Indigenous Art

INDIGENOUS ART AUCTION MONDAY 28 AUGUST 2023, MELBOURNE

AUCTION CATALOGUE VOLUME 16 ISSUE 15 LJ8694 COVER: Lot 28 (detail) ELIZABETH NYUMI (1947-2019) (Language group: Pintupi) Untitled 2002 synthetic polymer paint on linen 180 x 120cm $10,000-15,000 © Elizabeth Nyumi/Copyright Agency, 2023 INSIDE COVER: Lot 12 (detail) SIMON HOGAN (born 1930) (Language group: Tarutjara/Pitjantjatjara) Lingka synthetic polymer paint on canvas 120.5 x 180cm $9,000-12,000 © Simon Hogan/Copyright Agency, 2023

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INDIGENOUS ART AUCTION MONDAY 28 AUGUST 2023, 6PM MELBOURNE

VIEWING Viewing in Melbourne: Friday 25 - Sunday 27 August 333 Malvern Road, South Yarra, VIC 3141

CONTACT

Olivia Fuller

Lucy Foster

Hannah Ryan

Head of Art 03 8825 5624 olivia.fuller@leonardjoel.com.au

Senior Specialist, Fine Art 03 8825 5609 lucy.foster@leonardjoel.com.au

Art Specialist, Manager of Speciality Auctions 03 8825 5666 hannah.ryan@leonardjoel.com.au

Please refer to our website for viewing times

Lot 3 (detail opposite)

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An Enduring Legacy –

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

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

— Olivia Fuller | Head of Art

Lot 9 (detail opposite) © Weaver Jack/Copyright Agency, 2023

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2 © Tiger Yaltangki/Copyright Agency, 2023

1 DOLLY SNELL (c.1933-2015) (Language group: Wangkajunga) Untitled synthetic polymer paint on canvas inscribed verso with artist’s name and Mangkaja Arts cat. no. PC442/04 60 x 79.5cm

2 TIGER YALTANGKI (born 1973) (Language group: Yankunytjatjara) Going to Ceduna synthetic polymer paint on canvas inscribed verso with artist’s name and Iwantja Arts cat. no. III-13 100 x 121.5cm

PROVENANCE: Mangkaja Arts Resource Agency Aboriginal Corporation, Western Australia Short St. Gallery, Western Australia (accompanied by artwork statement) Private collection, Melbourne $2,500-3,500

PROVENANCE: Iwantja Arts, South Australia Short St. Gallery, Western Australia (accompanied by a copy of a certificate of authenticity) Private collection, Melbourne

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

As stated on the Short St. Gallery certificate of authenticity $6,000-8,000

3 PALUMAI NAMPITJINPA (born c.1930) (Language group: Pitjantjatjara) Minyma Kutjara 2007 synthetic polymer paint on canvas inscribed verso with artist’s name and Maruku Arts cat. no. 3540 150 x 119.5cm PROVENANCE: Maruku Arts, Northern Territory (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “Paintings depict the Tjukurpa, the Law and stories of Ancestors. Anangu (Central and Western Desert Aboriginal people) have responsibilities for the protection and teaching of different Tjukurpa and there are strict protocols for the imparting of knowledge. The dotting technique has evolved with the need to adapt sacred expressions of Tjukurpa for public viewing and as a depiction of the desert landscape.

Through Palumai’s traditional lands travels the Tjukurpa of Minyma Kutjara, The Two Women.

During the creation period, as they hunted and adventured along the way, they formed many aspects of the landscape and left behind information still used today about the important rituals and work of collecting mai or plant foods. The women travel with piti munu wana, collection bowls and

digging sticks. Palumai says this painting describes sites related to her Tjukurpa in the country around Walungurru (Kintore), a Pintupi Luritja speaking community west of Alice Springs and north of Uluru.

The women follow a series of water holes as they travel through the sand dune country.

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

As stated on the Maruku Arts certificate of authenticity $4,000-6,000 4 TOMMY MAY NGARRALJA (born c.1935) (Language group: Wangkajunga/Walmajarri) Tarrkaji Kunyikarra synthetic polymer paint on canvas inscribed verso with artist’s name and Mangkaja Arts cat. no. 108/12 87.5 x 89cm PROVENANCE: Mangkaja Arts Resource Agency Aboriginal Corporation, Western Australia Short St. Gallery, Western Australia (accompanied by a copy of a certificate of authenticity) Private collection, Melbourne

OTHER NOTES: “This painting is my mother’s country. When me and my brother were young boys we always be together, playing, going out hunting. Every morning we used to go out looking for black berries, hunting kangaroo, goannas, emus etc.” , The Artist As stated on the Short St. Gallery certificate of authenticity $2,000-4,000 5 PAULA PAUL (born 1937) (Language group: Kayardild) Flat Reef 2009 synthetic polymer paint on linen inscribed verso with artist’s name, title, Mornington Island Art cat. no. 4413-L-PPL0709, Alcaston Gallery cat. no. 15308 and stamp 101 x 197cm PROVENANCE: Mornington Island Art, Queensland (accompanied by a certificate of authenticity) Alcaston Gallery, Melbourne (accompanied by a certificate of authenticity) Private collection, Melbourne EXHIBITIONS: Bentinck Island Artists, Alcaston Gallery, Melbourne, 15 September - 10 October 2009 OTHER NOTES: “I like to walk out and hunt on the flat reefs around Bentinck Island at low tide”, The Artist As stated on the Alcaston Gallery certificate of authenticity $7,000-9,000

5 © Paula Paul/Copyright Agency, 2023

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Sally Gabori

Born in Mirdidingki, on the South side of Bentinck Island, Sally Gabori lived a traditional lifestyle deeply connected to her Indigenous roots. In the early 1940s, the Kaiadilt people were relocated to Mornington Island by Presbyterian missionaries due to severe drought and a cyclone. Despite this displacement, Gabori maintained a strong attachment to her birthplace, cherishing childhood memories and the stories connected to her ancestral homeland.

