Sally Gabori
Born in Mirdidingki, on the South side of Bentinck Island, Sally Gabori lived a traditional lifestyle deeply connected to her Indigenous roots. In the early 1940s, the Kaiadilt people were relocated to Mornington Island by Presbyterian missionaries due to severe drought and a cyclone. Despite this displacement, Gabori maintained a strong attachment to her birthplace, cherishing childhood memories and the stories connected to her ancestral homeland.
Located near the northern tip of Bentinck Island, Thundi is Gabori’s fathers Country, an area sitting over a river running parallel to a ridge of tall sandhills along its northeastern coast. During the wet season a large salt pan would mark the river’s boundary, while in the dry season, mangroves trace its outline in green. To the north, the river opens out onto a vast mud flat, revealing sandbars during low tide.
Many of Gabori’s early paintings of her father’s Country were centred on this river area. Gabori applies her brushstrokes in circular motions emphasising the importance of this crucial fishing area at the river’s mouth. In My Father’s Country 2006, Gabori uses vivid colours to represent various fish species, her favourite fish the snapper is represented in yellow, while the blue suggests the Ngarrawurda (bluefish). Applied with varying movement, Gabori’s brushstrokes indicate the abundance of the fish at Thundi and the area’s significance as a vital fishing ground for the Kaiadilt people. Layering a vibrant palette of blues, reds, yellow and black, Gabori’s works are renowned for their boldness in colour and design. Perhaps a result of cultural isolation from Island life, Gabori’s visual interpretations of her land have been completely uninfluenced, allowing her to express her story in an entirely unique way. Her thick abstract-like paint strokes and elaborate use of colour quickly became the powerful force within her oeuvre and likely one of the reasons her works have become so recognisable within the Indigenous art market and contemporary art globally.
Gabori began painting in her eighties, with her artworks becoming an important medium for expressing the intimate connection she had with the meaningful sites of Bentinck Island throughout her lifetime. Her unique approach to the canvas creates a visual memory and map of Bentinck Island from her childhood, preserving the cultural heritage and natural richness of her ancestral land. Capturing the attention of the international art world, she represented Australia in the 55th Venice Biennale in 2013. Today her works are held in permanent collections such as the Musee du Quai Branly in Paris, the National Gallery of Australia in Canberra and in various state galleries across the country.
6 SALLY GABORI (c.1924-2015)
(Language group: Kaiadilt)
My Father’s Country 2006
synthetic polymer paint on canvas inscribed verso with artist’s name, title and Mornington Island Art cat. no. 1308/C/SG/0506 and stamp verso inscribed verso with Alcaston Gallery cat. no. AK12808 and stamp on stretcher bar verso 182 x 123cm
PROVENANCE: Mornington Island Art, Queensland (accompanied by a certificate of authenticity) Alcaston Gallery, Melbourne Private collection, Melbourne
OTHER NOTES:
“My paintings shows a waterhole on my Father’s Country on Bentinck Island”, The Artist As stated on the Mornington Island Art certificate of authenticity
$18,000-25,000
Lucy Foster | Senior Specialist, Fine Art
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6 © Sally Gabori/Copyright Agency, 2023
HARRY TJUTJUNA (c.1930-2020)
(Language group: Pitjantjatjara)
Wangka Tjukurpa 2007
synthetic polymer paint on linen
inscribed verso with artist’s name, title and Ernabella Arts cat. no. HT099-07
154 x 183cm
PROVENANCE:
Ernabella Arts, South Australia (accompanied by a certificate of authenticity)
Private collection, Melbourne
OTHER NOTES:
“In speaking of this work Harry described himself as a spider man, spiders being involved in the Tjukurpa, or creation stories of his birthplace - Mt. Davies, near the SA/WA border. People often associate themselves with one or more of the creatures of their ‘ngura’ (homeplace) in this way. Spiders have multiple meanings for Harry, as he is also a ‘ngangkari’ (traditional healer) and as ngangkari makes use of spiderwebs in treatment of cuts and skin injuries.”
As stated on the Ernabella Arts certificate of authenticity $6,000-8,000
8 PALUMAI NAMPITJINPA (born c.1930)
(Language group: Pitjantjatjara)
Sandhills 2007
synthetic polymer paint on canvas
inscribed verso with artist’s name and Maruku Arts
cat. no. 2932
151 x 91.5cm
PROVENANCE:
Maruku Arts, Northern Territory (accompanied by a certificate of authenticity)
Private collection, Melbourne
OTHER NOTES:
“Desert painting is inextricably linked with the Tjukurpa or the Law and way of life of the Anangu (Central and Western Desert Aboriginal people). The symbols of desert paintings were traditionally used in cave, ground and body paintings. Meaning of the designs depends on the subject of the painting and particular people are responsible for their re-creation and teaching according to the Tjukurpa.
This painting reflects strong culture: re-enacting ancestral travels, celebrating the sacred nature of the country and its interrelated plant, animal and human inhabitants. It refers to the teachings of Tjukurpa. Palumai has painted tali (sandhills) south of Kintore in the west of the Northern Territory.
Coded in this Law story is intricate information about the country and its food and water sources as well as instructions for maintaining the balance and harmony of society.”
As stated on the Maruku Arts certificate of authenticity
$3,000-5,000
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WEAVER JACK (c.1928-2010)
(Language group: Yulparia)
Lungarung 2006
synthetic polymer paint on canvas
inscribed verso with artist’s name, date and Short St. Gallery cat. no. 3576
166 x 111.5cm
PROVENANCE:
Short St. Gallery, Western Australia (accompanied by artist statement) Private collection, Melbourne
OTHER NOTES:
“Travelling from Lungarung to Nyumpi, plenty tree, bush country, three jila in a row.”
As stated on the Short St. Gallery artist statement
$6,000-8,000
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MAWUKURA JIMMY NERRIMAH (c.1924-2013)
(Language group: Walmajarri)
Tarpu & Wayampajarti
synthetic polymer paint on canvas
inscribed verso with artist’s name and Mangkaja Arts cat. no. 387/07
120 x 90.5cm
PROVENANCE:
Mangkaja Arts Resource Agency, Western Australia (accompanied by a certificate of authenticity) Private collection, Melbourne
OTHER NOTES:
“These ones (waterholes) all surrounded by salt country (planes), like warla (marsh or large claypans). It’s real flat country with saltbush. Tarpu is important for that big law ceremony. Big mob of people were killed here back in the Jumangkarni (dreamtime), when a big star crashed down from the sky. Tarpu is the top waterhole, the bottom ones are Wayampajarti the one on the left is good for drinking that one on the right he no good. That no good one is a strong place for law, only for initiated men this one.” The Artist
As stated on the Mangkaja Arts certificate of authenticity
$7,000-9,000
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9 © Weaver Jack/Copyright Agency, 2023
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CLIFF REID (c.1947-2010)
(Language group: Ngaanyatjarra)
Lirru 2004
synthetic polymer paint on canvas
inscribed verso with artist’s name and date 122 x 150cm
PROVENANCE:
Papulankutja Artists, Alice Springs (accompanied by a certificate of authenticity)
Private collection, Melbourne
OTHER NOTES:
“Two snakes, really men, travel a great distance from the South West. They have many adventures. In this painting they are seeking the sweet honey flower.”
The Artist
As stated on the Papulankutja Artists certificate of authenticity
$3,000-5,000
12 SIMON HOGAN (born 1930)
(Language group: Tarutjara/Pitjantjatjara)
Lingka
synthetic polymer paint on canvas
inscribed verso with artist’s name and Irrunytju Arts cat. no. IRRSH071208
120.5 x 180cm
PROVENANCE:
Irrunytju Arts Centre, Western Australia (accompanied by a certificate of authenticity) Private collection, Melbourne
OTHER NOTES:
“This painting depicts a large area surrounding Lingka and Muntapi the place of Mr Hogans birth place. Shown are the rockholes at Mantapil lingka, Karngka, Tarli karnka, Undinyuuna, Tjatanya, Damping, Wandirii, Tjarika, Pilkayla, Kurli, Badudaa, Arnbirri, Nganundii, Tjampingka, Nyundilka, Nyundilka Mama, Waranka, Tjuratja Tjarla and Makura. Within this area of the country many stories are found although most cannot be elaborated and Mr Hogan just mentions the presence of the Crow, Dog, Bush Cat, Honey Ant, Turkey and Female Possum. This is an area where many people used to live with good water and kids ‘playing around safe’ in the sandhills.”
As stated on the Irrunytju Arts certificate of authenticity
$9,000-12,000
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13 © Nancy Naninurra/Copyright Agency, 2023
NANCY NANINURRA NAPANANGKA
(born c.1936) (Language group: Warlpiri/Pintupi)
Minna Minna 2002
synthetic polymer paint on canvas
inscribed verso with artist’s name and Warlayirti Artists cat. no. 641/02
100.5 x 50cm
PROVENANCE:
Warlayirti Artists, Western Australia (accompanied by a certificate of authenticity)
Private collection, Melbourne
OTHER NOTES:
“Nancy has painted some country located south of Balgo in the Great Sandy Desert. This country is known as Minna Minna, named for the soakwater, or tjumu, which is featured in the centre of the painting, also depicted are four hills situated in this area. This country is important women’s country, and women of Nungurrayi and Napanangka skin groups dance for this country. The Minna Minna story tells of a band of ancestral women who travel the Tjukurrpa (Dreamtime) landscape, terrorising men.”
As stated on the Warlayirti Artists certificate of authenticity
$2,000-3,000
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BRIDGET MUDJIDELL NAPANANGKA (1935-2002)
(Language group: Ngarti/Kukatja/Warlpiri)
Mankai Region - Stretch Ranges 1989
synthetic polymer paint on canvasboard inscribed verso with artist’s name and Warlayirti Artists cat. no. 29/89
76.5 x 51cm
PROVENANCE:
Warlayirti Artists, Western Australia (accompanied by a copy of a certificate of authenticity)
Mary Macha, Perth
The Kelton Collection, United States of America
OTHER NOTES:
“This is the artist’s father’s country - good country. The sites and kinds of waterholes in this country are shown by the various shapes and positions.”
