First Nations & Australian Fine Art Auction_May 2026_French

FIRST NATIONS & AUSTRALIAN

FINE ART AUCTION

Featuring the Collection of Dame Marie Bashir AD CVO & Sir Nicholas Shehadie AC OBE

19 MAY 2026

Jack Britten, Dame Marie Bashir, Henry Wambini, Beerbee Mungnari, Hector Jandany, Queenie Mckenzie & Rover Thomas | Photo by Helen Read

Art Leven foremost acknowledges Australia’s First Nations Peoples, the Gadigal people of the Eora Nation, as the traditional owners and custodians of the unceded land and waters on which we work and reside.

We pay our respects to the Traditional Custodians of this nation, their ongoing cultural, educational, spiritual and artistic practices.

Aboriginal and Torres Strait Islander people are advised that this catalogue contains names, images and artworks of deceased persons.

COVER | LOT 6, ROBERT CAMPBELL JNR, Shooting the Blacks, 1986

© Robert Campbell Jnr / Courtesy of the artist’s Estate and Roslyn Oxley9 Gallery, Sydney

It is a privilege to present First Nations & Australian Fine Art: Featuring the Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, a collection shaped by connoisseurship and a lifetime of engagement with artists and communities across the continent.

I first met Dame Marie Bashir in 2009 when she opened the exhibition Written in the Land:The LifeofQueenie McKenzie at Coo-ee Aboriginal Art. Mary and Joseph,1997 (LOT 73), was included in that exhibition, which was the first major show I worked on. At the time, I was still finding my place within the industry. During that visit she said to me, simply: “Keepgoing.We need morewomen like you.” It was a brief exchange, but one that has stayed with me.

That sense of encouragement and curiosity runs through this collection. As her daughter Susan Shehadie recalls, it reflects “her respect, love and deep personalconnectiontoFirstNationspeopleandculture,andherlovefor Australiaandhumanityingeneral.” It is not organised around a single movement or category, but shaped by relationships with artists and with place.

Over many years, Bashir and Shehadie travelled extensively across the continent. These were not trips driven by acquisition, but by a desire to learn and listen. As curator Ace Bourke observed, “hermainreasonforbeingtherewastolisten to the pulse of the nation she loved.” The works that entered the collection were gathered through these encounters.

Many of the works are modest in scale, but assured in their presence. Their strength lies in the clarity of their intent and the depth of their meaning. This reflects how they were acquired, through moments of exchange rather than a pursuit of monumentality. Bashir collected with confidence, drawn to works that carried meaning and spoke to the realities of this country.

The collection presents a broader view of Australian art, where different practices sit alongside one another. It is held together by a shared sense of significance, with each work carrying its own story and place within a larger context.

It is an honour to bring this collection to auction. In doing so, we recognise the importance of the works and the legacy of the collectors who brought them together.

LOTS 1- 32 & 69 - 115

The Collection of Dame Marie Bashir AD CVO & Sir Nicholas Shehadie AC OBE

INTRODUCTION

C’est un privilège de vous présenter First Nations & Australian FineArt : FeaturingtheCollectionofDameMarieBashirADCVOandSirNicholas ShehadieACOBE, une collection façonnée par un œil d’expert et une vie entière consacrée aux artistes et aux communautés de tout le continent.

J’ai rencontré Dame Marie Bashir pour la première fois en 2009, lors de l’inauguration de l’exposition Written in the Land : The Life of Queenie McKenzie à la galerie Coo-ee Aboriginal Art. L’œuvre, Mary and Joseph, de 1997 (LOT 73), figurait dans cette exposition, qui fut la première grande exposition sur laquelle j’ai travaillé. À l’époque, je cherchais encore ma place dans le secteur. Lors de cette visite, elle m’a simplement dit : « Continuez. Nous avons besoin de plus de femmes comme toi. » Ce fut un échange bref, mais qui m’est resté.

Ce sentiment d’encouragement et de curiosité imprègne toute cette collection. Comme le rappelle sa fille Susan Shehadie, ‘elle reflète, son respect, son amour et son lien personnel profond avec les peuples et la culture des Premières Nations, ainsi que son amour pour l’Australie et l’humanité en général’. Elle n’est pas organisée autour d’un mouvement ou d’une catégorie unique, mais façonnée par les relations avec les artistes et avec les lieux.

Pendant de nombreuses années, Bashir et Shehadie ont beaucoup voyagé à travers le continent. Ces voyages n’étaient pas motivés par l’acquisition, mais par un désir d’apprendre et d’écouter. Comme l’a observé le conservateur Ace Bourke, ‘sa principale raison d’être là-bas était d’écouter le pouls de la nation qu’elle aimait’. Les œuvres qui ont rejoint la collection ont été rassemblées grâce à ces rencontres.

Beaucoup de ces œuvres sont de taille modeste, mais leur présence est assurée. Leur force réside dans la clarté de leur intention et la profondeur de leur sens. Cela reflète la manière dont elles ont été acquises, à travers des moments d’échange plutôt que par la recherche de la monumentalité. Bashir collectionnait avec assurance, attirée par des œuvres porteuses de sens et qui parlaient des réalités de ce pays.

La collection offre une vision plus large de l’art australien, où différentes pratiques coexistent. Elle est unie par un sens commun de l’importance, chaque œuvre portant sa propre histoire et occupant sa place dans un contexte plus large.

C’est un honneur de mettre cette collection aux enchères. Ce faisant, nous reconnaissons l’importance des œuvres et l’héritage des collectionneurs qui les ont réunies.

LOTS 1-32 & 69-115

La collection de Dame Marie Bashir AD CVO et Sir Nicholas Shehadie AC OBE

INTRODUCTION

PHOTO BY DAME MARIE BASHIR AD

LOTS 1 - 32 & 69 - 115

The Collection of Dame Marie Bashir AD

CVO & Sir Nicholas Shehadie AC OBE

LOTS 33 - 68 Mixed Vendors

19 MAY 2026

T A I L S & S i r

Thursday 14 May 2026 | 5 - 8pm

VIEWING

FRIDAY 15 - TUESDAY 19 May 2026 10am - 6pm

ART LEVEN 104 CATHEDRAL STREET

WOOLLOOMOOLOO NSW 2011 AUSTRALIA

AUCTION | LIVE & ONLINE

TUESDAY 19 MAY 2026

7 pm AEST Start

ARTSPACE THE GUNNERY, 43/51 COWPER WHARF ROADWAY WOOLLOOMOOLOO NSW 2011 AUSTRALIA

ENQUIRIES

auction@artleven.com | +61 (0)2 9300 9233

DIRECTOR | Mirri Leven | +61 (0)416 379 691

SPECIALIST | Emma Lenyszyn | +61 (0)400 822 546

BIDDING

bidding form pages 149 - 151 or QR below VERNISSAGE

PHONE & ABSENTEE

A - J K - Z LOT LOT

Ada Bird Petyarre 84

Albert Namatjira 35

Arthur Boyd 32

Artist Once Known 56, 57, 110, 113

Aubrey Tigan 1

Balang Nakurulk (Mr Mawurndjul AM) 49

(Dr) Banduk Mamburra

Wananamba Marika AO 17

Bill Whiskey Tjapaltjarri 40

Billy Benn Perrurle 36

Churchill Yoonany Cann 80, 81

Craig Koomeeta 68

David Jarinyanu Downs 78

David Hall Tjangala 94

Dick Ngulmarmar 53

Djirrirra Yukuwa Wununmurra 55

Dorothy Robinson Napangardi 11, 60

Elcho Island & Maningrida Artists 111

Elizabeth Nyumi Nungurrayi 3

Emily Kame Kngwarreye 5, 88

Eubena Nampitjin 4

Eunice Jack Napanganka 42

Freddie Timms 63, 74

Garry Shead 29, 30, 31

George Tjungurrayi 47

George McDonald Wilyiri Tjungarrayi 97

(Dr) George Tjapaltjarri 100, 101

Gertie Huddleston 89

Ginger Riley Munduwalawala 7

Gloria Tamerre Petyarre 87

Gloria Fletcher Thancoupie 2

Hazel Kngwarreye 85 Hector Jandany 76

Helicopter Joe Tjungurrayi 14

Henry Wambiny 82

Ian Wayne Abdulla 8, 64

Ivan Fernando 20

Jack Britten 77

James Iyuna 112

Janice Kngwarreye 85

January Nangunyarri Namarridali 51

Jimmy Kurtnu Pike 37

Joe Lewis 83

John De Burgh Perceval AO 25

John Dalnga Dalnga 107

Jonathan Kumintjara Brown 75, 106

Judy Manany Gurruwiwi 54

Judy Watson Napangardi 10

Kuruwarriyingathi Bijarrb Paula Paul 39, 62

Lily Karadada 21, 79, 114

Lucy Yukenbarri Napanangka 15

Lynn Ward Napangardi 43

Mabel Juli 58

Makinti Napanangka 41, 65

Maningrida Artists 109, 111

Mathew Lynn 26

Michelle Kngwarreye 85

Millie Skeen Nampitjin 16

Moima Willie & Willie Kuribi Gudabi 90

Myra Patrick Herbert Nungarrayi 105

Nancy Petyarre 86

Ningura Napurrula 12

Noŋgirrŋa Marawili 69

Old Nym Djimurrgurr 50

Otto Pareroultja 34

Paddy (Jampin) Jaminji 23

Paddy Bedford Nyunkuny 48

Paddy Fordham Wainburranga 18

Paddy Sims Japaljarri 104 (Dr) Pantjiti Mary McLean 91 (Kuruwarriyingathi Bijarrb) Paula Paul 39, 62

Queenie McKenzie 22, 73, 115

Ray Austin Crooke 27

Richard Djarrbbarali 19

Richard Bell 71

Richard Tax Tjupurrula 95

Robert Campbell Jnr 6, 70

Ronnie Tjampitjinpa 45, 46

Rover Joolama Thomas 33, 72

Sam Willikati Tjampitjin 96

Stanislaus Puruntatameri 67

Stephen Kawurlkku 112

Susie Bootja Bootja Napaltjarri 93

Tatali Napurrula 99

Tim Johnson 28

Timothy Cook 59

Toby Gabalga 108

Tony Tuckson 24

Trevor Nickolls 38

Walala Tjapaltjarri 102

Walangkura Napanangka 66

Weaver Jack 61

Willie Kuribi Gudabi 9, 90, 92

Willy Tjungurrayi 103

Yinarupa Nangala 44

Yirawala 52

Yumpululu Tjungurrayi 13

Yuyuya Nampitjinpa 98 A R T I S T I N D E X

I

Collection of Dame Marie Bashir AD CVO & Sir Nicholas Shehadie AC OBE

As a nurse-pilot, I flew Professor the Honourable Dame Marie Bashir AD CVO across the NW of Australia several times through the 1990s. I witnessed the strength and sincerity of Dame Marie’s regard for Australia’s First Nations people and cultures. Her sincerity and informed respect was re-assuring and uplifting at a time when there was little interest in cross-cultural interactions with Indigenous Australians.

Flying out to visit people across Arnhem Land, Kimberley and Central Australia, Dame Marie would say that she was coming on the air art tours to “Put her finger on the pulse of the nation”.

Dame Marie’s deep interest in people as individuals, as family members and important remote community Knowledge Keepers was evident. Her gracious and inclusive bearing was that of a leader and teacher herself, making everyone feel at ease whilst giving time and attention to their well-being and artistic practice in equal measure.

The artworks collated here from Dame Marie and husband Sir Nicholas Shehadie AC OBE, their private collection, is a window into the personal connections made with the artists at an early, burgeoning time of recognition for Australia’s First People’s cultural strength, diversity and artistic history.

During our travels Dame Marie would keenly note where she could be of assistance once returned to Sydney. She then, for example, wrote in support of funding applications for Art Centre managers, would care for Warmun artist Hector Jandany in her home after he had surgery, and would go to court advocating for a fairer justice system for young Indigenous people.

On one of the Palya Art tours (then called Didgeri Air Art Tours, before the internet), Dame Marie’s husband, Sir Nick, joined her on her travels and both were obviously a great team enjoying meeting Cultural Custodians, artists and community members, talking sport and medicine, families and art. I found Sir Nick once tending to a wound on Eubena Nampitjin’s leg and Marie often quickly and easily identifying those who may be in need of medical attention.

In order to advance awareness of First Nations’ art, life and cultural practices, Dame Marie would also give lectures and speeches. She opened exhibitions including the touring show ‘A Thousand Journeys’, re-held at the Manly Art Gallery and Museum in May 2018, an exhibition first shown in 1996 from my own art collection with the purpose of reaching new audiences and for education, when few culturally and stylistically diverse Indigenous artworks had been on show abroad, or in regional Australia.

It was a privilege to get to know Dame Marie, to experience her contributions and interactions. I greatly appreciated her support of my efforts - in maintaining connections, organising visiting permits, food, accommodation, fuel, 4WD’s, flying the aeroplane - in bringing people with means and influence out to meet artists living remotely, to witness first hand peoples’ life on Country and related cultural practices. She understood the aim was to help improve health and living conditions and for the world to discover the depth, diversity and richness of First Nations’ Australia.

INTRODUCTION

Included in the auction are representations by over 50 artists, many of whom, since Dame Marie and Sir Nick acquired these artworks, have rightly come onto the world stage. These artists include Rover Thomas, Queenie McKenzie, Noŋgirrŋa Marawili, Elizabeth Nyumi, Eubena Nampitjin and Emily Kame Kngwarreye (Kam Kngwarray), and with many more to follow in their footsteps.