Located near the northern tip of Bentinck Island, Thundi is Gabori’s fathers Country, an area sitting over a river running parallel to a ridge of tall sandhills along its northeastern coast.

During the wet season a large salt pan would mark the river’s boundary, while in the dry season, mangroves trace its outline in green. To the north, the river opens out onto a vast mud flat, revealing sandbars during low tide.

Many of Gabori’s early paintings of her father’s Country were centred on this river area. Gabori applies her brushstrokes in circular motions emphasising the importance of this crucial fishing

6 SALLY GABORI (c.1924-2015) (Language group: Kaiadilt) My Father’s Country 2006 synthetic polymer paint on canvas inscribed verso with artist’s name, title and Mornington Island Art cat. no. 1308/C/SG/0506 and stamp verso inscribed verso with Alcaston Gallery cat. no. AK12808 and stamp on stretcher bar verso 182 x 123cm PROVENANCE: Mornington Island Art, Queensland (accompanied by a certificate of authenticity) Alcaston Gallery, Melbourne Private collection, Melbourne

area at the river’s mouth. In My Father’s Country 2006, Gabori uses vivid colours to represent various fish species, her favourite fish the snapper is represented in yellow, while the blue suggests the Ngarrawurda (bluefish). Applied with varying movement, Gabori’s brushstrokes indicate the abundance of the fish at Thundi and the area’s significance as a vital fishing ground for the Kaiadilt people. Layering a vibrant palette of blues, reds, yellow and black, Gabori’s works are renowned for their boldness in colour and design. Perhaps a result of cultural isolation from Island life, Gabori’s visual interpretations of her land have been completely uninfluenced, allowing her to express her story in an entirely unique way. Her thick abstract-like paint strokes and elaborate use of colour quickly became the powerful force within her oeuvre and likely one of the reasons her works have become so recognisable within the Indigenous art market and contemporary art globally.

Gabori began painting in her eighties, with her artworks becoming an important medium for expressing the intimate connection she had with the meaningful sites of Bentinck Island throughout her lifetime. Her unique approach to the canvas creates a visual memory and map of Bentinck Island from her childhood, preserving the cultural heritage and natural richness of her ancestral land. Capturing the attention of the international art world, she represented Australia in the 55th Venice Biennale in 2013. Today her works are held in permanent collections such as the Musee du Quai Branly in Paris, the National Gallery of Australia in Canberra and in various state galleries across the country.

Lucy Foster | Senior Specialist, Fine Art

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OTHER NOTES: “My paintings shows a waterhole on my Father’s Country on Bentinck Island”, The Artist As stated on the Mornington Island Art certificate of authenticity $18,000-25,000

6 © Sally Gabori/Copyright Agency, 2023 7

7 HARRY TJUTJUNA (c.1930-2020) (Language group: Pitjantjatjara) Wangka Tjukurpa 2007 synthetic polymer paint on linen inscribed verso with artist’s name, title and Ernabella Arts cat. no. HT099-07 154 x 183cm PROVENANCE: Ernabella Arts, South Australia (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “In speaking of this work Harry described himself as a spider man, spiders being involved in the Tjukurpa, or creation stories of his birthplace - Mt. Davies, near the SA/WA border. People often associate themselves with one or more of the creatures of their ‘ngura’ (homeplace) in this way. Spiders have multiple meanings for Harry, as he is also a ‘ngangkari’ (traditional healer) and as ngangkari makes use of spiderwebs in treatment of cuts and skin injuries.”

As stated on the Ernabella Arts certificate of authenticity $6,000-8,000 8 PALUMAI NAMPITJINPA (born c.1930) (Language group: Pitjantjatjara) Sandhills 2007 synthetic polymer paint on canvas inscribed verso with artist’s name and Maruku Arts cat. no. 2932 151 x 91.5cm PROVENANCE: Maruku Arts, Northern Territory (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “Desert painting is inextricably linked with the Tjukurpa or the Law and way of life of the Anangu (Central and Western Desert Aboriginal people).

The symbols of desert paintings were traditionally used in cave, ground and body paintings. Meaning of the designs depends on the subject of the painting and particular people are responsible for their re-creation and teaching according to the Tjukurpa.

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This painting reflects strong culture: re-enacting ancestral travels, celebrating the sacred nature of the country and its interrelated plant, animal and human inhabitants. It refers to the teachings of Tjukurpa. Palumai has painted tali (sandhills) south of Kintore in the west of the Northern Territory.

Coded in this Law story is intricate information about the country and its food and water sources as well as instructions for maintaining the balance and harmony of society.”

As stated on the Maruku Arts certificate of authenticity $3,000-5,000

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9 WEAVER JACK (c.1928-2010) (Language group: Yulparia) Lungarung 2006 synthetic polymer paint on canvas inscribed verso with artist’s name, date and Short St. Gallery cat. no. 3576 166 x 111.5cm PROVENANCE: Short St. Gallery, Western Australia (accompanied by artist statement) Private collection, Melbourne OTHER NOTES: “Travelling from Lungarung to Nyumpi, plenty tree, bush country, three jila in a row.”