As stated on the Warlayirti Artists certificate of authenticity
$3,000-5,000
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NANYUMA NAPANGATI (born 1944)
(Language group: Pintupi)
Untitled 2002 synthetic polymer paint on canvas
inscribed verso with artist’s name and Papunya Tula Artists cat. no. NN0209047
91.5 x 120cm
PROVENANCE:
Papunya Tula Artists, Alice Springs (accompanied by a copy of a certificate of authenticity)
Private collection, Melbourne
OTHER NOTES:
“This painting depicts designs associated with the rockhole site of Wirrulnga, east of the Kiwirrkura Community. The roundels are rockholes and the lines are the sandhills surrounding the area. A group of women camped at this site. While in the area they gathered the edible berries known as kampurarrpa or desert raisin which they ground into a paste and formed into a type of damper. They also made hairstring skirts which are worn during ceremonies.”
As stated on the Papunya Tula Artists certificate of authenticity
$2,000-4,000
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NANCY ROSS NUNGURRAYI (c.1935-2009)
(Language group: Pintupi)
Untitled 2003 synthetic polymer paint on canvas
inscribed verso with artist’s name and Papunya Tula Artists cat. no. NN0307188
90 x 91cm
PROVENANCE:
Papunya Tula Artists, Alice Springs (accompanied by a copy of a certificate of authenticity)
Private collection, Melbourne
OTHER NOTES:
“This painting depicts designs associated with the rockhole and soakage water site of Ngaminya, just to the south-west of the Kiwirrkura Community in Western Australia.
A group of women, represented by the ‘U’ shapes, came from the west and made camp at this site. While in the area they gathered the edible berries kampurarrpa or desert raisin from the small shrub Solanum centrale which grows in the area.”
As stated on the Papunya Tula Artists certificate of authenticity
$3,000-5,000
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18 © Queenie McKenzie/Copyright Agency, 2023
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DHUWARRWARR MARIKA (born c.1946) (Language group: Rirratjingu)
Milnurr 2008 natural earth pigments on bark inscribed verso with artist’s name and Buku-Larrngay Mulka cat. no. 3353V
154 x 117cm
PROVENANCE:
Buku-Larrngay Mulka Art Centre, Northern Territory (accompanied by a certificate of authenticity)
Vivien Anderson Gallery, Melbourne Private collection, Melbourne
EXHIBITIONS:
Dhuwarrwarr Marika; Milngurr - The Sacred Spring, Vivien Anderson Gallery, Melbourne, 4 - 28 June 2008, cat. no.1 (illus. in exhibition catalogue)
OTHER NOTES:
“The time referred to as time before the first morning has the Djan’kawu (a man and his two sisters) leaving in a canoe to follow the morning star from their residence of Buralku, an island of ancestral dead. With them they carried dilly bags, mats and digging sticks that were to later manifest into sacred
objects through ritual of song and dance that started on the sea of travel and into the sand dunes rimming the landing shores of Yalanbara. From Yalanbara the Djan’kawu set out on their epic journey of eastern Arnhem Land, travelling on what they sanctified as Dhuwa land, singing the country and splitting it up into clan estates, designating sacred law (madayin) song, dance, totem, language to each as they went. Thus the one side of the duality that governs the Yolnu of Arnhem Land - the two moiety system of the Dhuwa and the Yirritja, emanated from Yalanbara.
Today the sandy beach at Yalanbara freshwater is found. By digging at the right location the freshwater seeps through the sand pooling in the hole dug. Rirratjinu song cycles celebrate the Djan’kawu creating this well by plunging the sacred Mawalan (digging stick) into this area as they strode up the beach with their possessions to the sand dunes further up. This well with water of sacred and special qualities is called Milnurr. These sisters gave birth to all Dhuwa clans starting here.
Affected by salt on their sea journey and the incursion of freshwater at Yalanbara, the mixing of the two was the catalyst for procreation. Today the
tides of the sea and flow of freshwater are sung to explain and ensure the cycles of conception, birth and death of the Rirratjinu from their clan lands (Yalanbara) to relate specifically to the powers of the Djan’kawu and the land they affected for the Dhuwa.
A further stamp of clan ownership to Yalanbara is the use of the Rirratjinu clan crosshatched design.” As stated on the Buku-Larrngay Mulka certificate of authenticity
$8,000-10,000
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QUEENIE MCKENZIE (c.1915-1998)
(Language group: Gija)
Untitled natural earth pigments on canvas inscribed verso with artist’s name and Waringarri Aboriginal Arts cat. no. AP0801
60 x 80cm
PROVENANCE:
Waringarri Aboriginal Arts, Western Australia Niagara Galleries, Melbourne (stamp verso)
William Mora Galleries, Melbourne (stamp verso)
Private collection, New South Wales
$8,000-12,000
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Rover Thomas
Born to a Wangkajunga father and Kukatja mother, Rover Thomas began his life’s journey along the Canning Stock Route in the Great Sandy Desert of Western Australia. Embracing the life of a stockman and fencer, he crossed the rocky terrains of the eastern Kimberley, venturing into the Northern Territory and even going as far as Queensland. He was among the many Indigenous people from the south and southeast deserts who were displaced due to Cyclone Tracy and policy change, finding a new home among the Giji community in the 1970s. With this migration, Thomas and his people carried with them stories and spiritual practices that they would share and fuse with those of the Giji people inspiring the unique compositions and designs pioneered by the artist at the Warmun school. Thomas’ legacy can be seen in the works of many east Kimberley artists including Queenie McKenzie, Jack Britten, Rusty Peters and Freddy Timms.
The narrative behind this painting, Crossroads c.1995, as explained by Waringarri Aboriginal Arts, “shows a crossroads, a favourite subject for the artist. Many traditional songs and stories deal with journeys and meetings by all kinds of beings in many circumstances”. In the centre of this composition, a group of women meet in a central location, represented by the ‘U’ shapes over the markings dividing the soft pigmented ground. While his compositions often appear minimalistic, upon closer inspection, they reveal a profound depth of meaning. Embedded within his canvases are historical events, mythological knowledge and lived experiences with many narratives that intertwine the Kimberley and its deep history. Recurring themes and symbolism throughout Rover’s works point to reconciliation, reflecting his belief in harmony between Indigenous and non-Indigenous people.
Thomas’ compositions demonstrate a careful balance between landscape and narrative, using a blend of two-dimensional and aerial views. He meticulously maps out the land and its stories using earthy pigments and natural resins. Thomas’ use of typical Kimberley palettes features deep red and brown ochre tones derived from the earth itself, evoking a strong connection to the land and the cultural identity of the region.
Rover Thomas has played a pivotal role in elevating Aboriginal art from its former categorisation in ethnographical study to the forefront of international contemporary art. His legacy stands as a testament to the transformative power of art in connecting cultures and bridging the gap between tradition and modernity. The art of Rover Thomas has had a profound impact on Australian art, earning him accolades and various opportunities including representing Australia with Trevor Nickolls as the first Indigenous artists at the Venice Biennale in 1990. This was further recognised when the National Gallery of Australia held his solo exhibition Road Cross in 1994, cementing his place as an iconic figure in the Australian art world and an essential contributor to the legacy of Indigenous art.
Lucy Foster | Senior Specialist, Fine Art
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ROVER THOMAS (c.1926-1998)
(Language group: Kukatja/Wangkajunga) Crossroads c.1995 natural earth pigments on canvas inscribed verso with artist’s name and Waringarri Aboriginal Arts cat. no. AP0150 80 x 100cm
PROVENANCE:
Waringarri Aboriginal Arts, Western Australia (accompanied by a copy of a certificate of authenticity)
Private collection, Brisbane $35,000-45,000
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Rover Thomas/Copyright Agency, 2023
James Iyuna/Copyright Agency, 2023
JAMES IYUNA (1959-2012)
(Language group: Kununjku)
Mimih Spirits
beach hibiscus with ochre pigment and PVC fixative (3) i. 213cm, ii. 224cm, iii. 158cm (height, each)
PROVENANCE:
Maningrida Arts & Culture, Northern Territory (accompanied by a certificate of authenticity) Private collection, Melbourne
OTHER NOTES:
“Aboriginal people in the rocky environments of western and south-western Arnhem Land tell of the existence of tall slender spirits which they call Mimih. The name Mimih is well known throughout the top end of the Northern Territory. Aboriginal groups living in the rocky environments of western and southern Arnhem Land share mythology which relates to the beings known as Mimih. These groups include the Kunwok chain of languages, and also Rembarrnga, Dalabon and Djawoyn language groups. Other grounds of people with familial and ceremonial links to rock country inhabitants are also familiar with the idea of the Mimih. In recent years the Mimih has become a topic in the repertoires of some artists among the Kunibidji people, speakers of the Ndjebbana language and the traditional landowners of the Maningrida area.
The people of western Arnhem Land believe that Mimih spirits live in a social organisation similar to Aboriginal people and that Mimih society existed before humans. Mimih are credited with instructing the first people with knowledge relating to survival in the rocky environment of the Arnhem land plateau. Mimih are said to have taught the first humans how to hunt and butcher game and also how to dance, sing and paint. The song and dance style of western Arnhem Land Aboriginal people is still known today as Mimih style. This term is also used by Aboriginal people further to the east in Central Arnhem Land when describing the dance and song of their western neighbours.
Despite the usual descriptions of Mimih as being benign towards humans sometimes however they are attributed with mischievous and dangerous qualities, capable of kidnapping and even killing humans. ‘Clever’ men, or Aboriginal men with supernatural powers, sometimes befriend the Mimih and are taught their songs and dances and shown their secret places. The Mimih are like people using the same kinship terms and speaking the same language as the local Aboriginal group. They live in families like humans and it is said that some of these Aboriginal men with mystical knowledge have spent time living with them in their camps.
Mimih are, however, terribly thin, having necks so slender that a stiff breeze would be fatal. For this reason they emerge only on windless days and
nights to hunt. As soon as a breeze develops, the Mimih are said to run back to their rocky caverns and disappear inside.”
As stated on the Maningrida Arts & Culture certificate of authenticity
$4,000-6,000
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JIMMY NJAMME TJAMPITJIN (born c.1920)
Untitled 1987
synthetic polymer paint on canvas
inscribed verso with artist’s name and Warlayirti Artists cat. no. 87702
120 x 91cm
PROVENANCE:
Warlayirti Artists, Western Australia (accompanied by artwork statement)
Private collection, Melbourne
OTHER NOTES:
“This painting depicts Jimmy Njamme Country. It is situated at south side of Mangkayi, Watikutjarra. Two young men, were travelling around. They had no camp and were all wet from the big rain. When the rain stopped the two men made a big fire to cook all the kuka (meat).”
