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

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

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

10

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

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

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

14

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

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

16

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

18 © Queenie McKenzie/Copyright Agency, 2023

17

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

18

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