The Le Pley Collection of Indigenous Art

19 EILEEN YARITJA STEVENS (c.1919-2008) (Language group: Nyapari) Wanampi Tjukurpa 2007 synthetic polymer paint on canvas 131 x 204cm © Eileen Yaritja Stevens/Copyright Agency, 2023

The Le Pley Collection of Indigenous Art

21.11.2023

The Le Pley Collection of Indigenous Art 21.11.2023, 6pm

VIEWING

CONTACTS

fri 17 – sun 19 nov 333 Malvern Road, South Yarra, VIC 3141

olivia fuller head of art 03 8825 5624 olivia.fuller@ leonardjoel.com.au

Please refer to our website for viewing times — leonardjoel.com.au

lucy foster senior specialist (fine art) 03 8825 5609 lucy.foster@ leonardjoel.com.au

lot 46 BAI BAI NAPANGARTI (born 1939) (Language group: Kukatja) Mulupuku 2008 synthetic polymer paint on canvas 120 x 80cm $6,000-9,000 © Bai Bai Napangarti/ Copyright Agency, 2023

1

2

lot 43 KATHLEEN NGALE (born c.1934) (Language group: Anmatyarr) Untitled (Wild Plum) 2008 (detail) synthetic polymer paint on linen 122 x 214cm $12,000-20,000

3

4

The Collection of Barrie and Jude Le Pley

Art collectors can exist in a myriad of forms and be driven by varying pursuits. Every so often, however, a collector comes along who possesses the “three P’s” - the unique combination of passion, patronage, and pure provenance. Collectors Barrie and Jude Le Pley have followed the development of Australian Indigenous art since the early 1970s. Across several decades, they have acquired one of the most impressive Indigenous art collections in the country, focusing on major works by Australia’s most significant artists across thirty Indigenous art centres.

In the 1980s, Barrie and Jude Le Pley acquired their first Australian Indigenous artworks – two bark paintings by Mick Kubarku – before acquiring works from the Utopia region. Their enthusiasm for the rich and sacred culture imbued within these artworks motivated them to expand their collection, from which just 75 works have been selected for this auction.

Barrie and Jude made flying trips to remote Aboriginal communities which provided them with the opportunity to see the art being made first hand, and further connect with the artists. It is these trips that reinforced their sustained interest in the lives of the artists and their communities. Beyond their personal acquisitions, Barrie and Jude Le Pley have contributed to Aboriginal art by funding special projects in remote communities, commissioning programs for younger artists, and assisting with return to country programs. They have also facilitated public exhibitions at Australian embassies and ambassador residences in Washington and Beijing and produced related publications. In 2012 the Le Pley Collection championed the exhibition Spinifex: People of the Sun and Shadow, the first survey of the art of the Spinifex people, held at John Curtin Gallery in Perth.

Leonard Joel is honoured to be presenting 75 select works from the Le Pley Collection to auction, showcasing examples by some of our most respected First Nations artists with ethical provenance that supports the safety and longevity of Indigenous art practices. olivia fuller head of art

lot 25 TJUNGKARA KEN (born 1969) (Language group: Pitjantjatjara) Ngayuku Ngura (My Country) 2009 synthetic polymer paint on linen 152.5 x 122cm $8,000-12,000 © Tjungkara Ken/ Copyright Agency, 2023

5

1

NANCY CHAPMAN NGARNJAPAYI (born c.1940) (Language group: Manyjilyjarra ) Warrarnpa (Country) 2007 synthetic polymer paint on canvas 91.5 x 61cm provenance The Artist Martumili Artists, Western Australia, cat. no.

07-516 (accompanied by a copy of the certificate of authenticity) AP Bond Art, Tony Bond, South Australia The Le Pley Collection, Western Australia, acquired from the above in 2009 $3,000-6,000

1 © Nancy Chapman/Copyright Agency, 2023

6

2

BAI BAI NAPANGARTI (born 1939) (Language group: Kukatja) Mulupuku 2008 synthetic polymer paint on canvas 120 x 80cm provenance The Artist Warlayirti Artists, Western Australia, cat. no.

1352/08 (accompanied by a copy of the certificate of authenticity) The Le Pley Collection, Western Australia, acquired from the above in 2008 other notes “In this painting Bai Bai depicts an important bush food, Mulupuku that can be found in her country around Lake Mackay, south of Balgo. The lines in the painting depict the tali (hills). Where native grasses grow in the wet season. It is from this landscape that the women gather seeds. The seeds are then washed several times before they are ground up to make a flour-like substance used to make damper. The areas on either side of the central area in the painting illustrate the ground that leads to the swamp.”

As stated on the Warlayirti Artists certificate of authenticity $6,000-9,000

2 © Bai Bai Napangarti/Copyright Agency, 2023

7

3

TJUNKA LEWIS (1927- 2012) (Language group: Ngaanyatjarra) Wati Tjukurrpa 2009 synthetic polymer paint on canvas 76 x 51cm provenance The Artist Warakurna Artists, Northern Territory, cat. no.

121-09 (accompanied by a copy of the certificate of authenticity) Outstation Gallery, Northern Territory The Le Pley Collection, Western Australia, acquired from the above in 2009 exhibitions Printingpa Ngaanya Yanku Kayili – Warakurna Artists Travelling North, Outstation Gallery, Northern Territory, 12 June - 7 July 2009 $2,000-4,000

3 © Tjunka Lewis/Copyright Agency, 2023

8

4 WALANGKURA NAPANANGKA (c.1946-2014) (Language group: Pintupi) Untitled 2009 synthetic polymer paint on canvas 122 x 91cm provenance The Artist Papunya Tula Artists, Northern Territory, cat. no.

WN0901021 (accompanied by a copy of the certificate of authenticity) Cross Cultural Art Exchange, Northern Territory The Le Pley Collection, Western Australia, acquired from the above in 2009 other notes “This painting depicts designs associated with Kurriuntu, west of the Tjukula Community. The roundels are camp sites and the adjacent “U’ shapes are women who have gathered at the site to perform the dances and sing the songs associated with the area.

At this site the women spun hair-string with which to make nyimparra (hair string skirts) which are worn during these ceremonies. The women also gathered the edible berries known as kampurarrpa or desert raisin from the small shrub Solanum centrale. These berries are ground into a paste which is cooked in the coals to form a type of damper The various shapes in the work represent the rocky outcrops near the site.

As they travelled they gathered large quantities of the edible fruit known as pura, (also known in Pintupi as pintalypa) 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.”

As stated on the Papunya Tula Artists certificate of authenticity $5,000-8,000

4 © Walangkura Napanangka/Copyright Agency, 2023

9

5

TJAMAPAWA KATIE KAWINY (c.1921-2013) (Language group: Pitjantjatjara) Kapi Tjukula - Rock Hole 2009 synthetic polymer paint on canvas 152.5 x 101.5cm provenance The Artist Tjala Arts, South Australia, cat. no. 571-09 (accompanied by a copy of the certificate of authenticity) Marshall Arts, South Australia The Le Pley Collection, Western Australia, acquired from the above in 2010 other notes “In this painting Tjampawa has depicted many rock holes (circles) where water collects after the rains. The lines connecting the rock holes are the creeks or water courses. These rock holes are an important source of water during the dry season when most of the water holes and creeks dry up. Water is an essential element in the desert. Knowledge of rock hole sites is passed from generation to generation and revered by all Anangu (people) Pitjantjatjara.”

As stated on the Tjala Arts certificate of authenticity $4,000-6,000

5 © Tjamapawa Katie Kawiny/Copyright Agency, 2023

10

6

NEIL MAXWELL (born 20th century) (Language group: Pintupi Ngaanyatjarra, Luritja) Kuriultu Tingarri 2009 synthetic polymer paint on canvas 46 x 122cm provenance The Artist Tjarlirli Art, Western Australia, cat. no. 09-224 (accompanied by a copy of the certificate of authenticity) The Le Pley Collection, Western Australia, acquired from the above in 2009 other notes “The men are travelling a long way to the Tjarlirli area and stop at a place called Kuriultu. You can see the tarli (sandhills), the rockholes and the creeks of the region.”

As stated on the Tjarlirli Art certificate of authenticity $2,000-4,000

6 © Neil Maxwell/Copyright Agency, 2023

11

7

JAMES GIBSON TJAPALTJARRI (born 1980) (Language group: Pintupi Ngaanyatjarra) Mantardi 2011 synthetic polymer paint on canvas 194 x 124cm provenance The Artist Tjarlirli Art, Western Australia, cat. no. 10-027 (accompanied by a copy of the certificate of authenticity) The Le Pley Collection, Western Australia, acquired from the above other notes “This is James’ father’s (Yala Yala Gibbs Tjungarrayi) country, just west of Kintore. This Tingari story tells the story of the ancestors travelling north from Tjukurla. James describes the tracks made by the men as they headed east to find the water at the rockholes in the sandhill country there.”

As stated on the Tjarlirli Art certificate of authenticity $6,000-9,000

7 © James Gibson/Copyright Agency, 2023

12

8 © Warakurna Artists/Copyright Agency, 2023

8

WARAKURNA WOMEN’S COLLABORATIVE Kungkarangkalpa Women’s Collaborative Seven Sisters 2009 synthetic polymer paint on canvas 154 x 154cm provenance The Artists Warakurna Artists, Western Australia, cat. no. 240-09.1-8 (accompanied by the eight copies of certificates of authenticity) The Le Pley Collection, Western Australia, acquired from the above in 2009

other notes “This collaborative work by Tjapartji Bates (senior artist), Daisy Helen Tjupantarri Ward, Anna Porter, Martha Ward, Dorcas Tinnimay Bennett, Eunice Yunurupa Porter, Christine Marlungu West and Rachel Yukultja Jennings, depicts an important Ngaanyatjarra women’s story, Kungkarangkalpa (Seven Sisters Dreaming). Seven Sisters were travelling from Warnan to Warakurna. A wati (man) spied on them whilst they were digging deep water holes for drinking water.

He wanted to make the youngest one his wife but the sisters ran away and hid from him. They then crossed the country passing through sand hills and dug for water as there was none in the creeks. Eventually they reached Dockers Rover where they were safe from the man.”

As stated on the Warakurna Artists certificate of authenticity $10,000-20,000

13

9

ELIZABETH NYUMI NUNGURRAYI (born 1947) (Language group: Pintupi) Parwalla 1999 synthetic polymer paint on linen 180 x 120cm provenance The Artist Warlayirti Artists, Western Australia, cat. no. 911/99 (accompanied by a copy of the certificate of authenticity) Palya Art, Northern Territory Private Collection Annette Larkin Fine Art, Sydney The Le Pley Collection, Western Australia, acquired from the above in 2007 other notes “This painting depicts the country of Elizabeth’s birth and is known as Parwalla. Parwalla is located in The Great Sandy Desert. A variety of the landscape and food of the area is shown here. This is represented as the areas of smaller, usually green, dotting. There are people, the brown U-shapes, with coolamons full of food, while the majority of the painting -and the landscape it depicts -is dominated by sand dunes, or talis. A wanna, or digging stick may also be seen.

