First Nations Fine Art Auction | 17 June 2025 by Art Leven [formerly Cooee Art]

FINE ART AUCTION FIRST NATIONS

17 JUNE 2025

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 and images of deceased persons.

COVER Lot 17, EMILY KAME KNGWARREYE, AnkaraMerne-Intekwe , 1990

RIGHT Lot 25, ROVER JOOLAMA THOMAS, SmallCreekNearTurkeyCreek,1990

Alkawari

Anatjari

Angelina Pwerle Ngal

Bai Bai Napangarti

Betty Kuntiwa Pumani

Bill Whiskey Tjapaltjarri

Boxer

Welcome to our June 17 First Nations Fine Art Auction, featuring a thoughtfully curated selection of 82 notable works by artists of exceptional cultural and artistic influence.

This auction takes place at a time of heightened global interest in First Nations art, spurred in part by the National Gallery of Art in Washington, D.C.’s announcement of their forthcoming landmark Indigenous exhibition, The StarsWeDoNotSee,opening this October. Featuring over 200 artworks on loan from the National Gallery of Victoria, this will be the largest international exhibition of Indigenous Art in the USA. The exhibition is set to tour from Washington, D.C. to Colorado, Oregon, Massachusetts and Ontario, Canada.

In response to this momentum, we have assembled a collection grounded in rigorous research and supported by documented provenance, in accordance with current Australian institutional acquisition standards. While there is an ongoing and important conversation about revisiting provenance policies and recognising artists as individual agents, this auction has been curated within the existing institutional framework, ensuring all works are eligible for acquisition under current guidelines.

The highlight of this sale is Lot 17: AnkaraMerne-Intekwe (1990), a remarkable painting by Emily Kame Kngwarreye (Emily Kam Kngwarray) from her first solo exhibition held in 1990 at Utopia Art Sydney. This archetypal work, commissioned by Rodney Gooch for the Central Australian Aboriginal Media Association (CAAMA), is accompanied by an essay from Christopher Hodges outlining the importance of this work and its historical significance. The plant depicted, Intekwe, was considered so innately linked to Emily’s being that no other Anmatyerre artist has been permitted to paint it since her passing. This rare and exceptional work carries an estimate of $450,000 – $550,000. Another outstanding painting by Kngwarreye is SummerAbundanceV (Lot 18), from the prestigious Thomas Vroom Collection—an identifiable piece reflecting a pinnacle time in her career that carries a more modest estimate of $150,000 – $200,000.

The representation of artists from Utopia is expanded through significant early career works by Minnie Pwerle (Lot 20), Gloria Petyarre (Lot 79), Kathleen Petyarre (Lot 52), and Kathleen Ngal (Lot 21). This lineage is followed to a more contemporary work by Angelina Ngal, whose luminous celestial diptych Wild Plum is offered as Lot 19, with an estimate of $40,000–$60,000.

INTRODUCTION

A particularly exciting feature of this auction is the early 1970s Papunya collection assembled by the former Executive Dean of the Faculty of Arts and Architecture at the University of Western Australia (UWA), Professor John Jory. Focused on the foundational years of the Western Desert painting movement, this collection offers rare insights into a pivotal moment in ‘Australian’ art history. Works from this formative period are becoming increasingly scarce on the secondary market as they are acquired by institutions, making future opportunities to purchase them exceedingly rare. Among the highlights from Jory’s collection is WaterDreaming , 1971

(Lot 16) by Long Jack Phillipus Tjakamarra, an important early work from the fourth commercial consignment of Papunya paintings sent to the Stuart Art Centre under Pat Hogan’s pioneering initiative. Other exceptional pieces include two 1972 Old Walter Tjampitjinpa boards also from the WaterStory series Lot 12 and Lot 15, both estimated at $50,000–$70,000, alongside rarely seen early paintings by John Kipara Tjakamarra, titledWalinngi, 1973 (Lot 11) and Anatjari No.III Tjakamarra, OriginsofSoakages, 1973 (Lot 14).

The auction also includes two significant works by Rover Joolama Thomas. SmallCreekNearTurkeyCreek, 1990 (Lot 25), was painted during his collaboration with Perth-based dealer Mary Macha, a key supporter of the East Kimberley school and is estimated at $90,000–$100,000. Lot 10, created two years later for Waringarri Arts—the Miriwoong community’s art centre—is guided by the same deep connection to Country and is estimated at $30,000–$40,000. Joolama’s close friend and fellow artist Queenie McKenzie is represented by Lot 36, LimestoneHills,Texas(1995), while his mentor, Jack Britten, is featured with a striking suite of works collectively titled the CountrySeries,offered as Lot 54.

Beyond these major works, several pieces stand out for their unique artistic perspectives. Among them is Lot 24, MotionlessFish by Yorta Yorta artist Lin Onus—a subtle and evocative gouache that captures a meditative stillness and quiet complexity from his iconic water series. Lot 7 features Living Water at Pikarong by Lydia Balbal, reigning winner of the Telstra NATSIAA Painting Award, whose minimal aesthetic powerfully evokes Country. Also of note is Lot 22, an exquisitely beautiful work by contemporary Balgo Hills artist Patsy Mudgedell, offered with an estimate of $16,000–$22,000.

Concluding the highlights are works by various artists that stand out for their superior execution, including Betty Kuntiwa Pumani (Lot 51), Boxer Milner (Lot 6), Kunmanara (Ray) Ken (Lot 48), Eubena Nampitjin (Lot 47) and Dorothy Napangardi (Lot 28) to name just a few. With an estimated total value of between $1.42 and $1.85 million, this collection represents works that are both historically important and institutionally relevant.

We are honoured to present this outstanding selection and invite you to explore the depth and cultural significance of the works on offer. We look forward to welcoming you to the viewing at Art Leven housed on Gadigal Country.

Emma Lenyszyn

First Nations Fine Art Specialist

May, 2025

INTRODUCTION

NAATA NUNGURRAYI (1932 - 2021)

UNTITLED(MARRAPINTI),2001

61.5 x 56 cm

acrylic on linen

$4,000 - $6,000

PROVENANCE

Papunya Tula Artists, NT Cat No. NN0112060

Private collection, NSW

Sotheby’s, Aboriginal and Oceanic Art, Melbourne, Vic, November 2005, Lot No. 192

Private collection, Vic Bonhams, Aboriginal Art, Sydney, NSW, November 2012, Lot No. A68

Private collection, NSW

Accompanied by a certificate of authenticity from Papunya Tula Artists

EUBENA

NAMPITJIN (1920 - 2013)

PUNTUTJARLPA,2001

40 x 30 cm; 43 x 33 cm (framed) acrylic on linen

$2,000 - $3,000

PROVENANCE

Warlayirti Artists, WA Cat No. 369/01 Palya Art, NT Cat No. 0629

Private collection, NSW

Accompanied by a certificate of authenticity from Warlayirti Artists

BILL WHISKEY TJAPALTJARRI (1920 - 2008)

ROCKHOLESNEARTHEOLGAS(DIPTYCH),2008

30.5 x 30.5 cm (each); 36.5 x 68.5 cm (framed) acrylic on canvas board

$3,000 - $4,000

PROVENANCE

Watiyawanu Artists, NT

Cat No. 10-080011 & 10-0800015

Private collection, NSW

Accompanied by certificates of authenticity from Watiyawanu Artists

NED GRANT (1941 - )

NYAWN,2015

137 x 140 cm

acrylic on linen

$7,000 - $9,000

PROVENANCE

Spinifex Arts Project, WA

Cat No. SAPNG15-83

Aboriginal and Pacific Arts, NSW Private collection, WA

Accompanied by a certificate of authenticity from Spinifex Arts Project

EXHIBITED

SpinifexArtsProject,Aboriginal and Pacific Arts, Sydney, NSW, 14 - 31 October 2015

EauxVivantes,LivingWaters,Musée Océanographique de Monaco, 23 March - 30 September 2016

YANNIMA TOMMY WATSON (1935

- 2017)

TALI,2004

77.5 x 93 cm; 79.5 x 95 cm (framed) acrylic on canvas

$10,000 - $12,000

PROVENANCE

Irrunytju Arts, NT Cat No. IRRTW04399

Vivien Anderson Gallery, Vic

Private collection, SA

Sotheby’s, Important Aboriginal Art, Melbourne, Vic, June 2012, Lot No. 69

Private collection, SA

Accompanied by certificates of authenticity from Irrunytju Arts and Vivien Anderson Gallery

EXHIBITED

NgayukuNgura-MyCountry:NewPaintings, SeniorArtistsoftheIrrunytjuCommunity, WesternAustralia , Vivien Anderson Gallery, Melbourne, Vic, 11 October - 4 November 2005

BOXER MILNER TJAMPITJIN (1934 - 2009)

PURKITJI,2006

180 x 80 cm

acrylic on linen

$16,000 - $22,000

PROVENANCE

Warlayirti Artists, WA Cat No. 22/06

Utopia Art, NSW

Private collection, NSW

Sotheby’s, Important Aboriginal Art, Sydney, NSW, October 2012, Lot No. 10

Private collection, NSW

Accompanied by a certificate of authenticity from Warlayirti Artists

LYDIA BALBAL (1958 - )

PIKARONG,2007

121 x 61 cm

acrylic on linen

$3,000 - $3,500

PROVENANCE

Short Street Gallery, WA Cat No. 24222

Private collection, WA

Accompanied by a certificate of authenticity from Short Street Gallery (as Certificate No. 784760)

EXHIBITED Dreamings.AboriginalAustralianArtMeets DeChirico,Museo Carlo Bilotti - Aranciera di Villa Borghese, Roma, 4 July - 2 November 2014