As stated on the Short St. Gallery artist statement $6,000-8,000 10 MAWUKURA JIMMY NERRIMAH (c.1924-2013) (Language group: Walmajarri) Tarpu & Wayampajarti synthetic polymer paint on canvas inscribed verso with artist’s name and Mangkaja Arts cat. no. 387/07 120 x 90.5cm PROVENANCE: Mangkaja Arts Resource Agency, Western Australia (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “These ones (waterholes) all surrounded by salt country (planes), like warla (marsh or large claypans). It’s real flat country with saltbush. Tarpu is important for that big law ceremony. Big mob of people were killed here back in the Jumangkarni (dreamtime), when a big star crashed down from the sky. Tarpu is the top waterhole, the bottom ones are Wayampajarti the one on the left is good for drinking that one on the right he no good. That no good one is a strong place for law, only for initiated men this one.” The Artist As stated on the Mangkaja Arts certificate of authenticity $7,000-9,000 9 © Weaver Jack/Copyright Agency, 2023

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11 CLIFF REID (c.1947-2010) (Language group: Ngaanyatjarra) Lirru 2004 synthetic polymer paint on canvas inscribed verso with artist’s name and date 122 x 150cm PROVENANCE: Papulankutja Artists, Alice Springs (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “Two snakes, really men, travel a great distance from the South West. They have many adventures. In this painting they are seeking the sweet honey flower.”

The Artist As stated on the Papulankutja Artists certificate of authenticity $3,000-5,000 12 SIMON HOGAN (born 1930) (Language group: Tarutjara/Pitjantjatjara) Lingka synthetic polymer paint on canvas inscribed verso with artist’s name and Irrunytju Arts cat. no. IRRSH071208 120.5 x 180cm PROVENANCE: Irrunytju Arts Centre, Western Australia (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “This painting depicts a large area surrounding Lingka and Muntapi the place of Mr Hogans birth place. Shown are the rockholes at Mantapil lingka, Karngka, Tarli karnka, Undinyuuna, Tjatanya, Damping, Wandirii, Tjarika, Pilkayla, Kurli, Badudaa, Arnbirri, Nganundii, Tjampingka, Nyundilka, Nyundilka Mama, Waranka, Tjuratja Tjarla and Makura. Within this area of the country many stories are found although most cannot be elaborated and Mr Hogan just mentions the presence of the Crow, Dog, Bush Cat, Honey Ant, Turkey and Female Possum. This is an area where many people used to live with good water and kids ‘playing around safe’ in the sandhills.”

As stated on the Irrunytju Arts certificate of authenticity $9,000-12,000

13 © Nancy Naninurra/Copyright Agency, 2023

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13 NANCY NANINURRA NAPANANGKA (born c.1936) (Language group: Warlpiri/Pintupi) Minna Minna 2002 synthetic polymer paint on canvas inscribed verso with artist’s name and Warlayirti Artists cat. no. 641/02 100.5 x 50cm PROVENANCE: Warlayirti Artists, Western Australia (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “Nancy has painted some country located south of Balgo in the Great Sandy Desert. This country is known as Minna Minna, named for the soakwater, or tjumu, which is featured in the centre of the painting, also depicted are four hills situated in this area. This country is important women’s country, and women of Nungurrayi and Napanangka skin groups dance for this country. The Minna Minna story tells of a band of ancestral women who travel the Tjukurrpa (Dreamtime) landscape, terrorising men.”

As stated on the Warlayirti Artists certificate of authenticity $2,000-3,000 14 BRIDGET MUDJIDELL NAPANANGKA (1935-2002) (Language group: Ngarti/Kukatja/Warlpiri) Mankai Region - Stretch Ranges 1989 synthetic polymer paint on canvasboard inscribed verso with artist’s name and Warlayirti Artists cat. no. 29/89 76.5 x 51cm PROVENANCE: Warlayirti Artists, Western Australia (accompanied by a copy of a certificate of authenticity) Mary Macha, Perth The Kelton Collection, United States of America OTHER NOTES: “This is the artist’s father’s country - good country.

The sites and kinds of waterholes in this country are shown by the various shapes and positions.”

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

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15 NANYUMA NAPANGATI (born 1944) (Language group: Pintupi) Untitled 2002 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. NN0209047 91.5 x 120cm PROVENANCE: Papunya Tula Artists, Alice Springs (accompanied by a copy of a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “This painting depicts designs associated with the rockhole site of Wirrulnga, east of the Kiwirrkura Community. The roundels are rockholes and the lines are the sandhills surrounding the area. A group of women camped at this site. While in the area they gathered the edible berries known as kampurarrpa or desert raisin which they ground into a paste and formed into a type of damper. They also made hairstring skirts which are worn during ceremonies.”

As stated on the Papunya Tula Artists certificate of authenticity $2,000-4,000 16 NANCY ROSS NUNGURRAYI (c.1935-2009) (Language group: Pintupi) Untitled 2003 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. NN0307188 90 x 91cm PROVENANCE: Papunya Tula Artists, Alice Springs (accompanied by a copy of a certificate of authenticity) Private collection, Melbourne 17

OTHER NOTES: “This painting depicts designs associated with the rockhole and soakage water site of Ngaminya, just to the south-west of the Kiwirrkura Community in Western Australia.

