriginal & Oceanic Art, Melbourne, 15 November 2005, lot 184 Private collection, Sydney

ESTIMATE: $8,000 – 12,000

101

GINGER BAKER (c.1938 – 2007) PUYU PAKALA, 2006 synthetic polymer paint on canvas 96.0 x 131.0 cm bears inscription verso: artist’s name, community, date and Tjungu Palya cat. 06319 ESTIMATE: $3,000 – 4,000

102

PROVENANCE Tjungu Palya, Nyapari, South Australia Marshall Arts, Adelaide Private collection, Adelaide

ANGKALIYA CURTIS born 1928 CAVE HILL, 2010 synthetic polymer paint on canvas 198.0 x 156.0 cm inscribed verso: artist’s name, date, location and Tjungu Palya cat. TPAC10191

PROVENANCE Tjungu Palya, Nyapari, South Australia Raft Artspace, Darwin Private collection, Darwin

ESTIMATE: $6,000 – 8,000

103

LUCY YUKENBARRI NAPANANGKA (1934 – 2003) PATURR, 1999 synthetic polymer paint on linen 151.0 x 75.5 cm bears inscription verso: artist’s name, size and Warlayirti Artists cat. 667/99 ESTIMATE: $3,000 – 4,000

104

PROVENANCE Warlayirti Artists, Balgo, Western Australia Gallery Gabrielle Pizzi, Melbourne (label attached verso) Private collection, Queensland, acquired from the above in 2008

EUBENA NAMPITJIN (c.1921 – 2013) UNTITLED, 1999 synthetic polymer paint on linen 90.0 x 60.0 cm bears inscription verso: artist’s name, size and Warlayirti Artists cat. 681/99

PROVENANCE Warlayirti Artists, Balgo, Western Australia Bett Gallery, Hobart Private collection, Melbourne

ESTIMATE: $3,500 – 4,500

105

MICK JAWALJI JANGALA (c.1920 – 2013) WURRAYA, 2005 synthetic polymer paint on board 80.0 x 61.0 cm bears inscription verso: artist’s name, date, title, size and Warmun Art Centre cat. WAC 275/06 ESTIMATE: $3,000 – 4,000

106

PROVENANCE Warmun Art Centre, Turkey Creek, Western Australia William Mora Galleries, Melbourne (gallery stamp verso) Private collection, Melbourne EXHIBITED Mick Jawalji – Recent Paintings, William Mora Galleries, Melbourne, 19 September – 13 October 2006

107

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.

108

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.

109

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.

110

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.

111

CONTEMPORARY INDIGENOUS FA S H I O N

A celebration of Indigenous art, history and culture through contemporary fashion and design.

2 0 F E B RUA RY – 8 AU G U S T 2 0 2 1 First Australians Focus Gallery N AT I O N A L M U S E U M O F A U S T R A L I A CANBERR A | FREE nma.gov.au/piinpi

P R E S E N T I N G PA R T N E R S

L E G A L PA R T N E R

A C C O M M O D AT I O N PA R T N E R

Exhibition organised by Bendigo Art Gallery Grace Rosendale, Seedpods Top and Pant 2019. Linen. Courtesy of the artist, Hopevale Arts and Cultural Centre and Queensland University of Technology. Model: Magnolia Maymuru. Photographer: Bronwyn Kidd.

CATALOGUE SUBSCRIPTION FORM

SALE CODE: MAWALAN SALE NO.: 063 IMPORTANT AUSTRALIAN ABORIGINAL ART MELBOURNE AUCTION 17 MARCH, 7:00 PM LOTS 1 — 54 105 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

Telephone/Home

Business/Mobile

State

Post Code

Fax

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

113

ATTENDEE PRE-REGISTRATION FORM SALE CODE: MAWALAN SALE NO.: 063 IMPORTANT AUSTRALIAN ABORIGINAL ART

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

Business name

Address

City

Telephone/Mobile

State

Post Code

MELBOURNE AUCTION 17 MARCH, 7:00 PM LOTS 1 — 54 105 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

114

TELEPHONE BID FORM SALE CODE: MAWALAN SALE NO.: 063 IMPORTANT AUSTRALIAN ABORIGINAL ART MELBOURNE AUCTION 17 MARCH, 7:00 PM LOTS 1 — 54 105 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 Prospective Buyers and Sellers Guide and the Conditions of Auction and Sale 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 25% (inclusive of GST), 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.

115

ABSENTEE BID FORM SALE CODE: MAWALAN SALE NO.: 063 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 17 MARCH, 7:00 PM LOTS 1 — 54 105 COMMERCIAL ROAD SOUTH YARRA VIC 3141

Facsimile Email

Signature (required)

LOT NO.