NORA WOMPI NUNGURRAYI (1935 - 2017)

KUNAWARRITJICOMMUNITY(WELL33),2009

92 x 61 cm

acrylic on linen

$2,000 - $4,000

PROVENANCE

Warlayirti Artists, WA Cat No. 639/09 Private collection, WA

Accompanied by a certificate of authenticity from Warlayirti Artists

EXHIBITED

ContemporaryIndigenousArtinAustralia, IVAM, Institut Valencià d’Art Modern, Spain, 31 January - 16 April 2012 Dreamings.AboriginalAustralianArtMeetsDe Chirico,Museo Carlo Bilotti - Aranciera di Villa Borghese, Roma, 4 July - 2 November 2014

RONNIE

TJAMPITJINPA (c.1942 - 2023)

UNTITLED,1998

92 x 62 cm

acrylic on linen

$6,000 - $8,000

PROVENANCE

Papunya Tula Artists, NT Cat No. RT980420 Private collection, Italy

Cambi Casa d’Aste, Modern and Contemporary Art, Milan, Italy, December 2021, Lot No. 66 Private collection, NSW

Accompanied by a certificate of authenticity from Papunya Tula Artists

ROVER

JOOLAMA THOMAS (1926 - 1998)

UNTITLED,1992

45 x 60.5 cm; 48 x 63.5 cm (framed) ochre on canvas

$30,000 - $40,000

PROVENANCE

Waringarri Aboriginal Arts, WA Cat No. AP3706

Utopia Art, NSW

Private collection, NSW

Accompanied by a certificate of authenticity from Waringarri Aboriginal Arts

Bears inscription verso: Waringarri Arts, AP3706

P A P U N Y A S T O R Y

This curated selection of exemplary boards from the seminal stages of the Papunya movement. They are a fine represention what is widely considered to be the birthplace of the modern First Nations art movement as we know it.

The magic of these first paintings is in their direct link to their sacred, functional, and ceremonial origins. The paintings are direct translations of drawings in the sand onto canvas or board. In many cases, they represent some of the first archival recordings of an over 65,000-year-old culture.

Much has been written about the genesis of the painting movement in Papunya during the early 1970s. It may in fact be the most documented and studied area of ‘Australian’ First Nations fine art, thanks in part to the expansive documentation and first-hand accounts of Geoffrey Bardon, the school teacher who helped create Papunya Tula Artists with the original group of approximately 20 ‘painting men.’ The group included John Kipara Tjakamarra (Lot 11), Old Walter Tjampitjinpa (Lots 12, 13, 15), Anatjari No. III Tjakamarra (Lot 14), and Long Jack Philippus Tjakamarra (Lot 16).

The influence of those formative years extends well beyond the original Papunya Tula artistic circle. It is visible not only in subsequent generations of Papunya Tula artists — such as Willy Tjungarrayi (Lot 26), Ronnie Tjampitjinpa (Lots 9, 53, 76) and Willie Tjapanangka (Lot 27) but also in the majority of paintings presented in this auction. This legacy reveals itself through shared stylistic elements, the continued use of traditional materials and techniques, and, finally, in the frameworks through which these paintings are now understood and appreciated.

When reflecting on this period, it is important to recognise that many of the artists had once lived traditional, nomadic lives—disrupted by the brutal assimilation policies imposed by the coloniser. The Papunya settlement, established in 1959, was a direct outcome of this policy. People from diverse language groups, including Luritja, Pintupi, Anmatyerr, Warlpiri, and Western Aranda, were forcibly removed from their sacred lands and gathered into the settlement. By many accounts, Papunya was marked by a collective feeling of deep loss and depression, its inhabitants severed from the cultural and spiritual landscapes that had sustained them for generations.

By 1970, a vast generational divide grew between the elders, whose lives were shaped by a reality that no longer existed, and a younger generation that had lived the majority of their life in the Papunya settlement without having experienced the traditional nomadic way of life. In response to this cultural rupture, a number of senior men (soon to become the painting group) painted a series of murals on the Papunya school walls. These aimed to transmit cultural knowledge and reconnect younger generations with their heritage. The most significant of these was the Honey Ant Dreaming mural, a story shared by the various language groups residing in the settlement. From this moment, the artists transitioned from wall paintings to boards, developing a visual language through which ancestral stories could be preserved and passed on.

Geoffrey Bardon quickly developed close relationships with the ‘painting men’. Through an open and respectful exchange, over time, he came to learn many elements of the stories they painted and the symbolic structures that underpinned them. This knowledge contributed to the creation of a foundational visual lexicon that remains profoundly relevant today. Many of the early paintings were accompanied by handwritten notes and diagrams, sometimes attached to the reverse of the artworks, providing insight into the complex meanings embedded within the imagery.

By the 1980s, with Andrew Crocker taking the helm of the company in 1979, the highly annotated and didactic methods of description used by Papunya Tula Artists up to that point gave way to the more abstracted language of the wider fine art world. This new approach often cast a vague mystical sheen over the

¹ Vivienne Johnson’s essay in Genesis and Genius, p.192

² Geoffrey Bardon, Papunya Tula - Art of the Western Desert, 1991, p.28-29

³ Geoffrey Bardon, Papunya - A Place Made after a Story, 2004, p.74

4 Geoffrey Bardon, Papunya - A Place Made after a Story, 2004, p.84

Welcome to our June 17 First Nations Fine Art Auction, featuring a thoughtfully curated selection of 82 notable works by artists of exceptional cultural and artistic influence.

art form rather than disseminating its individual symbolic elements. Vivienne Johnson described the move as a “revolutionaryshiftawayfromthe[…]previous emphasisontheculturalsignificanceofthepaintings[…]Crocker’sflamboyant styleandthispromotionalstrategywereeffectiveinattractingtheartworld’s attentiontoworksthathadpreviouslybeenthoughtofonlyinthecontextof ethnographicmuseums.” 1

In a statement prepared for display at Papunya Tula exhibitions, Crocker wrote: “MuchcouldbesaidaboutthegenesisoftheWesternDesertSchoolandalsoof itsroleintheartists’society.Ithinkthatforthepurposesofthisexhibitionthe paintingsshouldbeallowedtoexercisetheirownaestheticappealandthat explanationsofcontentandsymbolismbebestkepttoaminimum.”

This auction takes place at a time of heightened global interest in First Nations art, spurred in part by the National Gallery of Art in Washington DC’s announcement of their forthcoming landmark Indigenous exhibition, TheStarsWeDoNotSee , opening this October. Featuring up to 200 pieces of art on loan from the National Gallery of Victoria, will be the largest international collection of Indigenous Art on record. Touring from Washington DC to Colorado, Oregon, Massachusetts and Ontario, Canada.

This shift away from descriptive specificity places an even greater emphasis on the importance and rarity of the Papunya paintings of the 1970s, and helps to explain our ongoing fascination with these works that have shaped our understanding of Desert painting and still represent the foundation of the knowledge available to the uninitiated when approaching these paintings.

This auction presents an outstanding selection of early boards, all created by founding artists of Papunya’s art movement. Included are three exceptional early boards by Old Walter Tjampitjinpa, who was one of Geoffrey Bardon’s closest friends and confidants among the painting men. Tjampitjinpa played a pivotal role in shaping Bardon’s understanding of the emerging visual language, and his paintings remain central to the history of the movement.

OldWalterwassomethingofagentleandkindpatroninmygraduallyimproving understandingoftheAboriginalwayoflife.Laterhetoldmethathewasthe custodianoftheWaterDreamingandhismanyvariationsonthisthemeafforded meknowledgeofceremonialsitesandspecialplaces[…] 2

Both Lot 12 (WaterStory , 1972) and Lot 15 (WaterStory , 1972) are stunning examples of the classic Water Dreaming. Stylistically, the key distinction between these two works lies in their approach to colour and composition. While Lot 12 is rich with dense, high-contrast dot work in vivid colours, Lot 15 adopts a more restrained palette, with finely dotted elements throughout, resulting in a minimal and more subtle composition.

The highlight of this sale is Lot 17: Intekwe (1990), a remarkable painting by Emily Kame Kngwarreye (Emily Kam Kngwarray) from her first solo e xhibition held in 1990 at Utopia Art Sydney. This archetypal work, commissioned by Rodney Gooch for the Central Australian Aboriginal Media Association (CAAMA), is accompanied by an essay from Christopher Hodges outlining the importance of this work and its historical significance The plant depicted—Intekwe—was considered so intimately linked to Emily’s being that no other Anmatyerre artist has been permitted to paint it since her passing. This rare and exceptional work carries an estimate of $450,000 – $550,000. Another outstanding painting by Kngwarreye is SummerAbundanceV (Lot 18), from the prestigious Thomas Vroom Collection—an identifiable piece reflecting the pinocle time in her career and carries a more modest estimate of $150,000 – $200,000.

[…]itwasforOldWalter,becauseofhiskindliness,thatIfeltastrongaffection. Hespokeinagarbledandverybriefandhumblemanner,repeatinginhispaintings thesimple,classicWaterManandrunningwaterimages,quietly,yetwitha marvellousconcentration.Hispaintingwasanexpressionofhiseternaland universalresponsetophenomenasuchasthedesertstormsatKalipimpinpa.3

The representation of artists from Utopia is expanded through significant early career works by Minnie Pwerle (Lot 20), Gloria Petyarre (Lot 79), Kathleen Petyarre (Lot 52), and Kathleen Ngal (Lot 21). This lineage is followed to a more contemporary work by Angelina Ngal, whose luminous celestial diptych WildPlum is offered as Lot 19, with an estimate of $40,000–$60,000.