A group of women, represented by the ‘U’ shapes, came from the west and made camp at this site.

While in the area they gathered the edible berries kampurarrpa or desert raisin from the small shrub Solanum centrale which grows in the area.”

As stated on the Papunya Tula Artists certificate of authenticity $3,000-5,000

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18 © Queenie McKenzie/Copyright Agency, 2023

17 DHUWARRWARR MARIKA (born c.1946) (Language group: Rirratjingu) Milnurr 2008 natural earth pigments on bark inscribed verso with artist’s name and Buku-Larrngay Mulka cat. no. 3353V 154 x 117cm PROVENANCE: Buku-Larrngay Mulka Art Centre, Northern Territory (accompanied by a certificate of authenticity) Vivien Anderson Gallery, Melbourne Private collection, Melbourne EXHIBITIONS: Dhuwarrwarr Marika; Milngurr - The Sacred Spring, Vivien Anderson Gallery, Melbourne, 4 - 28 June 2008, cat. no.1 (illus. in exhibition catalogue) OTHER NOTES: “The time referred to as time before the first morning has the Djan’kawu (a man and his two sisters) leaving in a canoe to follow the morning star from their residence of Buralku, an island of ancestral dead. With them they carried dilly bags, mats and digging sticks that were to later manifest into sacred

objects through ritual of song and dance that started on the sea of travel and into the sand dunes rimming the landing shores of Yalanbara.

From Yalanbara the Djan’kawu set out on their epic journey of eastern Arnhem Land, travelling on what they sanctified as Dhuwa land, singing the country and splitting it up into clan estates, designating sacred law (madayin) song, dance, totem, language to each as they went. Thus the one side of the duality that governs the Yolnu of Arnhem Land - the two moiety system of the Dhuwa and the Yirritja, emanated from Yalanbara.

Today the sandy beach at Yalanbara freshwater is found. By digging at the right location the freshwater seeps through the sand pooling in the hole dug. Rirratjinu song cycles celebrate the Djan’kawu creating this well by plunging the sacred Mawalan (digging stick) into this area as they strode up the beach with their possessions to the sand dunes further up. This well with water of sacred and special qualities is called Milnurr. These sisters gave birth to all Dhuwa clans starting here.

Affected by salt on their sea journey and the incursion of freshwater at Yalanbara, the mixing of the two was the catalyst for procreation. Today the

tides of the sea and flow of freshwater are sung to explain and ensure the cycles of conception, birth and death of the Rirratjinu from their clan lands (Yalanbara) to relate specifically to the powers of the Djan’kawu and the land they affected for the Dhuwa.

A further stamp of clan ownership to Yalanbara is the use of the Rirratjinu clan crosshatched design.”

As stated on the Buku-Larrngay Mulka certificate of authenticity $8,000-10,000 18 QUEENIE MCKENZIE (c.1915-1998) (Language group: Gija) Untitled natural earth pigments on canvas inscribed verso with artist’s name and Waringarri Aboriginal Arts cat. no. AP0801 60 x 80cm PROVENANCE: Waringarri Aboriginal Arts, Western Australia Niagara Galleries, Melbourne (stamp verso) William Mora Galleries, Melbourne (stamp verso) Private collection, New South Wales $8,000-12,000

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Rover Thomas

Born to a Wangkajunga father and Kukatja mother, Rover Thomas began his life’s journey along the Canning Stock Route in the Great Sandy Desert of Western Australia. Embracing the life of a stockman and fencer, he crossed the rocky terrains of the eastern Kimberley, venturing into the Northern Territory and even going as far as Queensland. He was among the many Indigenous people from the south and southeast deserts who were displaced due to Cyclone Tracy and policy change, finding a new home among the Giji community in the 1970s. With this migration, Thomas and his people carried with them stories and spiritual practices that they would share and fuse with those of the Giji people inspiring the unique compositions and designs pioneered by the artist at the Warmun school. Thomas’ legacy can be seen in the works of many east Kimberley artists including Queenie McKenzie, Jack Britten, Rusty Peters and Freddy Timms.

The narrative behind this painting, Crossroads c.1995, as explained by Waringarri Aboriginal Arts, “shows a crossroads, a favourite subject for the artist. Many traditional songs and stories deal with journeys and meetings by all kinds of beings in many circumstances”. In the centre of this composition, a group of women meet in a central location, represented by the ‘U’ shapes over the markings dividing the soft pigmented ground. While his compositions often appear minimalistic, upon closer inspection, they reveal a profound depth of meaning. Embedded within his canvases are historical events, mythological knowledge and lived experiences with many narratives that intertwine the Kimberley and its deep history. Recurring themes and symbolism throughout Rover’s works point to reconciliation, reflecting his belief in harmony between Indigenous and non-Indigenous people.

Thomas’ compositions demonstrate a careful balance between landscape and narrative, using a blend of two-dimensional and aerial views. He meticulously maps out the land and its stories using earthy pigments and natural resins. Thomas’ use of typical Kimberley palettes features deep red and brown ochre tones derived from the earth itself, evoking a strong connection to the land and the cultural identity of the region.

Rover Thomas has played a pivotal role in elevating Aboriginal art from its former categorisation in ethnographical study to the forefront of international contemporary art. His legacy stands as a testament to the transformative power of art in connecting cultures and bridging the gap between tradition and modernity. The art of Rover Thomas has had a profound impact on Australian art, earning him accolades and various opportunities including representing Australia with Trevor Nickolls as the first Indigenous artists at the Venice Biennale in 1990. This was further recognised when the National Gallery of Australia held his solo exhibition Road Cross in 1994, cementing his place as an iconic figure in the Australian art world and an essential contributor to the legacy of Indigenous art.