The main types of bush food are minyali, a sweet berry, kantili, a bush raisin and lularrar, a seed ground up for flour for making damper.”

As stated on the Warlayirti Artists certificate of authenticity $15,000-25,000

9 © Elizabeth Nyumi/Copyright Agency, 2023

14

10

BOB GIBSON TJUNGARRAYI (born 1974) (Language group: Ngaanyatjarra/Pintupi) Walatu 2009 synthetic polymer paint on canvas 61 x 61cm provenance The Artist Tjarlirli Art, Western Australia cat. no. 09-214 (accompanied by a copy of the certificate of authenticity) The Le Pley Collection, Western Australia, acquired from the above in 2009 other notes “Bob’s painting represents Walatu (Lake Hopkins) in Western Australia, close to Tjukurla. Walatu is a large salt lake also known as Marlu Kumpu. It is a Tingari site for Watis (men) travelling from Walungurru in the Northern Territory. After the rain, there is a lot of Kapi (water) and plenty of Mayi (bush foods).”

As stated on the Tjarlirli Art certificate of authenticity $1,200-2,000

10 © Bob Gibson/Copyright Agency, 2023

15

11 © Carol Maanyatja Golding/Copyright Agency, 2023

11

CAROL MAAYATJA GOLDING (born 1930) (Language group: Ngaanyatjarra) Walu 2009 synthetic polymer paint on canvas 76 x 76cm provenance The Artist Warakurna Artists, Northern Territory, cat. no.

234-09 (accompanied by a copy of the certificate of authenticity) The Le Pley Collection, Western Australia, acquired from the above 2009 other notes “Carol Maayatja was born at Walu rockhole not far from Warakurna. This painting depicts a story from Carol’s birth country. There were two men and one little boy camping at the Walu rockhole. The men went hunting and left the little boy behind. The men returned with an emu and pulled out its heart. The boy was holding the heart and blood spilt onto the rocks.

He ran away with the heart and turned into wind. The emu’s blood trail stained the rocks and can still be seen there today.”

As stated on the Warakurna Artists certificate of authenticity $2,500-5,000

16

12 © Eileen Yaritja Stevens/Copyright Agency, 2023

12

EILEEN YARITJA STEVENS (c.1919-2008) (Language group: Nyapari) Wanampi Tjukurrpa 2007 synthetic polymer paint on canvas 95 x 199cm provenance The Artist Tjungu Palya, South Australia, cat. no. 07112 (accompanied by a copy of the certificate of authenticity) Vivien Anderson Gallery, Melbourne The Le Pley Collection, Western Australia, acquired from the above in 2007 other notes “This is the Wanampi Tjukurpa (water snake men dreaming) for Nyapari. This place is called Piltati.

Piltati rockhole is just in the hills, really close to the community. The two men are water snakes. The two women went off to get some food. They headed to Pilki, kapi pulka (a big rock hole) for honey ants. They were digging for kuka mitika (burrowing bettong).

Irititja kuka (food from the early days).” (The Artist) As stated on the Tjungu Palya certificate of authenticity $6,000-9,000

17

13

MAKINTI NAPANANGKA (c.1930-2011) (Language group: Pintupi ) Untitled - Kungka Kutjarra 1999 synthetic polymer paint on linen 107 x 28cm provenance The Artist Papunya Tula Artists, Northern Territory, cat. no. MN990178 (accompanied by a copy of the certificate of authenticity) Utopia Art, Sydney The Le Pley Collection, Western Australia, acquired from the above in 2000 other notes “This painting depicts designs associated with the travels of the Kungka Kutjarra (Two Women) to a site on the south side of Lake MacDonald. The two women were digging for the small animal Kuningka (Western Quoll). These animals usually live in burrows which were dug by other animals such as the Burrowing Bettong or Rabbits and occasionally in hollow logs. The women later continued their travel to the east.”

As stated on the Papunya Tula Artists certificate of authenticity $3,000-6,000

13 © Makinti Napanangka/Copyright Agency, 2023

18

14

SALLY GABORI & DAWN NARANATJIL (1924-2015, 1935-2009) (Language group: Kayardild) Makarrki 2007 synthetic polymer paint on linen 121 x 91cm provenance The Artists Mornington Island Arts & Craft, Queensland, cat. no. 2692-L-SG&DN-1007 (accompanied by a copy of the certificate of authenticity) Alcaston Gallery, Melbourne The Le Pley Collection, Western Australia, acquired from the above in 2008 other notes “Dawn and I like to paint our big brother King Alfred’s country on Bentinck Island. It is called Makarrki. This is the big river there.” Sally Gabori As stated on the Mornington Island certificate of authenticity $12,000-20,000

14 © Sally Gabori & Dawn Naranatjil 1/Copyright Agency, 2023

19

15 15 © Paula Paul/Copyright Agency, 2023

PAULA PAUL (1937-2021) (Language group: Kayardild) Fish Traps and Oysters 2008 synthetic polymer paint on linen 121 x 91cm provenance The Artist Mornington Island Arts and Crafts, Queensland, cat. no. 3573-L-PP-0908 (accompanied by a copy of the certificate of authenticity) Alcaston Gallery, Melbourne The Le Pley Collection, Western Australia, acquired from the above in 2008 other notes “My painting shows the fishtraps and oysters at Daddagunn on Bentinck Island. A long time ago the old people built many stone fish traps around the island. We still use them for food today. (The Artist) As stated on the Mornington Arts certificate of authenticity $4,000-6,000

20

16 © Cory Surprise/Copyright Agency, 2023

16

WAKARTU CORY SURPRISE (c.1929-2011) (Language group: Walmajarri) Pitil Jila 2009 synthetic polymer paint on linen 120 x 120cm provenance The Artist Mangkaja Arts, Western Australia, cat. no. 422/09 (accompanied by a copy of the certificate of authenticity) Raft Artspace, Northern Territory The Le Pley Collection, Western Australia, acquired from the above in 2009 exhibitions Sitting Down with Jukuja and Wakartu, Raft Artspace, Northern Territory, 19 June - 11 July 2009 other notes “This biggest one jila (waterhole) out in my country.

My place this one, he got pirnti (small claypan with clear water) and jila (permanent waterhole).”

(The Artist) As stated on the Mangkaja Arts certificate of authenticity $8,000-12,000

21

17 © Anmanari Brown/Copyright Agency, 2023

17

ANMANARI BROWN (c.1930-2018) (Language group: Pitjantjatjara) The Seven Sisters 2009 synthetic polymer paint on canvas 101 x 101cm provenance The Artist Papulankutja Artists, Western Australia, cat. no. 09-383 (accompanied by a copy of the certificate of authenticity) The Le Pley Collection, Western Australia, acquired from the above in 2009 other notes “This is a popular dreamtime story of seven ladies being chased through the desert by one man.

There are numerous scenarios as these ladies travel around. Eventually they rise up into the sky and form the Peliades, a group of seven stars seen in the southern skies. There are many variations of this story.”

As stated on the Papulankutja Artists certificate of authenticity $3,500-5,000

22

18

KATJARRA BUTLER (born 1946) (Language group: Pintupi/Ngaanyatjarra) Ngamurru/Katjarra 2017 synthetic polymer paint on canvas 147 x 178cm provenance The Artist Tjarlirli Art, Western Australia, cat. no. 16-426 (accompanied by a copy of the certificate of authenticity) Vivien Anderson Gallery, Melbourne The Le Pley Collection, Western Australia, acquired from the above in 2017

other notes "These two waterholes are of Ngamurru. Ngamurru is my home. The painting shows the waterholes of Ngamurru. It is not like a spring- the waterhole dries out after a while. At these waterholes many women were staying here for a short while in the creation time (Dreamtime). These women were Nagala, my mothers.

Another group of women, a group of Nungurrayi and Nangala were travelling to Marrpirnti/Kiwirrkura while the nangala women were at Ngamurru. At Ngamurru the Nangala women collect, cooked meat and ate the bush tucker wanpurru that goes on sandhills. They then set off to the east to Papun and Ngartan."

As stated on the Tjarlirli Art certificate of authenticity $7,000-12,000

exhibitions The Women’s Show, Vivien Anderson Gallery, Melbourne, 1 March - 25 March 2017

18 © Katjarra Butler/Copyright Agency, 2023

23

19 © Eileen Yaritja Stevens/Copyright Agency, 2023

19

EILEEN YARITJA STEVENS (c.1919-2008) (Language group: Nyapari) Wanampi Tjukurpa 2007 synthetic polymer paint on canvas 131 x 204cm provenance The Artist Tjungu Palya, South Australia, cat. no. 07497 Vivien Anderson Gallery, Melbourne Le Pley Collection, Western Australia, acquired from the above in 2007 $7,000-9,000

24

20 © Harry Tjutjuna/Copyright Agency, 2023

20

HARRY TJUTJUNA (1930-2020) (Language group: Pitjantjatjara) Spiderman 2007 synthetic polymer paint on linen 130 x 150cm provenance The Artist Ernabella Arts, South Australia, cat. no. HT136-07 (accompanied by a copy of the certificate of authenticity) Aboriginal and Pacific Art, Sydney The Le Pley Collection, Western Australia, acquired from the above in 2008

other notes “Harry describes himself as a spider man, as spiders are part of his Tjukurpa, or creation stories of his birthplace. People often associate themselves with one or more of the creatures of their ‘ngura’ (homeplace) in this way. He also spoke about himself and his role as a ‘ngangkari’ (traditional healer) and a ngangkari’s use of spiderwebs in treatment of cuts and skin injuries is another connection to the spider totem.” As stated on the Ernabella Arts certificate of authenticity $7,000-12,000

25

21 © Nyarapayi Giles/Copyright Agency, 2023

21

NYARAPAYI GILES (born 1940) (Language group: Ngaanyatjarra) Warmurunngu 2008 synthetic polymer paint on canvas 107 x 146cm provenance The Artist Tjarlirli Art, Western Australia, cat. no. 08-756 (accompanied by a copy of the certificate of authenticity) Randell Lane Fine Art, Western Australia The Le Pley Collection, Western Australia, acquired from the above in 2009 other notes “The painting depicts a site called Warmurunngu where the people collect Kaarku (coloured ochres) used in Inma (ceremonies). When the colours are excavated the spirits of the Karlaya (emus) are released like a Warlpa (wind) and take physical form. There are many Karlaya in the area. The centre of the concentric circles shows where the Karlaya stopped to drink Kapi (water) in the Tjukurpa (dreaming) time.”

As stated on the Tjarlirli Art certificate of authenticity $4,000-6,000

26

22

PADDY JAPALJARRI STEWART (1935-2013) (Language group: Warlpiri) Wakapatari Jukurrpa (Caterpillar Dreaming) 2009 synthetic polymer paint on linen 183 x 122cm provenance The Artist Warlukurlangu Artists, Northern Territory, cat. no. 1234/05 (accompanied by a copy of the certificate of authenticity) The Le Pley Collection, Western Australia, acquired from the above in 2009 other notes "This painting is about the Mulga Caterpillar Dreaming. It shows the caterpillars that are found around muga trees and women who are walking and collecting them. The caterpillars have two teeth. They are used in ceremony. The country connected with this Dreaming is called Nalurwindi. The custodians of the Dreaming are Japaljarri/Jungarrayi men and the kurdungurlu- the managers of the Dreaming who have to assure that ritual are performed correctly- are Jakamarra /Jampitjinpa men."