Also featured is a remarkable 1973 board by Anatjari No. III Tjakamarra (Lot 14), who was a foundational figure in the movement’s emergence, renowned for his meticulous technique and refined aesthetic. As Bardon observed, Anatjari worked with great care, employing fine sable brushes to achieve a crystalline precision in his paintings. His compositions were, rich in decorative cross hatching and dotting, intricate ceremonial designs transposed onto canvas and board, all the while drawing from the traditions of sand painting and body decoration.

A particularly exciting feature of this auction is the early 1970s Papunya collection assembled by the former Executive Dean Faculty of Arts and Architecture at the University of Western Australia (UWA), Professor John Jory. Focused on the foundational years of the Western Desert painting movement, this collection offers rare insights into a pivotal moment in ‘Australian’ art history. Works from this formative period are becoming increasingly scarce on the secondary market as they are acquired by institutions, making future opportunities to purchase them exceedingly rare. Among the highlights from Jory’s collection is Lot 12, WaterDreaming by Long

Finally, Long Jack Philippus Tjakamarra’s WaterDreaming (Lot 16), painted in 1971, the very first year of the Papunya painting movement and part of the fourth consignment of paintings is perhaps the highlight of the collection. This highly significant and beautiful board is illustrated in Geoffrey Bardon’s seminal book, Papunya - A Place Made after the Story (p.171) and is explicitly referred to in Bardon’s profile of the artist in the beginning of the book. Tjakamarra was an essential member of the original painting group, advising and assisting with the creation of the murals that ignited the movement, he painted on the walls of the school where Geoffrey Bardon taught. “He[Tjakamarra]representedthegoodness andgivingnessalwayswithintheAboriginalpeople.”4

JOHN KIPARA TJAKAMARRA

(c.1932 - 2002)

WALINNGI(WOMENCATCHINGASNAKE),1973

57 x 34 cm; 73 x 60 cm (framed)

synthetic polymer powder paint on composition board

$30,000 - $40,000

PROVENANCE

Painted at Papunya, NT in 1973

Papunya Tula Artists, NT Cat No. JJ731226

Aboriginal Arts and Crafts, ACT Anvil Gallery, Albury, NSW

Private collection, NSW

Sotheby’s Australia, Melbourne, Vic, April 1991, Lot No. 60

Private collection, NSW

Adhered verso: the Aboriginal Arts and Crafts Pty. Ltd. certificate and accompanied by the original Sotheby’s receipt

EXHIBITED

AboriginalArtfromPapunya , The Anvil Gallery, Albury, NSW, 1974

My father, John, was an avid collector and supporter of Aboriginal fine art during the 1990s and 2000s. It was a passion that aligned to his role as Executive Dean, Faculty of Arts and Architecture at the University of Western Australia (UWA). As a member of the Australian Research Council, he supported numerous artists, foundations, and writers, including Geoffrey Bardon. His passion for Aboriginal fine art was shared and fuelled by members of the UWA Senate, where he also served for many years.

The first artwork in the Jory collection, HoneyAntDreamingwas purchased from Short Street Gallery during a trip to Broome in 1994. Boards and canvases from Papunya Tula soon followed; the entire family quickly became enthusiastic supporters of Aboriginal fine art.

John purchased and sold frequently at auction, primarily through Sotheby’s. With his family, he regularly visited every museum and gallery, private and public, in Perth, Sydney, and Melbourne. By 2010 the Jory collection included fine art works representing artists from Papunya Tula, Warlayirti, West Pilbara, Warmun, Warlukurlangu, Gunbalanya, Maningrida, and Yirrkala, among many others.

He was a naturally responsible and inquisitive collector. He believed strongly in provenance, ethical standards, and cultural integrity. He was also a passionate researcher, and one of the best prepared and researched collectors during this period. While the walls of the family house featured artwork, the bookcases overflowed with manuscripts, biographies, field notes, and thesis proposals, most from primary sources, in languages ranging from English, to German, French and Spanish.

From 2010, declining health prevented John from travelling to remote communities. However, he maintained his passion and support for the Aboriginal art movement the rest of his life.

Paul Jory April 2025

T H E J O R Y C O L L E C T I O N

PAUL JORY

Photo of John Jory supplied by Jory Family

OLD WALTER TJAMPITJINPA

(c.1910 - 1981)

WATERSTORY,1972

46 x 31 cm (irregular); 68 x 53 cm (framed) synthetic polymer powder paint on composition board

$50,000 - $70,000

PROVENANCE

Painted at Papunya, NT in 1972

Stuart Art Centre, Alice Springs, NT Cat No. 12001

Private collection, New York, USA

Sotheby’s, Aboriginal Art, Melbourne, Vic, July 2004, Lot No. 409

Private collection, WA

Thence by descent

The Jory Family Collection, Qld

Adhered verso: a certificate of authenticity from Stuart Art Centre with an annotated diagram

ILLUSTRATED

Geoffrey Bardon and James Bardon, Papunya: A Place Made after the Story (Miegunyah Press, 2004), p.187 (below)

OLD WALTER TJAMPITJINPA

(c.1910 - 1981)

WOMENANDSNAKES,1973

43.5 x 23cm; 52 x 30.5 cm (framed) synthetic polymer paint on composition board

$20,000 - $30,000

PROVENANCE

Painted at Papunya, NT in 1973

Papunya Tula Artists, NT Cat No. 735705

Private collection, NSW

Sotheby’s, Important Aboriginal Art, Melbourne, Vic, June 1999, Lot No. 311

Private collection, WA

Thence by descent

The Jory Family Collection, Qld

Bears annotated diagram verso

ANATJARI No. III TJAKAMARRA (c.1938 - 1992)

ORIGINSOFSOAKAGES,1973

92 x 22.5 cm; 101 x 31.5 cm (framed)

synthetic polymer paint on composition board

$30,000 - $40,000

PROVENANCE

Painted at Papunya, NT in 1973

Papunya Tula Artists, NT Cat No. A730808

Private collection, Vic

Sotheby’s, Fine Australian, Aboriginal and International Paintings, Melbourne, Vic, November 1999, Lot No. 478

Private collection, Vic

Sotheby’s, Aboriginal Art, Melbourne, Vic, July 2004, Lot No. 410

Private collection, WA

Thence by descent

The Jory Family Collection, Qld

Adhered verso: a certificate of authenticity from Papunya Tula Artists with annotated diagram

OLD WALTER TJAMPITJINPA (c.1910 - 1981)

UNTITLED(WATERDREAMING),1972

61 x 40.5 cm (irregular); 72 x 51 cm (framed)

synthetic polymer powder paint on composition board

$50,000 - $70,000

PROVENANCE

Painted at Papunya, NT in 1972

Stuart Art Centre, NT Cat No. 19218

Private collection, SA

Sotheby’s, Important Aboriginal Art, Melbourne, Vic, June 1999, Lot No. 192

Private collection, WA

Thence by descent

The Jory Family Collection, Qld

Bears inscription verso: ‘19218’

LONG

JACK

PHILIPPUS

TJAKAMARRA (1932 - 2020)

WATERDREAMING,1971

44.5 x 22.5 cm; 67.5x 44.5 cm (framed) synthetic polymer powder paint on composition board

$50,000 - $70,000

PROVENANCE

Painted at Papunya, NT in November/December 1971

Stuart Art Centre, Alice Springs, NT Cat No. SAC 4 1 (Consignment 4, painting 1)

Private collection, NSW

Sotheby’s, Important Aboriginal Art, Melbourne, Vic, June 2002, Lot No. 166

Private collection, WA

Thence by descent

The Jory Family Collection, Qld

Accompanied by a certificate of authenticity with annotated diagram and two letters from Geoffrey Barton

Bears inscription verso: Cat No. SAC 4 1; 3” T+S; 3 1/2 B: NAT

ILLUSTRATED

Geoffrey Bardon and James Bardon, Papunya: A Place Made after the Story (Miegunyah Press, 2004), p.171 (below)

The elemental forms of line, dot and circle show the Water Dreaming: the line represents running water, the dotting the rain and the circles waterholes in the landscape.

The traditional ‘U’ form is the Ceremonial ater Man invoking the rain.

The simplicity of the design is of the earliest style used at Papunya during my time and is not unlike its sand mosaic and body paint origins. - Geoffrey Bardon

‘Wholelot,that’sall,wholelot,awelye,arlatyeye, ankerrthe,ntange,dingo,ankerre,intekwe,anthwerleand kame.That’swhatIpaint:wholelot. MyDreaming,pencil yam,mountaindevillizard,grassseed,dingo,emu,small plantemufood,greenbeanandyamseed.’

I L Y K A M E K N G W A R R E Y E

EMILY

KAME KNGWARREYE (EMILY KAM KNGWARRAY) (c.1910 - 1996)

ANKARAMERNE-INTEKWE,1990

122 x 92 cm; 126 x 96 cm (framed) acrylic on linen

$450,000 - $550,000

PROVENANCE

Painted in Utopia, March 1990

CAAMA Shop (Central Australian Aboriginal Media Association), Alice Springs, NT Cat No. 21-390 Utopia Art, Sydney NSW Private collection, Vic

Accompanied by the signed original certificate of authenticity from CAAMA Shop

bears inscription verso: EMILY KNGWARREYE; 21-390

EXHIBITED

FirstSoloExhibition,Utopia Art Sydney, NSW, April 1990

Emily Kngwarreye’s First Solo Show was held at Utopia Art Sydney in April 1990. Not surprisingly it attracted attention from contemporary collectors from across the country, a few curators and a lot of artists, many of whom still express their deep regret at an opportunity missed!

Utopia Art Sydney in those days was at Stanmore at the top of two flights of stairs, and this painting was the first to come into view as you entered the gallery. Ankara Merne - Intekwe was catalogue number 6 in an exhibition of 19 paintings. It was snapped up on the opening day and its been in the same hands ever since.