Lucy Foster | Senior Specialist, Fine Art

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19 ROVER THOMAS (c.1926-1998) (Language group: Kukatja/Wangkajunga) Crossroads c.1995 natural earth pigments on canvas inscribed verso with artist’s name and Waringarri Aboriginal Arts cat. no. AP0150 80 x 100cm PROVENANCE: Waringarri Aboriginal Arts, Western Australia (accompanied by a copy of a certificate of authenticity) Private collection, Brisbane $35,000-45,000

19 © Rover Thomas/Copyright Agency, 2023

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20 JAMES IYUNA (1959-2012) (Language group: Kununjku) Mimih Spirits beach hibiscus with ochre pigment and PVC fixative (3) i. 213cm, ii. 224cm, iii. 158cm (height, each) PROVENANCE: Maningrida Arts & Culture, Northern Territory (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “Aboriginal people in the rocky environments of western and south-western Arnhem Land tell of the existence of tall slender spirits which they call Mimih. The name Mimih is well known throughout the top end of the Northern Territory. Aboriginal groups living in the rocky environments of western and southern Arnhem Land share mythology which relates to the beings known as Mimih. These groups include the Kunwok chain of languages, and also Rembarrnga, Dalabon and Djawoyn language groups. Other grounds of people with familial and ceremonial links to rock country inhabitants are also familiar with the idea of the Mimih. In recent years the Mimih has become a topic in the repertoires of some artists among the Kunibidji people, speakers of the Ndjebbana language and the traditional landowners of the Maningrida area.

The people of western Arnhem Land believe that Mimih spirits live in a social organisation similar to Aboriginal people and that Mimih society existed before humans. Mimih are credited with instructing the first people with knowledge relating to survival in the rocky environment of the Arnhem land plateau. Mimih are said to have taught the first humans how to hunt and butcher game and also how to dance, sing and paint. The song and dance style of western Arnhem Land Aboriginal people is still known today as Mimih style. This term is also used by Aboriginal people further to the east in Central Arnhem Land when describing the dance and song of their western neighbours.

Despite the usual descriptions of Mimih as being benign towards humans sometimes however they are attributed with mischievous and dangerous qualities, capable of kidnapping and even killing humans. ‘Clever’ men, or Aboriginal men with supernatural powers, sometimes befriend the Mimih and are taught their songs and dances and shown their secret places. The Mimih are like people using the same kinship terms and speaking the same language as the local Aboriginal group. They live in families like humans and it is said that some of these Aboriginal men with mystical knowledge have spent time living with them in their camps.

Mimih are, however, terribly thin, having necks so slender that a stiff breeze would be fatal. For this reason they emerge only on windless days and 20 © James Iyuna/Copyright Agency, 2023

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nights to hunt. As soon as a breeze develops, the Mimih are said to run back to their rocky caverns and disappear inside.”

As stated on the Maningrida Arts & Culture certificate of authenticity $4,000-6,000 21 JIMMY NJAMME TJAMPITJIN (born c.1920) Untitled 1987 synthetic polymer paint on canvas inscribed verso with artist’s name and Warlayirti Artists cat. no. 87702 120 x 91cm PROVENANCE: Warlayirti Artists, Western Australia (accompanied by artwork statement) Private collection, Melbourne OTHER NOTES: “This painting depicts Jimmy Njamme Country. It is situated at south side of Mangkayi, Watikutjarra.

Two young men, were travelling around. They had no camp and were all wet from the big rain. When the rain stopped the two men made a big fire to cook all the kuka (meat).”

As stated on the Warlayirti Artists certificate of authenticity $3,000-5,000 22 PINTA PINTA TJAPANANGKA (c.1928-1990) (Language group: Pintupi) Untitled 1989 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. PP891187 92 x 46cm PROVENANCE: Papunya Tula Artists, Alice Springs (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “Winparrku, a hill west of Kintore, is the site depicted in this painting. As the story associated with this site forms part of the Tingari Cycle, no further details were given.

Generally, the Tingari are a group of mythical characters of the Dreaming, who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and accompanied by novices and their travels and adventures are enshrined in a number of song cycles.

These mythologies form part of the teachings of the post-initiated youths today as well as providing explanations for contemporary customs.”

As stated on the Papunya Tula Artists certificate of authenticity $3,000-5,000

23 NYARRAPYI GILES (born 1941) (Language group: Ngaanyatjarra) Warmurungu synthetic polymer paint on canvas 137 x 173.5cm PROVENANCE: Tjarlirli Art, Western Australia (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “The painting depicts a site called Warmurungu where the people collect coloured orchres used in ceremonies. When the colours are excavated the spirits of the emus are released like a wind and take physical form. There are many emus in the area. The centre of the concentric circles shows where the emus stopped to drink in the dreaming time.”

As stated on the Tjarlirli Art certificate of authenticity $4,000-6,000 24 MICK KUBARKKU (c.1922-2008) (Language group: Kuninjku) Untitled natural earth pigments on bark inscribed verso with artist’s name and Maningrida Arts cat. no. 108/94 artist’s name and cat. no. on Maningrida label verso 103 x 34cm PROVENANCE: Maningrida Arts & Culture, Northern Territory (label verso) Private collection, Queensland OTHER NOTES: “The abstract images represent the full- Dird in Kununjku language and the Djang site (place of power) associated with it called Dirdbim, which is located near Yikkerrakkal where the artist lives.