As stated on the Warlukurlangu Artists certificate of authenticity $7,000-12,000

22 © Paddy Japaljarri Stewart/Copyright Agency, 2023

27

23 © Tommy Mitchell/Copyright Agency, 2023

28

23

TOMMY MITCHELL (born c.1943) (Language group: Ngaanyatjarra) Walu 2009 synthetic polymer paint on canvas 76 x 76cm provenance The Artist Warakurna Artists, Northern Territory, cat. no. 236-09 (accompanied by a copy of the certificate of authenticity) The Le Pley Collection, Western Australia, acquired from the above in 2009 other notes “This painting depicts a story from Tommy’s country called Walu. There were uncles and their little nephew camping at the Walu rockhole. The men used to go hunting and the little boy stayed behind. When the uncles were out of site [sic] the little boy would go steal meat from other people’s camps. One day, families came to the uncles to complain about their nephew stealing their food. The little boy said to the uncles he didn’t steal and the uncles believed him.

The uncles then got mad at the families and then something happened.”

As stated on the Warakurna Artists certificate of authenticity $6,000-9,000 24

PADDY JAPALJARRI SIMS (1917-2010) (Language group: Warlpiri) Yanjirlpirri Jukurrpa - Star Dreaming 2007 synthetic polymer paint on linen 183 x 91cm provenance The Artist Warlukurlangu Artists, Northern Territory, cat. no.

2605/07 (accompanied by a copy of the certificate of authenticity) Aboriginal & Pacific Art, Sydney The Le Pley Collection, Western Australia, acquired from the above in 2008 other notes "This painting tells of the journey of Japaljarri and Jungarrayi men who travelled from Kurlurngalinypa (near Lajamanu) to Yanjirlypirri (west of Yuendumu) and then on to Lake Mackay on the West Australian border. Along the way they performed Kurdiji (initiation ceremonies) for young men. Women also danced for the Kurdiji. The site depicted in this canvas is Yanjirlypiri (Star) where there is a low hill and a water soakage. The importance of this place cannot be over emphasised as young boys are brought here to be initiated from as far as Pitjanjatjara country to the south and Laamanu to the north. In contemporary Warlpiri paintings traditional iconography is used to represent the Jukupa, particular sites and other elements. During the performance of this ceremony the men wear Jinjiria (white feather headdresses) on either side of their heads. They also wear wooden carvings of stars which are also laid out on the ground as part of the sand paintings produced for business. Ngalyipi (snake vine) is often depicted as long curved lines, and is used to tie Witi (ceremonial spears) vertically to the shins of the dancing initiates.

These Witi are typically shown as long straight lines and the Yanjirlpirri (stars) are usually depicted as white circles or roundels."

As stated on the Warlukurlangu Artists certificate of authenticity $8,000-12,000

24 © Paddy Japaljarri Sims/Copyright Agency, 2023

29

25 © Tjungkara Ken/Copyright Agency, 2023

25

TJUNGKARA KEN (born 1969) (Language group: Pitjantjatjara) Ngayuku Ngura (My Country) 2009 synthetic polymer paint on linen 152.5 x 122cm provenance The Artist Tjala Arts, South Australia, cat. no. 338-09 (accompanied by a copy of the certificate of authenticity) Marshall Arts, South Australia The Le Pley Collection, Western Australia, acquired from the above in 2009 other notes “In this painting Tjungkara has depicted her country.

The different colours and designs represent variations in the landscape.”

As stated on the Tjala Arts certificate of authenticity $8,000-12,000

30

26 © Jimmy Baker/Copyright Agency, 2023

26

JIMMY BAKER (1915-2010) (Language group: Pitjantjatjara) Kalaya Tjukurpa 2008 synthetic polymer paint on linen 93 x 141cm provenance The Artist Tjungu Palya Arts, South Australia, cat. no. 08214 (accompanied by a copy of the certificate of authenticity) Araluen Arts Centre, Northern Territory The Le Pley Collection, Western Australia, acquired from the above in 2008 exhibitions Desert Mob, Araluen Arts Centre, Northern Territory 2008

other notes “Kalaya munu kiparaku Tjukurpa (this is the story about the emu and the bush turkey). The emu father had many chicks with him, but that poor old bush turkey only had one child. When the bush turkey came by he saw that the emu was sitting all alone and he asked ‘Where are all the children?’ ‘I didn’t want all them children they are too much trouble, they eat too much, so I killed them all!’ The emu hadn’t really killed his children but hidden them in the bush. When the turkey’s son heard this he said to his father ‘If you don’t kill me I’ll show you where all the tucker is’.

But the turkey was thinking I might kill my son. He killed him, hit him on the head. While the turkey was sitting down at Kanpi he saw the emu come back with all his children. He realised he’d been tricked and was angry. He decided to kill that man. He told the emu to grab his spear thrower and come with him. He hit him in the chest and finished him. When he got back to Kanpi rockhole all the emu kids were painted up for Inma (sacred dancing). The kipara hid behind a tree and whistled at them. He was frightening them and they thought he was mamu (devil spirit). They ran off down towards Watarru. This is the true story for Kanpi.”

As stated in the Tjungu Palya certificate of authenticity $12,000-20,000

31

27 © Neil Maxwell/Copyright Agency, 2023

32

27

NEIL MAXWELL (born 20th century) (Language group: Pintupi Ngaanyatjarra, Luritja) Kulkurda 2009 synthetic polymer paint on canvas 135 x 108cm provenance The Artist Tjarlirli Art, Western Australia, cat. no. 09-378 (accompanied by a copy of the certificate of authenticity) The Le Pley Collection, Western Australia, acquired from the above in 2009 other notes “This is a Tingari painting of the ancestors travels through a very sacred region of Tjukurla called Kulkurda. The custodians of Tjukurla are also the custodians of this country and it is very difficult to access these days. No one is allowed to travel there unaccompanied and no hunting is allowed on this country. It is forbidden to stay there at night and the landforms are the resting place of the spirits of deceased family members that watch over the country.

Neil has painted the rockholes and creeks there with the puli (large hills) on one side and the Spinifex country on the other. All of the men are there.”

As stated on the Tjarlirli Art certificate of authenticity $3,000-6,000 28

MARTIN TJAMPITJINPA (born c.1965) (Language group: Pintupi) Untitled 2007 synthetic polymer paint on linen 91 x 61cm provenance The Artist Papunya Tula Artists, Northern Territory, cat. no.

MT0702183 (accompanied by a copy of the certificate of authenticity) The Le Pley Collection, Western Australia, acquired from the above in 2009 other notes “This painting depicts designs associated with the claypan site of Ngurrapulangu, west of the Kintore Community. In ancestral times a group Tingari men camped at this site as the travelled west, eventually passing through Umari and Wala Wala.”

As stated on the Papunya Tula Artists certificate of authenticity $3,000-6,000

28 © Martin Tjampitjinpa/Copyright Agency, 2023

33

29

NYUMITJA LAIDLAW (born 1938) (Language group: Ngaanyatjarra) Seven Sisters 2008 synthetic polymer paint on canvas 135 x 72cm provenance The Artist Kayili Artists, Western Australia, cat. no. 08-231 (accompanied by a copy of the certificate of authenticity) The Le Pley Collection, Western Australia, acquired from the above in 2009 other notes “Kungarrangkalpa is the story of the Seven Sister Creation Beings who are pursued by the man Yurla over a huge area of the Western Dessert.”

As stated on the Kayili Artists certificate of authenticity $4,000-6,000

29 © Nyumitja Laidlaw/Copyright Agency, 2023

34

30 © Ngalpingka Simms/Copyright Agency, 2023

30

NULBINGA SIMMS (born c.1945) (Language group: Ngaanyatjarra) Untitled 2009 synthetic polymer paint on cotton 76 x 152cm provenance The Artist Kayili Artists, Western Australia, cat. no. 09-083 (accompanied by a copy of the certificate of authenticity) Aboriginal and Pacific Art, New South Wales The Le Pley Collection, Western Australia, acquired from the above in 2009 exhibitions Kayili Artists 2009, at Aboriginal & Pacific Art, 25 June - 18 July, 2009 Spinifex: People of the Sun and Shadow, John Curtain Gallery, Western Australia, 24 August - 12 October 2012 (illus. p. 61) $5,000-8,000

35

Ena Gimme Nungurrayi

Ena Gimme Nungurrayi was a leading exponent of the art movement established at Balgo.

Born in Kaliyangku, her father’s country, on the western edge of the Tanami Desert in the far north of Western Australia, Ena was an especially talented artist alongside her mother, Eubena Yupinya Nampitjin. While Ena’s career as an artist was sadly brief, her resulting paintings demonstrate her unique visual language and the overall significance of the female Balgo painters emerging in the 1980s.

The Balgo settlement, a former mission station, brought together diverse tribal groups including the Kukatja, Walmajarri, Warlpiri, Pintupi, Ngardi and Tjaru people, as well as a mix of different languages, traditions and ceremonial practices. The Balgo landscape is one of flat plateaus, descending plains, and defined desert hills and ridges. Referred to by locals as Wirrimanu (‘dirty wind’), it is adjoined by three deserts, the Tanami, the Great Sandy and the Gibson. Across these arid regions permanent water sources are spoken of with whispered reverence as ‘living water’. Balgo is one of the most isolated communities in Australia, some 200 miles from the nearest town of Hall’s Creek.

Painting began at Balgo in 1981, mostly by young men who joined an adult education centre. Later the older men became involved in painting, and made the transition to acrylic paint on canvas in 1984. While the early Balgo artworks were painted in earthy tones, the works of the 1990s began to incorporate vivid acrylic paints in pinks, greens, blues and yellows as well as using brushes instead of wooden dotting sticks. The Balgo women, such as Ena, also became involved in painting as a communal exercise and by 1987 the Warlayirti Artist Co-Operative had officially been formed to support this great diverse range of artists. The artists’ diverse styles stemmed from the culturally diverse and highly mobile population of Balgo, due to its location placed between various groups, allowing for social and ceremonial exchanges with other communities.

Ena Gimme Nungurrayi began painting in 1989, immediately showing her mother’s artistic influence. The circular motifs featured in her works centred upon two waterholes from Eubena’s country. Ena’s paintings are often inviting, rich, and with mixed strokes. In this painting, we see the traditionally earthy tones of early Balgo painting with the vivid blue of the waterhole encapsulating the importance of this water source to the community. It was often food and water sources that Ena captured in her paintings.