L-R: Georgeanne McEwan, The Honourable Dame Marie Bashir AD CVO, Patsy Mudgedell, James Cowan, Wendy Cowan, Wendy Loefler & Helen Read with Cessna 185 Call Sign FLU

Sir Nicholas Shehadie AC OBE & The Honourable Dame Marie Bashir AD CVO

I N T R O D U C T

Collection de Dame Marie Bashir AD CVO et de Sir Nicholas Shehadie AC OBE

En tant qu’infirmière-pilote, j’ai transporté à plusieurs reprises la professeure Dame Marie Bashir AD CVO à travers le nord-ouest de l’Australie au cours des années 1990. J’ai été témoin de la force et de la sincérité de l’attachement de Dame Marie envers les peuples et les cultures des Premières Nations d’Australie. Sa sincérité et son respect éclairé étaient rassurants et inspirants à une époque où l’on s’intéressait peu aux interactions interculturelles avec les Australiens autochtones.

Lorsqu’elle s’envolait pour rendre visite aux populations de la terre d’Arnhem, du Kimberley et du centre, Dame Marie disait qu’elle participait à ces tournées aériennes pour « prendre le pouls de la nation.

L’intérêt profond de Dame Marie pour les personnes en tant qu’individus, membres d’une famille et gardiens du savoir essentiels des communautés isolées était évident. Son attitude gracieuse et inclusive était celle d’une leader et d’une enseignante, mettant tout le monde se sentir à l’aise tout en accordant autant de temps et d’attention à leur bien-être qu’à leur pratique artistique.

Les œuvres d’art rassemblées ici, issues de la collection privée de Dame Marie et de son mari, Sir Nicholas Shehadie AC OBE, issues de leur collection privée, offrent un aperçu des liens personnels établis avec les artistes à une époque précoce et florissante de reconnaissance de la force culturelle, de la diversité et de l’histoire artistique des Premiers Peuples d’Australie.

Au cours de nos voyages, Dame Marie notait avec attention où elle pourrait apporter son une fois de retour à Sydney. Elle a ainsi, par exemple, rédigé des lettres de soutien aux demandes de financement des directeurs de centres d’art, a pris soin de l’artiste de Warmun Hector Jandany chez elle après son opération, et s’est rendue au tribunal pour plaider en faveur d’un système judiciaire plus équitable pour les jeunes autochtones.

Lors d’un des circuits Palya Art (alors appelés Didgeri Air Art Tours, avant l’arrivée d’Internet), le mari de Dame Marie, Sir Nick, l’accompagna dans ses voyages et tous deux formaient manifestement une excellente équipe, prenant plaisir à rencontrer les gardiens de la culture, les artistes et les membres de la communauté d’ , discutant de sport et de médecine, de familles et d’art. J’ai vu une fois Sir Nick soigner une blessure à la jambe d’Eubena Nampitjin, et Marie identifiait souvent rapidement et facilement ceux qui pouvaient avoir besoin de soins médicaux.

INTRODUCTION

Afin de mieux faire connaître l’art, la vie et les pratiques culturelles des Premières Nations, Dame Marie donnait également des conférences et des discours. Elle a inauguré des expositions, notamment l’exposition itinérante A ThousandJourneys, présentée à nouveau à la Manly Art Gallery and Museum en mai 2018, une exposition issue de ma propre collection d’art et présentée pour la première fois en 1996 dans le but de toucher de nouveaux publics et de promouvoir l’ l’éducation, à une époque où peu d’œuvres d’art autochtones, d’une grande diversité culturelle et stylistique, étaient exposées à l’étranger ou dans les régions d’Australie.

Ce fut un privilège de faire la connaissance de Dame Marie, de découvrir ses contributions et ses interactions. J’ai grandement apprécié son soutien à mes efforts – pour en maintenant les liens, en organisant les permis de visite, la nourriture, l’hébergement, le carburant, les 4x4, en pilotant l’avion – pour amener des personnes ayant les moyens et d’influence à rencontrer des artistes vivant dans des régions reculées, afin qu’ils puissent observer de leurs propres yeux la vie des populations sur leur territoire et leurs pratiques culturelles. Elle comprenait que l’objectif était de contribuer à améliorer la santé et les conditions de vie, et de permettre au monde de découvrir la profondeur, la diversité et la richesse des Premières Nations d’Australie.

La vente aux enchères comprend des œuvres de plus de 50 artistes, dont beaucoup, depuis que Dame Marie et Sir Nick ont acquis ces œuvres, se sont à juste titre imposés sur la scène internationale. Parmi ces artistes figurent Rover Thomas, Queenie McKenzie, Noŋgirrŋa Marawili, Elizabeth Nyumi, Eubena Nampitjin et Emily Kame Kngwarreye (Kam Kngwarray), et bien d’autres encore qui suivront leurs traces.

L-R, T-B:

Colin Laverty, Elizabeth Laverty, Edward Vasilcik, Helen Read, Nicholas Shehadie & Marie Bashir on Elcho Island

The Honourable Dame Marie Bashir AD CVO

The Honourable Dame Marie Bashir AD CVO & Angelina George at Ngukurr

Sir Nicholas Shehadie AC OBE & Rover Thomas in Warmun

AUBREY TIGAN

1945 - 2013 | Bardi/Djawi language

Riji,2003

17.5 x 14 cm (irregular); 19cm x 14 cm (with stand) incised pearl shell with red ochre infill

$1,000 - $1,500

initials inscribed verso ‘A.T.’; Cat No. 23414

PROVENANCE

Short Street Gallery, Western Australia, Cat No. 23414

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

GLORIA FLETCHER THANCOUPIE

1937 - 2011 | Thawnakwith language

PeetharandPharra(LoveMagicEgg),c.1986

14.5 x 11.5 x 11.5 cm; 15.5 x 15.5 x 15.5 cm (with stand) slip and stoneware with oxide decoration on incised design; ring stand of natural fibre and feathers

$3,000 - $5,000

signed on base ‘Thancoupie’

PROVENANCE

The Artist, Cape York Peninsula, Queensland

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

ELIZABETH NYUMI NUNGURRAYI

c.1947 - 2019 | Pintupi language

Untitled,1998

91.5 x 61 cm acrylic on linen

$2,500 - $3,500

bears inscription verso: Warlayirti Artists, P/S, 900 x 600 Elizabeth Nyumi, 51/98

PROVENANCE

Warlayirti Artists, Western Australia, Cat No. 51/98 acquired from the above during art collecting trip 1999 The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

EUBENA NAMPITJIN

1925 - 2013 | Wangkajunga/Kukatja language

Untitled,1996

100 x 50 cm acrylic on linen

$6,000 - $9,000

cataloguing details verso: Eubena, Warlayirti Artists, P/S, 1000x500, 392/96

PROVENANCE

Warlayirti Artists, Western Australia, Cat No. 392/96 acquired from the above during art collecting trip 1996 The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

Accompanied by a photograph of the artwork in the Art Centre

EMILY KAME KNGWARREYE (EMILY KAM KNGWARRAY)

c.1910 - 1996 | Anmatyerr language

Untitled(Awelye),1994

38 x 31.5 cm acrylic on canvas

$12,000 - $18,000

bears inscription verso: EK 4.11.94

PROVENANCE

Mulga Bore Artists (Rodney Gooch), Northern Territory, Cat No. EK 4.11.94

Utopia Art Sydney, New South Wales

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

Emily Kame Kngwarreye began painting at the age of seventy-nine and in just eight years completed no fewer than three thousand works of art. Her artistic achievement, miraculous in its strength and powerful appeal, owes much to the inspiration of Indigenous spirituality and the magical creation stories that underpin its belief systems.

This work is representative of Emily Kame Kngwarreye’s later works which she executed in a rapid confident motion. Stripes sear the canvas and map the body-painting used in Awelye - women’s public song ceremonies.

This linear pattern of bold stripes represents the Women’s Ceremony body paint design and evokes its shimmer as women dance by firelight.

After covering their bodies with animal fat, the women trace these designs onto their breasts, arms and thighs singing as each woman has a turn to be ‘painted up’.

ROBERT CAMPBELL JNR

1944 - 1993 | Ngaku language

ShootingtheBlacks,1986

91 x 120.5 cm; 94 x 123 cm (framed) acrylic on canvas

$35,000 - $45,000

signed lower front right ‘Robert Campbell JR, 16.9.1986

NGAKU’; bears Roslyn Oxley9 Gallery label verso

PROVENANCE

Roslyn Oxley9 Gallery, New South Wales

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

EXHIBITED

RobertCampbellJnr, 8 April - 25 April 1987, Roslyn Oxley9 Gallery, Sydney, NSW, Cat No. 12

RobertCampbellJnr:HistoryPainter, April - May 2015, Artbank, Sydney, NSW

“I had the privilege of working closely with Robert Campbell Jnr as his gallerist, from his first exhibition in 1987 through to his last in 1991.

His paintings were grounded in his lived experience as an Aboriginal man and were always told with remarkable directness. At the time, the way Robert was painting was highly distinctive – his paintings really stood out.

This work, ShootingtheBlacks, is a great example of this. As its title suggests, it depicts a brutal reality of Australia’s colonial history, told through a visual language that is immediately recognisable and uniquely his own.”

Roslyn Oxley, Roslyn Oxley9 Gallery

Honourable Dame Marie Bashir AD CVO & Djon Mundine OAM at the opening of RobertCampbellJnr:HistoryPainter, April - May 2015, Artbank, Sydney, NSW

Credit ART BANK

GINGER RILEY MUNDUWALAWALA

c.1936 - 2002 | Marra language

NgakNgaktheHunter,1999

55 x 71 cm (image); 84.1 x 98.5 cm (framed) acrylic on Arches paper

$5,000 - $8,000

signed front bottom center ‘Ginger Riley’; Alcaston Gallery stamp verso; AK4733

PROVENANCE

Alcaston Gallery, Victoria, Cat No. AK4733

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

Accompanied by the original receipt and letter from Alcaston Gallery

EXHIBITED

GingerRiley:AlwaysatHome, August - September 1999, Alcaston Gallery, Melbourne, Vic

IAN WAYNE ABDULLA

1947 - 2011 | Ngarrindjeri language

OneNightWeWereCamping...,1993

91.5 x 122 cm

acrylic on canvas

$4,000 - $6,000

signed bottom right ‘Ian W Abdulla 1993’; name tag BESHER, ag1008

PROVENANCE

Anima Gallery, South Australia, Cat No. ag1008

Boomalli Aboriginal Artists Co-operative, New South Wales

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

EXHIBITED

IanAbdulla,RichardBell,HarryWedge, 1993, Boomalli Aboriginal Artists Co-operative, NSW, Cat No. 13

Inscribed: “One night while we were camping near Gerard Mission near a place called Putcharoo’s wich is a Native Willow in white man’s talk well that night we hade a fish hanging in the tree’s, and when we were not looking some one or some thing took the Fish from the tree so One of my cousin’s got the gun and started shooting every where and it was so funny we just laughed our head off. (sic)”

WILLIE KURIBI GUDABI

1917 - 1996 | Alawa language

Naukkar,1992

94 x 63 cm

acrylic on cotton duck

$1,500 - $2,000

bears inscription verso: Willie Gudipi (Ngukkar), AK1211

PROVENANCE

Alcaston Gallery, Victoria, Cat No. AK1211

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

EXHIBITED

Alcaston Gallery, 1992, Melbourne, Victoria

JUDY WATSON NAPANGARDI

c.1935 - 2016 | Warlpiri language

Untitled,1999

106 x 61 cm acrylic on linen

$2,500 - $3,500

bears cataloguing details verso

PROVENANCE

Warlukurlangu Artists, Northern Territory, Cat No. 3/99 acquired from the above during art collecting trip 1999

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

DOROTHY ROBINSON NAPANGARDI

1956 - 2013 | Warlpiri language

MinaMina,2002

61 x 61 cm

acrylic on linen

$1,000 - $2,000

signed verso ‘Dorothy’; bears cataloguing details and Gallery Gondwana stamp verso

PROVENANCE

Gallery Gondwana, Northern Territory, Cat No. 7546DN

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

NINGURA NAPURRULA

1938 - 2013 | Pintupi language

Wirrulnga,2006

91 x 91 cm

acrylic on linen

$2,500 - $3,500

bears inscription verso: Ningura Napurrula, Papunya Tula Artists, NN0603180; Utopia Art Sydney label adhered verso

PROVENANCE

Papunya Tula Artists, Northern Territory, Cat No. NN0603180

Utopia Art Sydney, New South Wales

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

Accompanied by a certificate of authenticity from Papunya Tula Artists

EXHIBITED

P.T.A, 17 June - 8th July 2006, Utopia Art Sydney, NSW

YUMPULULU TJUNGURRAYI

c.1930 - 1998 | Pintupi language

Untitled,1997

91 x 46 cm

acrylic on linen

$1,800 - $2,500 bears cataloguing details verso

PROVENANCE

Papunya Tula Artists, Northern Territory, Cat No. YT970807

Utopia Art Sydney, New South Wales

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

EXHIBITED

SeniorPintupiMenfromPapunyaTulaArtists, 1998, Utopia Art Sydney, New South Wales, Cat No. 12

HELICOPTER JOE TJUNGURRAYI

c.1947 - 2025 | Kukatja language

Wangkartu,1997

90 x 60 cm

acrylic on linen

$1,500 - $2,500 bears cataloguing details verso

PROVENANCE

Warlayirti Artists, Western Australia, Cat No. 526/97 acquired from the above during art collecting trip 1997

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

Accompanied by copy of receipt from Warlayirti Artists

LUCY YUKENBARRI NAPANANGKA

1934 - 2003 | Kukatja language

Untitled,1999

121 x 40 cm

acrylic on linen

$2,000 - $3,000 bears cataloguing details verso

PROVENANCE

Warlayirti Artists, Western Australia, Cat No. 160/99 acquired from the above during art collecting trip 1999

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

MILLIE SKEEN NAMPITJIN

c.1940 - 1997 | Kukatja language

Untitled,1997

75 x 50 cm acrylic on linen

$2,500 - $3,500 bears cataloguing details verso

PROVENANCE

Warlayirti Artists, Western Australia, Cat No. 457/97 acquired from the above during art collecting trip 1997

