An Enduring Legacy

Our annual Indigenous Art auction presents just over 100 key works of art by a diverse range of artists spanning numerous regions, mediums, and periods. With works from the Kelton Collection and John Graham Collection, and key examples by Sally Gabori, Lin Onus, and Rover Thomas, our latest exhibition and auction caters to all collectors from those perhaps new and curious to collecting Indigenous art through to the astute collector.

When seeing this collection in its totality, we are reminded yet again of the immense talent and rich cultural history of our Indigenous community, and the importance of supporting its creation and market longevity through ethical channels. It is this very concept that was built, driven and constantly maintained by the late Tim Klingender who tragically passed this July. Klingender was renowned for his ethical stance, his dedication to research and his emphasis on solid provenance all of which he took no concessions on. His support of Indigenous artists and their communities was unwavering, and it is largely due to his ethical standards that Leonard Joel initiated our own ethical policy in 2021. We join with the art world in expressing our gratitude to Tim and all of his achievements and recognising the incomparable legacy he has left behind.

Olivia Fuller | Head of Art

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. PC442/04

60 x 79.5cm

PROVENANCE:

Mangkaja Arts Resource Agency Aboriginal Corporation, Western Australia

Short St. Gallery, Western Australia (accompanied by artwork statement)

Private collection, Melbourne $2,500-3,500

TIGER YALTANGKI (born 1973)

(Language group: Yankunytjatjara)

Going to Ceduna synthetic polymer paint on canvas inscribed verso with artist’s name and Iwantja Arts cat. no. III-13

100 x 121.5cm

PROVENANCE:

Iwantja Arts, South Australia

Short St. Gallery, Western Australia (accompanied by a copy of a certificate of authenticity)

Private collection, Melbourne

OTHER NOTES:

“Tiger has painted fantastic mamu (ghost) creatures from research and imagination. Mamu’s are an important part of Anangu culture, the spirits can guide you and provide warnings in dreams, as well as scare people by hiding in the bushland. These mamus are desert creatures and Tiger has presented them in a bold and vibrant manner emerging from a deep black background.”

As stated on the Short St. Gallery certificate of authenticity

$6,000-8,000

PALUMAI NAMPITJINPA (born c.1930)

(Language group: Pitjantjatjara)

Minyma Kutjara 2007 synthetic polymer paint on canvas inscribed verso with artist’s name and Maruku Arts cat. no. 3540

150 x 119.5cm

PROVENANCE:

Maruku Arts, Northern Territory (accompanied by a certificate of authenticity)

Private collection, Melbourne

OTHER NOTES:

“Paintings depict the Tjukurpa, the Law and stories of Ancestors. Anangu (Central and Western Desert Aboriginal people) have responsibilities for the protection and teaching of different Tjukurpa and there are strict protocols for the imparting of knowledge. The dotting technique has evolved with the need to adapt sacred expressions of Tjukurpa for public viewing and as a depiction of the desert landscape.

Through Palumai’s traditional lands travels the Tjukurpa of Minyma Kutjara, The Two Women. During the creation period, as they hunted and adventured along the way, they formed many aspects of the landscape and left behind information still used today about the important rituals and work of collecting mai or plant foods. The women travel with piti munu wana, collection bowls and digging sticks. Palumai says this painting describes sites related to her Tjukurpa in the country around Walungurru (Kintore), a Pintupi Luritja speaking community west of Alice Springs and north of Uluru. The women follow a series of water holes as they travel through the sand dune country.

The result is a map that only custodians and other people related to this country can read. Coded in the landscape and in the Creation of Law stories is the information needed to hunt and survive. Dot paintings like this one are a contemporary way of continuing to celebrate and teach through the Tjukurpa.”

As stated on the Maruku Arts certificate of authenticity

$4,000-6,000

4

TOMMY MAY NGARRALJA (born c.1935) (Language group: Wangkajunga/Walmajarri)

Tarrkaji Kunyikarra synthetic polymer paint on canvas inscribed verso with artist’s name and Mangkaja Arts cat. no. 108/12

87.5 x 89cm

PROVENANCE:

Mangkaja Arts Resource Agency Aboriginal Corporation, Western Australia Short St. Gallery, Western Australia (accompanied by a copy of a certificate of authenticity) Private collection, Melbourne

OTHER NOTES:

“This painting is my mother’s country. When me and my brother were young boys we always be together, playing, going out hunting. Every morning we used to go out looking for black berries, hunting kangaroo, goannas, emus etc.” , The Artist

As stated on the Short St. Gallery certificate of authenticity

$2,000-4,000

5

PAULA PAUL (born 1937) (Language group: Kayardild)

Flat Reef 2009 synthetic polymer paint on linen inscribed verso with artist’s name, title, Mornington Island Art cat. no. 4413-L-PPL0709, Alcaston Gallery cat. no. 15308 and stamp

101 x 197cm

PROVENANCE:

Mornington Island Art, Queensland (accompanied by a certificate of authenticity)

Alcaston Gallery, Melbourne (accompanied by a certificate of authenticity)

Private collection, Melbourne

EXHIBITIONS:

Bentinck Island Artists, Alcaston Gallery, Melbourne, 15 September - 10 October 2009

OTHER NOTES:

“I like to walk out and hunt on the flat reefs around Bentinck Island at low tide”, The Artist

As stated on the Alcaston Gallery certificate of authenticity

$7,000-9,000