For an artist of such brief activity, Ena Gimme Nungurrayi’s paintings convey her own highly original interpretation of central desert motifs. The current lots presents as one of the most significant examples of Ena’s work to come to auction. olivia fuller head of art

36

31

ENA GIMME NUNGURRAYI (born c.1944) (Language group: Kukatja) (Artist’s Mother’s Country) 1991 synthetic polymer paint on canvas 120 x 60cm provenance The Artist Warlayirti Artists, Western Australia, cat. no. 252/91 (accompanied by a copy of the certificate of authenticity) Private collection Sotheby’s, Melbourne, Contemporary and Aboriginal Art, 18 June 1995, lot 302 The Thompson Marecaux Collection of Balgo Paintings Sotheby’s, Melbourne, Aboriginal Art, 20 July 2009, lot 44 The Le Pley Collection, Western Australia, acquired from the above in 2009 other notes “This waterhole has been used by the artist’s family for generations and she herself spent her early years around here. The women would go out to collect foods and they would camp under the shady trees.

There are places associated with important events from the Dreamtime and a rock formation believed to have been a digging stick is shown.”

As stated on the Warlayirti Artists certificate of authenticity $20,000-30,000 31 © Ena Gimme Nungurrayi/Copyright Agency, 2023

37

32 © Ruth Nangalka Fatt/Copyright Agency, 2023

32

RUTH FATT (born c.1960) (Language group: Pitjantjatjara) Pukara 2010 synthetic polymer paint on canvas 116 x 100cm provenance The Artist Tjungu Palya Arts, South Australia, cat. no. 10139 (accompanied by a copy of the certificate of authenticity) Outstation Gallery, Northern Territory The Le Pley Collection, Western Australia, acquired from the above in 2010

38

other notes “Wati Kutjara Tjukurpa (the creation story for the two serpent men). The two wanampi, father and his son travel from rockhole to rockhole in country around Wingellina. The father travelled away to another country and left his son behind at the rockhole Pukara.

The people living there didn’t like the son. They thought that the son was sneaking around their camps at night while they slept and stealing their food. They thought he looked strange and could not be trusted.

When the son grew up he came back to Pukara and ate all the people there. Tjuratja tjuta (lots of sweet nectar) grows at Pukara. Kaliny-kalinypa (honey grevillea). The flowers can be sucked for the sweet honey like nectar or soaked in water to make a sweet drink.” (The Artist) As stated on the Tjungu Palya certificate of authenticity $3,000-6,000

33 © Lily Karadada/Copyright Agency, 2023

33

LILY KAREDADA (born c.1937) (Language group: Wunumbul) Wandjina etching ed. 11/15 140 x 102cm provenance The Artist Mowanjum Art and Culture Centre, Western Australia, cat. no. XXE-LKNG10-10 (accompanied by a copy of the certificate of authenticity) The Le Pley Collection, Western Australia, acquired from the above 2010 exhibitions Wandjina and Guion Guion, Australian Print Workshop, Melbourne, 29 May - 3 July 2010 $2,500-4,000

39

34

ROBIN NGANJMIRA (1951-1991) (Language group: Kunwinjku) Dugong c.1985 natural earth pigments on eucalyptus bark 193 x 77cm

34 © Robin Nganjmirra/Copyright Agency, 2023

40

provenance The Artist H G Siebert, Northern Territory The Le Pley Collection, Western Australia, acquired from the above in 2002 $6,000-9,000

35 © Turkey Tolson Tjupurrula/Copyright Agency, 2023

35

TURKEY TOLSON TJUPURRULA (1938-2001) (Language group: Pintupi) Snake Dreaming 1980 synthetic polymer paint on composition board 45.5 x 61cm provenance The Artist Papunya Tula Artists, Northern Territory Gabrielle Pizzi Gallery, Melbourne Private collection, Tasmania Contemporary Aboriginal Art, Mossgreen Auctions, Melbourne, 8 April 2008, lot 180 The Le Pley Collection, Western Australia, acquired from the above $5,000-8,000

41

Kaapa Mbitjana Tjampitjinpa

The 1970s marked a turning point in the world of Indigenous Australian art, with Kaapa Tjampitjinpa playing a pivotal role in the shaping of the Papunya Tula Artists and the Western Desert Art Movement. Born in the 1920s just west of Napperby Station in the Northern Territory, Kaapa’s heritage encompasses the Anmatyerre, Warlpiri and Arrernte cultures.

In his early years, Kaapa worked as a stockman at Riddock Station and later at Haast, but it was his move to Papunya in the 1960s that marked a crucial point in his life. Papunya was a government settlement that became home to various desert groups, after they were forced to relocate in the 1960s due to the government assimilation policy. Papunya held shared no cultural significance for these diverse groups who found themselves now all living together.

For many who had previously lived on their ancestral lands with their own unique cultural identities, the forced settlement saw many severing cultural ties and facing isolation.

Geoffrey Bardon's arrival in 1971 marked a crucial moment in the community’s history. After Bardon’s quick realisation that the elders were more interested in painting than the children, Kaapa and others enthusiastically began sharing significant stories, carefully selecting elements of their narratives that could be revealed to the public while safeguarding the integrity of the sacred knowledge. This collaborative effort led to the creation of the historical mural on the school building, symbolising the Honey Ant Dreaming, marking the conception of the Papunya movement.

In 1972, the artists of Papunya established Papunya Tula Artists and Kaapa was appointed as its inaugural Chairman. His paintings were not only significant for their artistic value but also for their cultural and historical importance and are still celebrated today as a testament to the profound transformation that occurred during this period.

Kaapa’s paintings emerged as some of the earliest creations from Papunya, uniquely blending traditional elements with a touch of Western influence. Like the rare few from this period, Sandhill Dancing Dreaming - Version 1 1971 is a story about a very big dancing ceremony involving a journey across the landscape. The straight lines with half-circles represent sandhill forms. The chain-like looping patterns on either side are dancing men with spears and boomerangs celebrating the commemorative journey. The painting tells of the elation felt for bountiful bush foraging after good rain. All the people are content and dancing ritual is an expression of rapture1. One distinctive aspect of Kaapa’s work was accessibility to a broader audience as his art did not incorporate any secret or sacred symbols.

Prior to the 1970s Kaapa had already been creating art, including wooden cravings and watercolour paintings2. However it was in 1971 that his work gained broader recognition when one of his paintings shared the first prize at the Alice Springs Caltex Art Award. This momentous occasion marked the first time an Indigenous Australian won a contemporary art award, bringing Papunya Tula art to the forefront of public attention. lucy foster senior specialist (fine art)

1 Bardon, G., & Bardon, J., Papunya A Place Made After the Story, The Miegunyah Press, Melbourne, 2004, p.117 2 "Kaapa Tjampitjinpa (Anmatyerr/Warlpiri c. 1925–1989)". Tjukurrtjanu: Origins of Western Desert Art. National Gallery of Victoria, 2011, retrieved 14 October 2023.

42

36

KAAPA MBITJANA TJAMPITJINPA (c.1926-1989) (Language group: Anmatyerre, Warlpiri and Arrernte) Sandhill Dancing Dreaming - Version 1 1971 synthetic polymer paint on composition board 47 x 25.5cm provenance The Artist Painted at Papunya 1971 Geoffrey Bardon, Sydney Bill Ward, Sydney, acquired from the above Australian, International and Aboriginal Art, Bonhams & Goodman, Melbourne, 23 April 2008, lot 69 The Le Pley Collection, Western Australia, acquired from the above

36 © Kaapa Tjampitjinpa/Copyright Agency, 2023

literature Bardon, G., & Bardon, J., Papunya A Place Made After the Story, The Miegunyah Press, Melbourne, 2004, p. 117 (illus.) $30,000-50,000

43

37 © Jean Baptiste Apuatimi/Copyright Agency, 2023

37

JEAN BAPTISTE APUATIMI (1940-2013) (Language Group: Tiwi) Dilly Bags 2004 natural ochre on paper 77 x 57cm provenance The Artist Tiwi Design, Northern Territory, cat. no. 351-04 (accompanied by a copy of the certificate of authenticity) Framed Art Gallery, Northern Territory The Le Pley Collection, Western Australia, acquired from the above in 2009 $2,000-4,000

44

38

PHYLLIS THOMAS (1933-2018) (Language group: Gijia) Gemerre 2007 ochres and pigment with acrylic binder on Belgian linen 100 x 100cm (each) provenance The Artist Jirrawun Arts, Western Australia, cat. no. PT 2007 06 0912 The Le Pley Collection, Western Australia, acquired from the above in 2008 $7,000-12,000

38 © Phyllis Thomas/Copyright Agency, 2023

45

39 © Ruby Morton Kngwarreye/Copyright Agency, 2023

39

RUBY MORTON NGAWARAI (born c.1968) (Language Group: Alyawarr) Untitled 2007 batik on silk 110 x 209cm

other notes “Created at Arlparra, Utopia, Northern Territory, during the Utopia Batik Revival Workshop 2007 conducted by Julia Murray, founding co-ordinator of Utopia Batik, 1978-1982.

provenance The Artist Utopia Batik, Northern Territory, cat. no. 957 (accompanied by a copy of the certificate of authenticity) Vivien Anderson Gallery, Melbourne The Le Pley Collection, Western Australia, acquired from above in 2009

This work, in pale mauves and pinks on a rust brown ground, has the characteristic ‘free’ quality of Utopia Batik. In its simplicity, plant forms are repeated, swaying across the silk. Ruby- along with her sisters Lucky, Audrey, Sarah and Lily Lion - was young when she began painting and became one of the original artists when the Utopia Women’s Batik Group was established in the late 1970s. Her batiks are held in many private collections, as well as the Holmes a Court collection.”

As stated on the Utopia Batik certificate of authenticity $3,000-6,000

exhibitions Australian Aboriginal Art, Residence of the Australian Ambassador to the People’s Republic of China, Beijing, 2018 (illus. p. 17)

46

40

ANNIE HUNTER PETYARRE (born c.1967) (Language group: Alyawarre) Untitled (Bush Food) 1989 batik on silk 186.5 x 117cm provenance The Artist CAAMA Shop, Northern Territory Utopia Art, Sydney (accompanied by a copy of the certificate of authenticity) The Le Pley Collection, Western Australia, acquired from the above in 2000 other notes “In this batik the artist has depicted various bush foods, vines and plants.”