Rodney Gooch, Emily Kngwarreye and I had discussed the concept of a solo exhibition the previous year, and Kngwarreye began work on the show soon after but this was one of the last works to be finished for the show, painted in March 1990. It is an outstanding example from this period.

Layer upon layer of fine dotting subtly reveals the underlying structure below. Earthy pinks and ochres form undulating, shifting fields. Touches of red and yellow ochre, and highlights of black and white, meld together to form a rich deep space that draws you in. You can see the very Kngwarreye touch of a few extra dots here and there that add spark and mystery to the composition. You can feel the artist working through the layers, energising the field with every mark.

The sides of the canvas are painted too, with the stripes which we know represent body paint or ‘awelye’. They border the composition and though not visible when looking head on, they nevertheless add to the real presence this painting exudes. These borders were a special element that was soon to disappear, until the major breakthrough paintings of 1994 when the ‘awelye’ took centre stage.

Today this painting is an absolute classic of its era, fine dotting with endless variation Offered for the first time since it was collected 35 years ago, perfect provenance, from her FirstSoloShow.

It’s a joy to see it again. Don’t miss the opportunity this time!

Christopher Hodges April, 2025

Anmatyerr woman Emily Kame Kngwarreye (Emily Kam Kngwarray) was born in Alhalker on the edge of Utopia cattle station. Preceding her professional artistic career in the late 1980’s, she worked as a batik artist for 10 years. Her career as a painter was as prolific as it was passionate; after only a few short years she had established herself internationally. She died in September 1996 leaving behind a profound and invaluable legacy which continues to grow.

Over the course of her brief but prolific eight-year painting career, Kngwarreye moved through a series of distinct artistic periods. From 1989 until 1991 she painted intimate compositions, tracing plant roots interspersed with animal tracks under fine, sharp-dotted colour fields. Lot 17, AnkaraMerne-Intekwe was painted in March of 1990 for her first solo exhibition and is one of the finest examples from this period. The subject, Intekwe, is considered among the most significant and distinct subjects in Kngwarreye’s oeuvre. Only a few works have been given the title of the small native bush plum that sustains the emu. The Intekwe plant (Scaevola parvifolia), is so inextricably interwoven with Kngwarreye’s identity that upon her death, Interkwe was never painted by any other artist. As her niece Violet Petyarre explained:

MyAuntieusedtopaintthefan-flower,andnowweallleavethatonealone.Auntie usedtopaintit,thatonebelongingtotheemu.Thatwasherownthing.Even thoughweallbelongtotheoneCountry,wepaintseparatethings.

These highly prized early works gave way to running dotted lines over ethereal landscapes consisting of parallel horizontal and vertical stripes representing ceremonial body painting. By 1993, Kngwarreye was painting floral imagery in a profusion of colour, often achieved by double dipping her brushes into different layers of paint. In 1995 and 1996, her painting series Anooralya (Yam) and Sacred Grasses showcase a transition from her linear body paint imagery to the expressive depiction of rambling yam roots. Kngwarreye’s Final Series consists of 24 revelatory canvases painted with large flat brushes just two weeks before her passing in 1996, mark a powerful culmination of her artistic journey.

In SummerAbundanceV, painted in December of 1993 (Lot 18), the application of yellow and green colours highlights the varied and changing hues in the life cycle of the Anooralya Yam and other food plants found near Alalgura on Utopia Station, west of Delmore Downs. From an aerial perspective, we see the sporadic clustered growth after a summer rain. The flourish of growth that follows is exceptional and rapid.

While her preoccupation was with both the life cycle of the yam and the women’s ceremonies that celebrate its importance, Kngwarreye painted many interrelated themes, using these subjects to illustrate her Country as a whole. In an interview with Rodney Gooch, translated by Kathleen Petyarre, Kngwarreye described her subject as:

Wholelot,that’sall,wholelot,awelye,arlatyeye,ankerrthe,ntange,dingo, ankerre,intekwe,anthwerleandkame.That’swhatIpaint:wholelot. My Dreaming,pencilyam,mountaindevillizard,grassseed,dingo,emu,small plantemufood,greenbeanandyamseed.

Posthumously, Kngwarreye’s phenomenal body of work was chronologically curated in Margo Neale’s groundbreaking exhibition Utopia:TheGeniusofEmily Kngwarreye at the National Museum of Australia in 2007 and The National Gallery of Tokyo in 2008. Kngwarreye’s iconic work, Earth’sCreationI, was selected by Okwui Enwezor to be exhibited at the Venice Biennale in 2015. In recent years, Kngwarreye’s work has experienced a renewed acclaim, due in part to several significant commercial and institutional exhibitions, including Emily KamKngwarray curated by Hettie Perkins and Kelli Cole for the National Gallery of Australia (NGA) and Emily:DesertPainter held at the influential Gagosian Gallery Paris in 2023. In July of this year, the Tate Modern in London will hold a major solo retrospective, marking the most significant international exhibition dedicated to an ‘Australian’ artist. E M I L Y K A M E K N G W A R R E Y E

EMILY KAME KNGWARREYE

(1910 - 1996)

SUMMERABUNDANCEV,1993

90 x 120 cm; 92 x 122 cm (framed)

acrylic on linen

$150,000 - $200,000

PROVENANCE

Delmore Gallery, NT Cat No. 93L050

The Thomas Vroom Collection, The Netherlands Bonhams, Aboriginal Art: The Thomas Vroom Collection, Sydney, NSW, September 2015, Lot No. 207

Private collection, Vic

Accompanied by a certificate of authenticity from Delmore Gallery

Bears inscription verso: commissioned by Delmore Gallery via Alice Springs NT, 93L050, Emily Kngwarreye

ANGELINA PWERLE NGAL (c.1939 - )

WILDPLUM(DIPTYCH),2019

150 x 180 cm (overall)

150 x 90 cm (each panel); 152 x 92 cm (framed)

acrylic on linen

$40,000 - $60,000

PROVENANCE

Delmore Gallery, NT Cat No. 19G09 & 19G08

Private collection, NSW

Accompanied by certificates of authenticity from Delmore Gallery

Each bears inscription verso: Angelina Ngale commissioned by Delmore Gallery, 19G09 & 19G08

1 2 3 Schmidt, Chrischona. “Angelina Pwerle: An artist from Utopia”. Art Monthly Australasia (292): p. 34–39. August 30 2021

4 5 Stapleton, Dan F. “In praise of Australian Aboriginal art – ‘the oldest surviving culture in the world’” Financial Times. January 28 2022

Born sometime between 1939 and 1947 (records are uncertain), Angelina Ngal (Ngale, Kngale), also known as Angelina Pwerle 1, is one of the most celebrated artists from the Utopia region in central ‘Australia’. A senior Anmatyerr woman who continues to create highly intricate, minimalist artworks.

Ngal and Pwerle are not last names in the Western sense of a shared family name, but skin-names referring to her kinship relationships. Utopia sits on the language boundary between Anmatyerr and Alyawarr, In Alyawarr country, Angelina is referred to as Pwerle, and in Anmatyerr country, she is referred to as Ngal. When asked about the difference between the two skin names, Angelina told author Chrischona Schmidt: “PwerleisthesameasNgale,justinanotherlanguage.” ² Interestingly, the artist speaks only Anmatyerr and would therefore likely refer to herself as Ngal, while some institutions, including New York’s MoMa prefer the use of Pwerle. Angelina was married to Louie Pwerle, who was an artist in his own right, the elder brother of Cowboy Louie Pwerle.

The artist’s creative journey began in 1977, producing batiks under the instruction of Yipati, a Pitjantjatjara artist from Ernabella and Suzie Bryce, a craft instructor. Then later through the Utopia Women’s Batik Group alongside her sisters, Kathleen and Polly Ngal. During the pivotal 1988–1989 CAAMA Summer Project, she transitioned to acrylic painting, transferring her refined batik-making skills onto canvas. Her first paintings were included in the groundbreaking Utopia Women’s Art exhibition in Alice Springs in 1990, marking her entry into the broader art world.

Angelina’s art is rooted in her grandfather’s Country, Aharlper, and centres on Anwekety (Bush Plum Dreaming), a subject of profound cultural, social, and ceremonial significance. “I paint anwekety– bush plum.Little flowers...afterthe rain andseeds.That’smycountry,Ahalper.”3 Her paintings convey themes of nourishment—both physical and spiritual—and celebrate the interconnectedness of land, knowledge, and memory. Early paintings feature clusters of red dots symbolising the Bush Plum, surrounded by layers of meticulously rendered coloured dots. Over time, her style evolved into finely detailed, abstract compositions that hint at sacred landmarks, ceremonial activities, and the ephemeral beauty of the landscape.

Despite her steady rise in international prominence, Angelina Ngal’s recognition in ‘Australia’ has been comparatively slow. Her work has featured in prestigious exhibitions such as Marking the Infinite: Contemporary Women Artists from AboriginalAustralia (USA and Canada, 2016-2019), KnowMyName:Australian WomenArtists1900toNow at the National Gallery of Australia, and TheShape ofTime:ArtandAncestorsofOceaniaat The Metropolitan Museum of Art, which toured internationally as well as being showcased at Art Basel Miami in 2021. Her paintings are held in major public and private collections worldwide, including the National Museum of Art in Osaka, Japan, and The Debra and Dennis Scholl Collection in Miami, USA.