As stated on the Warlayirti Artists certificate of authenticity
$3,000-5,000
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PINTA PINTA TJAPANANGKA (c.1928-1990)
(Language group: Pintupi)
Untitled 1989
synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. PP891187
92 x 46cm
PROVENANCE:
Papunya Tula Artists, Alice Springs (accompanied by a certificate of authenticity)
Private collection, Melbourne
OTHER NOTES:
“Winparrku, a hill west of Kintore, is the site depicted in this painting. As the story associated with this site forms part of the Tingari Cycle, no further details were 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-initiated youths today as well as providing explanations for contemporary customs.”
As stated on the Papunya Tula Artists certificate of authenticity
$3,000-5,000
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NYARRAPYI GILES (born 1941)
(Language group: Ngaanyatjarra)
Warmurungu
synthetic polymer paint on canvas 137 x 173.5cm
PROVENANCE:
Tjarlirli Art, Western Australia (accompanied by a certificate of authenticity)
Private collection, Melbourne
OTHER NOTES:
“The painting depicts a site called Warmurungu where the people collect coloured orchres used in ceremonies. When the colours are excavated the spirits of the emus are released like a wind and take physical form. There are many emus in the area. The centre of the concentric circles shows where the emus stopped to drink in the dreaming time.”
As stated on the Tjarlirli Art certificate of authenticity
$4,000-6,000
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MICK KUBARKKU (c.1922-2008)
(Language group: Kuninjku)
Untitled natural earth pigments on bark inscribed verso with artist’s name and Maningrida Arts cat. no. 108/94
artist’s name and cat. no. on Maningrida label verso 103 x 34cm
PROVENANCE:
Maningrida Arts & Culture, Northern Territory (label verso)
Private collection, Queensland
OTHER NOTES:
“The abstract images represent the full- Dird in Kununjku language and the Djang site (place of power) associated with it called Dirdbim, which is located near Yikkerrakkal where the artist lives.
The moon is said to have been one of the original creator Ancestors of Kununjku clan lands. He was Bininj (human being) just like Aboriginal people today but became the moon and morning star (Gingin). He is of the sub-section Wamud. The moon determines the timing of ceremonies, when they start and finish and on a practical level the waxing of the moon brings fish to the creeks and her light helps people to see and catch them. In the daytime the sun is too bright unless at dawn or dusk.”
As stated on the Maningrida Arts & Culture certificate of authenticity
$5,000-7,000
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24 © Mick Kubarrkku/Copyright Agency, 2023
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NANCY ROSS NUNGURRAYI (c.1935-2009)
(Language group: Pintupi)
Untitled 2000 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. NN20000280
122 x 61cm
PROVENANCE:
Papunya Tula Artists, Alice Springs (accompanied by a certificate of authenticity)
Private collection, Melbourne
OTHER NOTES:
“This painting depicts designs associated with Women’s Ceremonies at the rockhole and soakage water site of Ngaminya, south of the Kiwirrkurra Community.
A group of women, represented by the ‘U’ shapes, came from the west and made camp at this site. They gathered the edible berries known as kampurarrpa or desert raisin from the small shrub Solanum centrale which grows in the area. They later continued their travels further east.”
As stated on the Papunya Tula Artists certificate of authenticity
$3,000-5,000
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WALANGKURA REID NAPURRULA (born c.1935)
(Language group: Pintupi)
Untitled 2002 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. WR0205045
90 x 90cm
PROVENANCE:
Papunya Tula Artists, Alice Springs (accompanied by a copy of a certificate of authenticity)
Private collection, Melbourne
OTHER NOTES:
“This painting depicts designs associated with the Seven Sisters’ Dreaming at Dale Creek, East of Warakuna, near Giles Weather Station.
The roundels represent camp sites of a group of women of the Napaltjarri kinship subsection who are being pursued by a man of the Tjakamarra kinship subsection. The women travelled over quite a distance but managed to keep ahead of him.”
As stated on the Papunya Tula Artists certificate of authenticity
$2,000-4,000
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26 © Walangkura Reid Napurrula/Copyright Agency, 2023
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MAKINTI NAPANANGKA (c.1930-2011)
(Language group: Pintupi)
Untitled 2002 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. MN0205065
61 x 57cm
PROVENANCE:
Papunya Tula Artists, Alice Springs (accompanied by a certificate of authenticity)
Gallery Gabrielle Pizzi, Melbourne (label verso) Private collection, Melbourne
OTHER NOTES:
“This painting depicts designs associated with the rockhole site of Lupul, south of the Kintore Community. The Peewee (small bird) Dreaming is associated with this site. The circles are rockholes and the lines in the painting represent spun hair-string which is used in the making of hair-belts which are worn during the ceremonies associated with the area.”
As stated on the Papunya Tula Artists certificate of authenticity
$7,000-9,000
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27 © Makinti Napanangka/Copyright Agency, 2023
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ELIZABETH NYUMI (1947-2019)
(Language group: Pintupi)
Untitled 2002 synthetic polymer paint on linen inscribed verso with artist’s name and Warlayirti Artists cat. no. 1223/02
180 x 120cm
PROVENANCE:
Warlayirti Artists, Western Australia Private collection, New South Wales
$10,000-15,000
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28 © Elizabeth Nyumi/Copyright Agency, 2023
ANDREW BULLIN TJAPANGATI (born 20th-century) (Language group: Pintupi)
Minyma Kutjarra 1979 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. AB790608
122.5 x 76.5cm
PROVENANCE:
Papunya Tula Artists, Alice Springs (accompanied by a copy of a certificate of authenticity)
Gallerie Australis, Adelaide
The Kelton Collection, United States of America
OTHER NOTES:
“Putja is the mythological site celebrated in this depiction.
During the dreaming the Minyma Kutjarra (literally Women-two) camped at Putja in the course of their epic travels. While at Putja the Minyma Kutjarra searched the surrounding country for food, decorated their bodies and performed Yawalu (women’s ceremonies) and as is particularly emphasized in this painting they played the leaf game muni muni. It is believed that by playing this game women can magically attract the ‘right’ man. The women later travelled west from Putja to Ngutjulynga, where because they had no fire they perished from the cold.
The sets of concentric circles were said to represent holes dug by the women in search of bush foods, while the adjoining lines indicate the paths taken by the women between these various sites. The tracks of a dog who accompanied the women through
the area are symbolised as ww. While the women themselves are represented by the U shapes. The small black dots between the U shapes indicate patties of squashed Yakatirri (bush raisins) made by the women to carry with them on their journeys.
The short arcs represent the sticks used by the women to tap the ground as a part of the leaf game muni-muni. The bands of dots that surround the composition symbolize Ngalyipi, bark rope used by the women in the performance of Yawalyu ceremonies.”
As stated on the Papunya Tula Artists certificate of authenticity
$4,000-6,000
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30 © Naata Nungurrayi/Copyright Agency, 2023
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NAATA NUNGURRAYI (born 1932)
(Language group: Pintupi)
Untitled 2004 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. NN0403117 122 x 121cm
PROVENANCE:
Papunya Tula Artists, Alice Springs (accompanied by a copy of a certificate of authenticity) Private collection, Canberra
OTHER NOTES:
“This painting depicts designs associated with the rock hole and soakage water site of Marrapinti, to the west of the Pollock Hills in Western Australia. A large group of senior women camped at this rockhole making the nose-bones which are worn through the hole in the nose-web. These nosebones were originally worn by both men and women but are now only worn by the older generation on ceremonial occasions.
The women later travelled east passing through Wala Wala, Kiwirrkura and Ngaminya gathering the edible berries known as kampurarrpa or desert raisin from the small shrub Solanum centrale.”
As stated on the Papunya Tula Artists certificate of authenticity $9,000-12,000
22
BILL WHISKEY TJAPALTJARRI (c.1920-2008)
(Language group: Pitjantjatjara)
Rockhole Near Uluru synthetic polymer paint on linen inscribed verso with artist’s name and Watiyawanu Artists cat. no. 10-06919 and stamp
73 x 25.5cm
PROVENANCE:
Watiyawanu Artists, Northern Territory
(accompanied by a copy of a certificate of authenticity)
Private collection, Melbourne
$3,000-5,000
BILL WHISKEY TJAPALTJARRI (c.1920-2008)
(Language group: Pitjantjatjara)
Rockhole Near Uluru synthetic polymer paint on linen inscribed verso with artist’s name and Watiyawanu Artists cat. no. 10-06921 and stamp
73 x 25.5cm
PROVENANCE:
Watiyawanu Artists, Northern Territory (accompanied by a copy of a certificate of authenticity)
Private collection, Melbourne
$3,000-5,000
23
31
32 © Bill Whiskey Tjapaltjarri/Copyright Agency, 2023
32
33
RICHARD YUKENBARRI TJAKAMARRA (born c.1960) (Language group: Pintupi)
Untitled 2003
synthetic polymer paint on canvas
inscribed verso with artist’s name and Papunya Tula Artists cat. no. RY0311067
91 x 61cm
PROVENANCE:
Papunya Tula Artists, Alice Springs (accompanied by a copy of a certificate of authenticity)
Private collection, Melbourne
OTHER NOTES:
“This painting depicts designs associated with the rockhole site of Kunkunya, south of Lake Macdonald. A large group of Tingari Men, who approached the site from the west, camped for a short while the men continued their travels east.
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.”