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

Accompanied by copy of receipt from Warlayirti Artists

DR BANDUK MAMBURRA WANANAMBA MARIKA AO

1954 - 2021 | Yolŋu language

Untitled,1999

277 x 38 cm ochre on bark

$3,000 - $5,000

bears inscription verso: Banduk; 1604P, 39, crate 1

PROVENANCE

Buku-Larrŋgay Mulka, Northern Territory, Cat No. 1604P acquired from the above during art collecting trip 1999 The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

PADDY FORDHAM WAINBURRANGA

c.1938 - 2006 | Rembarrnga language

Balangjalngalan(SpiritFigure),1997

207.5 x 8 cm (irregular); 208 x 20 x 20 cm (with stand) ochre on carved wood

$2,000 - $3,000

PROVENANCE

Balang Art and Crafts, Katherine, Northern Territory

Jarraman Arts Aboriginal Corporation, Northern Territory

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

EXHIBITED

SpiritsoftheDreaming, Sydney, July 1998, presented by Jarraman Arts Aboriginal Corporation, Cat No. 31

19

RICHARD DJARRBBARALI born 1952 | Djambarrpuyŋu language

MorningStarPole,1997

170.5 x 6.5 x 6.5 cm ochre on wood with bush string and feathers

$2,000 - $3,000

PROVENANCE

Elcho Island Arts, Northern Territory

acquired from the above during art collecting trip 1997

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

IVAN FERNANDO

1959 - 2021 | Tiwi language

Tokwampini,TheBird,c.1990

63 x 11 x 11 cm ochre on carved wood

$600 - $800

bears original label: Ivan Fernando

PROVENANCE

Jilamara Arts and Crafts, Northern Territory, Cat No. 020-254 acquired from the above during art collecting trip 1994 The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

LILY KARADADA

born c.1927 | Tjarintji/Woonambal language

Wandjina,2000

40 x 40 cm; 41.5 x 41.5 cm (framed) ochre on linen

$800 - $1,200

bears inscription verso: 40 x 40, 8.8.00, Wandjina (rain spirit), N-1307-LK

PROVENANCE

Narrangunny Arts, Western Australia, Cat No. N-1307-LK

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

QUEENIE MCKENZIE

c.1915 - 1998 | Gija language

Redbutt(MyCountry),1996

40.5 x 51 cm ochre on linen

$6,000 - $10,000

bears signature and cataloguing details verso; stamped Warmun Traditional Artists

PROVENANCE

Warmun Traditional Artists, Western Australia, Cat No. QM0012 acquired from the above during art collecting trip 1996 The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

Accompanied by a certificate of authenticity from Warmun Traditional Artists, with an image of the artist with the work and a photo of the artwork in the art centre

PADDY (JAMPIN) JAMINJI

c.1912 - 1996 | Gija language

BedfordStation,1979

40 x 115.2 cm (board) ochre on board

$6,000 - $8,000

bears inscription verso: 1979, Paddy Jaminji, Bedford station

PROVENANCE

The Artist, painted at Warmun, Western Australia

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

TONY TUCKSON 1921 - 1973

TwoDrawings

9.5 x 15 cm (each); 31.5 x 35.5 cm (framed each) pencil on paper & ink on paper

$2,000 - $3,000

Inscribed verso: 89/25/788 & 89/24/720; stickers adhered: (res) Marie Shehadie

PROVENANCE

Watters Gallery, New South Wales, Cat No. 89/25/788 & 89/24/720

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

EXHIBITED

TonyTuckson-100SmallDrawings, 26 September - 14 October 1989, Watters Gallery, Sydney

JOHN DE BURGH PERCEVAL AO

1923 - 2000

FishingFromTheShoreline,1994

25 x 30 cm; 42 x 47 cm (framed) oil on canvas

$15,000 - $20,000

signed lower left ‘Perceval’; inscribed verso: ‘Fishing from the Shoreline’; sticker 61

PROVENANCE

Gould Galleries, New South Wales

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

EXHIBITED

JohnPercevalPaintings1990-1995, 11 June - 19 July 1998, Gould Galleries, Woollahra, NSW, Cat No. 7

ILLUSTRATED

Exhibition Catalogue - John Perceval Paintings 1990 - 1995, Gould Galleries

Accompanied by the exhibition catalogue and price list from Gould Galleries

MATHEW LYNN

born 1963

MeltingDay-Coogee,2017

61.5 x 61.5 cm

acrylic on linen

$1,000 - $2,000

signed verso ‘Mathew Lynn, 2017’

PROVENANCE

Day Fine Art at Christopher Day Gallery, New South Wales

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

EXHIBITED

Shimmer,2017, Day Fine Art at Christopher Day Gallery, Sydney, Australia

RAY AUSTIN CROOKE

1922 - 2015

SpiritofaDiver,c.1965

22 x 29.5 cm; 41 x 48.5 cm (framed) oil on board

$6,000 - $9,000

signed lower center ‘R Crooke’; inscribed with title verso; Savill Galleries label adhered verso

PROVENANCE

Sotheby’s, Fine Australian and International Paintings, Melbourne, Victoria, 7 May 2001, Lot No. 108

Private Collection, New South Wales

Savill Galleries, New South Wales, Cat No. 201061

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

Untitled,1981

30.5 x 35.5 cm

acrylic on linen

$600 - $800

signed verso ‘Tim Johnson’, 81

PROVENANCE

Tim Johnson, New South Wales

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

TIM JOHNSON born 1947

GARRY SHEAD

born 1942

TheSculptor,2007

29.5 x 24.5 (image); 59.5 x 51.5 (framed)

Aquatint etching on paper, edition 32/100

$300 - $500

numbered, titled and signed below image ‘32/100, The Sculptor, Garry Shead’; Basil Hall Editions chop front bottom right

PROVENANCE

Basil Hall Editions, Northern Territory

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

GARRY SHEAD

born 1942

StudyNightKnighthood,1995

22.5 x 30 cm; 25 x 32.5 cm (framed) oil on board

$14,000 - $18,000

signed front lower right and inscribed verso: Study Night Knighthood by Garry Shead

PROVENANCE

Artist’s studio, New South Wales

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

GARRY SHEAD

born 1942

Shadow(D.H.Lawrenceseries),1992

24 x 29.5 cm (image); 30 x 35.5 cm (frame) oil on composition board

$14,000 - $18,000

signed lower right and bears inscription verso: By Garry Shead 192 Michael Nagy Fine Art, 159 Victoria St, Potts Pt NSW, “Shadow”

PROVENANCE

Michael Nagy Fine Art, New South Wales

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

Accompanied by a letter and receipt from Michael Nagy Gallery

EXHIBITED

GarryShead:‘D.H.LawrenceSeries’, September 1992, Michael Nagy Fine Art, Sydney

ARTHUR BOYD

1920 - 1999

NebuchadnezzarandaWindmill,1967

109 x 114 cm; 118.5 x 123.5 cm (framed) oil on canvas

$40,000 - $60,000

signed ‘Arthur Boyd’ front lower right; inscription verso on frame ‘A Boyd’

PROVENANCE

Arthur Boyd, London, United Kingdom

Rudy Komon Art Gallery, New South Wales, Cat No. 1973

Australian Galleries, Victoria

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

EXHIBITED

ArthurBoyd, 8 - 24 April 1968, Bonython Art Gallery, Sydney, Cat No. 26

ArthurBoyd, 28 June - 5 July 1968, Australian Galleries, Melbourne, Cat No. 26

TwelfthAnniversaryExhibition, 8 December 1971 - 26

January 1972, Rudy Komon Art Gallery, Sydney

Included alongside the Bashir and Shehadie collection is a carefully curated selection of works of both exceptional quality and contemporary cultural relevance, rounding out the auction. Sourced from multiple collectors across the continent, each piece carries its own distinct journey prior to being offered up for auction.

A highlight among them is Lot 33, Wahrooroo (Milky Way), 1991 by Rover Joolama Thomas (EST. $50,000 - $80,000). Originally painted for the renowned dealer Mary Macha, the work was subsequently acquired by pioneering Indigenous art dealer Rodney Gooch. The original receipt notably records Gooch’s payment terms as “to be paid slowly but surely,” invoiced to his innovative CAAMA Store in the Northern Territory. Gooch later exhibited and sold the painting through Aboriginal Dreamings Gallery in Canberra, where it was purchased by a Sydney couple taking pride of place on the walls of their Northern Beaches home. With its restrained composition and Thomas’ profoundly deep knowledge of Wahrooroo (Milky Way).

Lot 49, a bark painting by the master Balang Nakurul (Mr Mawurndjul), comes from a collection known for its discerning eye. Acquired prior to the artist’s passing in 2025, the work is currently offered under his authorised name, in keeping with customary practice during the mourning period. This presents a rare opportunity for informed collectors to acquire a significant work before the artist’s name returns to broader circulation. Beautifully preserved, the piece displays exquisite fine rarrk, revealing deep layered expressions of sacred Yirritja knowledge relating to the Frog.

An exceptional 1998 work by Paddy Bedford, Lot 48 is often cited as among his finest works created that year. Following the loss of his close artistic contemporaries Rover Joolama Thomas and Queenie McKenzie in the year prior, the work carries a deeply personal resonance and represents a pivotal turning point in Bedford’s oeuvre.

Further highlights include a powerful self-portrait by Trevor Nichols, offered on behalf of his estate, Self Portrait with Boab Tree, 2010-2011 (Lot 38). In this work, Nichols reimagines the boab as a television set positioned within a cityscape, collapsing Country and urban life into a single, charged image. A major painting by Pintupi artist Yinarupa Nangala, widely considered her magnum opus sits at Lot 44. This work received the prestigious General Painting Award at the National Aboriginal and Torres Strait Islander Art Awards in 2009, standing as a deeply moving piece that resonates well beyond its impressive physical presence.

These works, drawn from a variety of vendors, reflect a diverse approach to collecting, shaped by individual relationships, contexts and moments of acquisition. Together, they serve as a reminder of the renewed life that significant works can take on within an auction setting, where they are decontextualised, reconsidered and introduced to new audiences and collections.

La collection Bashir et Shehadie est complétée par une sélection soigneusement choisie d’œuvres d’une qualité exceptionnelle et d’une grande pertinence culturelle contemporaine, qui viennent parachever la vente aux enchères. Provenant de multiples collectionneurs à travers le continent, chaque pièce a suivi un parcours qui lui est propre avant d’être mise aux enchères.

Parmi celles-ci, le lot 33, Wahrooroo (Voie lactée), 1991, de Rover Joolama Thomas (EST. 50 000 $ - 80 000 $), constitue un véritable joyau. Peinte à l’origine pour la célèbre marchande d’art Mary Macha, l’œuvre a ensuite été acquise par Rodney Gooch, pionnier du commerce de l’art autochtone. Le reçu original mentionne notamment les conditions de paiement de Gooch comme étant « à payer lentement mais sûrement », facturées à son magasin innovant CAAMA Store dans le Territoire du Nord. Gooch a ensuite exposé et vendu le tableau par l’intermédiaire de la galerie Aboriginal Dreamings à Canberra, où il a été acheté par un couple de Sydney qui lui a réservé une place d’honneur sur les murs de leur maison des Northern Beaches. Avec sa composition sobre et la connaissance profondément ancrée de Thomas sur Wahrooroo (Voie lactée).

Le lot 49, une peinture sur écorce du maître Balang Nakurul (M. Mawurndjul), provient d’une collection réputée pour son œil avisé. Acquise avant le décès de l’artiste en 2025, l’œuvre est actuellement proposée sous son nom autorisé, conformément à la pratique coutumière pendant la période de deuil. Cela représente une occasion rare pour les collectionneurs avertis d’acquérir une œuvre importante avant que le nom de l’artiste ne revienne dans la circulation générale. Magnifiquement préservée, cette pièce présente un rarrk d’une finesse exquise, révélant des expressions profondes et stratifiées du savoir sacré Yirritja lié à la grenouille.

Œuvre exceptionnelle de Paddy Bedford datant de 1998, le lot 48 est souvent cité parmi ses plus belles réalisations de cette année-là. Suite à la perte de ses proches contemporains artistiques Rover Joolama Thomas et Queenie McKenzie l’année précédente, cette œuvre revêt une résonance profondément personnelle et marque un tournant décisif dans l’œuvre de Bedford.

Parmi les autres pièces phares, citons un puissant autoportrait de Trevor Nichols, proposé au nom de sa succession, *Self Portrait with Boab Tree*, 20102011 (lot 38). Dans cette œuvre, Nichols réinvente le baobab sous la forme d’un téléviseur placé au sein d’un paysage urbain, fusionnant la vie rurale et la vie urbaine en une seule image chargée de sens. Une peinture majeure de l’artiste pintupi Yinarupa Nangala, largement considérée comme son chef-d’œuvre, figure au lot 44. Cette œuvre a reçu le prestigieux General Painting Award lors des National Aboriginal and Torres Strait Islander Art Awards en 2009 ; c’est une pièce profondément émouvante dont la résonance dépasse largement son impressionnante présence physique.

Ces œuvres, provenant de divers vendeurs, reflètent une approche diversifiée de la collection, façonnée par des relations individuelles, des contextes et des moments d’acquisition. Ensemble, elles rappellent la nouvelle vie que peuvent prendre des œuvres significatives dans le cadre d’une vente aux enchères, où elles sont décontextualisées, reconsidérées et présentées à de nouveaux publics et à de nouvelles collections.