As stated on the Utopia Art certificate of authenticity $3,000-6,000

40 © Annie Pitjara Hunter/Copyright Agency, 2024

47

41 © Reggie Jackson/Copyright Agency, 2023

48

42 © Harry Tjutjuna/Copyright Agency, 2023

42

HARRY TJUTJUNA (born 1930) (Language group: Pitjantjatjara) Spiderman 2010 synthetic polymer paint on canvas 130 x 200cm

41

REGGIE JACKSON TJAMPITJINPA (c.1923-2007) (Language group: Ngatjatjarra) Parrtjartanya - The Story of the Native Cat and Possum Brothers 2005 synthetic polymer paint on canvas 152 x 152cm provenance The Artist Papulankutja Artists, Western Australia, cat. no. 05-1094 (accompanied by a copy of the certificate of authenticity) Marshall Arts, South Australia The Le Pley Collection, Western Australia, acquired from the above in 2009 $5,000-8,000

provenance The Artist Ninuku Arts, South Australia, cat. no. 10060 (accompanied by a copy of the certificate of authenticity) Museum and Art Gallery of the Northern Territory, Northern Territory The Le Pley Collection, Western Australia, acquired from the above in 2010 other notes “This is a big spider man. Wati paluru Ngankari (A male healer, traditional doctor). He is a powerful man. When rain comes he hides in his nest. He is a clever man. At night he changes colour. His name is Wanka, spider. That’s the story. Minyma wanka Tjuta, these are all the women and children for the man (around him). I am the spider man, ngankari (healer, traditional doctor).” (The Artist) As stated on the Ninuku Arts certificate of authenticity $7,000-12,000

49

43

43

KATHLEEN NGALE (born c.1934) (Language group: Anmatyarr) Untitled (Wild Plum) 2008 synthetic polymer paint on linen 122 x 214cm provenance The Artist Delmore Gallery, Northern Territory, cat. no. 08I18 Leonard Joel, Melbourne, The Thomas Vroom Collection, 26 February 2017, lot 275 The Le Pley Collection, Western Australia, acquired from the above in 2017

50

other notes “Kathleen Kngale paints her interpretation of the ‘Wild Plum’ or ‘Conkerberry’ dreaming. She is influenced by all the natural colours of the wild plum including the beautiful white flowers, the green of the bush and the intricate variations in colour of the berry as it ripens from green through to bluish purple, red, brown and then finally the deepest dark purple. Kathleen with also use the surrounding colours in nature near the wild plum bush. Kathleen and her sisters, Angeline and Polly, traditionally do the ceremonial body painting and dance when they sing the sound of the wild plum in order to ensure the reproductive cycle continues. The sweet wild plums are high in nutrients and vitamins and they are abundant on Delmore after the summer rains. The are a highly valued food source for the Anmatyerre people. Kathleen will sometimes sing while she paints her interpretations of her dreaming onto the canvas imbuing her spirit into the work itself. This is a wonderful example of unique talent.”

As stated on the Delmore certificate of authenticity $12,000-20,000

44 © Imitjala Curley/Copyright Agency, 2023

44

IMITJALA CURLEY (born c.1953) (Language group: Pitjantjatjara) Ngayuku Ngura (My Country): Walytjitjata 2016 synthetic polymer paint on linen 183 x 200cm provenance The Artist Kaltjiti Arts, South Australia, cat. no.

KAL ICU 10503P (accompanied by a copy of the certificate of authenticity) Paul Johnstone Gallery, Northern Territory The Le Pley Collection, Western Australia, acquired from the above in 2016

other notes “Imitjala Curely is closely connected with Walytjitjata her mother, Puni Puni’s country. It is a small homeland just over the NT border about 46 km north Kalka. Imitjala has said - Tjitji Tjuta, this is part of the Minyma kututja story of Walytjitjata.”

As stated on the Kaltjiti Arts certificate of authenticity $10,000-20,000

51

45 © Weaver Jack/Copyright Agency, 2023

45

WEAVER JACK (c.1928-2010) (Language group: Yulparija) Wongu (Meeting) synthetic polymer paint on linen 103.3 x 152.5cm provenance The Artist Short Street Gallery, Western Australia, cat. no.

25900 (accompanied by a copy of the certificate of authenticity) The Le Pley Collection, Western Australia, acquired from the above in 2009 other notes “This painting shows Weaver in her traditional country in the Great Sandy Desert of WA near the Percival Lakes and Well 33 of the Canning Stock route. Weaver marks herself on the canvas as the purple t-shaped form. The circle alongside her is a tree where she sat down with the Mardu people, a neighbouring language group, depicted as the cluster of circular forms alongside Weaver.”

As stated on the Short St Gallery certificate of authenticity $7,000-12,000

52

46

BAI BAI NAPANGARTI (born 1939) (Language group: Kukatja) Mulupuku 2008 synthetic polymer paint on canvas 120 x 80cm provenance The Artist Warlayirti Artists, Western Australia, cat. no.

727/08 (accompanied by a copy of the certificate of authenticity) The Le Pley Collection, Western Australia, acquired from the above in 2009

46 © Bai Bai Napangarti/Copyright Agency, 2023

other notes “In this painting Bai Bai depicts an important bush food, Mulupuku that can be found in her country around Lake Mackay, south of Balgo. The lines in the painting depict the tali (hills). Where native grasses grow in the wet season. It is from this landscape that the women gather seeds. The seeds are then washed several times before they are ground up to make a flour-like substance used to make damper. The areas on either side of the central white area in the painting illustrate the ground that leads to the swamp.”

As stated on the Warlayirti Artists certificate of authenticity $6,000-9,000

53

47

JUDY WATSON NAPANGARDI (born 1959) (Language group: Warlpiri) Mina Mina Jukurrpa (Mina Mina Dreaming) Ngalyipi 2008 synthetic polymer paint on linen 240 x 122cm provenance The Artist Warlukurlangu Artists, Northern Territory, cat. no. 2242/08 (accompanied by a copy of the certificate of authenticity) Purnbridge Gallery, Western Australia The Le Pley Collection, Western Australia, acquired from the above in 2009

47 © Judy Watson Napangardi/Copyright Agency, 2023

54

other notes “The country associated with this Jukurrpa is Mina Mina, a place far to the west of Yuendumu, which is significant to Napangardi/Napanangka women and Japangardi/Japanangka men. All of them are the custodians of the Jukurrpa that created the area. The Jukurrpa story tells of the journey of a group of women of all ages who travelled to the east gathering food, collecting ‘ngalyipi’ (snake vine) and performing ceremonies as they travelled. The women began their journey at Mina Mina where ‘karlangu’ (digging sticks) emerged from the ground. Taking these implements the women travelled east creating Janyinki and other sites. Their journey took them far to the east beyond the boundaries of Warlpiri country. The ‘ngalyipi’ vine grows up the trunks and limbs of the ‘kurrkara’ (desert oak) trees. The ‘ngalyipi’ is a sacred vine to Napangardi and Napanangka women that has many uses. It can be used as a ceremonial wrap, as a strap to carry ‘parrajas’ (wooden bowls) that are laden with bush tucker and as tourniquet for headaches.”

As stated on the Warlukurlangu Artists certificate of authenticity $20,000-30,000

48 © Weaver Jack/Copyright Agency, 2023

48

WEAVER JACK (c.1928-2010) (Language group: Yulparija) Orunga synthetic polymer paint on linen 141 x 100cm provenance The Artist Short Street Gallery, Western Australia, cat. no. 25832 (accompanied by a copy of the certificate of authenticity) The Le Pley Collection, Western Australia, acquired from the above in 2009

other notes “This different country - Orunga. Lots of wiltja (shade) from these long trees. We went on a good trip, long way there, Winpa way to Gunda (waterhole).”

(The Artist) As stated on the Short St Gallery certificate of authenticity $6,000-9,000

55

49 © Liddy Napanangka Walker/Copyright Agency, 2023

49

LIDDY NAPANANGKA WALKER (born 1930) (Language group: Warlpiri) Wakirlpirri Jukurrpa (Dogwood Tree Dreaming) 2009 synthetic polymer paint on linen 122 x 183cm provenance The Artist Warlukurlangu Artists, Northern Territory, cat. no. 1069/09 (accompanied by a copy of the certificate of authenticity) The Le Pley Collection, Western Australia, acquired from the above in 2009

56

other notes “The main motif of this painting depicts the wakirlpirri tree. Wakirlpirri is a very useful tree that grows on the sides of creek beds and near mulga trees. The seeds of this tree can be eaten raw or cooked on the fire. A deliciously sweet drink called yinjirrpi is made from the seeds when they have been dried. The wood can be used to make Weapons Such as karli (boomerangs) and dancing boards for ceremonies. It is also good wood for burning on the fire because rain cannot extinguish burning Wakirlpirri wood. In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, particular sites and other elements.

This Jukurrpa travels from Jarrarda-Jarrayi through to Puturlu (Mount Theo) west of Yuendumu. This Jukurrpa belongs to Japanangka/Japangardi men and to Napanangka/Napangardi women.”

As stated on the Warlukurlangu Artists certificate of authenticity $5,000-8,000

50 © Regina Pilawuk Wilson/Copyright Agency, 2023

50

REGINA PILAWUK WILSON (born c.1945) (Lanuage group: Ngan’gikurrungurr) Dilly Bag Stitch 2009 gouache and acrylic paint on hahnemuhle paper 36 x 48cm provenance The Artist Durrmu Arts, Northern Territory, cat. no. 490 (accompanied by a copy of the certificate of authenticity) Caruana & Reid Fine Art, Sydney The Le Pley Collection, Western Australia, acquired from the above in 2009 other notes “This painting depicts a weaving design, inspired by the stitch of the sand-palm stringy dilly bag.

The dotted designs relate to the durrmu or body painting dots.”

As stated on the Durrmu Arts certificate of authenticity $2,000-4,000

57

51 © Julie Brumby & Bonnie Connolly/Copyright Agency, 2023

51

JULIE BRUMBIE & BONNIE CONNOLLY (born c.1941, born c.1953) (Language group: Pitjantjatjara) Walka burnt ochre on board, triptych provenance The Artists Maruku Arts, Northern Territory, cat. no. 0953 The Le Pley Collection, Western Australia, acquired from the above in 2009 $5,000-8,000

58

52 © Manupa Butler/Copyright Agency, 2023

52

MANUPA BUTLER (1936-2018) (Language group: Ngaanyatjarra) Wunmankuntja 2007 synthetic polymer paint on linen 152 x 152cm provenance The Artist Kayili Artists, Western Australia, cat. no. 07-158 The Le Pley Collection, Western Australia, acquired from the above in 2009 other notes “This painting depicts the tali (sandhills) around Wunmankuntja rockholes where the karlaya (emu) eggs are buried underground. There are number rockholes here, east of Patjarr. The baby emus are blind when they hatch and as they grow up they can see and follow their father around. This country belongs to Manupa’s mother and father. The emus travel a long way to Kalatjunti for ‘business’ when they are grown up.” The Artist As stated in the Kayili Artists certificate of authenticity $4,000-6,000

59

53 © Gloria Petyarre/Copyright Agency, 2023

53

GLORIA TAMERRE PETYARRE (1945-2021) (Language group: Anmatyerre) Mountain Devil Awelye 2018 synthetic polymer paint on linen 130 x 310cm provenance The Artist Delmore Gallery, Northern Territory, cat. no.

94D002 (accompanied by a copy of the certificate of authenticity) Leonard Joel, Melbourne, The Thomas Vroom Collection, Melbourne, 26 February 2017, lot 349 The Le Pley Collection, Western Australia, acquired from the above in 2017

60

other notes “The lines on this canvas derive from the body paint design applied as part of the “awelye” (ceremony) Gloria Petyarre has custodial responsibility for this very individual species. In ceremony, she dramatically recalls through song and dance, those characteristics of the mythological mountain devil women that made her an individual and tough survivor.