ARTIST/TITLE

Date

MAXIMUM BID*

1. 2. 3. 4. 5.

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. 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. Please refer to the Prospective Buyers and Sellers Guide and the Conditions of Auction and Sale 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. Should the bid be successful, the buyer will be obliged to pay the final bid price plus buyer’s premium of 25% (inclusive of 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.

116

INTERNAL USE ONLY RECEIVED BY

DATE

TIME

consigning now important australian + international fine art AUCTION • MELBOURNE • 21 APRIL 2021 for appraisals please contact MELBOURNE • 03 9865 6333 SYDNEY • 02 9287 0600 info@deutscherandhackett.com www.deutscherandhackett.com

FRED WILLIAMS HILLSIDE AT LYSTERFIELD II, 1967 oil on canvas, 137.5 x 153.0 cm EST: $1,500,000 – 2,000,000

Sold for $2,209,090 (inc. bp) Live streamed auction 11 November 2020

donors are the lifeblood of the gallery

If you are a lover of art, could there be anything more satisfying than giving to the Gallery? It’s a gesture that brings vitality to the heart of our arts culture, and reaches every part of the Gallery’s dynamic functioning body. Your contribution could assist in the acquisition of a work or the development of an exhibition. Supporting the Gallery is also an ideal way to mix with fellow art lovers. Donors are included in Gallery events and can choose to have their generosity publicly acknowledged or remain anonymous.

When you become a donor to the Art Gallery of New South Wales, you are keeping our collection alive with new and significant acquisitions

Donations of money and works of art are tax deductible. Why not contact us for further information or to discuss your donation in confidence, by phoning Jane Wynter, the Gallery’s Head of philanthropy on 02 9225 1818 or email jane.wynter@ag.nsw.gov.au

Walangkura napanangka Untitled, 1997. gift of Dr Colin and Mrs Elizabeth laverty, 2005 © Walangkura napanangka. licensed by aboriginal artists agency, ltd

She-Oak and Sunlight Australian Impressionism 2 April – 22 August

The Ian Potter Centre: NGV Australia, Fed Square PRINCIPAL PARTNER

MAJOR PARTNER

SUPPORTERS

Tom Roberts She-oak and sunlight 1889 (detail) National Gallery of Victoria, Melbourne. Jean Margaret Williams Bequest, K. M. Christensen and A. E. Bond Bequest, Eleanor M. Borrow Bequest, The Thomas Rubie Purcell and Olive Esma Purcell Trust and Warren Clark Bequest, 2019

BUX TON CON TEMP ORARY Wednesday - Sunday 11am - 5pm Free admission

BUXTON CONTEMPORAY Cnr Southbank Boulevard and Dodds Street Southbank VIC 3006

buxtoncontemporary.com

27 FEBRUARY – 16 MAY 2021

TICKETS ON SALE AT AGSA.SA.GOV.AU

PRINCIPAL DONOR

IN ASSOCIATION WITH

EXHIBITION PARTNER

image detail Clarice Beckett, Australia, 1887–1935, Beach scene c. 1932–33, Melbourne, oil on canvas, 52.1 x 62.0 cm; CBUS Collection of Australian Art, as advised by Dr Joseph Brown AO OBE, Latrobe Regional Gallery

Exhibits Excellence

THE EXHIBITION Phryne Fisher is back with a brand new exhibition filled with glamour, romance and adventure.

Book tickets: missfisherexhibition.com Until May 2021

Rippon Lea Estate 124

index P

A ANDREW, BROOK

APWERL (PWERLE), ANGELINA NGALE 37

KANTILLA, KITTY

KEN, SYLVIA KANTJUPAI

PRINCE OF WALES (MIDPUL)