The moon is said to have been one of the original creator Ancestors of Kununjku clan lands. He was Bininj (human being) just like Aboriginal people today but became the moon and morning star (Gingin). He is of the sub-section Wamud.

The moon determines the timing of ceremonies, when they start and finish and on a practical level the waxing of the moon brings fish to the creeks and her light helps people to see and catch them.

In the daytime the sun is too bright unless at dawn or dusk.”

As stated on the Maningrida Arts & Culture certificate of authenticity $5,000-7,000

24 © Mick Kubarrkku/Copyright Agency, 2023

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26 © Walangkura Reid Napurrula/Copyright Agency, 2023

25 NANCY ROSS NUNGURRAYI (c.1935-2009) (Language group: Pintupi) Untitled 2000 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. NN20000280 122 x 61cm

26 WALANGKURA REID NAPURRULA (born c.1935) (Language group: Pintupi) Untitled 2002 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. WR0205045 90 x 90cm

PROVENANCE: Papunya Tula Artists, Alice Springs (accompanied by a certificate of authenticity) Private collection, Melbourne

PROVENANCE: Papunya Tula Artists, Alice Springs (accompanied by a copy of a certificate of authenticity) Private collection, Melbourne

OTHER NOTES: “This painting depicts designs associated with Women’s Ceremonies at the rockhole and soakage water site of Ngaminya, south of the Kiwirrkurra Community.

OTHER NOTES: “This painting depicts designs associated with the Seven Sisters’ Dreaming at Dale Creek, East of Warakuna, near Giles Weather Station.

A group of women, represented by the ‘U’ shapes, came from the west and made camp at this site. They gathered the edible berries known as kampurarrpa or desert raisin from the small shrub Solanum centrale which grows in the area. They later continued their travels further east.”

As stated on the Papunya Tula Artists certificate of authenticity $3,000-5,000

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The roundels represent camp sites of a group of women of the Napaltjarri kinship subsection who are being pursued by a man of the Tjakamarra kinship subsection. The women travelled over quite a distance but managed to keep ahead of him.”

As stated on the Papunya Tula Artists certificate of authenticity $2,000-4,000

27 © Makinti Napanangka/Copyright Agency, 2023

27 MAKINTI NAPANANGKA (c.1930-2011) (Language group: Pintupi) Untitled 2002 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. MN0205065 61 x 57cm PROVENANCE: Papunya Tula Artists, Alice Springs (accompanied by a certificate of authenticity) Gallery Gabrielle Pizzi, Melbourne (label verso) Private collection, Melbourne

OTHER NOTES: “This painting depicts designs associated with the rockhole site of Lupul, south of the Kintore Community. The Peewee (small bird) Dreaming is associated with this site. The circles are rockholes and the lines in the painting represent spun hair-string which is used in the making of hair-belts which are worn during the ceremonies associated with the area.”

As stated on the Papunya Tula Artists certificate of authenticity $7,000-9,000

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28 ELIZABETH NYUMI (1947-2019) (Language group: Pintupi) Untitled 2002 synthetic polymer paint on linen inscribed verso with artist’s name and Warlayirti Artists cat. no. 1223/02 180 x 120cm PROVENANCE: Warlayirti Artists, Western Australia Private collection, New South Wales $10,000-15,000

28 © Elizabeth Nyumi/Copyright Agency, 2023

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29 ANDREW BULLIN TJAPANGATI (born 20th-century) (Language group: Pintupi) Minyma Kutjarra 1979 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. AB790608 122.5 x 76.5cm PROVENANCE: Papunya Tula Artists, Alice Springs (accompanied by a copy of a certificate of authenticity) Gallerie Australis, Adelaide The Kelton Collection, United States of America OTHER NOTES: “Putja is the mythological site celebrated in this depiction.

During the dreaming the Minyma Kutjarra (literally Women-two) camped at Putja in the course of their epic travels. While at Putja the Minyma Kutjarra searched the surrounding country for food, decorated their bodies and performed Yawalu (women’s ceremonies) and as is particularly emphasized in this painting they played the leaf game muni muni. It is believed that by playing this game women can magically attract the ‘right’ man.

The women later travelled west from Putja to Ngutjulynga, where because they had no fire they perished from the cold.

The sets of concentric circles were said to represent holes dug by the women in search of bush foods, while the adjoining lines indicate the paths taken by the women between these various sites. The tracks of a dog who accompanied the women through

the area are symbolised as ww. While the women themselves are represented by the U shapes. The small black dots between the U shapes indicate patties of squashed Yakatirri (bush raisins) made by the women to carry with them on their journeys.

The short arcs represent the sticks used by the women to tap the ground as a part of the leaf game muni-muni. The bands of dots that surround the composition symbolize Ngalyipi, bark rope used by the women in the performance of Yawalyu ceremonies.”

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

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30 © Naata Nungurrayi/Copyright Agency, 2023

30 NAATA NUNGURRAYI (born 1932) (Language group: Pintupi) Untitled 2004 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. NN0403117 122 x 121cm PROVENANCE: Papunya Tula Artists, Alice Springs (accompanied by a copy of a certificate of authenticity) Private collection, Canberra

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OTHER NOTES: “This painting depicts designs associated with the rock hole and soakage water site of Marrapinti, to the west of the Pollock Hills in Western Australia.