Arnkerrthe was an old woman who lived at the soakage called Aneltyeye on the eastern side of Mt. Skinner Station that neighbours Utopia Station. Near this soakage was a a red ochre pit which had a limited supply. As a means of protecting this supply from negligent and over zealous use, she walked out in a northerly direction from her soak, and collected all

ochred ceremonial paraphernalia from the women who lived in the area. This paraphernalia largely consisted of hairstring belts. With this booty, she travelled north to a place on Elkedra Station, where she “planted” half of hairstring belts. The second half was taken north again to a place near Three Ways, now a roadside stop a fair distance directly south of Tennant Creek. Both these places transformed and became red ochre pits that supplied other tribal groups. Whenever Gloria return to Aneltyeye, she carries some meat, lights a fire and cooks it. This ritual ensures that the red ochre will be looked after- possibly replenished.”

As stated on the Delmore Gallery certificate of authenticity $18,000-25,000

54 © Regina Pilawuk Wilson/Copyright Agency, 2023

54

REGINA PILAWUK WILSON (born 1945) (Language group: Ngan’gikurrungurr) Durrmu 2009 acrylic paint on hahnemuhle paper 36 x 48cm provenance The Artist Durrmu Arts, Northern Territory, cat. no. 496 (accompanied by a copy of the certificate of authenticity) Caruana & Reid Fine Art, Sydney The Le Pley Collection, Western Australia, acquired from the above in 2009 other notes “This painting depicts durrmu (body painting dot), based on the markings placed on the body for ceremonial dances.”

As stated on the Durrmu Arts certificate of authenticity $2,000-4,000

61

55

RAELENE KERINAUIA (born 1962) (Language group: Tiwi) Fresh Water/Salt Water 2012 natural earth pigments and binders on linen 200 x 60cm provenance The Artist Jilamara Arts and Crafts, Northern Territory, cat. no.

607-12 (accompanied by a copy of the certificate of authenticity) Paul Johnstone Gallery, Northern Territory The Le Pley Collection, Western Australia, acquired from above in 2013

55 © Raelene Kerinauia/Copyright Agency, 2023

62

other notes “This work refers to an old Tiwi painting depicting the mixing of fresh and salt water in the intertidal areas of the islands. This is shown by the strong intersecting line design” As stated on the Jilamara Arts certificate of authenticity $2,000-4,000

56 © Regina Pilawuk Wilson/Copyright Agency, 2023

56

REGINA PILAWUK WILSON (born 1945) (Language group: Ngan’gikurrungurr) Durrmu 2009 gouache on hahnemuhle paper 36 x 48cm provenance The Artist Durrmu Arts, Northern Territory, cat. no. 478 (accompanied by a copy of the certificate of authenticity) Caruana & Reid Fine Art, Sydney The Le Pley Collection, Western Australia, acquired from the above in 2009 other notes “This painting depicts woven sun mat design. The women at Peppimenarti weave sun mats from merrepen (sand palm) fibre, dyed with natural berry and root pigments.”

As stated on the Durrmu Arts certificate of authenticity $2,000-4,000

63

57

TJUNKIYA NAPALTJARRI (1928-2009) (Language group: Pintupi) Untitled 2007 synthetic polymer paint on canvas 91 x 61cm provenance The Artist Papunya Tula Artists, Northern Territory, cat. no.

TN0705035 (accompanied by a copy of the certificate of authenticity) Cross Cultural Art Exchange, Northern Territory The Le Pley Collection, Western Australia, acquired from the above in 2007 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 $2,000-4,000

57 © Tjunkiya Napaltjarri/Copyright Agency, 2023

64

58 © Annie Farmer/Copyright Agency, 2023 58

ANNIE FARMER (born 1947) (Language group: Ngaanyatjarra) Bunglepitty 2009 synthetic polymer paint on canvas 76 x 101cm provenance The Artist Tjarlirli Art, Western Australia, cat. no. 09-175 (accompanied by a copy of the certificate of authenticity) The Le Pley Collection, Western Australia, acquired from the above 2009 other notes “On one side you can see the four women are sitting at the campfire cooking up the bush tucker they have been collecting in the bush tucker in the area called Bunglepitty. They have bows full of all kinds of food like quandongs, bush onions and Tinka (goanna). In the middle are the women with a wooden bowl full of bush tucker. They have their punu (digging sticks) with them. There are many sandhills and ranges there and they are depicted in the traditional designs used in Women’s ceremonies.”

As stated on the Tjarlirli Art certificate of authenticity $800-1,500

65

59 © Johnny Yungut Tjupurrula/Copyright Agency, 2023

66

59

JOHNNY YUNGUT TJUPURRRULA (1930-2016) (Language group: Pintupi) Untitled 2009 synthetic polymer paint on linen 91 x 91cm provenance The Artist Papunya Tula Artists, Northern Territory cat. no.

JY0908116 (accompanied by a copy of the certificate of authenticity) Gallery 139, AP Bond Art, South Australia The Le Pley Collection, Western Australia, acquired from the above in 2010 $5,000-8,000 60

JOHN MOSQUITO TJAPANGARTI (1922-2004) (Language group: Kukatja) Pundu 1995 synthetic polymer paint on canvas 75 x 50cm provenance The Artist Painted at Wirrimanu, Western Australia, 1995 Warlayirti Artists, Balgo Hills, cat. no. 238/95 (accompanied by a copy of the certificate of authenticity) Sotheby’s, Melbourne, The Thompson Marecaux Collection of Balgo Paintings, 20 June 2009, lot 46 The Le Pley Collection, Western Australia, acquired from the above literature Cowan, J., Balgo: New Directions, Sydney: Craftsman House, 1999, (illus. detail on the front cover) other notes “John has painted a picture of the sacred Tingarri initiation journey of the young men” As stated on the Warlayirti Artists certificate of authenticity $9,000-12,000

60 © John Mosquito/Copyright Agency, 2023

67

61

62

DORA NAPALTJARRI MUNGKIRNA (born 1930) (Language group: Warlpiri) Ngartijirri 2008 synthetic polymer paint on linen 180 x 150cm

61

LORNA KANTILLA (born 1977) (Language group: Tiwi) Untitled 2007 natural earth pigments and synthetic binder on canvas 60 x 60cm provenance The Artist Ngaruwanajirri Inc, Northern Territory, cat. no. LOK 374-27 Raft Artspace, Northern Territory The Le Pley Collection, Western Australia, acquired from the above in 2008 exhibitions Naruwanajirri: Alfonso Puautjimi, Estelle Munkanome & Lorna Kantilla, Raft Artspace, Northern Territory, 2-18 December 2008 $1,000-2,000

68

provenance The Artist Warlayirti Artists, Western Australia, cat. no.

1215/08 (accompanied by a copy of the certificate of authenticity) Turnbridge Gallery, Western Australia The Le Pley Collection, Western Australia, acquired from the above in 2009 other notes “This painting depicts the Ngartijirri, or budgerigar Tjukurrpa (Dreaming) belonging to Napaltjarri and Nungurrayi women. The Tjukurrpa begins at Lima, cast of Balgo in the Tanami Desert and in Warlpiri country. It is here adult budgerigars lay their eggs in hollow tree trunks. The U shapes show the adult male and female birds near their nest. They travel around and collect lukkarra seeds which they feed to their young once they are born. The Tjukurrpa story tells of these birds eventually changing into people.”

As stated on the Warlayirti Artists certificate of authenticity $5,000-8,000

62 © Dora Napaltjarri/Copyright Agency, 2023

69

63

MUNTJA NUNGURRAYI (born 1930) (Language group: Kukatja) Koora near Kirikurra 1996 synthetic polymer paint on canvas 91 x 61cm provenance The Artist Warlayirti Artists, Western Australia, cat. no.

193/96 (accompanied by a copy of the certificate of authenticity) The Wendy Cowan Collection Leonard Joel, Melbourne The Thomas Vroom Collection, 26 February, 2017, lot 260 The Le Pley Collection, Western Australia, acquired from the above in 2017 other notes “This painting comes from Muntja’s country and depicts women putting on ceremonial designs on their bodies. We also see kumpupatja, a small shrub with a firm white fruit. These are threaded onto a thin stick for easy transport back to the campsite.”

As stated on the Warlayirti Artists certificate of authenticity $3,000-6,000 64

MARY ANNE NAMPITJINPA (c.1930s-2012) (Language group: Pintupi) Untitled 2008 synthetic polymer paint on linen 107 x 91cm provenance The Artist Papunya Tula Artists, Northern Territory, cat. no. MN 0806048 (accompanied by a copy of the certificate of authenticity) The Le Pley Collection, Western Australia, acquired from the above in 2009

63 © Muntja Nungarrayai/Copyright Agency, 2023

70

other notes “This painting depicts designs associated with the soakage water site of Pulinyanu, which is slightly north of the Nyirrpi Community. The circles in this work represent the rockholes while the lines represent the tali (sandhills) in the surrounding area. In ancestral times a group of women of the Nampitjinpa and Nangala kinship subsections gathered at Pulinyanu to perform the dances and sing the songs associated with the area. While in the area they ate witjirrki (wild fig) which they had collected from nearby trees. They also gathered wood to make wana (digging sticks). Upon completion of the ceremonies at Pulinyanu the women continued their travels east,” As stated on the Papunya Tula Artists $3,000-6,000

64 © Mary Anne Nampitjinpa/Copyright Agency, 2023

71

65 © Bonnie Connolly/Copyright Agency, 2023

65

BONNIE CONNELLY (born 1937) (Language group: Pitjantjatjara) Kuniya and Liru 2009 synthetic polymer paint on linen 188 x 140cm provenance The Artist Maruku Arts, Northern Territory, cat. no. X278 (accompanied by a copy of the certificate of authenticity) Private collection Turnbridge Gallery, Western Australia The Le Pley Collection, Western Australia, acquired from the above in 2011 $7,000-12,000

72

66

ANGAMPA MARTIN (born c.1940) (Language group: Pitjantjatjara) Pukara 2009 synthetic polymer paint on canvas 121 x 121cm provenance The Artist Ninuku Artists, South Australia, cat no. 09553 (accompanied by a copy of the certificate of authenticity) Alcaston Gallery, Melbourne The Le Pley Collection, Western Australia, acquired from the above in 2010 $2,500-4,000

66 © Angampa Martin/Copyright Agency, 2023

73

67

SARAH DANIELS (born c.1933) (Language group: Warlpiri) Minna Minna 2008 synthetic polymer paint on linen 180 x 120cm provenance The Artist Warlayirti Artists, Western Australia, cat. no. 1271/08 (accompanied by a copy of the certificate of authenticity) Alcaston Gallery, Melbourne The Le Pley Collection, Western Australia, acquired from the above in 2009 other notes “In this painting Sarah has painted her country Minna Minna. The different colours in the paintings represent the tali (sandhills) that surround this country. Sarah says that there ís good putja (bush leaves) which she cooks under hot coals. The white flowers of the putja are used in ceremony, rubbed onto the young men’s chest to make them strong ones. Sarah recalls walking all over this country as a child knowing it intimately and says that there are many pukarrpi (rock hoes) in the area.”