P R É S E N T A T I O N D E S V E N D E U R S EMMA

ROVER JOOLAMA THOMAS

1926 - 1998 | Kukatja/Wangkajunga language

Wahrooroo(MilkyWay),1991

60 x 105 cm; 62 x 107 cm (framed) ochre and natural vegetable gum on canvas

$50,000 - $80,000

Signed verso ‘Rover Thomas’; bears inscription verso: RG 98

PROVENANCE

Commissioned by Mary Macha in 1991, Western Australia

CAAMA Shop, Rodney Gooch, Northern Territory

Aboriginal Dreamings Gallery, Australian Capital Territory,

Cat No. ADG158699

Private Collection, New South Wales

Thence by descent

Private Collection, New South Wales

Accompanied by a certificate of authenticity from Aboriginal Dreamings Gallery and original invoice from Mary Macha to Rodney Gooch

OTTO PAREROULTJA 1914 - 1973 | Western Arrernte language

Landscape,c.1960

53 x 72 cm; 73 x 92 cm (framed) watercolour on paper

$18,000 - $22,000

signed front bottom right ‘Otto Pareroultja’; labels adhered verso: PX6094, Utopia Art Sydney and Art Gallery of NSW, Sydney exhibition

PROVENANCE

Utopia Art Sydney, New South Wales Private Collection, New South Wales

EXHIBITED

Art Gallery of New South Wales, Sydney, NSW (label verso)

35

ALBERT NAMATJIRA

1902 - 1959 | Western Arrernte language

Woomera,1942

15 x 67 cm (irregular)

watercolour and varnish on hardwood, spinifex resin

$5,000 - $8,000

signed lower right front; bears inscription verso: ‘Aboriginal Handicraft, Hermannsburg, Central Australia’, watercolour goanna

PROVENANCE

Aboriginal Handicraft Hermannsburg, Northern Territory

Purchased by Corporal Alexander James McLaughlin, Medical Corps, whilst stationed in Alice Springs, 1942-45

Private Collection, South Australia

Thence by descent

Accompanied by a photograph of Corporal Alexander James McLaughlin whilst stationed in Alice Springs, a copy of the service record of Corporal Alexander James McLaughlin and a letter of provenance by Malcolm Frazer, grandson of Corporal Alexander James McLaughlin.

36

Corporal Alexander James McLaughlin enlisted in the Australian Medical Corps at age 35 following the bombing of Darwin, serving principally in Alice Springs between 1942 and 1945.

During his service he acquired this work along with a number of other Indigenous artefacts, which were dispatched by parcel post to his wife Myrtle and their two young daughters, Betty and Jill, at the family home in Mont Albert, Melbourne. The works were received with considerable excitement by the young family and occupied a prominent position in the McLaughlin household for many years. According to the family, the acquisition was made from a gallery in Alice Springs. A full account of the purchase and the work’s subsequent history within the family has been provided in writing by Malcolm Frazer, grandson of Corporal McLaughlin.

BILLY BENN PERRURLE

1943 - 2012 | Arrernte language

Artetyerre,2007

20 x 91 cm

acrylic on linen

$1,500 - $2,500

signed ‘Billy Benn’ lower right front; bears cataloguing details verso

PROVENANCE

Bindi Inc. Mwerre Anthurre Artists, Northern Territory, Cat No. BB080534

Private Collection, Australian Capital Territory

Accompanied by a certificate of authenticity from Bindi Mwerre Anthurre Artists

JIMMY KURTNU PIKE

1940 - 2002 | Walmajarri language

Kuli(Anger),c.2000

122 x 102 cm

acrylic on canvas

$4,000 - $8,000

signed verso ‘J Pike’

PROVENANCE

The Collection of Barry Toomey QC (Jack Shand Chambers), New South Wales

Thence by descent

Private Collection, New South Wales

Accompanied by typed artwork description “A true story. People got killed by fire at a waterhole called TAPU. That was because a man caused trouble by stealing a woman. His family sent two watersnakes against the people who made that fire. The snakes travelled south. They found the night place. It started to rain slowly, and it got bigger and bigger, Then the water flooded all round.

The people got on a high ground - XX is land in the middle of a flood. After, one old man turned into eaglehawk. Lightning was flicking all round. The old man flew up, above the storm.

He landed in the country in another place. The two snakes were from Yakanarra.”

TREVOR NICKOLLS

1949 - 2012 | Ngarrindjeri language

SelfPortraitwithBoabTree,2010-2011

91 x 91 cm acrylic on canvas

$12,000 - $16,000

bears inscription verso: TN2010-11, stamped AIARTS

PROVENANCE

The Estate of Trevor Nickolls, South Australia, Cat No. TN-201011

KURUWARRIYINGATHI BIJARRB PAULA PAUL

c.1937 - 2021 | Kayardild language

FlatReef,2009

101 x 198 cm

acrylic on linen

$7,000 - $9,000

bears inscription verso: Paula Paul, Flat Reef, 4413-L-PPL0709; stamped Mornington Island Art; AK15308

PROVENANCE

Mornington Island Arts, Queensland, Cat No. 4413-L-PPL0709

Alcaston Gallery, Victoria, Cat No. AK15308

Private Collection, Victoria

Accompanied by certificates of authenticity from Mornington Island Arts and Alcaston Gallery

EXHIBITED

Paula Paul - Kunthurlt- Flat Reef, 11 January - 4 February 2011, Alcaston Gallery, Melbourne, Vic

BILL WHISKEY TJAPALTJARRI

c.1920 - 2008 | Pitjantjatjara language

RockholesNeartheOlgas,2008

75 x 26 cm

acrylic on linen

$3,000 - $4,000

bears cataloguing details verso

PROVENANCE

Watiyawanu Artists, Northern Territory, Cat No. 10-08466

Private Collection, Northern Territory

Private Collection, New South Wales

Accompanied by a certificate of authenticity from Watiyawanu Artists

EXHIBITED

BillWhiskeySmallbutMighty, January 2022, Art Leven (formerly Cooee Art) Redfern, Sydney, NSW

MAKINTI NAPANANGKA

c.1930 - 2011 | Pintupi language

Lupulnga,2006

61.5 x 31 cm; 65 x 34.5 cm (framed) acrylic on linen

$3,000 - $4,000

bears Papunya Tula cataloguing details and Grasstree Gallery label adhered verso

PROVENANCE

Papunya Tula Artists, Northern Territory, Cat No. MN0610060

Grasstree Gallery, Western Australia Private Collection, Australian Capital Territory

Accompanied by a certificate of authenticity from Papunya Tula Artists

EUNICE JACK NAPANANGKA

1940 - 2022 | Pintupi language

Kuruyultu,2021

91 x 122 cm acrylic on canvas

$8,000 - $12,000

bears inscription verso: Eunice Napanangka Jack, Ikuntji Artists, 21-EJ95

PROVENANCE

Ikuntji Artists, Northern Territory, Cat No. 21-EJ95 Private Collection, Victoria

Accompanied by a certificate of authenticity from Ikuntji Artists

LYNN WARD NAPANGARDI

born 1978 | Warlpiri language

Tali,2022

122 x 182 cm

acrylic on linen

$7,000 - $9,000

bears cataloguing details verso

PROVENANCE

Papunya Tjupi Art Centre, Northern Territory, Cat No. 333-22 Private Collection, Victoria

Accompanied by a certificate of authenticity from Papunya Tjupi Art Centre

YINARUPA NANGALA

born c.1958 | Pintupi language

Untitled(Mukula),2008

183 x 242.5 cm; 186 x 245.5 cm (framed) acrylic on linen

$60,000 - $80,000 bears cataloguing details verso

PROVENANCE

Papunya Tula Artists, Northern Territory, Cat No. YN0803209 Museum and Art Gallery of Northern Territory, Northern Territory

Lennox St. Gallery, Victoria D’Lan Contemporary, Victoria Private Collection, Victoria

AWARDS

Winner of the GeneralPaintingAward-The26thTelstra NationalAboriginalandTorresStraitIslanderArtAwards (TelstraNATSIAA),August 2009, Museum and Art Gallery of the Northern Territory, Darwin, NT

EXHIBITED

The26thTelstraNationalAboriginalandTorresStrait IslanderArtAwards(TelstraNATSIAA), August 2009, Museum and Art Gallery of the Northern Territory, Darwin, NT IndigenousMasterworksfromthePapunyaTula,Utopia &Tiwi IslandsArtists, 12 June - 7 July 2024, Lennox St. Gallery, Melbourne, Vic WomenoftheWesternDesert,WalungurruandKiwirrkurra, 28 August - 3 October 2025, D’Lan Contemporary, Melbourne, Vic

RONNIE TJAMPITJINPA

1942 - 2023 | Pintupi/Luritja language

WaterDreamingatMaparrinya,1991

97.5 x 97.5 cm; 100.5 x 100.5 cm (framed) acrylic on linen

$18,000 - $25,000

bears cataloguing details verso

PROVENANCE

Papunya Tula Artists, Northern Territory, Cat No. RT911261

Private Collection, Switzerland

Important Australian Aboriginal Art, Deutscher and Hackett, Melbourne, 3 March 2022, lot 30

Private Collection, Victoria

Accompanied by a certificate of authenticity from Papunya Tula Artists

RONNIE TJAMPITJINPA

1942 - 2023 | Pintupi/Luritja language

Untitled,1996

91 x 61 cm; 93 x 63 cm (framed)

acrylic on linen

$10,000 - $15,000

cataloguing details verso: RT961240, Ronnie Tjampitjinpa, Papunya Tula Artists

PROVENANCE

Papunya Tula Artists, Northern Territory, Cat No. RT961240

Private Collection, Western Australia Private Collection, Victoria

GEORGE TJUNGURRAYI

born 1947 | Pintupi language

Untitled,2016

120.5 x 61.5 cm; 124 x 63.5 (framed)

acrylic on linen

$15,000 - $18,000

bears cataloguing details verso

PROVENANCE

Papunya Tula Artists, Northern Territory, Cat No. GT1605046

Aboriginal Signature Gallery, Belgium

Private Collection, New South Wales

Fine Indigenous Art, Deutscher and Hackett, Melbourne, 28 May, 2024, lot 2

Private Collection, Victoria

PADDY BEDFORD NYUNKUNY 1922 - 2007 | Gija language

MotorCarYard,1999

122 x 135 cm; 124 x 137 cm (framed) ochre on linen

$70,000 - $100,000

signed verso ‘PB’; Motor Car Yard, 1999, Jirrawun Aboriginal Art Corporation

PROVENANCE

Jirrawun Arts, Western Australia

William Mora Galleries, Victoria Private Collection, Western Australia

EXHIBITED

Reverence, 27 October - 1 December 2023, D’Lan Contemporary, Melbourne, Vic

ILLUSTRATED

Linda Michael (ed.), Paddy Bedford, Sydney: Museum of Contemporary Art, 2006, p. 146 Reverence 2023, D’Lan Contemporary, Melbourne, p.58

BALANG NAKURULK (MR MAWURNDJUL AM) 1952 - 2024 | Kuninjku Language

Yibba(Frogs),1993

151 x 61.5 cm (irregular) ochre on bark

$50,000 - $70,000

bears inscription verso: MAW 230

PROVENANCE

Maningrida Arts & Culture, Northern Territory, Cat No. MAW 230

Hogarth Gallery, New South Wales Private Collection, New South Wales Private Collection, Victoria

EXHIBITED

Reverence, 30 October - 19 December 2025, D’Lan Contemporary, Melbourne, Vic

OLD NYM DJIMURRGURR

c.1910 - c.1975 | Gunwinggu language

MarianCeremony-MaleandFemaleBarramundi,c.1965

72 x 52 cm (irregular); 94 x 79.5 (framed) ochre on bark

$4,500 - $6,500

bears verso: cataloguing label, Sotheby’s sticker

PROVENANCE

Likely painted in the Gunbalanya region, Western Arnhem Land

Sotheby’s, Melbourne, Victoria, 28th June 1999

Stella Downer Fine Art, New South Wales Private Collection, New South Wales

JANUARY NANGUNYARI NAMIRIDALI

c.1901 - 1972 | Kunwinjku language

MimiFigures,c.1960

92 x 29 cm (irregular); 125 x 38.5 x 10 cm (framed) ochre on bark

$2,800 - $3,500

inscribed verso: B, Nanganyari, I.U.D, 13, 90

PROVENANCE

Likely painted on Minjilang (Croker Island), Western Arnhem Land, Northern Territory Deutscher~Menzies, Fine Aboriginal Art, Melbourne, Victoria, 29 June 1999, Lot No. 199 Private Collection, New South Wales

YIRAWALA

c.1897 - 1976 | Kuninjku language

Untitled,c.1968

38 x 82 cm ochre on bark

$5,000 - $7,000

inscribed verso: $250, 3, Yirawala Maraia No

PROVENANCE

Likely painted on Minjilang (Croker Island), Western Arnhem Land, Northern Territory

David Scott Collection, United States of America

Thence by descent

Private Collection, Victoria

DICK NGULMARMAR

c.1911 - 1977 | Djinba language

FlyingFoxes,c.1966

92 x 45.5 cm (irregular); 102 x 52 cm (framed) ochre on bark

$2,500 - $3,500

bears inscription verso: 35-00, DN-70; typed Milingimbi Mission label verso

PROVENANCE

Milingimbi Mission, Northern Territory Private Collection, New South Wales

JUDY MANANY GURRUWIWI

born 1962 | Galpu language

Gulwirri/Muypan,2023

186.5 x 63.5 cm (irregular) ochre on bark

$3,000 - $4,000

bears Buku-Larrŋgay Mulka cataloguing details verso

PROVENANCE

Buku-Larrŋgay Mulka Centre, Northern Territory, Cat No. 1373-23

Private Collection, Victoria

Accompanied by a certificate of authenticity from Buku-Larrŋgay Mulka

DJIRRIRRA YUKUWA WUNUNMURRA born 1968 | Yolŋu language

Buyku,2022

38 x 28 cm (black); 50.5 x 22 cm (gray); 40 x 34 cm (white) ochre on incised bark

$6,000 - $10,000

bears Buku-Larrŋgay Mulka cataloguing details verso

PROVENANCE

Buku-Larrŋgay Mulka Centre, Northern Territory, Cat No. 3533-22, 3438-22 & 3365-22 day01.gallery, New South Wales Private Collection, Victoria

Accompanied by certificates of authenticity from Buku-Larrŋgay Mulka

EXHIBITED

Plus,minus,equals, 9 March - 6 April 2023, day01, Sydney, NSW

Private Collection, Victoria ARTIST ONCE KNOWN

ACollectionofThreeBoomerangs,c.19thcentury

63 x 5; 58 x 5; 56 x 5 cm (irregular); 53 x 62 x 20 cm (overall with stand) incised carved hardwood

$1,500 - $2,500

PROVENANCE

Field collected, likely central Queensland

Private Collection, United Kingdom

Adam Prout, United Kingdom

Private Collection, New South Wales

TransitionalShield,c.1940

43.5 x 22 cm; 56 x 15 x 15 cm (base) ochre and pokerwork on carved wood

$4,000 - $6,000

PROVENANCE

The Artist, Far North Queensland

Valentine Pasvolsky, United States of America, collected between 1945-1949

Thence by descent

Richard Royle, United States of America

Private Collection, Western Australia

Private Collection, Victoria

This transitional shield from Queensland, dating to around 1940, is carved from wood and decorated with ochre and pokerwork. It reflects a period of change, combining traditional Aboriginal shield forms and symbolic surface designs with introduced techniques, resulting in an object that bridges customary practice and evolving artistic expression.