As stated on the Papunya Tula Artists certificate of authenticity
$800-1,200
34
NAATA NUNGURRAYI (born 1932) (Language group: Pintupi)
Untitled 2003
synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. NN0305201
92 x 61cm
PROVENANCE:
Papunya Tula Artists, Alice Springs
Private collection, Melbourne
$5,000-7,000
24
34 © Naata Nungurrayi/Copyright Agency, 2023
JOHNNY YUNGUT TJUPURRULA (c.1930-2006)
(Language group: Pintupi)
Untitled (Tjungimanta) 2002
synthetic polymer paint on linen
inscribed verso with artist’s name and Papunya Tula
Artists cat. no. JY0210029
181.5 x 151cm
PROVENANCE:
Papunya Tula Artists, Alice Springs
Alison Kelly Gallery, Melbourne
Private collection, Sydney
Joel Fine Art, Melbourne, 16 October 2006, lot 22
The Luczo Family Collection, United States of America
Aboriginal Art from the Luczo Family Collection, United States of America, Deutscher and Hackett, Melbourne, 19 October 2016, lot 39 (label verso)
Private collection, Melbourne
$10,000-15,000
CHARLIE WARD TJAKAMARRA (c.1940-2005)
(Language group: Pintupi)
Untitled 2004 synthetic polymer paint on canvas
inscribed verso with artist’s name and Papunya Tula
Artists cat. no. CW0410134
121 x 61cm
PROVENANCE:
Papunya Tula Artists, Alice Springs
Private collection, Melbourne
$2,000-4,000
25
35
35 © Johnny Yungut Tjupurrula/Copyright Agency, 2023
36
37 GEORGE TJUNGURRAYI (born c.1943) (Language group: Pintupi)
Untitled (Mamultjulkulnga) 2003 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. GT0310061 artist’s name and title on gallery label verso 106.5 x 28cm
PROVENANCE:
Papunya Tula Artists, Alice Springs (accompanied by a certificate of authenticity)
Gallery Gabrielle Pizzi, Melbourne (label verso) Private collection, Melbourne
OTHER NOTES:
“This painting depicts designs relating to the claypan site of Mamultjulkulnga, on the western side of Lake Mackay. The artist’s father passed away at this site. After rain the claypan becomes a shallow freshwater lake. In mythological times two Tingari men of the Tjangala and Tjapaltjarri kinship subsections camped at this site. They gathered the seeds known as mungilypa or samphire from the small fleshy subshrub known as Tecticornia verrucosa, which grows in flooded country. These seeds are ground into a paste which is cooked in the coals to form a type of unleavened bread. 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.”
As stated on the Papunya Tula Artists certificate of authenticity
$3,000-5,000
26
37 © George Tjungurrayi/Copyright Agency, 2023 38 © George Tjungurrayi/Copyright Agency, 2023
GEORGE TJUNGURRAYI (born c.1943)
(Language group: Pintupi)
Untitled (Mamultjulkulnga) 2003 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. GT0310062
artist’s name and title on gallery label verso
106.5 x 28cm
PROVENANCE:
Papunya Tula Artists, Alice Springs (accompanied by a certificate of authenticity)
Gallery Gabrielle Pizzi, Melbourne (label verso) Private collection, Melbourne
OTHER NOTES:
“This painting depicts designs relating to the claypan site of Mamultjulkulnga, on the western side of Lake Mackay. The artist’s father passed away at this site. After rain the claypan becomes a shallow freshwater lake. In mythological times two Tingari men of the Tjangala and Tjapaltjarri kinship subsections camped at this site. They gathered the seeds known as mungilypa or samphire from the small fleshy subshrub known as Tecticornia verrucosa, which grows in flooded country. These seeds are ground into a paste which is cooked in the coals to form a type of unleavened bread. 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.”
As stated on the Papunya Tula Artists certificate of authenticity
$3,000-5,000
39
WINTJIYA NAPALTJARRI (1932-2014)
(Language group: Warlpiri)
Untitled 2002 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. WN0206157
90.5 x 46cm
PROVENANCE:
Papunya Tula Artists, Alice Springs Private collection, Melbourne
$2,000-3,000
40
TJUNKIYA NAPALTJARRI (c.1930-2009)
(Language group: Pintupi)
Untitled 2005
synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. TN0507183
122 x 107cm
PROVENANCE:
Papunya Tula Artists, Alice Springs (accompanied by a copy of a certificate of authenticity) Private collection, Melbourne
OTHER NOTES:
“This painting depicts designs associated with the rockhole site of Umari, situated in sandhill country, east of Mt. Webb in Western Australia. The various shapes in this painting depict the rockholes, rocky outcrops and sandhills of the area.
A number of women gathered at the site to perform ceremonies associated with Umari. The women, one of the Nangala kinship subsection and the others of the Napaltjarri kinship subsection, later travelled towards the east. One of the mythologies associated with the area concerns a relationship between a man of the Tjakamarra kinship subsection and a woman of the Nangala kinship subsection. This is a mother-inlaw relationship which is taboo in Aboriginal culture.” As stated on the Papunya Tula Artists certificate of authenticity
$3,500-5,000
38
39 © Wintjiya Napaltjarri/Copyright Agency, 2023
27
41
KATARRA BUTLER NAPALTJARRI (born c.1946)
(Language group: Pintupi)
Untitled 2003 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. KB0305024
91.5 x 121cm
PROVENANCE:
Papunya Tula Artists, Alice Springs (accompanied by a copy of a certificate of authenticity)
Private collection, Melbourne
OTHER NOTES:
“This painting depicts designs associated with the rockhole site of Kunkunya, south of Lake MacDonald. The circles represent rockholes and the arced line work, symbolises the sandhills surrounding the area. A group of women gathered at this site to perform the dances and sing the songs associated with the area. They later travelled north to Kintore.”
As stated on the Papunya Tula Artists certificate of authenticity
$1,200-1,800
42
YUKULTJI NAPANGATI (born 1970)
(Language group: Pintupi)
Untitled 2009 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. YN0910110
46.5 x 38cm
PROVENANCE:
Papunya Tula Artists, Alice Springs (accompanied by a copy of a certificate of authenticity)
Private collection, Canberra
OTHER NOTES:
“This painting depicts designs associated with Yunala, a rockhole and soakage water site situated among sandhills just to the west of the Kiwirrkura community in Western Australia.
During ancestral times a group of women camped at this site after travelling from further west. While at Yunala the women camped beside the rockhole, 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.
The women later continued their travels towards the east, passing through Marrapinti, Ngaminya and Wirrulnga on their way to Wilkinkarra (Lake Mackay).”
As stated on the Papunya Tula Artists certificate of authenticity
$2,000-4,000
28
43 © George Ward Tjungurrayi/Copyright Agency, 2023
GEORGE WARD TJUNGURRAYI (born c.1945) (Language group: Pintupi)
Untitled 2004 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. GW0408268
91 x 106cm
PROVENANCE:
Papunya Tula Artists, Alice Springs (accompanied by a copy of a certificate of authenticity) Private collection, Melbourne
OTHER NOTES:
“This painting depicts designs associated with Kaakuratintja (Lake MacDonald). In mythological times a large group of Tingari Men travelled to this site from Kulkuta, south-west of the Tjukula Community. The Kuningka (Western Quoll) Dreaming also travelled this same route. 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.”
As stated on the Papunya Tula Artists certificate of authenticity
$7,000-9,000
44
WARLIMPIRRNGA TJAPALTJARRI (born c.1958)
(Language group: Pintupi)
Untitled (Karrinyarra) 1999 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. WT9905129
artist’s name and title on gallery label verso 122 x 61cm
PROVENANCE:
Papunya Tula Artists, Alice Springs (accompanied by a copy of a certificate of authenticity)
Gallery Gabrielle Pizzi, Melbourne (label verso) Private collection, Melbourne
EXHIBITIONS:
Recent Paintings by Warlimpirrnga Tjapaltjarri and Ray James Tjangala, Gallery Gabrielle Pizzi, Melbourne, 10 August - 4 September 1999
OTHER NOTES:
“This painting depicts designs associated with the Snake Dreaming which travelled from Karrinyarra (Mt. Wedge), west to Lake Mackay and then further west to Nyinmi Rockhole and soakage water, just to the east of Jupiter Well. At Nyinmi the snake entered the rockhole where it is said to remain today. This mythology forms part of the Tingari Cycle.
Since events associated with the Tingari Cycle are of a secret nature no further detail was given.
Generally, the Tingari are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari Men were usually followed by Tingari Women and 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.”
As stated on the Papunya Tula Artists certificate of authenticity
$7,500-9,000
29
43
44 © Warlimpirrnga Tjungurrayi/Copyright Agency, 2023
45
§ TJUNKIYA NAPALTJARRI (c.1930-2009)
(Language group: Pintupi)
Untitled 2008 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. TN0810027
91 x 46cm
PROVENANCE:
Papunya Tula Artists, Alice Springs (accompanied by a certificate of authenticity)
Private collection, Melbourne
OTHER NOTES:
“This painting depicts designs associated with the rockhole sites of Umari, situated in sandhill country east of Mt Webb in Western Australia. The roundel in this work represents the rockhole at the site, while the lines represent the tali (sandhills) which surround Umari. A number of ancestral women gathered at Umari to perform ceremonies associated with the site. The women, one of the Nagala kinship subsection and the others of the Napaltjarri kinship
subsection, later travelled towards the east. At this site they collected the small seeds known as wangunu or woollybutt from the perennial grass Eragrostis eriopoda, to grind into a paste to make damper.
The women also gathered large quantities of the edible fruit known as pura (also known in Pintupi as pintalpa), or bush tomato, from the small shrub Solanum chippendalei. This fruit is the size of a small apricot, and after the seeds have been removed, can be stored for long periods by halving the fruit and skewering them onto a stick.
One of the ancestral stories associated with the area concerns a relationship between a man of the Tjakamarra kinship subsection and a woman of the Nagala kinship subsection. This is a mother-in-law relationship, which is taboo in Aboriginal culture.”
As stated on the Papunya Tula Artists certificate of authenticity
$2,500-4,500
46
NANCY ROSS NUNGURRAYI (c.1935-2009)
(Language group: Pintupi)
Untitled 2000 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya
Tula Artists cat. no. NN20000208
107 x 28cm
PROVENANCE:
Papunya Tula Artists, Alice Springs
Private collection, Melbourne
$1,200-1,800
30
45 © Tjunkiya Napaltjarri/Copyright Agency, 2023
47
§ PANTJIYA NUNGARRAYI (born 1936) (Language group: Luritja)
Untitled 2011
synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. PN1103150
107 x 29cm
PROVENANCE:
Papunya Tula Artists, Alice Springs (accompanied by a certificate of authenticity)
Private collection, Melbourne
OTHER NOTES:
“This painting relates to the rockhole site of Ngutjul, just to the east of the Kintore Community. A group of women travelled to Ngutjul from the rockhole site of Kungkiyunti (Brown Bore), situated west of the Haasts Bluff community.
At Ngutjul the women all perished from the cold as they were unable to get their fire-sticks to light. A small group of rounded rocks as this site is said to represent the women as they hunched their backs against the cold. The roundels in the painting represent the rockholes at this site and the lines represent the sandhills that the women travelled along between Kungkiyunti and Ngutjul.