What sets Ngal apart from her contemporaries is her exceptional ability to capture the essence of her Country and Altyerr, a skill particularly evident in her intricate dot paintings that vividly evoke Ahalper and Anwekety. According to the artist herself, “Thisisaconstantengagement.Thisisaspiritualconnectiontoplace[...] MyBushPlumpaintingsrepresentthewholething:allofCountry.”4

As noted in the Financial Times, she is an insider’s secret, “If[Emily]Kngwarreye istheA-listerand[Daniel]Walbidiistherisingstar,thenAngelinaPwerleisthe cultfavourite–oneonwhomagrowingnumberofinstitutionsandcollectorsare quietlyplacingbets.”5

A N G E L I N A P W E R L E N G A L

MINNIE PWERLE (1915 - 2006)

BUSHMELONSEED,2001

91 x 122 cm

acrylic on canvas

$8,000 - $10,000

PROVENANCE

Aboriginal Gallery of Dreamings, Vic

Cat No. AGOD9211

Private collection, Vic

Accompanied by a certificate of authenticity from Aboriginal Gallery of Dreamings

KATHLEEN NGAL (1930 - )

BUSHPLUMDREAMING,2004

150 x 89 cm

acrylic on linen

$6,000 - $8,000

PROVENANCE

Delmore Gallery, NT Cat No. 04E011

The Thomas Vroom Collection, The Netherlands

Leonard Joel, The Thomas Vroom Collection, Melbourne, Vic, February 2017, Lot No.193

Private collection, NSW

Cooee Art, Indigenous Fine Art Auction, Sydney, NSW, June 2020, Lot No. 95

Private collection, NSW

Bears inscription verso: TUU 101, Kathleen Ngale, Delmore Gallery 04E011

PATSY MUDGEDELL (1960 - )

UNTITLED,2021

179 x 78 cm; 181 x 80 cm (framed) acrylic on linen

$16,000 - $18,000

PROVENANCE

Warlayirti Artists, WA, Cat No. 540-21 William Mora Gallery, Vic Private collection, NSW

Accompanied by a certificate of authenticity from Warlayirti Artists

EXHIBITED

WarlayirtiArtists , William Mora Gallery, Melbourne Art Fair, Melbourne, Vic, 17-20 February 2022

BOXER MILNER TJAMPITJIN (1935 - 2009)

UNTITLED,2001

50.5 x 100 cm

$9,000 - $12,000

PROVENANCE

Warlayirti Artists, WA Cat No. 329/01 Private collection, Denmark

Accompanied by a certificate of authenticity from Warlayirti Artists

acrylic on linen

LIN ONUS (1948 - 1996)

MOTIONLESSFISH,1995

27 x 62.5 cm; 55 x 86.5 cm (framed) gouache on illustration board

$16,000 - $20,000

PROVENANCE

Gallery Gabrielle Pizzi, Vic

Private collection, Vic

Sotheby’s, Fine Australian Art Auction, Melbourne, Vic, May 2004, Lot No. 246 Private collection, Vic

Leonard Joel, Aboriginal Art & Artefacts, Melbourne, Vic, October 2012, Lot No. 13

Private collection, Qld

Signed front lower right and bears Gallery Gabrielle Pizzi label verso

ROVER JOOLAMA THOMAS (1926 - 1998)

SMALLCREEKNEARTURKEYCREEK,1990

60.5 x 105.5 cm; 61.5 x 106.5 cm (framed) earth pigments and natural binders on canvas

$90,000 - $120,000

PROVENANCE

Commissioned by Mary Macha, WA

Private collection, Vic, acquired from the above in 1990 Deutscher and Hackett, Important Australian & International Art, Sydney, NSW, August 2018, Lot No. 40 Private collection, Vic

Bears inscription verso: Guaranteed The Original Work Of Rover Thomas, 1990 signed by Mary Macha

In this refined and sophisticated work, Small Creek Near Turkey Creek , Kukatja/ Wangkajunga man Rover Joolama Thomas has captured a critical moment in the East Kimberley art movement with a style that would soon come to be defined as the Warmun School aesthetic. This cartographic view of Country simultaneously depicts a small creek that runs outside Warmun and recalls ancestral paths, delineating areas of Country. Painted for the highly respected former government art adviser turned gallerist Mary Macha, this work reflects the influence of Macha’s supportive Subiaco studio environment. Her encouragement helped Joolama maintain control over traditional materials and uphold cultural protocols in his painting practice and ultimately became Joolama’s preferred agent.

Small Creek Near Turkey Creek was painted in 1990 - a critical time in Rover Joolama Thomas’ career, as it was the same year he was awarded the John McCaughey Prize and represented ‘Australia’ at the Venice Biennale alongside Trevor Nickolls. In his tribute to Joolama, Kim Akerman noted that, “asanartist,hetooktheexperiencesofarichandvaried lifeand,drawingonthecosmologicalandhistoricalreferencesthatsovividlyunderpinthe livesofAboriginalpeoplesthroughoutAustralia,presentedusallwithanewandprofound viewofthelandweoccupy.”¹

As with many early Warmun works, Small Creek NearTurkey Creek resists Western conventions of landscape painting. Instead, it functions as a visual archive of Country—a layered surface imbued with spiritual, historical and experiential knowledge. Its aesthetic and conceptual power lies in its dual role: as a declaration of place and belonging, and as a formative expression within a now canonical movement in ‘Australian’ art history.

1 Akerman, K., “Rover Thomas; A Tribute”. ARTLINK. (issue 20): p. 22. March 2000

WILLY TJUNGURRAYI

(c.1936 - 2018)

KIRITJINYA,TINGARIYOUNGMENSTORY,1976

60.5 x 45.5 cm; 70 x 55 cm (framed) acrylic on canvas board

$9,000 - $11,000

PROVENANCE

Papunya Tula Artists, NT Cat No. WJ761071 Private Collection, Vic

Accompanied by a certificate of authenticity from Papunya Tula Artists

Bears inscription verso: Willy Tjungurrayi, KirKirity Kurudji, Tingari (young man) story, WJ761071, 15/14/ONII/5

WILLIE TJAPANANGKA

(1938 - 1979)

EMUDREAMINGSTORY,1977

40.5 x 30.5 cm; 46 x 36 cm (framed) acrylic on canvas board

$6,000 - $8,000

PROVENANCE

Papunya Tula Artists, NT Cat No. WB77804 Private collection, Vic

Accompanied by a certificate of authenticity from Papunya Tula Artists

Bears inscription verso: Willie Jabanunka, 15/25/WOII/5, 77804

DOROTHY NAPANGARDI

(c.1956 - 2013)

KARNTAKURLANGU,1999

90 x 151 cm acrylic on linen

$12,000 - $18,000

PROVENANCE

Gallery Gondwana, NT Cat No. 3498DN Private collection, The Netherlands

Accompanied by a certificate of authenticity from Gallery Gondwana

Signed verso: ‘Dorothy’ and bears Gallery Gondwana stamp and cataloguing details

JULIE NANGALA ROBERTSON (1973

- )

NGAPAJUKURRPA(WATERDREAMING)

PIRLINYARNU,2021

183 x 91 cm

acrylic on canvas

$6,000 - $8,000

PROVENANCE

Warlukurlangu Artists, NT Cat No. 6266/21

Flinders Lane Gallery, Vic Private collection, Qld

Accompanied by a certificate of authenticity from Warlukurlangu Artists

Signed verso: ‘Julie’

BAI BAI NAPANGARTI (c.1939 - 2020)

MUNGAI,2003

117 x 80 cm

acrylic on canvas

$3,000 - $4,000

PROVENANCE

Warlayirti Artists, WA Cat No. 1201/03 Private collection, The Netherlands

Accompanied by a certificate of authenticity from Warlayirti Artists

JIMMY DONEGAN YANYATJARI

(1940 - 2022)

PAPATJUKURRPA,2011

91 x 45.5 cm; 93.5 x 48 cm (framed) acrylic on linen

$2,000 - $4,000

PROVENANCE

Ninuku Arts, SA Cat No. NKJM11390 Private collection, Vic Private collection, NSW

Accompanied by a certificate of authenticity from Ninuku Arts

MITJILI GIBSON NAPANANGKA (1932 - 2011)

WIRNPARRKU,2006

152 x 122 cm

acrylic on linen

$8,000 - $10,000

PROVENANCE

Gallery Gondwana, NT Cat No. 9637MN Coo-ee Art, NSW Cat No. 15206

Private collection, NSW

Accompanied by a certificate of authenticity from Gallery Gondwana

EXHIBITED

35thAnniversaryExhibition , Coo-ee Art, Paddington, NSW, December 2016 - January 2017

WOMEN’S COLLABORATIVE

MONA SHEPHERD MITAKIKI (1954 - ) TJIMPAYI PRESLEY (1967 - ) NAOMI KANTJURINY (1944 - )

SEVENSISTERS,2021

152 x 152 cm

acrylic on linen

$8,000 - $12,000

PROVENANCE

Tjala Arts, Amata SA Cat No. 486-21

Aboriginal & Pacific Art, Sydney, NSW

Private collection, NSW

EXHIBITED

NgayukuNgura-MyCountry,Aboriginal & Pacific Art, Sydney, NSW, August 2022

TIGER PALPATJA (1920 - 2012)

MAITJUTA,2006

153 x 103 cm

acrylic on linen

$10,000 - $16,000

PROVENANCE

Tjala Arts, SA Cat No. 490-06

Merenda Gallery, WA Cat No. MG113

Private collection, WA

Stamped verso: a certificate of authenticity from Tjala Arts

MAKINTI NAPANANGKA (c.1930 - 2011)

HAIRSTRINGBELT,2003

61 x 91 cm

acrylic on linen

$6,000 - $8,000

PROVENANCE

Papunya Tula Artists, NT Cat No. MN0309190 Private collection, NSW

Bears inscription verso: Makinti Napanangka, Papunya Tula Artists Pty Ltd, MN 0309190

QUEENIE MCKENZIE NAKARRA (1915 - 1998)

LIMESTONEHILLS,TEXAS,1995

92 x 92 cm

ochre on canvas

$16,000 - $18,000

PROVENANCE

Painted at Pensioner Unit Warmun Community, WA

Private collection, Vic

Coo-ee Art, Indigenous Fine Art Auction, Sydney, NSW, June 2020, Lot No. 6

Private collection, NSW

Signed verso and bears inscription: Queenie McKenzie, Warmun Limestone Hills, Texas, 1995

ARTIST ONCE KNOWN

TOTEMICSEACREATURES,c.1938

26 x 49 cm (irregular); 44 x 66 cm (framed) ochre on bark

$3,000 - $4,000

PROVENANCE

Private collection, NSW

Sotheby’s, Aboriginal, African & Oceanic Art, Sydney, NSW, November 1998, Lot No. 219

Coo-ee Art, NSW Cat No. 946

Private collection, NSW

EXHIBITED

BarkPaintings;1930-2000,Coo-ee Art, Bondi, NSW, 9 July - 6 August 2011

This bark painting from Arnhem Land, dated to the 1930s, is a rare and well-preserved piece collected prior to World War II. The work’s composition features totemic sea creatures rendered in a compact and restrained format, carefully scaled to the dimensions of the bark. The surface remains organic and tactile, including the fine white ochre Rarrk — a notable feature given the fragility of natural pigments and the age of the work.