MABEL JULI

born 1932 | Gija language

Untitled,2000

60 x 30 cm ochre on canvas

$3,000 - $4,000

bears inscription verso: Warmun Art Centre, 60x30cm, Mabel Juli, WAC 300/2000; label inscribed #28

PROVENANCE

Warmun Art Centre, Western Australia, Cat No. WAC 300/2000 Bett Gallery, Tasmania Private Collection, Tasmania

EXHIBITED

WorksfromKimberley, 3 - 23 August 2000, Bett Gallery, Hobart, Tasmania, Cat No. 28

TIMOTHY COOK

born 1958 | Tiwi language

Kulama,2019

150.5 x 120 cm ochre on linen

$12,000 - $16,000

bears inscription verso: Timothy Cook, 57-19, Jilamara

PROVENANCE

Jilamara Arts & Crafts, Northern Territory, Cat No. 57-19

Private Collection, New South Wales

Accompanied by a certificate of authenticity from Jilamara Arts

DOROTHY ROBINSON NAPANGARDI

1956 - 2013 | Warlpiri language

Untitled(Yuparli-BushBanana),1991

151 x 151 cm; 152.5 x 152.5 cm (framed) acrylic on linen

$9,000 - $12,000

signed verso ‘Dorothy’; Gallery Gondwana stamp verso with Dorothy Napangardi Robinson, 1144

PROVENANCE

Gallery Gondwana, Northern Territory, Cat No. 11411DN

Private Collection, New South Wales

RELATED WORKS

Yuparli (Bush Banana), 1993, acrylics on linen, 121 x 119 cm, Levi Kaplan collection, Seattle, Washington, USA. Illustrated in DancingUpCountry.TheArtofDorothy Napangardi MCA, 2002. P.57

WEAVER JACK c.1928 - 2010 | Yulparija language

Lungurung,2006

101.5 x 75.5 cm acrylic on linen

$3,000 - $5,000

bears cataloguing details verso

PROVENANCE

Short Street Gallery, Western Australia, Cat No. 11504 Private Collection, New South Wales

Accompanied by a certificate of authenticity from Short Street Gallery

KURUWARRIYINGATHI BIJARRB PAULA PAUL

c.1937 - 2021 | Kayardild language

Burrkunda,2008

120 x 92.5 cm

acrylic on canvas

$3,000 - $4,000

bears inscription verso: Paula Paul, Burrkunda, 2400-LPP-0707; stamped Mornington Island Art

PROVENANCE

Mornington Island Art, Queensland, Cat No. 2400-L-PP-0707

Woollongabba Art Gallery, Queensland Private Collection, Victoria

Accompanied by a certificate of authenticity from Mornington Island Arts (certificate reads 275-24)

FREDDIE TIMMS

1946 - 2017 | Gija language

SandyBow,2003

130 x 130 cm

ochre and acrylic on canvas

$12,000 - $16,000

signed verso ‘F TIMMS’; bears inscription verso: FT92003-183, JA15I/03 and Gould Galleries label

PROVENANCE

Warmun Art Centre, Western Australia, Cat No. JA151/03

Gould Galleries, Victoria, Cat No. 13354

Red Dot Fine Art Gallery, Singapore, Cat No. FT92003-183

Private Collection, New South Wales

EXHIBITED

FreddieTimms, 2003, Gould Galleries, Sydney, NSW

IAN WAYNE ABDULLA

1947 - 2011 | Ngarrindjeri language

StillSawingWheatAtNight,2009

30 x 45 cm; 33.5 x 48.5 cm (framed) acrylic on canvas

$1,800 - $2,600

signed lower right front ‘Ian W Abdulla 2009’

PROVENANCE

Bond Aboriginal Art (Tony Bond), South Australia Private Collection, Australian Capital Territory

Accompanied by the original invoice from Bond Aboriginal Art

MAKINTI NAPANANGKA

c.1930 - 2011 | Pintupi language

Lupulnga,2006

86 x 28 cm acrylic on linen

$4,000 - $6,000

bears inscription verso: Makinti Napanangka, Papunya Tula Artists, MN0606001

PROVENANCE

Papunya Tula Artists, Northern Territory, Cat No. MN0606001 Private Collection, Australian Capital Territory

Accompanied by a certificate of authenticity from Papunya Tula Artists

WALANGKURA NAPANANGKA

1946 - 2014 | Pintupi language

TravelsofKutungkaNapanangka,1999

91 x 45.5 cm; 93.5 x 47.5 cm (framed)

acrylic on linen

$4,000 - $6,000

bears cataloguing details verso

PROVENANCE

Papunya Tula Artists, Northern Territory, Cat No. WN9909272

Spinifex & Sand Collection, Tasmania

Spinifex and Sand: The Tony Norton and Jann Williams Collection of Aboriginal Fine Art, Mossgreen Auctions, Melbourne, Victoria, 4 April 2016, lot 60

Private Collection, Victoria

STANISLAUS PURUNTATAMERI

c.1906 - 1987 | Tiwi language

Purrukuparli,Djibara(Tapara)MoonMan& Bima,c.1975

65 x 17.5 cm; 64.5 x 19.5 cm; 58 x 16 cm; 25 x 25 cm (each stand) ochre on carved hardwood

$8,000 - $12,000

PROVENANCE

Likely created on Bathurst Island, Northern Territory

Deutscher~Menzies, Fine Aboriginal Art, Melbourne, 29 June 1999, lot 106, 107 & 108

The Kelton Collection, United States of America

The Kelton Collection, Leonard Joel Auctions, Melbourne, 11 April 2022, lot 6, 7 & 8

Private Collection, Victoria

CRAIG KOOMEETA

born 1977 | Wik-Alkan language

DingoPup,2007

32 x 50 x 12 cm (irregular)

acrylic and ochre on milkwood

$8,000 - $12,000

PROVENANCE

Wik and Kugu Arts & Crafts Centre, Queensland Gallery Gabrielle Pizzi, Victoria

The Collection of Lady Marsha and Sir Andrew Grimwade CBE, Victoria Private Collection, Victoria

EXHIBITED

Puulway:WikandKuguTotems:Contemporary AustralianSculpturefromAurukun,7 August - 8 September 2007, Gallery Gabrielle Pizzi, Melbourne, Vic

Provenance as Presence: The Archive of Marie Bashir’s Collection

When three large folders arrived with the artworks, no one at the gallery was quite prepared for what they contained. We are used to seeing certificates, valuations and invoices - the cold administrative paper trail by which most collections explain themselves to the world. Marie Bashir’s folders contained something else entirely: carefully scissored newspaper articles, exhibition invitations with pen marks, brochures from shows long closed. And at the top of each newspaper clipping, a date written in her hand. The archive of a person who understood she was living through something important and kept the evidence.

The majority of the artworks in the collection on offer were collected in the 1990’s with the years 1995 through 1998 written across the folders as one of the most charged and contested moments in the history of Australian art. Many of the artworks were collected on trips to communities where her and her husband Nicholas Shahidie, met the artists. The archive is also a record of a world now gone. In an era before digital catalogues and gallery websites, collectors received photographs of paintings through the post: physical prints sent in envelopes from art centres thousands of kilometres away. You held the image in your hand before you ever held the work. You got on the list by being known, by having visited, by being the kind of person that an art centre in Kununurra or Elcho Island trusted enough to send things to. Marie Bashir was on the list because they knew her personally. Where other collectors sought certificates, she looked for people. The archive is the record of that choice.

The art market for Indigenous work in the 1990s was a world of competing interests and unresolved tensions. The Native Title Act, passed in the wake of Mabo, was under sustained attack throughout these years. The Wik decision of 1996 sent the pastoral lobby into fury and produced legislative responses that many believed gutted the protections Mabo had established. For Indigenous artists working in the desert communities and the Kimberley, this was not background noise. It was the context in which every painting was made. A canvas is never made in a vacuum, and in Australia in those years everyone carried the weight of the battles being fought simultaneously over the land it depicted. She kept the protest postcard addressed to the Premier of New South Wales, demanding that the 1938 Day of Mourning building be preserved as an Aboriginal history centre. She kept both sides of every argument. The land rights clippings in her folders are filed alongside the exhibition invitations because she saw them as the same story.

INTRODUCTION

In those same years, she was also faxing Jeffrey Smart in Tuscany. He thanks her for agreeing to present him with the Artists’ Medal. He does not quite understand the silver medal thing, he writes, but he will go along with it so as not to embarrass the enthusiastic promoters. Her reply, typed on Government House letterhead, is warm and busy: she has been in transit ever since returning home, up and down to Canberra, to rural and regional centres. It will be a most happy occasion. The same woman corresponding with one of Australia’s greatest painters about Vermeer was the woman who wrote down Rover Thomas’s grandchildren by name after his death and opened her home to Hector Jandany during his recovery far from country. These are not separate worlds held in careful balance, they are the same person, refusing to be anywhere other than fully present.

The deaths in these years had particular weight. Emily Kame Kngwarreye died in 1996. A review clipped from The Australian in October 1998 covered the Queensland Art Gallery’s retrospective - eight years of painting, the constancy of her inspiration, the way her Dreaming subjects had preceded her western-style artistic career by an entire lifetime of ceremony and body painting. Kngwarreye had begun painting on canvas only in her late seventies. In the years that followed, she produced a body of work of staggering significance. Bashir kept the review as evidence of the scale of the achievement, of the rightness of her own attention during those years when the work was being made and argued over.

Rover Thomas died in April 1998, after two strokes had taken his mobility and his speech. Mick Namarari Tjapaltjarri, one of the founding members of Papunya Tula, died of pneumonia in Alice Springs in August the same year. These were the people who had started something in the early 1970s and turned it into one of the most significant art movements of the twentieth century. By 1998, they were going, one by one, and the people paying attention knew it. She kept the obituaries as they came, each dated in red pen.

Marie Bashir was paying attention as someone who had been there in person, who had shaken hands and taken photographs and sat in red dust. In January 1998, Good Weekend published a long portrait of Rover Thomas and Queenie McKenzie together. Queenie spoke on behalf of Rover, who could no longer paint or speak properly after his strokes. She described saving his life when a horse kicked off his scalp at the Texas Downs cattle station, boiling her needle and cotton in Dettol, sewing him back together while he talked her through it, far from any hospital. She described learning to paint by watching him, grinding her own ochres from the land, mixing the pink that only she used, made from red and white ochres, a colour no one else had thought to try. Bashir read this three months before Rover Thomas died and kept it.

What strikes anyone who opens these folders now is not the breadth of her collecting but the coherence of her understanding: the clippings about Native Title, the exhibition invitations filed together, the obituaries kept beside the gallery catalogues, the handwritten notes beside the newspaper reviews. The archive does not merely accompany the collection. It explains it: who made these works, what world they came from, and what was already being lost even as she gathered them in. Marie Bashir did not like publicity. But the archive speaks for her, in the voice of someone who was present at something enormous and chose, quietly and consistently, to keep the evidence. That is the provenance of this collection. That is the gift of this extraordinary woman.

La provenance comme présence:

les archives de la collection de Marie Bashir

Lorsque trois grands dossiers sont arrivés avec les œuvres d’art, personne à la galerie n’était vraiment préparé à ce qu’ils contenaient. Nous sommes habitués à voir des certificats, des estimations et des factures – la froide trace administrative par laquelle la plupart des collections se présentent au monde. Les dossiers de Marie Bashir contenaient tout autre chose : des articles de journaux soigneusement découpés, des invitations à des expositions annotées au stylo, des brochures d’expositions closes depuis longtemps. Et en haut de chaque coupure de presse, une date écrite de sa main. Les archives d’une personne qui comprenait qu’elle vivait quelque chose d’important et qui en a conservé les preuves.

La majorité des œuvres de la collection proposée ont été acquises dans les années 1990, les années 1995 à 1998 étant inscrites sur les dossiers comme l’une des périodes les plus chargées et les plus controversées de l’histoire de l’art australien. Bon nombre de ces œuvres ont été acquises lors de voyages dans des communautés où elle et son mari, Nicholas Shahidie, ont rencontré les artistes. Ces archives sont également le témoignage d’un monde aujourd’hui disparu. À une époque où les catalogues numériques et les sites web des galeries n’existaient pas encore, les collectionneurs recevaient des photographies de tableaux par la poste : des tirages physiques envoyés dans des enveloppes depuis des centres d’art situés à des milliers de kilomètres. On tenait l’image entre ses mains avant même d’avoir tenu l’œuvre. On figurait sur la liste parce qu’on était connu, parce qu’on avait rendu visite, parce qu’on était le genre de personne à qui un centre d’art de Kununurra, d’ u d’Elcho Island faisait suffisamment confiance pour envoyer des œuvres. Marie Bashir figurait sur la liste parce qu’ils la connaissaient personnellement. Là où d’autres collectionneurs recherchaient des certificats, elle recherchait des personnes. Ces archives sont le témoignage de ce choix.