During their travels the women gathered the edible fruit pura (bush tomato) from the plant Solanum chippendalei, and mangata (quandong) from the small tree Santalum acuminatum.”
As stated on the Papunya Tula Artists certificate of authenticity
$800-1,200
48
NANCY ROSS NUNGURRAYI (c.1935-2009) (Language group: Pintupi)
Untitled 2001
synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. NN0104131
91 x 91cm
PROVENANCE:
Papunya Tula Artists, Alice Springs
Private collection, New South Wales
$3,000-5,000
48 31
49
WARLIMPIRRNGA TJAPALTJARRI (born c.1960)
(Language group: Pintupi)
Water Dreaming at Marpurri, South of Lake Mackay, 1996
synthetic polymer paint on linen
inscribed verso with artist’s name and Papunya Tula
Artists cat. no. WT960264
122.5 x 90cm
PROVENANCE:
Papunya Tula Artists, Alice Springs
Gallery Gabrielle Pizzi, Melbourne
The Kelton Collection, United States of America
$8,000-12,000
50
JOSEPH JURRA TJAPALTJARRI (born c.1952)
(Language group: Pintupi)
Untitled 2007
synthetic polymer paint on linen
inscribed verso with artist’s name and Papunya Tula
Artists cat. no. JJ0702107
90 x 90cm
PROVENANCE:
Papunya Tula Artists, Alice Springs
Private collection, New South Wales
$4,000-6,000
51 BILLY NOLAN TJAPANGATI (1939-2003)
(Language group: Pintupi)
Untitled 1998
synthetic polymer paint on canvas
inscribed verso with artist’s name and Papunya Tula Artists cat. no. NT980529
60 x 90cm
PROVENANCE:
Papunya Tula Artists, Alice Springs
Private collection, New South Wales
$2,000-4,000
32
49 © Warlimpirrnga Tjapaltjarri/Copyright Agency, 2023
TJUNKIYA NAPALTJARRI (c.1930-2009)
(Language group: Pintupi)
Untitled 2005
synthetic polymer paint on canvas
inscribed verso with artist’s name and Papunya Tula Artists cat. no. TN0508168
91 x 91cm
PROVENANCE:
Papunya Tula Artists, Alice Springs
Private collection, New South Wales
$3,000-5,000
53
MARTIN TJAMPITJINPA (born c.1965-2007)
(Language group: Pintupi)
Untitled 2003
synthetic polymer paint on canvas
inscribed verso with artist’s name and Papunya Tula Artists cat. no. MT0303167
106 x 28cm
PROVENANCE:
Papunya Tula Artists, Alice Springs (accompanied by a certificate of authenticity)
Private collection, Melbourne
OTHER NOTES:
“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.”
As stated on the Papunya Tula Artists certificate of authenticity
$800-1,200
51 33 52
54
MICK GILL TJAKAMARRA (1919-2002)
(Language group: Kukatja)
Water Dreaming 1987 synthetic polymer paint on canvas
inscribed verso with Warlayirti Artists cat. no. 87623
99.5 x 75cm
PROVENANCE:
Warlayirti Artists, Western Australia (accompanied by artwork statement)
Private collection, Melbourne
OTHER NOTES:
“This is Tjalutjaparu country. This is a big water dreaming story for Mick Tjakamarra. There is a big song for this dreaming. Men sing this song in Balgo. This country is at the other side of Yagga Yagga, about 100km, south of Balgo. This is the Artist’s own dreaming country.”
As stated on the Warlayirti Artists artwork statement
$2,000-4,000
55
MUNTJA NUNGURRAYI (c.1930-1997)
(Language group: Kukatja)
Seven Sisters Dreaming at Punkapinyi 1994 synthetic polymer paint on canvas inscribed verso with artist’s name and Warlayirti Artists cat. no. 58/94
90 x 60cm
PROVENANCE:
Warlayirti Artists, Western Australia (accompanied by a copy of a certificate of authenticity)
Sotheby’s, Melbourne, 17 June 1996, lot 170
The Kelton Collection, United States of America
OTHER NOTES:
“This painting is part of the Tjukurrpa (Dreamtime)
Seven Sisters Song Cycles. It is from the Dreaming country of Muntja, her aunty and her mother-in-law.
Many women were travelling along the Canning Stock Route. They are always on the lookout to see which way to go. There is one old Tjakammara man watching and following them. When the women were asleep he grabbed one of the sisters and took her underground.”
As stated on the Warlayirti Artists certificate of authenticity
$2,000-4,000
34
55
56
JOHNNY MOSQUITO TJAPANGATI (c.1920-2004)
(Language group: Kukatja/Walmatjari)
Storm Dreaming at Kurtal 1992 synthetic polymer paint on canvas inscribed verso with artist’s name and Warlayirti Artists cat. no. 554/92
120.5 x 61cm
PROVENANCE:
Warlayirti Artists, Western Australia (accompanied by a copy of a certificate of authenticity)
The Kelton Collection, United States of America
OTHER NOTES:
“John is a senior rain man and the senior custodian for the law ceremony for this area.
Prior to contact he lived here with his family in the traditional hunter gatherer lifestyle. This painting depicts the small spirit men called “Yardungul” bringing rain to the desert. These beings are said to live in the clouds and can be persuaded to bring rain after certain ceremonies are conducted.”
As stated on the Warlayirti Artists certificate of authenticity
$6,000-8,000
57
CHARLIE GORDON TJAKAMARRA (born c.1930)
(Language group: Kukatja)
Sandfrog Dreaming Near Lappi Lappi 1989 synthetic polymer paint on canvas inscribed verso with artist’s name and Warlayirti Artists cat. no. 349/89
120 x 84cm
PROVENANCE:
Warlayirti Artists, Western Australia (accompanied by a copy of a certificate of authenticity)
The Kelton Collection, United States of America
OTHER NOTES:
“The central series of waterholes were left in the Dreamtime by a sandfrog hopping through. He was looking for place to make his camp but could not find anywhere. After leaving his mark in this country, he carried on to other places in the west. Soakage and claypan water is available here at all times during the year.”
As stated on the Warlayirti Artists certificate of authenticity
$4,000-6,000
35
57 © Charlie Gordon/Copyright Agency, 2023
58
JEAN BAPTISTE APUATIMI (1940-2013) (Language group: Tiwi)
Ngulu Bathurst Island 2002
natural ochres on canvas
inscribed verso with Tiwi Designs cat. no. TD207-02
120 x 100cm
PROVENANCE:
Tiwi Designs, Northern Territory (accompanied by a certificate of authenticity)
Private collection, Melbourne
$5,000-7,000
59
ARTIST UNKNOWN (born 20th Century)
Untitled - Tunga c.1970
natural earth pigments with binding on bark
74 x 45 x 20cm
PROVENANCE:
The Artist, Bathurst or Melville Islands, Northern Territory
Private collection, Melbourne
$4,000-6,000
36
58 © Jean Baptiste Apuatimi/Copyright Agency, 2023
HENRY GAMBIKA NUPURRA (born 1932)
(Language group: Djambarrpuyngu)
Banumbirr - Morning Star Pole 2000
natural earth pigments, feathers, bush string and cotton on carved wood
178cm (height)
PROVENANCE:
Elcho Island Arts & Crafts, Elcho Island, Northern Territory (accompanied by a copy of a certificate of authenticity)
Private collection, Melbourne
OTHER NOTES:
“This is a dhuwa (moiety) pole for dhuwa clans. It is from my father’s side. We use it for a memory ceremony, (usually around one year after the death of the person) for dhuwa, only or for men’s business. It sends the spirit to the star (the Banumbirr starknown as Venus).
The flowers are the mokuy’s (spirit of the deceased) nahta (food) - gingja, wild fruit. The ones on string are the ripe nahta the others are not ready to eat. The white feathers (going around pole) is the start of the travel, to call the clans from Ngaymil, Ramingining, Djapu, Rorruwy. The red (orange) one has arrived at all the clans. The bush string wrapped around the pole. The different places the Banumbirr travels to. White is the rising of the star. Orange (yellow) is when it is there and this black (brown) is when it is back home again and put in the bag.”
The Artist, as stated on the Elcho Island Arts & Crafts certificate of authenticity
$4,000-6,000
61
ROMOLO TIPILOURA (born 1957) (Language group: Tiwi)
Purukuparli natural ochres on ironwood
187cm (height)
PROVENANCE:
Jilamara Arts and Crafts, Northern Territory (accompanied by a certificate of authenticity) Private collection, Melbourne
OTHER NOTES:
“Purukuparli was the first mortal who performed the first Pukumani (funeral) ceremony to grieve for his dead son. He is shown here with ceremonial objects, false beard, traditional naga (skirt) and parmigini (armbands).”
As stated on the Jilamara Arts and Crafts certificate of authenticity
$3,000-5,000
62
JAMES IYUNA (1959-2012)
(Language group: Kununjku)
Mandjabu (Fish Trap)
ochre pigments with PVC fixative on stringybark
166 x 51cm
PROVENANCE:
Maningrida Arts & Culture, Northern Territory (accompanied by a certificate of authenticity) Private collection, Melbourne
OTHER NOTES:
“Kuninjku people traditionally make two sorts of conical fish traps, one called Mandjabu made from mill (Malaisia scandens) a vine and a smaller one called Manyilk Mandjabu made from grass manyilk (cyperus javanicus). The mill (large) conical fish trap is bigger and stronger than the manyilk variety and is used in tidal reaches of creeks to catch large fish. The smaller and lighter manyilk trap is used in fresh water flowing creeks to catch smaller fish and fresh water prawns. Traditionally, only men were involved in the construction of the large fish traps, but small children were used to crawl inside to assist with the inner trap.”
As stated on the Maningrida Arts & Culture certificate of authenticity
$4,000-6,000
63
IRENIE NGALINBA (born c.1979)
(Language group: Kununjku)
Wak Wak 2008
ochre pigments with PVC fixative on stringybark 97 x 57cm
PROVENANCE:
Maningrida Arts & Culture, Northern Territory (accompanied by a certificate of authenticity) Private collection, Melbourne
OTHER NOTES:
“This painting depicts a sacred site at ‘Kurrurldul’, an outstation of Maningrida.