Paintings from this period are often characterised by their thin, untrimmed edges and a stylistic simplicity that reflects early documentation of ancestral totems created for an external audience. Unlike later bark paintings produced for the art market, works from the 1930s typically exhibit minimal formalisation and retain a direct connection to ceremonial designs and iconography.

KUTUWULUMI PURAWARRUMPATU (KITTY KANTILLA) (1928 - 2003)

UNTITLED(PUMPUNIJILAMARA),1997

50 x 70 cm ochre on linen

$7,000 - $9,000

PROVENANCE

Jilamara Arts and Crafts, NT

The Thomas Vroom Collection, The Netherlands Bonhams, The Thomas Vroom Collection, Sydney, NSW, September 2015, Lot No. 107 Private collection, NSW

Bears inscription verso: Jilamara Arts and Crafts stamp, Kitty Kantilla

JIMMY BUNGURRU (1936 - )

MIMIHSPIRITS,1979

189 x 11 x 8 cm; 182 x 17 x 12 cm; 25 cm (stand); 30 cm (stand) ochre on carved wood

$5,000 - $7,000

PROVENANCE

Maningrida Arts & Culture, NT

Cat No. 6828 & 6829

Coo-ee Art Gallery, NSW Cat No. 573 & 572

Degiosart, Singapore

Cat No. GDG-SCABO007 & GDG-SCABO008

CRUSOE KURDDAL (c.1960 - 2020)

MIMIHSPIRITS,2002

201 x 10 x 7 cm; 182 x 11 x 7 cm; 204 x 7 x 6 cm; 24d cm (each stand) ochre on carved wood

$10,000 - $14,000

PROVENANCE

Maningrida Arts & Culture, NT

Coo-ee Art Gallery, NSW Cat No. 9267, 9270 & 9269

Degiosart, Singapore Cat No. GDG-SCABO005, GDG-SCABO003 & GDG-SCABO002

ARTIST ONCE KNOWN

WANDJINA,c.1978

51 x 19 cm; 79 x 37 cm (framed) ochre on carved wood

$2,000 - $3,000

PROVENANCE

North West Kimberley, WA

Lawsons Auctioneers, Sydney, NSW, c.1990

Private collection, NSW

It is said that the Wandjina is the embodiment of the rain spirit and creation ancestor of the Wonnambal, Ngarinyin and Worrora peoples of the North West Kimberley. Wandjina are prolific along the walls of caves in the plateau areas of the North Kimberley coast and are unique to this region. They are always pictured from a frontal aspect, with no mouth, large black eyes, and a slit or beak-like nose

and are usually depicted in a veil of dots which represent the blood and water mix of man and animal. According to the Dreamtime mythology, the Wandjina emerge from the clouds to bring the monsoon rain each season. As such, it is a powerful fertility figure that keeps the spirits of unborn babies in special rockpools and waterholes

LAWRENCE NGANJMIRRA (1976 - )

KULABBARL,1998

92 x 313 cm

ochre and acrylic on bark

$6,000 - $8,000

PROVENANCE

Injalak Arts, NT Cat No. 2008-21

Art Mob, Tas Cat No. AM19794/21

Private collection, Vic

Accompanied by a certificate of authenticity from Art Mob

TATALI NANGALA (c.1925 - 1999)

KUNGKAKUTJARRA(TWOWOMEN),1998

152 x 60.5 cm

acrylic on linen

$4,500 - $6,000

PROVENANCE

Papunya Tula Artists, NT Cat No. TN981154 Private collection, WA

Accompanied by a certificate of authenticity from Papunya Tula Artists

EXHIBITED

ContemporaryIndigenousArtinAustralia , IVAM, Institut Valencià d’Art Modern, Spain, 31 January - 16 April 2012

TJUNKIYA NAPALTJARRI (1927 - 2009)

UNTITLED,2005

57 x 61 cm

$1,500 - $2,500

PROVENANCE

Papunya Tula Artists, NT Cat No. TN0506029

Private collection, WA

acrylic on linen

SAM WILLIKATI TJAMPITJIN (1930 - 2004)

LAKEMACKAYINTHEGREATSANDYDESERT,1998

89 x 60 cm

acrylic on linen

$5,000 - $7,000

PROVENANCE

Warlayirti Artists, WA Cat No. 268/98

Coo-ee Aboriginal Art, NSW Cat No. 7665

Private Collection, WA

Accompanied by certificates of authenticity from Warlayirti Artists and Coo-ee Aboriginal Art

EXHIBITED

ContemporaryIndigenousArtinAustralia , IVAM, Institut Valencià d’Art Modern, Spain, 31 January16 April 2012

Dreamings.AboriginalAustralianArtMeetsDeChirico, Museo Carlo Bilotti - Aranciera di Villa Borghese, Roma, 4 July - 2 November 2014

EauxVivantes,LivingWaters,Musée Océanographique de Monaco, 23 March - 30 September 2016

TJUMPO TJAPANANGKA (c.1929 - 2007)

MALUTJUKURRPA(KANGAROODREAMING),1994

120 x 80 cm acrylic on canvas

$8,000 - $12,000

PROVENANCE

Warlayirti Artists, WA Cat No. 479/94

Private collection, USA

Sotheby’s, Aboriginal & Oceanic Art, Melbourne, 15/11/2005, Lot No. 159

Coo-ee Art, NSW Cat No. 32

Private collection, Vic

Bonhams, The Serra Collection of Aboriginal Art, Sydney, NSW, July 2020, Lot No. 32

Private collection, NSW

Accompanied by a certificate of authenticity from Warlayirti Artists

EXHIBITED

Clark Art Projects, Melbourne, Vic, 15 - 29 July 2015

EUBENA

NAMPITJIN (1921 - 2013)

UNTITLED,2001

150 x 100 cm acrylic on linen

$14,000 - $18,000

PROVENANCE

Warlayirti Artists, WA Cat No. 10-01 Private collection, Singapore

Bears inscription verso: Eubena Nampitjin, Warlayirti Artists, 10-01

KUNMANARA (RAY) KEN

(c.1940 - 2018)

NGAYUKUNGURA(MYCOUNTRY),2013

152.5 x 199 cm acrylic on linen

$13,000 - $15,000

PROVENANCE

Tjala Arts, SA Cat No. 201-13

Alcaston Gallery, Vic Cat No. AK18677

Private collection, WA

Accompanied by certificates of authenticity from Tjala Arts and Alcaston Gallery

EXHIBITED

Dreamings.AboriginalAustralianArtMeetsDe Chirico , Museo Carlo Bilotti - Aranciera di Villa Borghese, Roma, 4 July - 2 November, 2014 EauxVivantes,LivingWaters,Musée Océanographique de Monaco, 23 March30 September 2016

THUNDUYINGATHI BIJARRB MAY MOODOONUTHI (1929 - 2008)

BURRKUNDA,2007

196 x 101.5 cm acrylic on linen

$5,000 - $6,000

PROVENANCE

Mornington Island Arts, Qld Cat No. 2717-L-M-1107

Alcaston Gallery, Vic Cat No. AK 14303 Private collection, WA

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

KURUWARRIYINGATHI BIJARRB PAULA PAUL

(c.1937 - 2021)

BURRKUNDA,2008

150 x 102 cm

acrylic on linen

$3,500 - $4,500

PROVENANCE

Mornington Island Arts, Qld Cat No. 3657-L-PP-1008

Alcaston Gallery, Vic Cat No. AK14740 Private collection, WA

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

EXHIBITED

PaulaPaul:KuruwarriyingathiBijarrb-ThatIs WhoIAm,Alcaston Gallery, Melbourne, Vic, 3 - 21 February 2009

ContemporaryIndigenousArtinAustralia,IVAM, Institut Valencià d’Art Modern, Spain, 31 January - 16 April 2012

Dreamings.AboriginalAustralianArtMeetsDe Chirico,Museo Carlo Bilotti - Aranciera di Villa Borghese, Roma, 4 July - 2 November 2014

BETTY

KUNTIWA PUMANI (1963 - )

ANTARA,2016

152 x 121 cm

acrylic on linen

$14,000 - $16,000

PROVENANCE

Mimili Maku Arts, NT Cat No. 190-16

Aboriginal and Pacific Art, NSW Private collection, NSW

Accompanied by a certificate of authenticity from Mimili Maku Arts

EXHIBITED

NyakulaKulini:Look,Listen , Aboriginal and Pacific Art, Sydney, NSW, 26 August17 September 2016