Le marché de l’art autochtone des années 1990 était un monde d’intérêts concurrents et de tensions non résolues. La loi sur les titres fonciers autochtones (Native Title Act), adoptée à la suite de l’affaire Mabo, a fait l’objet d’attaques incessantes tout au long de ces années. La décision Wik de 1996 a provoqué la fureur du lobby pastoral et donné lieu à des mesures législatives que beaucoup considéraient comme vidant de leur substance les protections établies par l’arrêt Mabo. Pour les artistes autochtones travaillant dans les communautés du désert et du Kimberley, ce n’était pas un bruit de fond. C’était le contexte dans lequel chaque tableau était réalisé. Une toile ne se crée jamais dans le vide, et en Australie à cette époque, chacun portait le poids des batailles menées simultanément pour les terres qu’elle représentait. Elle a conservé la carte postale de protestation adressée au Premier ministre de Nouvelle-Galles du Sud, exigeant que le bâtiment du Jour de deuil de 1938 soit préservé en tant que centre d’histoire aborigène. Elle a conservé les deux côtés de chaque débat. Les coupures de presse sur les droits fonciers dans ses dossiers sont classées aux côtés des invitations à des expositions, car elle les considérait comme faisant partie de la même histoire.

Au cours de ces mêmes années, elle envoyait également des fax à Jeffrey Smart en Toscane. Il la remercie d’avoir accepté de lui remettre la Médaille des artistes. Il ne comprend pas tout à fait cette histoire de médaille d’argent, écrit-il, mais il s’y pliera pour ne pas embarrasser les promoteurs enthousiastes. Sa réponse, tapée sur du papier à en-tête de la Government House, est chaleureuse et animée : elle n’a cessé de voyager depuis son retour chez elle, faisant des allers-retours à Canberra, dans les centres ruraux et régionaux. Ce sera un moment des plus heureux. La femme qui correspondait avec l’un des plus grands peintres australiens au sujet de Vermeer est la même qui a noté les noms des petits-enfants de Rover Thomas après sa mort et qui a ouvert sa maison à Hector Jandany pendant sa convalescence loin de son pays. Ce ne sont pas des mondes distincts maintenus dans un équilibre délicat, c’est la même personne, refusant d’être ailleurs qu’ici et maintenant.

Les décès de ces années-là ont eu un poids particulier. Emily Kame Kngwarreye est décédée en 1996. Une critique découpée dans The Australian en octobre 1998 couvrait la rétrospective de la Queensland Art Gallery : huit ans de peinture, la constance de son inspiration, la façon dont ses sujets du Temps du Rêve avaient précédé sa carrière artistique de style occidental par toute une vie de cérémonies et de peinture corporelle. Kngwarreye n’avait commencé à peindre sur toile qu’à la fin de ses soixante-dix ans. Dans les années qui ont suivi, elle a produit une œuvre d’une importance stupéfiante. Bashir a conservé cette critique comme preuve de l’ampleur de cette réussite, de la justesse de sa propre attention durant ces années où l’œuvre était créée et faisait l’objet de débats.

Rover Thomas est décédé en avril 1998, après que deux accidents vasculaires cérébraux lui eurent fait perdre l’usage de ses membres et de la parole. Mick Namarari Tjapaltjarri, l’un des membres fondateurs de Papunya Tula, est mort d’une pneumonie à Alice Springs en août de la même année. Ce sont ces personnes qui avaient lancé quelque chose au début des années 1970 et en avaient fait l’un des mouvements artistiques les plus importants du XXe siècle. En 1998, ils partaient, l’un après l’autre, et ceux qui suivaient leur parcours le savaient. Elle conservait les nécrologies au fur et à mesure qu’elles arrivaient, chacune datée au stylo rouge.

Marie Bashir y prêtait attention en tant que personne qui avait été là en personne, qui avait serré des mains, pris des photos et s’était assise dans la poussière rouge. En janvier 1998, Good Weekend a publié un long portrait de Rover Thomas et Queenie McKenzie ensemble. Queenie s’exprimait au nom de Rover, qui ne pouvait plus peindre ni parler correctement après ses AVC. Elle racontait comment elle lui avait sauvé la vie lorsqu’un cheval lui avait arraché le cuir chevelu d’un coup de sabot à la ferme d’élevage de Texas Downs, en faisant bouillir son aiguille et son coton dans du Dettol, puis en le recousant pendant qu’il lui expliquait comment faire, loin de tout hôpital. Elle racontait comment elle avait appris à peindre en l’observant, en broyant ses propres ocres tirées de la terre, en mélangeant ce rose qu’elle seule utilisait, obtenu à partir d’ocres rouges et blanches, une couleur que personne d’autre n’avait songé à essayer. Bashir a lu cet article trois mois avant la mort de Rover Thomas et l’a conservé.

Ce qui frappe quiconque ouvre ces dossiers aujourd’hui, ce n’est pas l’ampleur de sa collection, mais la cohérence de sa vision : les coupures de presse sur les droits fonciers autochtones, les invitations à des expositions classées ensemble, les nécrologies conservées à côté des catalogues de galeries, les notes manuscrites à côté des critiques de journaux. Les archives ne se contentent pas d’accompagner la collection. Elles l’expliquent : qui a réalisé ces œuvres, de quel monde elles provenaient, et ce qui était déjà en train de se perdre alors même qu’elle les rassemblait. Marie Bashir n’aimait pas la publicité. Mais les archives parlent en son nom , de la voix de quelqu’un qui a été témoin d’un événement d’une ampleur considérable et qui a choisi, discrètement et sans relâche, d’en conserver les traces. Telle est la provenance de cette collection. Tel est le cadeau de cette femme extraordinaire.

LOTS 69 - 115

Collection of Dame Marie Bashir AD CVO & Sir Nicholas Shehadie AC OBE

NOŊGIRRŊA MARAWILI

1939 - 2023 | Madarrpa language

MortuaryPainting,1994

107 x 44 cm (irregular) ochre on bark

$6,000 - $8,000

bears inscription verso: 1068E, Noŋgirrŋa; Buku-Larrŋgay Mulka original certificate of authenticity adhered verso

PROVENANCE

Buku-Larrŋgay Mulka, Northern Territory, Cat No. 1068-E acquired from the above during art collecting trip 1997 The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

Certificate of authenticity from Buku-Larrŋgay Mulka adhered verso

Noŋgirrŋa Marawili’s Mortuary painting was created with ochre and paints on bark that allowed her to experiment with the surface of the bark paintings for which she was best known. The work refers to the Mortuary Ceremony of the Madarrpa clan estate near Cape Shield in northeast Arnhem Land. This place of powerful tides, strong currents, and crocodile waters was also central to Marawili’s family history. She was the daughter of Mundukul (Lightning Snake), a respected Madarrpa leader, and his Galpu wife Bulungguwuy. Born on the beach at Darrpirra, she spent her early years travelling by canoe with her family along the coastline and islands, with Baratjala as their enduring point of return. Although Marawili often explained that her paintings were not intended as sacred.

ROBERT CAMPBELL JNR

1944 - 1993 | Ngaku language

Untitled,1989

53.5 x 93.5 cm acrylic on canvas

$20,000 - $30,000 bears Roslyn Oxley9 Gallery sticker verso

PROVENANCE

Roslyn Oxley9 Gallery, New South Wales

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

EXHIBITED

RobertCampbellJnr,Ngaku,SelectedWorksFrom TheEstate,3 June - 6 July 1997, Roslyn Oxley9 Gallery, Paddington, NSW, Cat No. 26

Accompanied by Ngaku exhibition booklet

RICHARD BELL

born 1953 | Kamilaroi language

TheyDid! (from the series BetterOff),1993

30.5 x 41 cm

archival photograph and acrylic on canvas

$1,500 - $2,500

inscribed verso: They Did!, 1993; exhibition label adhered verso

PROVENANCE

Boomalli Aboriginal Artists Co-operative, New South Wales

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

EXHIBITED

IanAbdulla,RichardBell,HarryWedge, 1993, Boomalli Aboriginal Artists Co-operative, NSW Cat No. 37

ROVER JOOLAMA THOMAS

1926 - 1998 | Kukatja/Wangkajunga language

Wahrooroo(MilkyWay),1996

61 x 76 cm; 63 x 79 cm (framed) ochre on canvas

$30,000 - $50,000

signed verso ‘ROVER’; and bears cataloguing details 10/05/1996, RT0012; stamped verso Warmun Traditional Artists

PROVENANCE

Warmun Traditional Artists, Western Australia, Cat No. RT0012 acquired from the above during art collecting trip 1996 The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

Accompanied by a certificate of authenticity from Warmun Traditional Artists including a photo of the artist holding the artwork and a photo of the artwork at Warmun Traditional Artists

QUEENIE MCKENZIE

1915 - 1998 | Gija language

MaryandJoseph,1997

61 x 91 cm

ochre on canvas

$15,000 - $20,000

bears artist signature and cataloguing details verso

PROVENANCE

Warmun Traditional Artists, Western Australia, Cat No. QM0062

Coo-ee Aboriginal Art, New South Wales, Cat No. 8457

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

EXHIBITED

WrittenintheLand:TheLifeofQueenieMcKenzie, Coo-ee Aboriginal Art, Sydney, New South Wales, March 2009

FREDDIE TIMMS

c.1946 - 2017 | Gija language

Tarmbirella(Long-TailComet),1996

60.5 x 91 cm ochre on canvas

$2,000 - $3,000

signed verso ‘F. Timms’; bears cataloguing details and Warmun Traditional Artists stamp verso

PROVENANCE

Warmun Traditional Artists, Western Australia, Cat No. FT0022 acquired from the above during art collecting trip 1996 The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

JONATHAN KUMINTJARA BROWN

1960 - 1997 | Pitjantjatjara language

BlackRainMaralinga,1996

180 x 100 cm

acrylic, sand and ochre on linen

$5,000 - $7,000

bears cataloguing details verso: 1996, Black Rain Maralinga, 8

PROVENANCE

Utopia Art Sydney, New South Wales

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

Jonathan Kumintjara Brown was a member of the Stolen Generations, removed from his Pitjantjatjara parents at a very early age and raised by foster families in Melbourne and later the Hunter Valley. He came to Aboriginal Studies and painting only in his late twenties, and after more than twenty years of separation, eventually found his parents in the small community of Yalata. Though reunited with his family, he felt profoundly estranged, unable to speak their language and confronted with his community’s dislocation and devastation, embedding sand from his Country into the painted surface, a story that deeply moved Marie Bashir.

HECTOR JANDANY

c.1925 - 2007 | Gija language

Bunnangine,1997

60.5 x 90.5 cm ochre on linen

$2,000 - $4,000

signed verso ‘Hector’; bears inscription verso: Bunnangine, 90 x 60, 13.5.97, HC0059

PROVENANCE

Warmun Traditional Artists, Western Australia, Cat No. HC0059 acquired from the above during art collecting trip 1997 The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

On one occasion, when East Kimberley artist Hector Jandany required medical treatment, Bashir personally organised his surgery in Sydney. Jandany recovered with the Bashir’s family, while staying at their Palm Beach home.

According to the family, Jandany would sit on the veranda painting whilest recovering. When Nicholas Shehadie once asked if he was painting the dramatic Palm Beach headlands, he replied simply:

“No - it’s not my country to paint. I paint my country.”

The story captures both the strength of the artists’ cultural connection to Country and the deep respect the family held for those traditions.

JACK BRITTEN

1925 - 2002 | Gija language

Purnululu,BungleBungles,1996

80 x 100 cm ochre on canvas

$4,000 - $6,000

bears inscription verso: Jack Britten, AP0745

PROVENANCE

Waringarri Arts, Western Australia, Cat No. AP0745 acquired from the above during art collecting trip 1996 The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

JARINYANU DAVID DOWNS

1925 - 1995 | Wanjkajunga/Walmajarri language

Kurtal:DancingwithClouds,1988

152 x 106 cm ochre and acrylic on linen

$5,000 - $8,000

signed and bears inscription verso: Jorin Yonu David Downs, commissioned by DUNCAN KENTISH, 024/88, 60” 42”, KURTAL: DANCING WITH CLOUDS

PROVENANCE

Duncan Kentish, South Australia, Cat No. 024/88

Bonython Meadmore Gallery, New South Wales

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

EXHIBITED

JarinyanuDavidDowns, 18 August - 13 September 1988, Bonython Meadmore Gallery, Sydney

LILY KARADADA

born c.1927 | Tjarintji/Woonambal language

WandjinaCoolamon,1997

15 x 59 x 29 cm (irregular) ochre and acrylic on eucalyptus bark with bush twine and resin

$900 - $1,200

PROVENANCE

Warmun Art Centre, Western Australia

acquired from the above during art collecting trip 1997

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

Accompanied by an original letter and invoice signed Warmun Art Centre

CHURCHILL YOONANY CANN

1944 - 2016 | Gija language

Untitled,1999

60 x 80.5 cm ochre on canvas

$800 - $1,200

bears inscription verso: Warmun Art Centre, 80x60cm, Churchill Cann, WAC 077/99, P/$

PROVENANCE

Warmun Art Centre, Western Australia, Cat No. WAC 077/99 acquired from the above during art collecting trip 1999 The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

CHURCHILL YOONANY CANN 1944 - 2016 | Gija language

RidgesCountry,1997

50.5 x 76 cm ochre on canvas

$600 - $1,000 signed verso ‘Churchill Cann’; bears inscription verso: 90 x 60, 19.6.97, “Ridges Country” CCAN 0019; Warmun Traditional Artists stamp