The ‘rarrk’, or abstract crosshatching, on this work represents the design for the crow totem ancestor called ‘Djimarr’. Toady this being exists in the form of a rock, which is permanently submerged at the bottom of Kurrurldul Creek. The ‘Djimarr’ rock in the stream at Kurrurldul is said to move around and call out in a soft hooting tone at night. Both the stone itself and the area around it are considered sacred.
The imagery represents the rock mentioned above at the bottom of Kurrurldul creek, which is the final transmutation of the dreaming ancestor ‘Djimarr’. Finally, the pattern used here is also the crow design used in the sacred ‘Mardayin’ ceremony, which is a large regional parti-moiety ceremony now rarely conducted in central and eastern Arnhem Land.”
As stated on the Maningrida Arts & Culture certificate of authenticity
$1,500-2,500
60
© Henry Gambika Nupurra/ Copyright Agency, 2023
37
60
NANCY HENRY RIPIJINGIMPI (c.1935-1993)
(Language group: Tiwi)
Janus Figure c.1979
natural earth pigments on wood
128cm (height)
PROVENANCE:
Executed on Melville Island, c.1979
Aboriginal and South Pacific Gallery, Sydney Private collection, Melbourne $10,000-15,000
65
OLD NYM DJIMURRGURR (c.1910-1970s) (Language group: Gunwinggu)
Maraian Ceremony - Male and Female Barramundi c.1965
natural earth pigments on eucalyptus bark artist’s name, language group and description on unknown label attached verso 72 x 55cm
PROVENANCE:
Sotheby’s, Melbourne, 28 June 1999
Stella Downer Fine Art, Sydney 1999
Private collection, Sydney
OTHER NOTES:
“The Turtle followed a dreaming path, and after fighting with Porcupine. As a man he had dragged a stick making creeks and rivers in the vicinity of Oenpelli and then as a Turtle he swam along these creeks and rivers, travelling by water and short stretches of Land - Following the same Dreaming path.
He was cooked and eaten by Mimis but they never broke him up in pieces or burnt up his remains.” As stated on the label attached verso $7,000-10,000
66
PETER GIRIRRKIRIRR (born 20th century)
(Language group: Djinba)
Long Neck Tortoise and Water Python 2002 ochres on wood
180cm (height)
PROVENANCE:
Bula’bula Arts, Northern Territory (accompanied by a certificate of authenticity)
Private collection, Melbourne
OTHER NOTES:
“The long neck tortoise and the water python are commonly found in Peter’s Ganalbingu country, Part of this area forms the World Heritage listed Arafura Wetlands.”
As stated on the Bula’bula Arts certificate of authenticity
$2,000-4,000
38 64
64 © Nancy Henry Ripijingimpi/Copyright Agency, 2023
PETER MINYGULULU (born 1942)
(Language group: Mandhalpuy)
Badurru: Munjarrpuy Story earth pigments on wood 249cm (height)
PROVENANCE:
Bula’bula Arts, Northern Territory (accompanied by a certificate of authenticity) Private collection, Melbourne
EXHIBITIONS:
Pussycat & Friends, Philip Gudthaykudthay, Peter Minygululu and Jimmy Moduk in association with Bula’bula Arts, William Mora Galleries, Melbourne, 20 July -16 August 2005, cat. no. 4
$4,000-6,000
68
SAMBO ASHLEY MINDILIWUY (1927-1988)
(Language group: Rembarraga)
Two Tjupulara (Long Tom) 1984 natural earth pigments on bark artist’s name, date and title inscribed on Mimi Aboriginal Arts label verso
75 x 39cm
PROVENANCE:
Mimi Aboriginal Arts and Crafts, Northern Territory (label verso)
The Collection of John Graham, Melbourne $1,000-2,000
69
MICK GILL TJAKAMARRA (1919-2002)
(Language group: Kukatja)
Napakulangu 1987 synthetic polymer paint on canvas inscribed verso with artist’s name and Warlayirti Artists cat. no. 87/735
113 x 84cm
PROVENANCE:
Warlayirti Artists, Western Australia (accompanied by artwork statement)
Private collection, Melbourne
OTHER NOTES:
“This painting depicts Old Biddy Nugoray’s Dreaming, Biddy is Mick’s aunty and her black fella name is Kukunti.
Lightning was chasing the old men and old women, so they sat down underground in a hidden place. Mick’s father was one of these old men. This country is called Napakulangu. It is close to Yagga Yagga, south of Balgo.”
As stated on the Warlayirti Artists certificate of authenticity
$2,000-4,000
39 67
69 © Mick Gill/Copyright Agency, 2023
70
ARTIST UNKNOWN (born 20th Century)
Two Goannas and Snake natural earth pigments on eucalyptus bark
53 x 28cm
PROVENANCE:
Painted in Oenpelli, Northern Territory, c.1976
The Collection of John Graham, Melbourne
$1,500-2,500
71
ANCHOR BARRBUWA WURRKIDJ (c.1924-1977)
(Language group: Kuninjku)
A Long-Necked Tortoise (Komdow) natural earth pigments on bark artist’s name, title and location on Oenpelli Arts label verso
48 x 27cm
PROVENANCE:
Painted at Liverpool River, Northern Territory Oenpelli Arts, Arnhem Land (label verso)
The Collection of John Graham, Melbourne
$1,500-2,500
72
MICK GILL TJAKAMARRA (1919-2002)
(Language group: Kukatja) Napakulangu 1987 synthetic polymer paint on canvas inscribed verso with artist’s name and Warlayirti Artists cat. no. 87/178
76 x 100cm
PROVENANCE:
Warlayirti Artists, Western Australia (accompanied by artwork statement) Private collection, Melbourne
OTHER NOTES:
“This painting depicts Mick Tjakamarra’s Dreaming. It is a painting of his own country which is called Napakuangu. There are plenty of waterholes and creeks in this country, which is south of Yagga Yagga. Mick sometimes calls it ‘Water Dreaming’ place.”
As stated on the Warlayirti Artists certificate of authenticity
$1,500-2,500
73
TJUMPO TJAPANANGKA (1930-2007)
(Language group: Pintupi/Kukatja)
Untitled (Ngunkanapilka, West of Lake Mackay) 1991 synthetic polymer paint on canvas inscribed verso with artist’s name and Warlayirti Artists cat. no. 667/91
150 x 75cm
PROVENANCE:
Warlayirti Artists, Western Australia (accompanied by a copy of a certificate of authenticity)
Private collection, United States of America
Sotheby’s, Aboriginal Art, Melbourne, 26 July 2004, lot 251
Private collection, Melbourne
OTHER NOTES:
“The painting gives a bird’s eye view of the artist’s traditional country showing some of the main features. All of these are associated with the travels and exploits of Two Men or Wati Kutjarra in the Dreamtime or Tjukurrpa. They camped at all these places and have left signs and powers in the land. These are looked after by senior men such as the artist.”
As stated on the Warlayirti Artists certificate of authenticity
$7,500-9,000
72 © Mick Gill/Copyright Agency, 2023
40
BOB BILINYARRA (c.1920-1975)
(Language group: Djinang)
Diverbirds and Gunjal, The Catfish c.1985 natural earth pigments on bark artist’s name and title on unknown label verso 61 x 30cm
PROVENANCE:
Painted in the Maningrida region, Central Arnhem Land, Northern Territory
The Collection of John Graham, Melbourne
$1,500-2,500
75
TOMMY STEELE (born 1940)
(Language group: Burarra)
Fish Trap
jungle vine (Malaisia scandens) 180cm (height)
PROVENANCE:
Maningrida Arts & Culture, Northern Territory (accompanied by a copy of a certificate of authenticity)
William Mora Galleries, Melbourne Private collection, Melbourne
OTHER NOTES:
“To make fish traps and fish net fences artist firstly get vine-mirlarl from the jungle and they put it in water for one night to make it soft. Next they start weaving it, they make rings for the inside to keep the fish traps shape. Artists work for three for four weeks on the fish trap. They also make string from kurrajong- burdage to attach the hibiscus- bardainy rings and to tie the conical end of the fish trap. This fish trap is used in saltwater side and the freshwater side and people also use fish net fences called mun-dirra. Along time ago they would put the mun-dirra-fish net fence across rivers and creeks and in the middle, they would place the an-gujechiya the fish trap, they also use small things like sticks, rocks, mud and grass to block the fish from going through. People catch fish like saltwater barramundi rajarra, freshwater barramundi Janambal, small black freshwater catfish buliya, bonefish an-guwirrpiya and Sand bass dalakan in these fish traps.”