KNGWARREYE, EMILY KAME 6, 7, 11, 38 B

R RILEY MUNDUWALAWALA, GINGER

BAKER, JIMMY

BAKER, GINGER

MARIKA, MAWALAN

BEDFORD, PADDY NYUNKUNY

MARIKA, WANDJUK

BILLYCAN (DJAN NAMUNDIE), JAN

MAWURNDJUL, JOHN

BROWN, NYUJU STUMPY

MAYMURU-WHITE, NAMINAPU

2, 8 26, 27 19

MOFFATT, TRACEY C

T THOMAS (JOOLAMA), ROVER 12, 16, 40 TIMMS, FREDDIE TJAPALTJARRI, BILL WHISKEY

14, 15 4, 39

TJAPALTJARRI, MICK NAMARARI 29, 36 TJUNGURRAYI, GEORGE

32, 34

TJUNGURRAYI, PATRICK

COOK, MICHAEL

CURTIS, ANGKALIYA

NAKAMARRA, DOREEN REID

TJUPURRULA, JOHNNY WARANGKULA 28

NAMPITJIN, EUBENA

TJUPURRULA, BOBBY WEST

NAPANANGKA, MAKINTI

GANAMBARR, LARRTJANGA

GURRUWIWI, MITHINARI

I IYUNA, JAMES

JAWALJI JANGALA, MICK

47, 48

NAPANANGKA, WALANGKURA

NAPANANGKA, LUCY YUKENBARRI

NAPANGATI, YUKULTJI

U UNDERWOOD, ROY

UNKNOWN (WADEYE), ARTIST

O ONUS, LIN

1, 9

WATSON, NYANKULYA

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

© Estate of Lin Onus/Copyright Agency, 2021 © John Mawurndjul/Copyright Agency, 2021 © Estate of Prince of Wales and Karen Brown Gallery, Darwin © Bill Whiskey Tjapaltjarri/Copyright Agency, 2021 © Kitty Kantilla/Copyright Agency, 2021 © Emily K Kngwarreye/Copyright Agency, 2021 © Emily K Kngwarreye/Copyright Agency, 2021 © John Mawurndjul/Copyright Agency, 2021 © Estate of Lin Onus/Copyright Agency, 2021 © courtesy of The Estate of Ginger Riley and Alcaston Gallery, Melbourne © Emily K Kngwarreye/Copyright Agency, 2021 © Rover Thomas/Copyright Agency, 2021 © courtesy of The Estate of Paddy Bedford © Freddie Timms/Copyright Agency, 2021 © Freddie Timms/Copyright Agency, 2021 © Rover Thomas/Copyright Agency, 2021 © courtesy of the artist and THIS IS NO FANTASY + dianne tanzer gallery

Lot 18 Lot 19 Lot 20 Lot 21 Lot 23 Lot 25 Lot 26 Lot 27 Lot 28 Lot 29 Lot 30 Lot 31 Lot 32 Lot 33 Lot 34 Lot 35 Lot 36

© Brook Andrew/Copyright Agency, 2021 © Tracey Moffatt/Copyright Agency, 2021 © Mawalan Marika/Copyright Agency, 2021 © Wandjuk Marika/Copyright Agency, 2021 © Mithinari Gurruwiwi/Copyright Agency, 2021 © James Iyuna/Copyright Agency, 2021 © courtesy of the artist and Buku-Larrnggay Mulka Centre © courtesy of the artist and Buku-Larrnggay Mulka Centre © Johnny Warangkula Tjupurrula/ Copyright Agency, 2021 © Mick Namarari Tjapaltjarri/Copyright Agency, 2021 © Doreen Reid Nakamarra/Copyright Agency, 2021 © Yukultji Napangati/Copyright Agency, 2021 and Aboriginal Artists Agency, Sydney © George Tjungurrayi/Copyright Agency, 2021 © Bobby West Tjupurrula/Copyright Agency, 2021 © George Tjungurrayi/Copyright Agency, 2021 © Patrick Tjungarrayi/Copyright Agency, 2021 © Mick Namarari Tjapaltjarri/Copyright Agency, 2021

RESALE ROYALTY

ACKNOWLEDGEMENTS

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.

Design and photography: Danny Kneebone

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

© Angelina Ngale Apwerl (Pwerle)/ Copyright Agency, 2021 © Emily K Kngwarreye/Copyright Agency, 2021 © Bill Whiskey Tjapaltjarri/Copyright Agency, 2021 © Rover Thomas/Copyright Agency, 2021 © Jan Billycan/Copyright Agency, 2021 © Nyuju Stumpy Brown/Copyright Agency, 2021 © Spinifex Arts Project © Sylvia Kantjupai Ken/Copyright Agency, 2021 © Jimmy Baker/Copyright Agency, 2021 © Nyankulya Watson/Copyright Agency, 2021 © Makinti Napanangka/Copyright Agency, 2021 © Makinti Napanangka/Copyright Agency, 2021 © Walangkura Napanangka/Copyright Agency, 2021 © Ginger Baker/Copyright Agency, 2021 © Angkaliya Curtis/Copyright Agency, 2021 © Lucy Yukenbarri Napanangka/ Copyright Agency, 2020 © Eubena Nampitjin/Copyright Agency, 2021 © Mick Jawalji Jangala/Copyright Agency, 2021

125

126

specialist fine art auction house and private gallery