As stated on the Warlayirti Artists certificate of authenticity $3,500-6,000

67 © Sarah Daniels Napanangka/Copyright Agency, 2023

74

68

68

MINNIE CURTIS (c.1930 - 2003) (Language group: Pitjantjatjara) Minyma Tjintirtjintirpa Tjuta 2003 synthetic polymer paint on linen 120 x 150cm provenance The Artist Maruku Arts, Northern Territory, cat. no. 1424 (accompanied by a copy of the certificate of authenticity) The Le Pley Collection, Western Australia, acquired from the above in 2009 other notes “This is a series of waterholes and there is a cave which the Willie Wagtail women have entered and are eating a meal. I have painted something different.

They are eating mulga seeds.” (The Artist) As stated on the Maruku Arts certificate of authenticity $4,000-6,000

75

69 © Keith Stevens/Copyright Agency, 2023

69

KEITH STEVENS (born c.1940) (Language group: Pitjantjatjara) Nyapari 2010 synthetic polymer paint on canvas 196 x 211cm provenance The Artist Tjungu Palya, South Australia, cat. no. 10027 (accompanied by a copy of the certificate of authenticity) Short Street Gallery, Western Australia The Le Pley Collection, Western Australia, acquired from the above in 2010

76

other notes “This is all the area around Nyapari. There is tjukurpa Tjuta (many creation stories). There is Kuka Mamu (meat that is infused with spirit from creation time) and Piltati where those two wanampis (water serpents who have the power to change form) live and there is Wati Ngintaka (perentie man) who travelled through here. All this Tjurkurpa is for Nyapari.”

As stated on the Tjungu Palya certificate of authenticity $7,000-12,000

70

AUDREY MORTON NGWARAI (born 1952) (Language group: Alyawarre) Untitled 2007 batik on silk 183 x 110cm provenance The Artist Utopia Batik, Northern Territory, cat. no. 958 (accompanied by a copy of the certificate of authenticity) Vivien Anderson Gallery, Melbourne The Le Pley Collection, Western Australia, acquired from the above in 2009 other notes “Created at Arlparra, Utopia, Northern Territory, during the Utopia Batik Revival Workshop 2007 conducted by Julia Murray, founding co-ordinator of Utopia Batik, 1978-1982. This work is an unusual and delicate depiction of swathes of leaves, in greens and yellow on a purple ground, yet it is unmistakably a Utopia Batik. Unmistakable, because of the looseness of form and because of its inventiveness.

Audrey- along with her sisters Lucky, Ruby, Sarah and Lily Lion - was a young woman when she began painting as one of the original artists when the Utopia Women’s Batik Group was established in the late 1970s. Her batiks are held in many private collections, as well as the Holmes a Court collection.”

As stated on the Utopia Batik certificate of authenticity $3,000-6,000

70 © Audrey Kngwarreye/Copyright Agency, 2023

77

71 © Lena Pwerle/Copyright Agency, 2023

other notes “Created at Arlparra, Utopia, Northern Territory, during the Utopia Batik Revival Workshop 2007 conducted by Julia Murray, founding coordinator of Utopia Batik, 1978-1982.

This work, in hot orange and red, is a classic Lena Pula work: it features the loatjira (goanna), a recurring theme in her work, along with the characteristic Utopia Batik ‘starburst’ of Spinifex-like motifs.

71

LENA PULA PWERLE (born 1934) (Language group: Anmatyerre) Untitled - Loatjira (Goanna) 2007 batik on silk 110 x 224cm provenance The Artist Utopia Batik, Northern Territory, cat. no. 959 (accompanied by a copy of the certificate of authenticity) Vivien Anderson Gallery, Melbourne The Le Pley Collection, Western Australia, acquired from the above in 2009 exhibitions Australian Aboriginal Art, Residence of the Australian Ambassador to the People’s Republic of China, Beijing, 2018 (illus. p. 14)

78

A senior authority figure at Utopia, Lena is highly respected and revered, She was one of the first Health workers at Utopia, as well as one of the first batik artists when Utopia Batik began in the late 1970s. Since then she has represented the Utopia community in many ways, travelling to Indonesia and China. She has been a keen batik artist from the outset, and at the Utopia Batik Revival Workshop she came every day, even though she had to use a walking stick and some days had to be assisted to walk. She has great pride in the batik work created by the women at Utopia, and has given great support to the undertaking from the beginning. Her batiks are held in many private collections such as the Holmes a Court collection, as well as by the National Gallery of Victoria, the National Gallery of Australia, and the National Museum of Scotland.”

As stated on the Utopia Batik certificate of authenticity $3,000-6,000

72

JUDY GREENIE NGWARAI (born 1962) (Language group: Anmatyerre) Untitled 2007 batik on silk 113 x 199cm provenance The Artist Utopia Batik, Northern Territory, cat. no. 960 (accompanied by a copy of the certificate of authenticity) Vivien Anderson Gallery, Melbourne The Le Pley Collection, Western Australia, acquired from the above in 2009 exhibitions Australian Aboriginal Art, Residence of the Australian Ambassador to the People’s Republic of China, Beijing, 2018 (illus. p. 16)

other notes “Created at Arlparra, Utopia, Northern Territory, during the Utopia Batik Revival Workshop 2007 conducted by Julia Murray, founding co-ordinator of Utopia Batik, 1978-1982 This work, in lime green and yellow on a dark burgundy ground, whilst a classic example of Utopia Batik, it also shows Judy’s willingness to experiment with new motifs to create her characteristically powerful, vibrant movement across the silk.

Judy Greenie (Purvis) was one of the original artists who began batik painting in the late 1970s when the Utopia Women’s Batik Group was established. She has become a highly skilled batik artist with superb technical control whose dramatic works are widely admired and sought after. Batiks are held in the collections of the National Gallery of Australia, the Holmes a Court collection, the National Museums of Scotland, the Wollongong University art collection, as well as numerous private collections.

Indeed, one of Judy’s batiks from 2007 in the same colour scheme was chosen to be exhibited in the new textiles gallery at the National Gallery of Australia, Canberra in 2010.” As stated on the Utopia Batik certificate of authenticity $3,000-6,000

72 © Judy Greenie Kngwarreye/Copyright Agency, 2023

79

73 © Judy Greenie Kngwarreye/Copyright Agency, 2023

73

JUDY GREENIE NGWARAI (born 1962) (Language group: Anmatyerre) Untitled 2007 batik on silk 110 x 231cm provenance The Artist Utopia Batik, Northern Territory, cat. no. 961 (accompanied by a copy of the certificate of authenticity) Vivien Anderson Gallery, Melbourne The Le Pley Collection, Western Australia, acquired from the above in 2009 exhibitions Araluen Art Gallery, Alice Springs, 2007 (during the Royal Australian Institute of Architects national conference) Australian Aboriginal Art, Residence of the Australian Ambassador to the People’s Republic of China, Beijing, 2018 (illus. p. 15)

80

other notes “Created at Arlparra, Utopia, Northern Territory, during the Utopia Batik Revival Workshop 2007 conducted by Julia Murray, founding co-ordinator of Utopia Batik, 1978-1982. This large work, in white and turquoise on a rich brown ground, is a classic example of Utopia Batik with its characteristic swirling ‘starburst’ motifs that almost pulsate in their vibrant movement across the silk. It was exhibited at Araluen Art Gallery, Alice Springs, in 2007 during the Royal Australian Institute of Architects national conference focussing on Indigenous housing. Judy Greenie was one of the original artists who began batik painting in the late 1970s when the Utopia Women’s Batik Group was established. She has become a highly skilled batik artist with superb technical control whose dramatic works are widely admired and sought after. Her batiks are held in the collections of the National Gallery of Australia, the Holmes a Court collection, the National Museum of Scotland, the Wollongong University art collection, as well as numerous private collections.”

As stated on the Utopia Batik certificate of authenticity $3,000-6,000

74

TARKU ROSIE TARCO (born c.1934) (Language group: Juwaliny/Walmajarri) (born c.1934) Kurrajirri 2009 synthetic polymer paint on canvas 107 x 76cm provenance The Artist Mangkaja Arts, Western Australia, cat. no. 700/09 (accompanied by a copy of the certificate of authenticity) The Le Pley Collection, Western Australia $800-1,500

74 © Taku Rosie Tarco King/Copyright Agency, 2023

81

75 © Rita Muni Simpson/Copyright Agency, 2023

75

RITA SIMPSON (born c.1941) (Language group: Manyjilyjarra) Parnkapini - Minyipuru 2007 synthetic polymer paint on canvas 76 x 122cm provenance The Artist Ninuku Artists, South Australia, cat. no. 07-553 (accompanied by a copy of the certificate of authenticity) Alcaston Gallery, Melbourne The Le Pley Collection, Western Australia, acquired from the above in 2010 $1,500-2,500

82

ESTABLISHED 1919

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.

RE–ESTABLISHED 2023

83

The Sydney Opera House’s Iconic ‘Doughnuts’

sydney The Bond, 36-40 Queen Street, Woollahra, NSW 2025 t: (02) 9362 9045 info@leonardjoel.com.au leonardjoel.com.au

image: Concert Hall with Musica Viva March 1973, photograph

by Max Dupain.

Credit / Sydney Opera House Trust and Mitchell Library, State Library of NSW

Auction 21.11.2023

Important Jewels

sydney The Bond, 36-40 Queen Street, Woollahra, NSW 2025 t: (02) 9362 9045 info@leonardjoel.com.au leonardjoel.com.au

image: Marc Paris Aquamarine and Diamond Bracelet, Circa 1940 $200,000-300,000

Auction 05.12.2023

Conditions of Business / Summary special conditions of sale – jewellery Jewellery and watches offered by Leonard Joel are sometimes accompanied by an Independent valuation as stated in the catalogue. These valuations are conducted by registered valuers and are offered purely as independent opinions. Variation may be found as to the colour, clarity and size of stones described in these reports, consequently Leonard Joel does not guarantee these Independent Valuations. Where stones can be weighed accurately, weights will be provided. Weights of set stones are estimates only and are provided to the best of our technical ability. Gram weight on gold and other precious metals are also given as an approximation. Wristwatches and pocket watches are offered in there current condition and Leonard Joel does not guarantee that they are in working order. Items may be thoroughly inspected during the viewing period or by prior arrangement. authenticity certificates As various manufacturers may not issue certificates of authenticity, Leonard Joel has no obligation to furnish a buyer with a certificate of authenticity from the manufacturer, except where specifically noted in the catalogue. Unless Leonard Joel is satisfied that it should cancel the sale in accordance with the Limited Warranty provided in the General Conditions of Business, the failure of a manufacturer to issue a certificate will not constitute grounds for cancellation of the sale. gst In the event that the vendor is registered for Goods & Services Tax (GST), the invoice to the buyer will provide a separate entry for the GST which is included in the purchase price. All Leonard Joel charges for services referred to in this catalogue are exclusive of GST. Overseas buyers may be entitled to a rebate for GST charged.