As stated on the Maningrida Arts & Culture certificate of authenticity
$3,000-5,000
73 ©
74
Tjumpo Tjapanangka/Copyright Agency, 2023
41
CECINA MARDJUWA (born 20th century)
(Language group: Burarra)
Fish Trap
jungle vine (Malaisia scandens)
201cm (Height)
PROVENANCE:
Maningrida Arts & Culture, Northern Territory (copy of label attached)
William Mora Galleries, Melbourne Private collection, Melbourne $2,000-3,000
77
MICHAEL NGULABYA (1915-1975)
(Language group: Djinang)
File Snakes on Michael’s Country natural earth pigments on bark
artist’s name and title on unknown label verso
58 x 28cm
PROVENANCE: The Collection of John Graham, Melbourne
$1,500-2,500
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ATTRIBUTRED TO ANCHOR
BARRBUWA WURRKIDJ (c.1924-1977)
(Language group: Kuninjku)
Crocodile c.1960
natural earth pigments on bark
77 x 23cm
PROVENANCE:
Painted at Liverpool River, Norther Territory c.1960
The Collection of John Graham, Melbourne $1,000-1,500
42 76
77
IRENIE NGALINBA (born c.1979)
(Language group: Kununjku)
Wak Wak
ochre pigments with PVC fixative on stringybark 112 x 37cm
PROVENANCE:
Maningrida Arts & Culture, Northern Territory (label verso)
Private collection, Melbourne
$1,500-2,500
80 KUNMANARA CARROLL (1950-2021)
(Language group: Luritja/Pintupi)
Walungurru 2018
stoneware with sgraffito signed and dated at base: PEPAI/ CARROLL/ 2018
39.5 x 19cm
PROVENANCE:
Sabbia Gallery, Sydney
Private collection, Melbourne
$1,500-2,500
81
JIMMY DONEGAN (born 1940)
(Language group: Pitjantjatjara/Ngaanyatjarra)
Pukara IV 2021
painted and hand blown glass initialled at base: JD 26 x 19cm
PROVENANCE:
Sabbia Gallery, Sydney 2021 Private collection, Melbourne
EXHIBITIONS:
PREVIEW – Sydney Contemporary at Sabbia, 13 October - 21 November, 2021
$1,600-2,600
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79
82
LIN ONUS (1948-1996)
(Language group: Yorta Yorta)
Wapurrar Guyi (Motionless Fish) 1995
gouache on illustration board
signed lower right: Lin Onus
27 x 62.5cm
PROVENANCE:
Gallery Gabrielle Pizzi, Melbourne 1995 (label verso)
Private collection, Melbourne
Leonard Joel, Aboriginal Art & Artefacts, Melbourne, 25 October 2012, lot 13
Private collection, Melbourne
$12,000-16,000
44
45 82 © Lin Onus/Copyright Agency, 2023
LILY KELLY NAPANGARDI (born 1948)
(Language group: Luritja)
Sandhills 2004 synthetic polymer paint on canvas
inscribed verso with Watiyawanu Artists cat. no. 10-7981 122 x 60.5cm
PROVENANCE:
Watiyawanu Artists, Northern Territory
Scott Livesey Galleries, Melbourne Private collection, Melbourne $3,500-5,500
85
PHYLLIS THOMAS (1933-2018)
(Language group: Gija)
Grey Crowned Bubbler Dreaming 1999 natural earth pigments and synthetic binder on canvas
inscribed verso with Jirrawan Arts cat. no. PT999.37 artist’s name and title on stretcher bar verso
William Mora Galleries stamp on stretcher bar verso 122 x 135cm
PROVENANCE:
Jirrawan Arts, Western Australia
William Mora Galleries, Melbourne (stamp verso) Private collection, Melbourne $3,000-5,000
46 83
83 © Lily Kelly Napangardi/Copyright Agency, 2023
86 © Mabel Juli/Copyright Agency, 2023
86
MABEL JULI (born c.1933) (Language group: Gija)
Untitled 2003
natural earth pigments on canvas
inscribed verso with artist’s name and Warmun Traditional Arts cat. no. WAC070/03
80 x 100cm
PROVENANCE:
Warmun Traditional Arts, Western Australia Private collection, New South Wales
$1,000-2,000
87
JACK BRITTEN (c.1925-2002)
(Language group: Gija) Jalaroon (Bungles/Ord River)
natural earth pigments on canvas
inscribed verso with artist’s name, title and Warmun Traditional Artists stamp
45 x 66cm
PROVENANCE:
Warmun Traditional Artists, Western Australia (accompanied by a copy of a certificate of authenticity)
Private collection, Melbourne
OTHER NOTES:
“Here Jack has depicted his beloved country on the east side of the Bungles through which flows the Ord River. These smaller hills are known as ‘Gwaalin’ (gwarlinn).”
As stated on the Warmun Traditional Artists certificate of authenticity
$2,000-4,000
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88
LILY KARADADA (born c.1937)
(Language group: Wunambal)
Wandjina (Rain Spirit) 1999 synthetic polymer paint on canvas inscribed verso with title, date and Narrangunny Art Traders cat. no. N-2166
150 x 118cm
PROVENANCE:
Narrangunny Art Traders, Western Australia
Ochre Gallery, Melbourne
The Elizabeth Jones Collection of Contemporary Aboriginal Art, Mossgreen Auctions, Melbourne, 14 August 2007, lot 38
Private collection, Melbourne $4,000-6,000
48
88 © Lily Karadada/Copyright Agency, 2023
PROVENANCE:
PROVENANCE:
Sullivan+Strumpf,
PROVENANCE:
Sullivan+Strumpf,
49
89
TONY ALBERT (born 1981)
Studio Study #68 2021 synthetic polymer paint and vintage materials on canvasboard 25.5 x 20cm
Sullivan+Strumpf, Sydney Private collection, Melbourne $400-500
90
TONY ALBERT (born 1981)
Studio Study #125 2021 synthetic polymer paint and vintage materials on canvasboard 25 x 20cm
Sydney Private collection, Melbourne $400-500
91 TONY ALBERT (born 1981)
Studio Study #81 2021 synthetic polymer paint and vintage materials on canvasboard 25.5 x 20cm
Sydney Private collection, Melbourne $400-500
90 © Tony Albert/Copyright Agency, 2023
89 © Tony Albert/Copyright Agency, 2023
92
JIMMY DONEGAN (born 1940)
(Language group: Pitjantjatjara/Ngaanyatjarra)
Pukara I 2014
synthetic polymer paint on linen inscribed verso with artist’s name and Ninuku Arts cat. no. 14-167
122 x 122cm
PROVENANCE:
Ninuku Arts, South Australia
Sabbia Gallery, Sydney Contemporary, Sydney 2021 Private collection, Melbourne
EXHIBITIONS:
PREVIEW – Sydney Contemporary at Sabbia, 13 October - 21 November 2021
$2,500-3,500
93
IAN ABDULLA (1947-2011)
(Language group: Ngarrindjeri)
Chasing Rabbits On An Island Surrounded By Water 1996
synthetic polymer paint on canvas signed and dated lower right: Ian. W. Abdulla 1996 title inscribed upper centre: Chasing rabbits on an Island surrounded by water when the floods used to come up. We all so had to watch out for snakes at the same time. Sometimes there would be a kangaroo or two, 1996 101 x 151cm
PROVENANCE:
Anima Gallery, Adelaide Private collection, Melbourne
$3,500-5,000
50
92 © Jimmy Donegan/Copyright Agency, 2023
94
(Language group: Ngaanyatjarra)
Wati Nyinnga synthetic polymer paint on linen
122.5 x 127.5cm
PROVENANCE:
Irrunytju Arts Centre, Alice Springs (accompanied by a certificate of authenticity) Private collection, Melbourne
OTHER NOTES:
“One day Punut went hunting when he came back he was looking for his wife, but the ‘Wati Nyinnga’ took her away. He chased them all the way to Kartjalulu rockhole and there he lit a big fire in the bush. They melted into the rockhole and died. Then he saw that his son was also there and died in the rockhole. In his grief he dived in and drowned. The Wati Kur-Kurpa (owl man) was sad to see this and he sucked out all the water from the rockhole and pulled out their soul to make them live again.”
As stated on the Irrunytju Arts Centre certificate of authenticity
$6,000-8,000
51
MYRA COOK (born 1932)
94 © Myra Cook/Copyright Agency, 2023
95
BARNEY WANGIN (c.1939-2012)
(Language group: Pitjantjatjara)
Ngayuku Ngura - My Country
synthetic polymer paint on canvas
inscribed verso with artist’s name and Tjala Arts
cat. no. 272-12
152 x 121cm
PROVENANCE:
Tjala Arts, South Australia
Short St. Gallery, Western Australia (accompanied by artwork statement)
Private collection, Melbourne
OTHER NOTES:
“In this painting Barney has depicted his country. The different colours and designs represent variations in the landscape”
As stated on the Short St. Gallery artwork statement
$5,000-7,000
52
95 © Barney Wangin/Copyright Agency, 2023
96
DOLLY SNELL (c.1933-2015)
(Language group: Wangkajunga)
Untitled synthetic polymer paint on canvas inscribed verso with artist’s name and Mangkaja Arts cat no. PC441/04
50.5 x71cm
PROVENANCE:
Mangkaja Arts Resource Agency Aboriginal Corporation, Western Australia
Short St. Gallery, Western Australia (accompanied by artwork statement) Private collection, Melbourne $2,000-4,000
97
LYDIA BALBAL (born 1958)
(Language group: Yulparija)
Untitled 2012 synthetic polymer paint on linen inscribed verso with artist’s name, date and Short St. Gallery cat. no. 28604 100.5 x 100.5cm
PROVENANCE:
Short St. Gallery, Western Australia Private collection, Melbourne
$3,000-5,000
53
96 © Dolly Snell/Copyright Agency, 2023
KATHLEEN TJAPALYI (1948-2016)
(Language group: Pitjantjatjara)
Antara 2011
synthetic polymer paint on canvas
inscribed verso with artist’s name, date and Mimili Maku cat. no. 627-2011
76 x 56.5cm
PROVENANCE:
Mimili Maku Arts & Crafts, South Australia
(accompanied by a certificate of authenticity) Private collection, Melbourne
OTHER NOTES:
“Antara is a sacred place for Anangu. It holds many tjukurpa (songlines) stories that cross this land. This painting depicts this special place. Antara has a very important rockhole where the women would perform inmaku pakani, a dance ceremony that would create enough maku for everyone. The painting also depicts the landscape which is surrounded with rocks, rockholes, creeks and mountains.”
As stated on the Mimili Maku Arts & Crafts certificate of authenticity
$2,000-4,000
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98
98 © Kathleen Tjapalyi/Copyright Agency, 2023
KARRIKA BELLE DAVIDSON (c.1942- 2017)
(Language group: Pitjantjatjarra)
Untitled
synthetic polymer paint on linen inscribed verso with artist’s name and Irrunytju Arts cat. no. KD071062
102 x 137cm
PROVENANCE:
Irrunytju Arts Centre, Alice Springs (accompanied by a certificate of authenticity) Private collection, Melbourne
OTHER NOTES:
“Reflecting the strong relationships between the artist, her land and culture, Karrika’s work brings together contemporary painting techniques and media with ancient visual language and tjukurrpa (dreaming stories). ‘My country is Pulpul where there is a big rockhole. Auntie heard all of the people
coming chasing a malu, but it was not really a malu, it was a man dressed up as a malu. When she heard them coming Auntie thumped on the ground so that they could all get to the water through a tunnel under the ground. When they went through the tunnel Auntie blocked the way so they could not get out. Men, women and children. They are still there. When I was a child we used to go on through the tunnel to get water with a firebrand to frighten them away.’ Karrika is Chair of Ngaanyatjarra Media. As well as filming documentaries of her culture and painting, she continues to practice traditional cultural business, law and medicine and collect bushfoods.”