KATHLEEN PETYARRE

(1940 - 2018)

ATNANGKERE,2001

122 x 122 cm

$8,000 - $10,000

PROVENANCE

Delmore Gallery, NT Cat No. 01I001

Private collection, Qld

Bears inscription verso: Kathleen Petyarre, Commissioned by Delmore, Cat No. 01I001

acrylic on linen

RONNIE TJAMPITJINPA (c.1942 - 2023)

TINGARICYCLE,1999

92 x 137 cm acrylic on linen

$10,000 - $15,000

PROVENANCE

Papunya Tula Artists, NT Cat No. RT9901200 Private collection, Vic

Lawson~Menzies, Fine Aboriginal Art, Sydney, NSW, June 2006 Lot No. 552 Kimberly Art, Vic Private collection, ACT

Bears inscription verso: Papunya Tula Artists, RT9901200, OSA446

JACK BRITTEN

(c.1921 - 2001)

COUNTRYSERIES,1996-1998

172 x 69 cm each; 172 x 280 cm (overall) ochre on canvas

$15,000 - $20,000

PROVENANCE

Narrangunny Art Traders, WA Cat No. N-1102-JB, N-1255-JB, N-1106-JB & N-1105-JB

The John Bursill Collection, Vic

Bears cataloguing details & signed verso: ‘Jack’

KUTUWULUMI PURAWARRUMPATU (KITTY KANTILLA) (c.1928 - 2003)

UNTITLED,1998

ed.18/30 & ed.2/30

57 x 76 cm (each); 66 x 84.5 cm (framed each) limited edition etching on paper

$2,000 - $4,000

PROVENANCE

Drawn on the copper plate by the artist on Melville Island, NT

Printed by Martin King, Australian Print Workshop, Vic Jilamara Arts & Crafts, NT

Cat No. ET1-2-30 & ET2-18-30

Aboriginal and Pacific Art, NSW Private collection, NSW

Accompanied by certificates of authenticity from Jilamara Arts & Crafts

Signed lower right: artist’s mark ‘x’

KUTUWULUMI PURAWARRUMPATU (KITTY KANTILLA)

(c.1928 - 2003)

UNTITLED,1999

76 x 57 cm; 94 x 74.5 cm (framed) ochre on paper

$6,000 - $7,000

PROVENANCE

Aboriginal and Pacific Art, NSW

Private collection, NSW

Bonhams Auctions, Australian Art and Aboriginal Art, June 2017, Sydney, NSW, Lot No. 13 Private collection, WA

DJIRRIRRA WUNUŊMURRA (1969 - )

YUKUWA,2011

56.5 x 39 cm ochre on bark

$2,000 - $3,000

PROVENANCE

Buku-Larrŋgay Mulka, Yirrkala, NT Cat No. 4078M

The Collection of Colin and Elizabeth Laverty, WA

Deutscher and Hackett, The Laverty Collection - Part III, Sydney, NSW, April 2017, Lot No. 38 Private collection, NSW

Accompanied by a certificate of authenticity from Buku-Larrŋgay Mulka

DANIEL BOYD (1982 - )

JESUSCHRIST!,2010

35 x 27 cm; 68 x 57 cm (framed) acrylic paint, archival glue and digital print on paper

$7,000 - $8,000

PROVENANCE

Roslyn Oxley9 Gallery, NSW Private collection, NSW

EXHIBITED

DanielBoyd:Freetown , Roslyn Oxley9 Gallery, NSW, 12 November - 5 December 2009

NAOMI HOBSON (1979 - )

SUPERSOAKER,2022

from the series Adolescent Wonderland ed. 1/5

75 x 104 cm; 81 x 110 cm (framed) photographic print on cotton rag art paper

$4,000 - $5,000

PROVENANCE

Vivien Anderson Gallery, Vic Private collection, NSW

EXHIBITED

OpenHands(Tarnanthi) , Art Gallery of South Australia, October 2020 - January 2021 AdolescentWonderland,touring (11 galleries, South Australia), December 2021 - October 2023

DYLAN MOONEY (1995 - )

OURMOMENT,2020-2021

from the series Queer, Blak & Here, ed.8/10

82.5 x 60 cm; 92.5 x 68 cm (framed) digital illustration printed on 320gsm smooth cotton paper

$3,000 - $5,000

PROVENANCE

N. Smith Gallery, NSW Private collection, NSW

Signed and dated l.r. corner, pencil D Mooney 2021

EXHIBITED

OpeningExhibition:Welcome , N.Smith Gallery, Sydney, NSW, June 2021

DylanMooney:Queer,Blak&Here , Cement Fondu, Sydney, June - July 2022

DylanMooney:Boundless,Artspace Mackay, Queensland, January - March 2022

Queer:StoriesfromtheNGVCollection , National Gallery of Victoria, Melbourne, Vic, March - August 2022

REFERENCE

Other editions held in the collections of: Art Gallery of New South Wales, National Gallery of Victoria, Museum of Brisbane, Artspace Mackay, and the Embassy of Australia in Chile, Santiago, Chile

KUNMANARA (WAWIRIYA) BURTON (c.1928 - 2021)

NGAYUKUNGURA(MYCOUNTRY),2020

198 x 121 cm

acrylic on linen

$8,000 - $10,000

PROVENANCE

Tjala Arts, Amata, SA Cat No. 194-20

Olsen Gallery, NSW Cat No. #27016

Private collection, SA

EXHIBITED

Kunmanara(Wawiriya)Burton:PlumpNgura

Tjukurpa:HerCountryandStories , Olsen Gallery, Sydney, NSW, 6 - 23 October 2021

WAKARTU CORY SURPRISE (1929 - 2011)

JILJI(SANDDUNES),2004

119 x 60 cm

acrylic on linen

$4,000 - $5,000

PROVENANCE

Mangkaja Arts, WA Cat No. 462/04 Gallery Gondwana, NT Cat No. 8784WCP Private collection, The Netherlands

Accompanied by a certificate of authenticity from Gallery Gondwana

KUNMANARA

(WINGU) TINGIMA (c.1935 - 2010)

KURUALA,2007

125 x 81 cm

acrylic on canvas

$5,000 - $7,000

PROVENANCE

Tjungu Palya, SA Cat No. TPWT07510

Private collection, Qld

Private collection, WA

Accompanied by a certificate of authenticity from Tjungu Palya

EXHIBITED

ContemporaryIndigenousArtinAustralia , IVAM, Institut Valencià d’Art Modern, Spain, 31 January16 April 2012

Dreamings.AboriginalAustralianArtMeets DeChirico , Museo Carlo Bilotti - Aranciera di Villa Borghese, Roma, 4 July - 2 November 2014

KUNMANARA (WHISKEY) TJUKANGKU

(1939 - 2015)

NGURACOUNTRY,2011

121.5 x 122 cm

acrylic on linen

$4,000 - $6,000

PROVENANCE

Iwantja Arts and Crafts, NT Cat No. 366-11

Raft Artspace, NT

Private collection, WA

Accompanied by a certificate of authenticity from Iwantja Arts and Crafts

Signed verso: ‘Whiky’

EXHIBITED

WhiskeyTjukangku , Raft Artspace, Darwin, NT, 29 April - 21 May 2011

Dreamings.AboriginalAustralianArtMeetsDeChirico, Museo Carlo Bilotti - Aranciera di Villa Borghese, Roma, 4 July - 2 November 2014

EauxVivantes,LivingWaters , Musée Océanographique de Monaco, 23 March - 30 September 2016

ALKAWARI DAWSON

(1930 - 2010)

KUYULA,2008

118 x 198.5 cm acrylic on linen

$6,000 - $8,000

PROVENANCE

Irrunytju Arts Centre, SA Cat No. IRR081354 Private collection, WA

Accompanied by a certificate of authenticity from Irrunytju Arts Centre

NINGIE NANGALA

(1937 - )

YULA,2006

148 x 75 cm acrylic on linen

$3,000 - $4,000

PROVENANCE

Warlayirti Artists, WA Cat No. 1036/06 Private collection, WA

Accompanied by a certificate of authenticity from Warlayirti Artists

EXHIBITED

ContemporaryIndigenousArtinAustralia , IVAM, Institut Valencià d’Art Modern, Spain, 31 January - 16 April 2012

ENGLAND

BANGALA (1925 - 2001)

UNTITLED,2001

50 x 150 cm (paper); 69 x 171 cm (framed) ochre on paper

$1,000 - $2,000

PROVENANCE

Injalak Arts, NT Art Mob, Tas, Cat No. AM17667/20

Private collection, Vic

Accompanied by a certificate of authenticity from Art Mob

EXHIBITED

An-NgulinyRarrk-MickMarrawaEngland , Art Mob, Hobart, Tas, October 2017

This painting is said to be the last artwork that England Bangala painted before he passed in 2001.

STEPHEN KAWURLKKU

(1946 - 2009)

MIMIHSPIRIT,2002

230 x 11 x 6 cm; 15.5 x 15 cm (stand)

ochre on carved wood

$1,000 - $1,200

PROVENANCE

Maningrida Arts and Crafts, NT

Annandale Galleries, NSW

Private collection, NSW

ARTIST ONCE KNOWN

WUNDASHIELD,WESTERNAUSTRALIA,c.1900

66 x 19 x 5 cm; 16.5 x 11 cm (stand base)

ochre on carved wood

$3,000 - $5,000

PROVENANCE

Field collected in the vicinity of Marble Bar, WA

Private collection, UK

Finch & Co, London, UK Private collection, Qld

Bears handwritten inscription verso: E8781

EXHIBITED

MasterpieceLondonArtFair,Finch & Co, London, UK

ATTRIBUTED TO DAWIDI BIRRITJAMA

(1921 - 1970)

UNTITLED,c.1950s

66 x 39 cm; 74 x 43 cm (framed) ochre on bark

$2,000 - $3,000

PROVENANCE

Terry Clune Galleries, NSW

Acquired from the above by Eric Morecambe, UK, January 1959

Private collection, NSW

Accompanied by a handwritten letter from Terry Clune, signed and dated 1959

Artwork was collected by Eric Morecambe from the comedy sketch show, ‘Morecambe and Wise’, while on tour in Australia.