A large group of senior women camped at this rockhole making the nose-bones which are worn through the hole in the nose-web. These nosebones were originally worn by both men and women but are now only worn by the older generation on ceremonial occasions.

The women later travelled east passing through Wala Wala, Kiwirrkura and Ngaminya gathering the edible berries known as kampurarrpa or desert raisin from the small shrub Solanum centrale.”

As stated on the Papunya Tula Artists certificate of authenticity $9,000-12,000

31 BILL WHISKEY TJAPALTJARRI (c.1920-2008) (Language group: Pitjantjatjara) Rockhole Near Uluru synthetic polymer paint on linen inscribed verso with artist’s name and Watiyawanu Artists cat. no. 10-06919 and stamp 73 x 25.5cm PROVENANCE: Watiyawanu Artists, Northern Territory (accompanied by a copy of a certificate of authenticity) Private collection, Melbourne $3,000-5,000 32 BILL WHISKEY TJAPALTJARRI (c.1920-2008) (Language group: Pitjantjatjara) Rockhole Near Uluru synthetic polymer paint on linen inscribed verso with artist’s name and Watiyawanu Artists cat. no. 10-06921 and stamp 73 x 25.5cm PROVENANCE: Watiyawanu Artists, Northern Territory (accompanied by a copy of a certificate of authenticity) Private collection, Melbourne $3,000-5,000

32 © Bill Whiskey Tjapaltjarri/Copyright Agency, 2023

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34 © Naata Nungurrayi/Copyright Agency, 2023

33 RICHARD YUKENBARRI TJAKAMARRA (born c.1960) (Language group: Pintupi) Untitled 2003 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. RY0311067 91 x 61cm PROVENANCE: Papunya Tula Artists, Alice Springs (accompanied by a copy of a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “This painting depicts designs associated with the rockhole site of Kunkunya, south of Lake Macdonald.

A large group of Tingari Men, who approached the site from the west, camped for a short while the men continued their travels east.

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Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari Men were usually followed by Tingari Women and accompanied by novices and their travels and adventures are enshrined in a number of song cycles.

These mythologies form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.”

As stated on the Papunya Tula Artists certificate of authenticity $800-1,200

34 NAATA NUNGURRAYI (born 1932) (Language group: Pintupi) Untitled 2003 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. NN0305201 92 x 61cm PROVENANCE: Papunya Tula Artists, Alice Springs Private collection, Melbourne $5,000-7,000

35 © Johnny Yungut Tjupurrula/Copyright Agency, 2023

35 JOHNNY YUNGUT TJUPURRULA (c.1930-2006) (Language group: Pintupi) Untitled (Tjungimanta) 2002 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. JY0210029 181.5 x 151cm

36 CHARLIE WARD TJAKAMARRA (c.1940-2005) (Language group: Pintupi) Untitled 2004 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. CW0410134 121 x 61cm

PROVENANCE: Papunya Tula Artists, Alice Springs Alison Kelly Gallery, Melbourne Private collection, Sydney Joel Fine Art, Melbourne, 16 October 2006, lot 22 The Luczo Family Collection, United States of America Aboriginal Art from the Luczo Family Collection, United States of America, Deutscher and Hackett, Melbourne, 19 October 2016, lot 39 (label verso) Private collection, Melbourne $10,000-15,000

PROVENANCE: Papunya Tula Artists, Alice Springs Private collection, Melbourne $2,000-4,000

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37 GEORGE TJUNGURRAYI (born c.1943) (Language group: Pintupi) Untitled (Mamultjulkulnga) 2003 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. GT0310061 artist’s name and title on gallery label verso 106.5 x 28cm PROVENANCE: Papunya Tula Artists, Alice Springs (accompanied by a certificate of authenticity) Gallery Gabrielle Pizzi, Melbourne (label verso) Private collection, Melbourne OTHER NOTES: “This painting depicts designs relating to the claypan site of Mamultjulkulnga, on the western side of Lake Mackay. The artist’s father passed away at this site.

After rain the claypan becomes a shallow freshwater lake. In mythological times two Tingari men of the Tjangala and Tjapaltjarri kinship subsections camped at this site. They gathered the seeds known as mungilypa or samphire from the small fleshy subshrub known as Tecticornia verrucosa, which grows in flooded country. These seeds are ground into a paste which is cooked in the coals to form a type of unleavened bread. Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari Men were usually followed by Tingari Women and accompanied by novices and their travels and adventures are enshrined in a number of song cycles.

These mythologies form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.”

As stated on the Papunya Tula Artists certificate of authenticity $3,000-5,000

37 © George Tjungurrayi/Copyright Agency, 2023

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38 © George Tjungurrayi/Copyright Agency, 2023

38 GEORGE TJUNGURRAYI (born c.1943) (Language group: Pintupi) Untitled (Mamultjulkulnga) 2003 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. GT0310062 artist’s name and title on gallery label verso 106.5 x 28cm PROVENANCE: Papunya Tula Artists, Alice Springs (accompanied by a certificate of authenticity) Gallery Gabrielle Pizzi, Melbourne (label verso) Private collection, Melbourne OTHER NOTES: “This painting depicts designs relating to the claypan site of Mamultjulkulnga, on the western side of Lake Mackay. The artist’s father passed away at this site.