As stated on the Irrunytju Arts certificate of authenticity
$3,000-5,000
KUNAMANARA (RAY) KEN (c.1940-2018)
(Language group: Pitjantjatjara/Yankunytjatjara)
Untitled 2008 synthetic polymer paint on canvas inscribed verso with artist’s name and Tjala Arts cat. no. 275-08
101.5 x 101.5cm
PROVENANCE:
Tjala Arts, South Australia (accompanied by a certificate of authenticity)
Aboriginal and Pacific Art, Sydney Private collection, Melbourne
EXHIBITIONS:
Tjukurpa Nganampa Kunpu Kanyintjaku, Stories
That Keep Culture Strong, Aboriginal and Pacific Art, Sydney, 17 July - 2 August 2008
OTHER NOTES:
“In this painting Ray has depicted his country. The different colours and designs represent variations in the landscape.”
As stated on the Tjala Arts certificate of authenticity $4,000-6,000
55
99
100
99 © Karrika Belle Davidson/Copyright Agency, 2023
101 © Mick Wikilyiri/Copyright Agency, 2023
101
MICK WIKILYIRI (born c.1940)
(Language group: Pitjantjatjara)
Ngayuku Ngura - My Country 2012 synthetic polymer paint on linen inscribed verso with artist’s name, Tjala Arts cat. no. 155-12, Alcaston Gallery cat. no. AK17846 and stamp verso 199x 123.5cm
PROVENANCE:
Tjala Arts, South Australia (accompanied by a certificate of authenticity)
Alcaston Gallery, Melbourne Private collection, Melbourne
EXHIBITIONS:
Punu Ngangatja Palkara Tjarra - The Trees Are The Strong Fence, Alcaston Gallery, Melbourne, 27 June - 27 July 2012
$7,000-9,000
102
WILLIE KURIBI GUDABI (1917-1996)
(Language group: Alawa)
Untitled synthetic polymer paint on canvas
155 x 126cm
PROVENANCE:
Gift of the artist to the vendor when they were working in the Northern Territory, c.1980 Private collection, Melbourne
$3,000-5,000
103
§ MOLLY NAPURRURLA MARTIN (born c.1935)
Yarla Jukurrpa (Bush Potato Dreaming)
- Cockatoo Creek 2013 synthetic polymer paint on canvas inscribed verso with artist’s name and Warlukurlangu Artists cat. no. 365/13ny
91 x 41cm
PROVENANCE:
Warlukurlangu Artists of Yuendumu, Alice Springs (accompanied by a certificate of authenticity) Private collection, Melbourne
OTHER NOTES:
“The Yarla Jukurrpa belongs to men of the Japaljarri/ Jungarrayi subsections and to Napaljarri/ Nungarrayi women. It comes from an area to the east of Yuendumu called Cockatoo Creek. ‘Yarla’ (bush potato [Ipomea costata]) are fibrous tubers that grow beneath a low spreading plant, found by looking for cracks in the ground. This edible tuber grows from ‘yartura’ (roots) which seek out moisture to spout new plants. Yarla are good to eat, when cooked they are really soft and tasty. The Jukurrpa tells of ‘yarla’ and ‘wapirti’ (bush carrot) ancestors fighting a big battle in this area. The specific site associated with this painting is a ‘mulju’ (water soakage) called Ngarparapunyu. In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, associated sites and other elements. The curved lines of the ‘kuruwarri’ (ceremonial designs) represent the ‘ngamarna’ (vine-lie tendrils) from which grow ‘jinjirla’ (flowers). ‘Karlangu’ (digging sticks) are usually represented as straight lines. ‘Karlangu’ are used by women to dig for bush tucker like Yarla and Wapirti which are found underground.”
As stated on the Warlukurlangu Artists certificate of authenticity
$600-800
56
104
§ BARNEY ELLAGA (c.1941-2015)
(Language group: Alawa)
Sugar Bag 2010 synthetic polymer paint on linen
149.5 x 74cm
PROVENANCE:
Alcaston Gallery, Melbourne (accompanied by a certificate of authenticity) Private collection, Melbourne
EXHIBITIONS:
Barney Ellaga - New Paintings From Alawa Country, Alcaston Gallery, Melbourne, 7 - 24 September 2010
OTHER NOTES:
“Honey bees travelling to Cox River where my country is”, The Artist
As stated on the Alcaston Gallery certificate of authenticity
$2,000-4,000
105 EILEEN YARITJA STEVENS (c.1919-2008)
(Language group: Pitjantjatjara) Wati Kutjara (Two Men) synthetic polymer paint on linen inscribed verso with Irrunytju Arts cat. no. IRRES102507
125 x 206cm
PROVENANCE:
Irrunytju Arts Centre, Alice Springs (accompanied by a certificate of authenticity) Private collection, Melbourne
OTHER NOTES:
“The Wati Kutjara (two water snakes men) a father and son camped at Pukara near Manjatjara. The father left the son at a rockhole to grow up. The people there were cruel to him, mocking him because he looked strange and telling him to go away. The father was angry and came back to get his son. When the son was a man he went back and killed everyone at the rockhole and ate them all. Only one person escaped. The snake slithered away to a rockhole but he was too full and vomited blood, fat and hair. The one who escaped speared the snake and he split open.”
As stated on the Irrunytju Arts Centre certificate of authenticity
$4,000-6,000
57
105 © Eileen Yaritja Stevens/Copyright Agency, 2023
106
MAWUKURA JIMMY NERRIMAH (1924-2013)
(Language group: Walmajarri)
Untitled 2003 synthetic polymer paint on canvas inscribed verso with artist’s name and Mangkaja Arts cat. no. 070/03
99 x 80cm
PROVENANCE:
Mangkaja Arts Resource Agency Aboriginal Corporation, Western Australia
Private collection, New South Wales
$2,000-4,000
58
106 © Mawukura Jimmy Nerrimah/Copyright Agency, 2023
59 A ABDULLA, IAN 93 ALBERT, TONY 89, 90, 91 APUATIMI, JEAN BAPTISTE 58 B BALBAL, LYDIA 97 BILINYARRA, BOB 74 BRITTEN, JACK 87 C CARROLL, KUNMANARA 80 COOK, MYRA 94 D DAVIDSON, KARRIKA BELLE 99 DJIMURRGURR, OLD NYM 65 DONEGAN, JIMMY 81, 92 E ELLAGA, BARNEY 104 G GABORI, SALLY 6 GILES, NYARRAPYI 23 GIRIRRKIRIRR, PETER 66 GUDABI, WILLIE KURIBI 102 H HOGAN, SIMON 12 I IYUNA, JAMES 20, 62 J JACK, WEAVER 9 JULI, MABEL 86 K KARADADA, LILY 88 KEN, KUNAMANARA (RAY) 100 KUBARKKU, MICK 24
MARDJUWA, CECINA 76 MARIKA, DHUWARRWARR 17 MCKENZIE, QUEENIE 18 MINDILIWUY, SAMBO ASHLEY 68 MINYGULULU, PETER 67 N NAMPITJINPA, PALUMAI 3, 8 NAPALTJARRI, WINTJIYA 39 NAPALTJARRI, TJUNKIYA 40, 45, 52 NAPALTJARRI, KATARRA BUTLER 41 NAPANANGKA, NANCY NANINURRA 13 NAPANANGKA, MAKINTI 27 NAPANGARDI, LILY KELLY 83 NAPANGATI, NANYUMA 15 NAPANGATI, YUKULTJI 42 NAPANGKA, BRIDGET MUDJIDELL 14 NAPURRULA, WALANGKURA REID 26 NAPURRURLA MARTIN, MOLLY 103 NERRIMAH, MAWUKURA JIMMY 10, 106 NGALINBA, IRENIE 63, 79 NGARRALJA, TOMMY MAY 4 NGULABYA, MICHAEL 77 NUNGARRAYI, PANTJIYA 47 NUNGURRAYI, NANCY ROSS 16, 25, 46, 48 NUNGURRAYI, NAATA 30, 34 NUNGURRAYI, MUNTJA 55 NUPURRA, HENRY GAMBIKA 60 NYUMI, ELIZABETH 28 O ONUS, LIN 82 P PAUL, PAULA 5 R REID, CLIFF 11 RIPIJINGIMPI, NANCY HENRY 64 S SNELL, DOLLY 1, 96 STEEK, TOMMY 75 STEVENS, EILEEN YARITJA 105
M
T THOMAS, ROVER 19 THOMAS, PHYLLIS 85 TIPILOURA, ROMOLO 61 TJAKAMARRA, CHARLIE GORDON 57 TJAKAMARRA, CHARLIE WARD 36 TJAKAMARRA, MICK GILL 54, 69, 72 TJAKAMARRA, RICHARD YUKENBARRI 33 TJAMPITJIN, JIMMY NJAMME 21 TJAMPITJINPA, MARTIN 53 TJAPALTJARRI, BILL WHISKEY 31, 32 TJAPALTJARRI, WARLIMPIRRNGA 44, 49 TJAPALTJARRI, JOSEPH JURRA 50 TJAPALYI, KATHLEEN 98 TJAPANANGKA, PINTA PINTA 22 TJAPANANGKA, TJUMPO 73 TJAPANGATI, ANDREW BULLIN 29 TJAPANGATI, BILLY NOLAN 51 TJAPANGATI, JOHNNY MOSQUITO 56 TJUNGARRAIYI, GEORGE WARD, 43 TJUNGURRAYI, GEORGE 37, 38 TJUPURRULA, JOHNNY YUNGUT 35 TJUTJUNA, HARRY 7 U UNKNOWN, ARTIST 59, 70 W WANGIN, BARNEY 95 WIKILYIRI, MICK 101 WURRKIDJ, ANCHOR BARRBUWA 71 WURRKIDJ, ATTRIBUTRED TO ANCHOR BARRBUWA 78 Y YALTANGKI, TIGER 2
ARTIST INDEX
RE–ESTABLISHED 2023
61
Leonard Joel’s flagship premises and Melbourne salerooms will relocate to a larger gallery later this year. We look forward to welcoming you to our new salerooms at 1A Oxley Road, Hawthorn, soon.
ESTABLISHED 1919
leonardjoel.com.au MELBOURNE AUCTION Monday 18 September 2023 333 Malvern Road, South Yarra VIC 3141
WOMEN ARTISTS
ALISON REHFISCH (1900-1975) Flowers in Pewter Mug (detail) oil on canvas, 49.5 x 40cm $6,000-9,000
Women Artists Auction Monday 18 September 2023
SYDNEY AUCTION
Tuesday 19 September 2023
36-40 Queen St, Woollahra NSW 2025
leonardjoel.com.au
a Private Collection of
THE COLLECTOR’S AUCTION Including
Le Verre Français Glass