“In September, 1958, we decided to go to Australia. We were there for six months and all the shows went well. When we returned to Britain in March 1959, we were determined to make an impact. After a summer season at Blackpool and pantomime in Liverpool, we began what we call our television campaign.”

Ken and Sylvia Ferguson, published 29 May 2018

PHILIP (PUSSYCAT) GUDTHAYKUDTHAY (c.1935 - 2022)

BANDA(LONGNECKTORTOISE),c.1980

121.5 x 33 cm (irregular) ochre on bark

$2,500 - $3,500

PROVENANCE

Maningrida Arts and Crafts, NT Cat No. G6

Private collection, NT

Adhered verso: Maningrida Arts & Crafts certificate of authenticity and label marked AG No. 8197

CURLY BARDKADUBBU (c.1924 - 1987)

NAMARNKOL(SMALLFRESHWATER BARRAMUNDI),c.1980

60 x 116 cm (irregular) ochre on bark

$2,000 - $3,000

PROVENANCE

Maningrida Arts and Crafts, NT Cat No. G (obscured)

Private collection, NT

Adhered verso: Maningrida Arts & Crafts certificate of authenticity

BILLY

KOORUBBUBA (1944 - 2006)

HAMMERHEAD,2006

182 x 122 cm

acrylic on canvas

$3,000 - $4,000

PROVENANCE

Mornington Island Arts & Crafts, Qld

Cat No. 1070-C-BK-60306

Private collection, WA

Accompanied by a certificate of authenticity from Mornington Island Arts

EXHIBITED

ContemporaryIndigenousArtinAustralia , IVAM, Institut Valencià d’Art Modern, Spain, 31 January - 16 April 2012

Dreamings.AboriginalAustralianArtMeetsDeChirico , Museo Carlo Bilotti - Aranciera di Villa Borghese, Roma, 4 July - 2 November 2014

EauxVivantes,LivingWaters,Musée Océanographique de Monaco, 23 March - 30 September 2016

WALANGKURA REID NAPURRULA

(c.1935 - 2004) 75

SEVENSISTERSDREAMING,2002

168 x 46 cm

acrylic on linen

$3,000 - $4,000

PROVENANCE

Papunya Tula Artists, NT Cat No. WR0208046

Utopia Art, NSW

Private collection, NSW

Accompanied by a certificate of authenticity from Papunya Tula Artists

WALANGKURA NAPANANGKA (Uta Uta Tjangala’s Widow) (c.1922 - 2010)

KURRUYULTI,2004

107 x 29 cm; 109.5 x 32 cm (framed)

acrylic on linen

$2,000 - $4,000

PROVENANCE

Papunya Tula Artists, NT Cat No. WN411241

Private collection, Vic

Private collection, NSW

Accompanied by a certificate of authenticity from Papunya Tula Artists

RONNIE TJAMPITJINPA (c.1942 - 2023)

UNTITLED,1996

91 x 61 cm

acrylic on linen

$6,000 - $8,000

PROVENANCE

Papunya Tula Artists, NT Cat No. RT960664

Utopia Art, NSW

Susan Manford Art Projects, NSW Private collection, NSW

Accompanied by a certificate of authenticity from Papunya Tula Artists

BILLY

THOMAS JOONGOORRA (c.1920 - 2012)

UNTITLED,1996

80.5 x 60.5 cm ochre on linen

$3,000 - $4,000

PROVENANCE

Waringarri Aboriginal Arts, WA Cat No. AP0953

The Collection of Colin and Elizabeth Laverty, WA Deutscher & Hackett, The Laverty Collection - Part III, April 2017, Sydney, NSW, Lot No. 83 Private collection, WA

Signed verso: ‘BILLTOM’

CLAUDIA MOODOONUTHI (1995 - )

BURRKUNDA,2013

96 x 71 cm

acrylic on linen

$2,000 - $4,000

PROVENANCE

Mornington Island Arts, Qld Cat No. 8241-0713

Alcaston Gallery, Vic Cat No. AK18726

Private collection, WA

Accompanied by a certificate of authenticity from Alcaston Gallery

GLORIA PETYARRE (1945 - 2021)

BUSHMEDICINELEAVES,2001

91.5 x 46.5 cm

acrylic on canvas

$1,800 - $2,200

PROVENANCE

Rodney Gooch, NT Cat No. 1-62001

Utopia Art Sydney, NSW Cat No. GLORIA-7

Private collection, NSW

MITJILI GIBSON NAPANANGKA

(1932 - 2011)

WIRNPARRKU,2009

61 x 31 cm (each); 61 x 62 cm (overall) acrylic on linen

$2,000 - $3,000

PROVENANCE Gallery Gondwana, NT

Cat No. 13844MN & 13845MN

Private collection, NSW

Accompanied by certificates of authenticity from Gallery Gondwana

BAI BAI NAPANGARTI

(c.1939 - 2020)

KOOLAMARRA,2000

100 x 50 cm

acrylic on linen

$2,000 - $3,000

PROVENANCE

Warlayirti Artists, WA Cat No. 756/00

Palya Art, NT Cat No. C-0253

Private collection, NSW

Accompanied by certificates of authenticity from Warlayirti Artists and Palya Art

JAN

BILLYCAN

(DJAN NANUNDIE)

(1930 - 2016)

KIRRIWIRRI,2010

60 x 30 cm

acrylic on linen

$2,000 - $2,500

PROVENANCE

Short Street Gallery, WA Cat No. 27780 Private collection, WA

Accompanied by a certificate of authenticity from Short Street Gallery (as Certificate No. 787586)

EXHIBITED Dreamings.AboriginalAustralianArtMeetsDeChirico, Museo Carlo Bilotti - Aranciera di Villa Borghese, Roma, 4 July - 2 November, 2014 EauxVivantes,LivingWaters , Musée Océanographique de Monaco, 23 March - 30 September, 2016

Artek Armchair 41 Paimio Sanatorium Anniversary Edition

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SALE NO. 17

17 JUNE 2025 7:00PM AEST

LOTS 1 - 82 17 THURLOW STREET REDFERN NSW 2016

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RONNIE TJAMPITJINPA WILLIE TJAPANAN

GKA ALKAWARI DAWSON LAWRENCE

NGANJMIRRA MAKINTI NAPANANGKA

KATHLEEN NGAL JULIE NANGALA

ROBERTSON THUNDUYINGATHI BIJAR

RB MAY MOODOONUTHI SAM WIIKA

TI TJAMPITJIN KUNMANARA WINGU

TINGIMA JIMMY BUNGURRU TATALI NANGALA NAATA NUNGURRAYI

KUNMANARA (WHISKEY) TJUKANGKU

WAKARTU CORY SURPRISE NAOMI

HOBSON KURUWARRIYINGATHI BIJAR

RB PAULA PAUL ARTIST ONCE KNOWN

BILL WHISKEY TJAPALTJARRI BILLY

KOORUBBUBA LYDIA BALBAL NINGIE

NANGALA BILLY THOMAS JOONGOOR

RA WALANGKURA REID NAPURRULA

BAI BAI NAPAGARTI DYLAN MOONEY

PHILIP (PUSSYCAT) GUDTHAYKUD

THAY CLAUDIAMOODOONUTHI JAN

BILLYCAN (DJAN NANUNDIE) NORA

WOMPI NUNGURRAYI DJIRRIRRA WUN

UNGMURRA CURLY BARDKADUBBU

ATTRIBUTED TO DAWIDI BIRRITJAMA

JIMMY DONEGAN YANYATJARI WALA

NGKURA NAPANANGKA (Uta Uta Tjan

gala’s Widow) GLORIA PETYARRETJUN

KIYA NAPALTJARRI ENGLAND BANGA

LA STEPHEN KAWURLKKU ARTIST

EMILY KAME KNGWARREYE ROVER

THOMAS (JOOLAMA) LONG JACK PHIL

IPPUS TJAKAMARRA OLD WALTER TJA

MPITJINPA ANATJARI No. III TJAKAMAR

RA ANGELINA PWERLE NGAL JOHN KI

PARA TJAKAMARRA BOXER MILNER

TJAMPITJIN LIN ONUS PATSY MUDGED

ELL QUEENIE MCKENZIE NAKARRA

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ANI EUBENA NAMPITJIN KUMANARA

(RAY) KEN DOROTHY NAPANGARDI

YANNIMA TOMMY WATSON TJUMPO

TJAPANANGKA CRUSOE KURDDAL TI

GER PALPATJA WILLY TJUNGURRAYI

MINNIE PWERLE WOMEN’S COLLAB

ORATIVE KUNMANARA (WAWIRIYA)

BURTON KATHLEEN PETYARRE MITJ

ILI GIBSON NAPANANGKA NED GRAN

T KUTUWULUMI PURAWARRUMPATU (KITTY KANTILLA) DANIEL BOYD RON

NIE TJAMPITJINPA WILLIE TJAPANAN

GKA ALKAWARI DAWSON LAWRENCE

NGANJMIRRA MAKINTI NAPANANGKA KATHLEEN NGAL JULIE NANGALA

ROBERTSON