For further information contact: Marie McCarthy accounts@leonardjoel.com.au admission Leonard Joel has the right at its sole discretion without assigning any reason therefore to refuse admission to the premises or attendance at any of its sales of any person. commission (absentee) bids Leonard Joel will execute absentee bids when instructed. Lots will be bought as cheaply as allowed by other bids and/or reserves.

damage Any viewer who damages a Lot will be held liable for all damage caused and shall reimburse Leonard Joel for all costs and expenses relating to rectification of such damage. title Leonard Joel guarantees good title to all lots. warranties and condition reports Condition reports will be available for any lot upon request, subject to conditions. estimates Estimates are a reflection of Leonard Joel’s opinion of the current market values, based on historic and current market realisations of similar lots. Estimates are inclusive of any GST, which may be applicable. Actual prices at this sale may fall short or exceed the estimates. payment In any event accounts must be settled with Leonard Joel no later than 4pm two days after the auction. Attention is specifically drawn to condition 21 of the Buyer’s Conditions of Sale.

Payment may be made by way of cheque, most credit cards, eftpos or telegraphic transfer.

Please note: payments made by cheque are subject to a 5 day clearance before goods can be collected.

Credit card fees may apply.

Bank telegraph transfers should be directed to: account name: Leonard Joel Pty Ltd address: Westpac Banking Corporation

150 Collins Street, Melbourne

VIC 3000 Australia bsb: 033–364 account no: 942956 collection of lots Purchased lots must be collected no later than two days after the auction; otherwise lots shall be moved to storage at the Buyer’s expense (see below). Lots are at the Buyer’s risk from the fall of the hammer. It is strongly advised that overseas and interstate purchasers and absentee bidders make their arrangements with Leonard Joel in advance of the Sale. Charges are outlined below and are quoted in Australian dollars.

ment, Water, Heritage and the Arts website at: www.environment.gov.au/heritage/movable/index exporting significant australian cultural heritage The export of Australia’s significant cultural heritage is regulated under the Protection of Movable Cultural Heritage Act 1986 (PMCH Act.) It is not intended to restrict normal and legitimate trade in cultural property and does not affect an individual’s right to own or sell within Australia. The PMCH Act implements a system of export permits for certain heritage objects defined as ‘Australian protected objects’. More information is available on the Department of the Environment, Water Heritage and the Arts’ website: www.arts.gov.au/movable_heritage Enquiries can be made to the Cultural Property Section at the Department of the Environment, Water, Heritage and the Arts, T: 02 6274 1810 E: movable.heritage@environment.gov.au cites regulations It is the buyer’s sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any relevant export and/or import licences. The refusal of any import or export licences, any delay in obtaining such licences or any limitation on your ability to export a lot shall not permit the cancellation of the sale. Please note that all lots marked with the symbol * are subject to CITES regulations when exporting these items outside of Australia. Information about these regulations may be found at www.environment.gov.au/biodiversity/tradeuse/cites/index.html or may be requested from: The Director International Wildlife Trade Department of Sustainability, Environment, Water, Population and Communities GPO Box 787 CANBERRA ACT 2601 leonard home delivery Purchases can be delivered to your door via Leonard Home Delivery. Please note this service is available in Melbourne (Select suburbs) only and is not available for Sydney auction purchases.

For any enquiries about this service please contact delivery@ leonardjoel.com.au recommended carriers For recommended carriers please refer to our website. partners:

telephone bidding Buyers interested in bidding by telephone should contact Leonard Joel as soon as possible. Please note that telephone bidding facilities are available on a first-come, first-served basis. bidder registration To recognise bidders during the sale all intending buyers are required to complete a Bidder Registration Form providing full photo identification and appropriate references if required before the Sale which will enable them to bid by way of a numbered paddle allocated to them. buyer’s premium There will be a buyer’s premium added to all purchases.The buyer’s premium will be calculated at the rate of 25% of the hammer price on each lot. This is inclusive of GST. The buyer’s premium is reflected by a reduction in the Seller’s Commission and is a common practice throughout Australia and overseas. property subject to the artist resale royalty Lots with the § sign will be subject to payment of the Artist Resale Royalty in the event that the lot is sold for a hammer price of $1,000 or more. The Australian Resale Royalty is a flat rate of 5 percent (5%) levy on the hammer price (including GST). The Australian Resale Royalty is payable by the buyer in addition to the buyer’s premium plus applicable GST.

86

removal and storage Any lots not collected within two days after the auction, may be stored or resold at the Buyer’s expense. removal charges Each lot: $55 storage charges Each lot: $33 per day protection of movable cultural heritage act 1986 (pmch act) Buyers should be aware of the PMCH Act which protects Australia’s heritage of movable cultural objects and supports foreign countries’ right to protect their heritage of movable cultural objects. The PMCH Act regulates the export of nationally significant heritage objects, it is not intended to restrict normal and legitimate trade in cultural property, and does not affect an individual’s right to own or sell objects, within Australia. The PMCH Act was enacted in response to the 1970 UNESCO Convention on the Means of Prohibiting the Illicit Import, Export and Transfer of Ownership of Cultural Property. It is the responsibility of the Buyer to ensure that the export of any lots purchased are not subject to, or in breach of, this Act. Information about the PMCH Act, the Protection of Movable Cultural Heritage Regulations 1987 and the 1970 UNESCO Convention, can be found on the Department of the Environ-

Artist Index

A

P

Apuatimi, Jean Baptiste 37

Paul, Paula 15 Petyarre, Annie Hunter 40 Petyarre, Gloria Tamerre 53 Pwerle, Lena Pula 71

B

Baker, Jimmy 26 Brown, Anmanari 17 Brumbie, Julie & Connolly, Bonnie 51 Butler, Katjarra 18 Butler, Manupa 52

S

Connolly, Bonnie 65 Curley, Imitjala 44 Curtis, Minnie 68

Simms, Nulbinga 30 Sims, Paddy Japaljarri 24 Simpson, Rita 75 Stevens, Eileen Yaritja 12, 19 Stevens, Keith 69 Stewart, Paddy Japaljarri 22 Surprise, Wakartu Cory 16

D

T

Daniels, Sarah 67

Tarco, Tarku Rosie 74 Thomas, Phyllis 38 Tjampitjinpa, Martin 28 Tjampitjinpa, Kaapa Mbitjana 36 Tjampitjinpa, Reggie Jackson 41 Tjapaltjarri, James Gibson 7 Tjapangarti, John Mosquito 60 Tjungarrayi, Bob Gibson 10 Tjupurrrula, Johnny Yungut 59 Tjupurrula, Turkey Tolson 35 Tjutjuna, Harry 20, 42

C

F

Farmer, Annie 58 Fatt, Ruth 32 G

Gabori, Sally & Naranatjil, Dawn 14 Giles, Nyarapayi 21 Golding, Carol Maayatja 11 J

Jack, Weaver 45, 48

W

K

Warakurna Women’s Collaborative 8 Wilson, Regina Pilawuk 50, 54, 56

Kantilla, Lorna 61 Karedada, Lily 33 Kawiny, Tjamapawa Katie 5 Ken, Tjungkara 25 Kerinauia, Raelene 55 L

Laidlaw, Nyumitja 29 Lewis, Tjunka 3 M

Martin, Angampa 66 Maxwell, Neil 6, 27 Mitchell, Tommy 23 N

Nampitjinpa, Mary Anne 64 Napaltjarri, Dora Mungkirna 62 Napaltjarri, Tjunkiya 57 Napanangka, Liddy Walker 49 Napanangka, Makinti 13 Napanangka, Walangkura 4 Napangardi, Judy Watson 47 Napangarti, Bai Bai 2, 46 Ngale, Kathleen 43 Nganjmira, Robin 34 Ngarnjapayi, Nancy Chapman 1 Ngawarai, Ruby Morton 39 Ngwarai, Audrey Morton 70 Ngwarai, Judy Greenie 72, 73 Nungurrayi, Elizabeth Nyumi 9 Nungurrayi, Ena Gimme 31 Nungurrayi, Muntja 63

87

Our Specialists

chairman & head of important collections John Albrecht, BA LLB MBA chief executive officer Marie McCarthy fine art Olivia Fuller BArtTh, Head of Department Lucy Foster BCA EMA, Senior Specialist, Fine Art Hannah Ryan, Specialist James Stanton, Administrator and Registrar indigenous art Olivia Fuller BArtTh, Head of Department Lucy Foster BCA EMA, Senior Specialist decorative arts Chiara Curcio BA, Head of Department David Parsons, Head of Private Estates and Valuations, Decorative Arts Specialist Trevor Fleming BA, Consultant, Japanese Art Carl Wantrup, Consultant, Asian Art Natasha Berlizova, Administrator sydney Ronan Sulich, Senior Adviser Madeleine Norton BFA, BComm, MLitt, Head of Decorative Arts & Art Ella Nail, Office Manager & Administrator important jewels Hamish Sharma, Head of Department, Sydney Lauren Boustridge BSc, AJP, GG (GIA), Senior Specialist fine jewels & timepieces Bethany McGougan F.G.A.A., BA Hons, MSc, Head of Department, Melbourne Patricia Kontos F.G.A.A., Senior Jewellery Specialist Indigo Keane, Luxury Specialist & Jewellery Manager Isabella Macciolli, Jewellery Assistant Leila Bakhache, Luxury and Jewellery Assistant Echo Liu, Administrator Henrietta Maiyah, Consultant modern design Rebecca Stormont, Specialist Paul Nicol, Assistant luxury Indigo Keane, Specialist Leila Bakhache, Assistant Echo Liu, Administrator prints Hannah Ryan, Art Specialist

88

furniture Shawn Mitchell, Manager Angus McGougan, Assistant April Chandler, Assistant Daragh Geraghty-Singlton, Assistant jewellery Indigo Keane, Manager Isabella Macciolli, Assistant art salon Amanda North, Manager Noelle Martin, Assistant objects & collectables Dominic Kavanagh MFA, Manager Kyle Walker, Assistant valuations David Parsons, Head of Private Estates and Valuations, Decorative Arts Specialist Troy McKenzie, Queensland Representative Specialist Anthony Hurl, South Australia Representative Specialist John Brans, Western Australia Representative Specialist accounts Aaron Gurney, Finance Manager Michelle Draper, Account Manager Karishma Sareen, Accounts Assistant client services Kim Clarke, Client Services Manager Amelia Lewis, Client Services Liaison Richard Grieve, Client Services Liaison operations & logistics Anthony Riepsamen, Manager Chris Salaoras, Logistics Assistant marketing & communications Blanka Nemeth, Senior Marketing, Media, & Communications Manager Lucy Lewis, Database & Marketing Coordinator photography Paolo Cappelli, Senior Photographer & Videographer Adam Obradovic, Photographer & Videographer graphic design Maria Rossi

melbourne 333 Malvern Road, South Yarra, VIC 3141 (03) 9826 4333 sydney The Bond, 36-40 Queen Street, Woollahra, NSW 2025 (02) 9362 9045 brisbane 201 Latrobe Terrace, Paddington QLD 4064 0412 997 080 adelaide 429 Pulteney Street, Adelaide SA 5000 0419 838 841 perth 0412 385 555 info@leonardjoel.com.au leonardjoel.com.au

AUCTION CATALOGUE VOLUME 16 ISSUE 20 LJ8723