PROVENANCE

Warmun Traditional Artists, Western Australia, Cat No. CCAN0019 acquired from the above during art collecting trip 1997 The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

HENRY WAMBINY

c.1934 - 2009 | Gija language

BuchananCountry,1996

50.5 x 61 cm ochre on canvas

$400 - $800

signed verso ‘Henry’; bears inscription verso: HW007, 7/6/96. “Buchanan Country” (W.A./N.T.Border.); stamped verso Warmun Traditional Artists

PROVENANCE

Warmun Traditional Artists, Western Australia, Cat No. HW0007 acquired from the above during art collecting trip 1996 The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

Accompanied by a certificate of authenticity from Warmun Traditional Artists including a photo of the artist with the artwork

JOE LEWIS

born 1953 | Jaminjung language

Untitled,1997

50.5 x 76 cm

ochre and acrylic on linen

$500 - $700

bears inscription verso: Waringarri Aboriginal Arts, Joe Lewis, 20x30”, APO797

PROVENANCE

Waringarri Aboriginal Arts, Western Australia, Cat No. APO797 acquired from the above during art collecting trip 1997 The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

84

ADA BIRD PETYARRE c.1930 - 2009 | Anmatyerre language

Jurrukukuni(BoobookOwl),1997

30 x 10 x 10 cm

ochre and acrylic on carved wood

$200 - $300

PROVENANCE

Utopia Art Sydney, New South Wales

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

Accompanied by original receipt from Utopia Art Sydney

85

COLLABORATIVE

HAZEL KNGWARREYE (born 1964) MICHELLE KNGWARREYE (born c.1960) JANICE KNGWARREYE (born c.1958) Alyawarre language

Untitled,1992

59.5 x 164 cm

acrylic on canvas

$800 - $1,200

bears inscription verso: M.B.A. Rodney Gooch, Hazel, Michelle, Janice Kngwarreye, 34-1192 Utopia Art Sydney, label adhead: No.27

PROVENANCE

Mulga Bore Artists, Northern Territory, Cat No. 34-1192

Utopia Art Sydney, New South Wales, Cat No. 27

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

NANCY PETYARRE

1934 - 2009 | Anmatyerre language

MountainDevilDreaming,2000

90.5 x 90.5 cm

acrylic on linen

$1,000 - $2,000

bears inscription verso: Nancy Petyarre, 00A032, commissioned by Delmore

PROVENANCE

Delmore Gallery, Alice Springs, Northern Territory

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

GLORIA

TAMERRE PETYARRE 1945 - 2021 | Anmatyerre language

Leaves,1999

223 x 59 cm

acrylic on canvas

$8,000 - $10,000

bears inscription verso: 17-1199, Gloria Petyarre, Boundry Bore. Utopia. NT. ‘leaves’ Nov. 1999; stamped Warlu Productions; Utopia Art Sydney label

PROVENANCE

Utopia Art, Northern Territory, Cat No. 17-1199 Utopia Art Sydney, New South Wales gifted to Sir Nicholas Shehadie from SBS Australia, New South Wales

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

Label adhered verso: ‘A gift from the staff and board members of SBS to Sir Nicholas Shehadie on his retirement as chairman of SBS 16th December 1999, with Gratitude and Great affection’

EMILY

KAME KNGWARREYE (EMILY KAM KNGWARRAY) 1910 - 1996 | Anmatyerr language

Alhalkere,1993

80.5 x 85 cm

acrylic on canvas

$30,000 - $40,000

bears inscription verso: EK 30.893 MBA, 85 x 80cm; Utopia Art Sydney label adhered verso

PROVENANCE

Mulga Bore Artists (Rodney Gooch), Northern Territory, Cat No. EK 30.893 MBA

Utopia Art Sydney, New South Wales, Cat No. 30-893

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

EXHIBITED

EmilyKameKngwarreye:LookingBack, 1997, Utopia Art Sydney, NSW, Cat No. 7

GERTIE HUDDLESTON

c.1933 - 2013 | Marra language

TreeofLife,2000

127 x 92 cm

acrylic on linen

$3,000 - $5,000

signed bottom right ‘G.H’; bears cataloging details verso: rep..by..Karen Brown Gallery; Gabrielle Pizzi label verso

PROVENANCE

Karen Brown Gallery, Northern Territory, Cat No. GH043 Gallery Gabrielle Pizzi, Victoria The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

WILLIE KURIBI GUDABI & MOIMA WILLIE c.1916 - 1996 & c.1935 - 2014 | Alawa language

InitiationRitual,1990

171 x 103 cm

acrylic on linen

$3,000 - $5,000

bear inscription verso: AK552, Willie + Moima Gudabi, Story 5, Cat 11

PROVENANCE

Alcaston Gallery, Victoria, Cat No. AK552

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

DR PANTJITI MARY MCLEAN

c.1930 - 2023 | Ngaatjatjarra language

Untitled,1996

77 x 57 cm

acrylic on cotton duck

$1,000 - $2,000

bears cataloguing details verso

PROVENANCE

Hogarth Galleries, Cat No. 19/96, New South Wales

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

EXHIBITED

PantjitiMaryMclean,recentpaintingsandtribalartfrom Hazaribagh,Bihar,India,PutliGanju-SohraiArt,Jason Imam-SohraiSculptures, 11 August - 5 September 1998, Hogarth Galleries, Sydney, NSW

WILLIE KURIBI GUDABI

1917 - 1996 | Alawa language

Untitled(InitiationRitual),1996

205 x 125 cm

acrylic on canvas

$7,000 - $10,000

PROVENANCE

Framed - The Darwin Gallery, Northern Territory, Cat No. 5023 EAB

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

SUSIE BOOTJA BOOTJA NAPALTJARRI

c.1935 - 2003 | Kukatja language

Untitled,1997

100 x 50 cm acrylic on linen

$1,500 - $2,500

bears inscription verso: property of Warlayirti Artists, 1000 x 500, P/S, Susie Bootja Bootja, 201/97

PROVENANCE

Warlayirti Artists, Western Australia, Cat No. 201/97 acquired from the above during art collecting trip 1997 The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

Accompanied by a copy of the receipt from Warlayirti Artists

DAVID HALL TJANGALA

c.1930 - 2000 | Kukatja language

Untitled,1996

91 x 61 cm acrylic on linen

$400 - $600

bears cataloguing details verso

PROVENANCE

Warlayirti Artists, Western Australia, Cat No. 380/96 acquired from the above during art collecting trip 1996

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

RICHARD TAX TJUPURRULA

c.1938 - 2003 | Walmajarri/Kukatja language

Artist’sCountry,1996&TheGreatSandyDesert,1997

90 x 60 cm (each)

acrylic on canvas & acrylic on linen

$800 - $1,200

bear cataloguing details verso

PROVENANCE

Warlayirti Artists, Western Australia, Cat No. 590/96 & 507/97

acquired from the above during art collecting trip 1997

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

Accompanied by a copy of the receipt from Warlayirti Artists and a photo of Dame Marie Bashir with the artist and the artworks

Honourable Dame Marie Bashir AD CVO & Richard Tax at Warlayirti Artists on the 1997 collecting trip

SAM WILLIKATI TJAMPITJIN

c.1930 - 2004 | Kukatja/Walpiri language

Untitled,1997

75 x 50 cm

acrylic on canvas

$400 - $600

bears cataloguing details verso

PROVENANCE

Warlayirti Artists, Western Australia, Cat No. 374/97 acquired from the above during art collecting trip 1997

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

Accompanied by a copy of the receipt from Warlayirti Artists

GEORGE MCDONALD WILYIRI TJUNGARRAYI

born 1943 | Pintupi language

Untitled,1997

75 x 50 cm acrylic on canvas

$400 - $600

bears inscription verso: Property of Warlayirti Artists, 750 x 500, P/S, George Tjungurryi McDonald, 109/97

PROVENANCE

Warlayirti Artists, Western Australia, Cat No. 109/97 acquired from the above during art collecting trip 1997 The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

Accompanied by a copy of the receipt from Warlayirti Artists

YUYUYA NAMPITJINPA

born 1946 | Pintupi language

Untitled,2011

61.5 x 31.5 cm

acrylic on linen

$600 - $1,000

bears cataloguing details verso

PROVENANCE

Papunya Tula Artists, Northern Territory, Cat No. YN1102019

Palya Art, Northern Territory, Cat No. C2398

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

TATALI NAPURRULA

born 1957 | Pintupi language

Untitled,2007

105 x 28 cm acrylic on linen

$800 - $1,500

bears inscription verso: Tatali Napurrula, Papunya Tula Artists, TN0707185; Palya Art label adhered verso

PROVENANCE

Papunya Tula Artists, Northern Territory, Cat No. TN0707185 Palya Art, Northern Territory, Cat No. 2511

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

Accompanied by a certificate of authenticity from Palya Art

DR GEORGE TJAPALTJARRI

c.1930 - 2017 | Pintupi language

Untitled,2000

151.5 x 30.5 cm

acrylic on linen

$900 - $1,200

bears inscription verso: Dr George Tjapaltjarri #4650; Gallery Gondwana stamp

PROVENANCE

Gallery Gondwana, Northern Territory, Cat No. DG4650

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

“Gallery Gondwana was honoured to have the Governor-General of NSW, the Honourable Dame Marie Bashir AD CVO, officially open our Sydney gallery in Danks Street, Waterloo in 2002.

We initially met a few years earlier during her visit to Alice Springs, where she visited the Gondwana artist studio beside the gallery and purchased paintings by Dr. George Tjapaltjarri, Walala Tjapaltjarri and Dorothy Napangardi. She took a keen interest in discussing the paintings with these artists and was very much at ease in their company.

She had such a passion for Aboriginal art that she visited galleries all around Australia during her travels. Colleagues in the industry I know, speak very highly of her interest and commitment”

Roslyn Premont Director Gallery Gondwana

101

DR GEORGE TJAPALTJARRI

c.1930 - 2017 | Pintupi language

Untitled,2000

41 x 41 cm

acrylic on linen

$300 - $500

bears inscription verso: Dr George Tjapaltjarri 4738; Gallery Gondwana stamp

PROVENANCE

Gallery Gondwana, Northern Territory, Cat No. 4738DG

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

102

WALALA TJAPALTJARRI

born c.1967 | Pintupi language

Tingari(Diptych),2000

41 x 41 cm (each); 82 x 41 cm (overall)

acrylic on linen

$400 - $800

bears Gallery Gondwana stamps with cataloguing details verso

PROVENANCE

Gallery Gondwana, Northern Territory, Cat No. 5085WT & 5087WT

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

WILLY TJUNGURRAYI

c.1930 - 2018 | Pintupi language

Untitled,1997

46.5 x 38 cm

acrylic on linen

$800 - $1,200

bears cataloguing details verso and Utopia Art Sydney label

PROVENANCE

Papunya Tula Artists, Northern Territory, Cat No. WT970205

Utopia Art Sydney, New South Wales

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

EXHIBITED

SeniorPintupiMenfromPapunyaTulaArtists, Utopia Art

Sydney, New South Wales, Cat No. 23

PADDY SIMS JAPALJARRI

c.1917 - 2010 | Warlpiri language

Untitled,1999

30 x 30 cm acrylic on linen

$200 - $300 bears cataloguing details verso

PROVENANCE

Warlukurlangu Artists, Northern Territory, Cat No. 69/99 acquired from the above during art collecting trip 1999

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

MYRA PATRICK HERBERT NUNGARRAYI

born c.1946 | Warlpiri language

Ngalyipi(BushvineDreaming),1997

98.5 x 61.5 cm acrylic on canvas

$800 - $1,200

bears inscription verso: Myra Nungarraiyi Patrick, Bush Vine, 20-10-97, A/538

PROVENANCE

Warnayaka Art Centre, Northern Territory, Cat No. A/538 acquired from the above during art collecting trip 1997 The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

JONATHAN KUMINTJARA

BROWN 1960 - 1997 | Pitjantjatjara language

TheExplosionatMaralinga,1996

125 x 90.3 cm

acrylic, sand and ochre on linen

$3,000 - $6,000

bears cataloguing details verso: 1996, The Explosion at Maralinga, 7

PROVENANCE

Utopia Art Sydney, New South Wales

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

JOHN DALNGA DALNGA born 1946 | Eastern Kunwinjku language

BuluwanaAncestorFromNgandarrayo,1997

129.5 x 70.5 cm (irregular) ochre on bark

$1,500 - $2,500

bears inscription verso: Dalngadalnga, Maningrida Arts and Culture Certificate of Authenticity, NT; Maningrida Arts label, #5632

PROVENANCE

Maningrida Arts and Culture, Northern Territory, Cat No. 5632 acquired from the above during art collecting trip 1997 The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

Certificate of authenticity from Maningrida Arts and Culture adhered to the back

TOBY GABALNGA

born 1957 | Yolŋu language

Gamardi,1996

73 x 31 cm (irregular) ochre on bark

$300 - $600

bears Maningrida Arts and Culture label verso

PROVENANCE

Maningrida Arts and Culture, Northern Territory, Cat No. 3541

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

109

MULTIPLE MANINGRIDA ARTISTS

Yolŋu language

ACollectionofWoven,FeatheredSculpturalObjects

21 x 16.5 cm (dilly bag); 9.5 cm each (two armbands); 36 x 34 cm (string bag)

pandanus fibre and natural dyes

$1,000 - $1,200

PROVENANCE

Artist Once Known - DillyBag

Burruwal - TwoArm Bands, Cat No. 6419

Elizabeth Mipilanggurr - StringBag, Cat No. 6399 BOB

Maningrida Arts and Culture, Northern Territory

acquired from the above during art collecting trip 1997

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

110

ARTIST ONCE KNOWN

Wilpiri language

Coolamon,1999

50 x 23 cm (irregular)

acrylic on beanwood

$1,000 - $2,000

PROVENANCE

Warlukurlangu Artists, Northern Territory

acquired from the above during art collecting trip 1999

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

111

MULTIPLE MANINGRIDA & ELCHO ISLAND ARTISTS

Yolŋu language

ACollectionofWoven,FeatheredSculpturalObjects

39h x 40w cm (string bag); 10 cm (armband); 158l x 4.5w cm (belt); 15h x 40l x 30w cm (basket) pandanus fibre, feathers and natural dyes

$1,200 - $1,500

PROVENANCE

Rosie Gimijingul - StringBag, Cat No. MV 5370

Maningrida Arts & Culture & Elcho Island Arts, Northern Territory

acquired from the above during art collecting trip 1997

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

JAMES IYUNA & STEPHEN KAWURLKKU

1959 - 2016 & 1946 - 2009 | Kuninjku & Ndjebbana languages

TwoMimihSpirits,1997

152 x 3 cm; 154 x 18 x 18 cm (with stand) & 152 x 5 cm; 153 x 20 x 20 cm (with stand) ochre on carved wood

$1,000 - $1,500

PROVENANCE

Maningrida Arts & Culture, Northern Territory acquired from the above during art collecting trip 1997

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

ARTIST ONCE KNOWN

Yolŋu language

Lorrkon,1997

92.5 x 11 x 11 cm ochre on hollow log

$600 - $800

PROVENANCE

Buku-Larrŋgay Mulka, Northern Territory acquired from the above during art collecting trip 1997

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

LILY KARADADA

born c.1927 | Tjarintji/Woonambal language

Wandjina,1990

55 x 27 cm (irregular) ochre on bark

$1,200 - $1,500

bears chalk inscription verso: Lilly, p6915 CHTT, CTIT

PROVENANCE

Aboriginal Arts Australia, New South Wales, Cat No. P6915 CHTT

The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

QUEENIE MCKENZIE

c.1915 - 1998 | Gija language

Nyowunna&Nakarra(Woman’sLawDiptych),1997

25.5 x 30.5 cm (each); 25.5 x 61 cm (overall) ochre on canvas

$2,000 - $4,000

artists signature and cataloguing details verso

PROVENANCE

Warmun Traditional Artists, Western Australia, Cat No. QM1137 & QM1136 acquired from the above during art collecting trip 1997 The Collection of Dame Marie Bashir AD CVO and Sir Nicholas Shehadie AC OBE, Sydney, New South Wales

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Mount Pleasant Wines in the Hunter Valley are proud supporters of the arts and this auction, featuring the collection of Dame Marie Bashir AD CVO & Sir Nicholas Shehadie AC OBE.

Founded in 1921 by Maurice O’Shea, widely regarded as the father of modern Australian winemaking, Mount Pleasant is one of the Hunter Valley’s most iconic and historic wineries, known for producing benchmark Hunter Valley styles such as Semillon and Shiraz. The estate has earned countless awards and remains celebrated for wines of longevity, balance, and a true sense of place. Mount Pleasant will host a special wine tasting at the Vernissage, celebrating the occasion alongside this important sale.

Shop ‘Garry Shead’ Art Series here:

Mount Pleasant Wines in the Hunter Valley

Y E R S T E R M S & C O N D I T I O N S

Issued by Coo-ee Art Pty Ltd T/A Art Leven. This notice applies to all individuals participating in the auction, including registered and prospective bidders and eventual buyers. By registering or bidding, you agree to these terms and to the full Conditions of Sale published on our website.

DESCRIPTION & CONDITION

The Seller and Art Leven warrant that each Lot is accurately described in the catalogue (excluding human errors) and that the Seller holds clear title.

Lots are sold “as is”, with all faults and imperfections. Bidders are responsible for examining artworks in person or requesting a Condition Report prior to bidding. Condition Reports are provided in good faith as a guide only and without assumption of liability by Art Leven.

ESTIMATES AND CONDITION

Estimates are printed beside each Lot in the catalogue and represent Art Leven’s opinion of the range in which the hammer price is likely to fall. They are not a valuation or guarantee of selling price.

BIDDING & REGISTRATION

Only registered bidders may participate in the auction. To register, bidders must:

- Complete a Bidding Registration Form (available online, in person, or by email);

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Telephone and absentee bid forms must be submitted at least four (4) hours prior to the auction. Online bidders should register in advance and ensure their accounts are active before the auction begins. If you do not receive a paddle number or email confirmation of registration, you are not registered to bid - please contact Art Leven immediately.

WINNING BIDS

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ADDITIONAL CHARGES

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TAX

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PAYMENT

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DEFAULT

If payment is not received within seven (7) working days, Art Leven may rescind the sale, re-offer the Lot, and seek legal remedy for any losses.

COLLECTION, DELIVERY & STORAGE

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CONDITIONS OF SALE

BIDDING

PRIORITY BIDDING

Art Leven is pleased to offer Priority Bidding, a first for Australian art auctions.

Priority Bidding is available to absentee, telephone, and in-room (attending) bidders (and not via our online services). To qualify, bidders must submit Cover Bids (binding at the reserve price only) directly to Art Leven at least 48 hours prior to the commencement of the auction and be confirmed as a Priority Bidder by Art Leven.

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Cover Bids are binding at the reserve price; however, Priority Bidders may continue to bid above their Cover Bid during the live auction (in person, online, or by telephone) and still retain the reduced Buyer’s Premium.

IN PERSON

The auction 19 May 2026 7pm is open to the public and held at Artspace - The Gunnery 43/51 Cowper Wharf Roadway Woolloomooloo NSW 2011 Once you have completed your registration you will be given a bidding paddle. When the hammer falls and you are the highest bidder you have entered a binding contract to buy the artwork.

ABSENTEE BIDDING

For those who prefer not to bid in realtime, you may submit Absentee Bids in advance. The Auctioneer will bid on your behalf up to, but not above, your stated maximum. Completed forms must be submitted at least four (4) hours prior.

TELEPHONE

Telephone bidding allows participation from anywhere in the world. You will be telephoned prior to your selected lot arising and one of our staff will act on your behalf and according to your instructions. An auction can be quick so it is advisable that you give clear instructions to the person bidding on your behalf. Cover bids are recommended in case you are unavailable and bids will then be placed on your behalf up to, but not above, your stated maximum. Completed forms must be submitted at least four (4) hours prior.

ONLINE

All lots can be bid for live and in real time via connect.invaluable.com/ artleven or through Invaluable, our trusted auction partner. Art Leven offers Buyer Parity Status, meaning no additional online bidding fees apply. Please ensure you are registered online prior to the auction and contact our team if you experience any technical issues before the sale. Priority Bidding status does not apply for online bids.

BIDDING INCREMENTS

Bidding typically opens below the listed pre-sale estimate and proceeds in the following increments (subject to auctioneer discretion)

Between and Increments of

$0

$1,000

$2,000

$5,000

$10,000

$20,000

$1,000 by $50

$2,000 by $100

$5,000 by $200

$10,000 by $500

$20,000 by $1000

$50,000 by $2,000

$50,000 $100,000 by $5,000

$100,000 $200,000 by $10,000

$200,000

$500,000 by $20,000

$500,000 $1,000,000 by $50,000

$1,000,000 and over by $100,000

19 MAY 2026

7:00PM AEST

LOTS 1 - 115

AUCTION

ARTSPACE - THE GUNNERY 43/51 COWPER WHARF ROADWAY WOOLLOOMOOLOO NSW 2011

AUCTION VIEWING

ART LEVEN - 104 CATHEDRAL STREET WOOLLOOMOOLOO NSW 2011

please email or post this completed form to:

ART LEVEN

104 Cathedral Street Woolloomooloo

tel: +61 (0)2 9300 9233 auctions@artleven.com

(Mr/Mrs/Ms/Miss) Full Name

Business Name (if required)

ONLINE ATTENDEE FORM

By registering to bid in the auction room, I acknowledge that I will be issued with a bidder paddle number for use during the sale. I authorise Art Leven (formerly Cooee Art Pty Ltd) to record all bids made under this paddle number as binding offers to purchase. The 19 May 2026 auction is open to the public and held Artspace - The Gunnery 43/51 Cowper Wharf Roadway Woolloomooloo NSW 2011

If successful, I agree to purchase the lot(s) at the Hammer Price, plus Buyer’s Premium. The hammer price is the final bid accepted by the auctioneer, and the fall of the hammer signifies the completion of the sale, at which point full responsibility for the lot passes to the buyer. I confirm that I have read and accept the Conditions of Sale as outlined in the auction catalogue or online.

All bids are in Australian dollars and exclude the Buyer’s Premium. A Buyer’s Premium of 25% (including GST) will be added to the hammer price of each lot. Where a binding (at the reserve price only) Priority Bid has been submitted at least 48 hours prior to the commencement of the auction, and I have been confirmed as a Priority Bidder, a reduced Buyer’s Premium of 15% (excluding GST) will apply. I understand that bidding is conducted in set increments at the discretion of the auctioneer, and that bids must be made clearly by raising my paddle and acknowledged by the auctioneer to be valid.

I acknowledge that all bids are final and cannot be withdrawn. Following the auction, an invoice will be issued, and payment is required within four (4) business days. Accepted payment methods include electronic bank transfer, eftpos, credit card (subject to surcharge), or cheque (subject to clearance). I further acknowledge that Art Leven is not liable for any errors in the execution or recognition of bids made in the auction room.

I confirm that I have read and understood the Terms and Conditions of Business available at Art Leven via the following link: https://artleven.com/wp-content/uploads/2026/02/ART-LEVEN-GENERAL-TERMS-CONDITIONS.pdf and/or those provided to me at the auction viewing at 104 Cathedral Street Woolloomooloo NSW 2011 Australia

Signature (required) Date

T T E N D E E B I D F O R M

(Mr/Mrs/Ms/Miss) Full Name

Business Name (if required)

Address

City State Postcode

Telephone/Mobile 1 alternate numbers - listed in order of preference

Telephone/Mobile 2

Telephone/Mobile 3

Signature Date

SALE NO. 19

FIRST NATIONS & AUSTRALIAN FINE ART

19 MAY 2026 7:00PM AEST

LOTS 1 - 115

AUCTION

ARTSPACE - THE GUNNERY 43/51 COWPER WHARF ROADWAY WOOLLOOMOOLOO

NSW 2011

AUCTION VIEWING

ART LEVEN - 104 CATHEDRAL STREET WOOLLOOMOOLOO

NSW 2011

please email or post this completed form to:

ART LEVEN

104 Cathedral Street Woolloomooloo

tel: +61 (0)2 9300 9233 auctions@artleven.com T E L E P H O N E B I D F O R M

By signing this form, I authorise Coo-ee Art Pty Ltd, trading as Art Leven, to contact me by telephone during the specified auction and to bid on my behalf for the listed lot(s). All bids will be executed at the lowest possible price.

To qualify as a Priority Bidder, cover bids must be submitted at least 48 hours before the auction start time. These cover bids are binding (at the reserve price only); however, bids may be increased via telephone beyond the cover bid amount and will still qualify for the reduced Buyer’s Premium. I acknowledge that if I miss this cut-off, the above bids will be treated as Telephone bids only, and the full Buyer’s Premium will apply.

If successful, I agree to purchase the lot(s) at the Hammer Price, plus the Buyer’s Premium, in accordance with the Conditions of Sale outlined in the auction catalogue and online. All bids are in Australian dollars and exclude Buyer’s Premium.

Telephone Bids must be submitted at least four (4) hours prior to the auction. All bids will be confirmed by phone or email; if confirmation is not received, it is my responsibility to contact the gallery.

I acknowledge that Art Leven provides telephone bidding as a courtesy and is not liable for any errors, technical failures, or inability to reach me during the auction. If I cannot be reached, Art Leven may execute bids up to the specified Cover Bid on my behalf.

SALE NO. 19 FIRST NATIONS & AUSTRALIAN FINE ART

19 MAY 2026

7:00PM AEST

LOTS 1 - 115

AUCTION

ARTSPACE - THE GUNNERY 43/51 COWPER WHARF ROADWAY WOOLLOOMOOLOO

NSW 2011

AUCTION VIEWING

ART LEVEN - 104 CATHEDRAL STREET WOOLLOOMOOLOO

NSW 2011

please email or post this completed form to:

ART LEVEN 104 Cathedral Street Woolloomooloo

tel: +61 (0)2 9300 9233 auctions@artleven.com

(Mr/Mrs/Ms/Miss) Full Name

Business Name (if required)

Address

City State

Postcode

Telephone/Mobile 1 alternate numbers - listed in order of preference

Telephone/Mobile 2

Telephone/Mobile 3

Signature Date

By signing this form, I authorise Coo-ee Art Pty Ltd, trading as Art Leven, to bid on my behalf at the specified auction for the listed lots, up to and including the indicated Cover Bid. Bids will be executed at the lowest possible price.

If successful, I agree to purchase the lot(s) at the Hammer Price, plus Buyer’s Premium. I confirm that I have read and accept the conditions of sale outlined in the auction catalogue and online.

Bids are in Australian dollars and exclude buyer’s premium. Absentee Bids must be submitted at least four (4) hours prior to the auction. All Absentee Bids will be confirmed by phone or email; if confirmation is not received, please contact our office.

To qualify as a Priority Bidder, cover bids must be submitted at least 48 hours before the auction start time. These cover bids are binding (at the reserve price only); however, bids may be increased via telephone beyond the cover bid amount and will still qualify for the reduced Buyer’s Premium. I acknowledge that if I miss this cut-off, the above bids will be treated as Telephone bids only, and the full Buyer’s Premium will apply.

I acknowledge that Art Leven offers this service as a courtesy and is not liable for any errors. For Telephone Bids, the Cover Bid Price may be used if I cannot be reached.

A B S E N T E E B I D F O R M

SIR NICHOLAS SHEHADIE AC OBE & DAME MARIE BASHIR AD CVO