After rain the claypan becomes a shallow freshwater lake. In mythological times two Tingari men of the Tjangala and Tjapaltjarri kinship subsections camped at this site. They gathered the seeds known as mungilypa or samphire from the small fleshy subshrub known as Tecticornia verrucosa, which grows in flooded country. These seeds are ground into a paste which is cooked in the coals to form a type of unleavened bread. Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari Men were usually followed by Tingari Women and accompanied by novices and their travels and adventures are enshrined in a number of song cycles.

These mythologies form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.”

As stated on the Papunya Tula Artists certificate of authenticity $3,000-5,000

40 TJUNKIYA NAPALTJARRI (c.1930-2009) (Language group: Pintupi) Untitled 2005 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. TN0507183 122 x 107cm

39 WINTJIYA NAPALTJARRI (1932-2014) (Language group: Warlpiri) Untitled 2002 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. WN0206157 90.5 x 46cm

OTHER NOTES: “This painting depicts designs associated with the rockhole site of Umari, situated in sandhill country, east of Mt. Webb in Western Australia. The various shapes in this painting depict the rockholes, rocky outcrops and sandhills of the area.

PROVENANCE: Papunya Tula Artists, Alice Springs Private collection, Melbourne $2,000-3,000

PROVENANCE: Papunya Tula Artists, Alice Springs (accompanied by a copy of a certificate of authenticity) Private collection, Melbourne

A number of women gathered at the site to perform ceremonies associated with Umari. The women, one of the Nangala kinship subsection and the others of the Napaltjarri kinship subsection, later travelled towards the east. One of the mythologies associated with the area concerns a relationship between a man of the Tjakamarra kinship subsection and a woman of the Nangala kinship subsection. This is a mother-inlaw relationship which is taboo in Aboriginal culture.”

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

39 © Wintjiya Napaltjarri/Copyright Agency, 2023

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43 © George Ward Tjungurrayi/Copyright Agency, 2023 41 KATARRA BUTLER NAPALTJARRI (born c.1946) (Language group: Pintupi) Untitled 2003 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. KB0305024 91.5 x 121cm

42 YUKULTJI NAPANGATI (born 1970) (Language group: Pintupi) Untitled 2009 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. YN0910110 46.5 x 38cm

During ancestral times a group of women camped at this site after travelling from further west. While at Yunala the women camped beside the rockhole, digging for the edible roots of the bush banana or silky pear vine Marsdenia australis, also known as yunala. The lines in the work represent both the sandhills surrounding the site as well as the yunala tubers underground.

PROVENANCE: Papunya Tula Artists, Alice Springs (accompanied by a copy of a certificate of authenticity) Private collection, Melbourne

PROVENANCE: Papunya Tula Artists, Alice Springs (accompanied by a copy of a certificate of authenticity) Private collection, Canberra

OTHER NOTES: “This painting depicts designs associated with the rockhole site of Kunkunya, south of Lake MacDonald. The circles represent rockholes and the arced line work, symbolises the sandhills surrounding the area. A group of women gathered at this site to perform the dances and sing the songs associated with the area. They later travelled north to Kintore.”

As stated on the Papunya Tula Artists certificate of authenticity $1,200-1,800

OTHER NOTES: “This painting depicts designs associated with Yunala, a rockhole and soakage water site situated among sandhills just to the west of the Kiwirrkura community in Western Australia.

The women later continued their travels towards the east, passing through Marrapinti, Ngaminya and Wirrulnga on their way to Wilkinkarra (Lake Mackay).”

As stated on the Papunya Tula Artists certificate of authenticity $2,000-4,000

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43 GEORGE WARD TJUNGURRAYI (born c.1945) (Language group: Pintupi) Untitled 2004 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. GW0408268 91 x 106cm PROVENANCE: Papunya Tula Artists, Alice Springs (accompanied by a copy of a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “This painting depicts designs associated with Kaakuratintja (Lake MacDonald). In mythological times a large group of Tingari Men travelled to this site from Kulkuta, south-west of the Tjukula Community. The Kuningka (Western Quoll) Dreaming also travelled this same route. Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari Men were usually followed by Tingari Women and accompanied by novices and their travels and adventures are enshrined in a number of song cycles. These mythologies form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.”

As stated on the Papunya Tula Artists certificate of authenticity $7,000-9,000 44 WARLIMPIRRNGA TJAPALTJARRI (born c.1958) (Language group: Pintupi) Untitled (Karrinyarra) 1999 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. WT9905129 artist’s name and title on gallery label verso 122 x 61cm PROVENANCE: Papunya Tula Artists, Alice Springs (accompanied by a copy of a certificate of authenticity) Gallery Gabrielle Pizzi, Melbourne (label verso) Private collection, Melbourne EXHIBITIONS: Recent Paintings by Warlimpirrnga Tjapaltjarri and Ray James Tjangala, Gallery Gabrielle Pizzi, Melbourne, 10 August - 4 September 1999

44 © Warlimpirrnga Tjungurrayi/Copyright Agency, 2023

OTHER NOTES: “This painting depicts designs associated with the Snake Dreaming which travelled from Karrinyarra (Mt. Wedge), west to Lake Mackay and then further west to Nyinmi Rockhole and soakage water, just to the east of Jupiter Well. At Nyinmi the snake entered the rockhole where it is said to remain today. This mythology forms part of the Tingari Cycle.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari Men were usually followed by Tingari Women and accompanied by novices and their travels and adventures are enshrined in a number of song cycles.

These mythologies form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.”

As stated on the Papunya Tula Artists certificate of authenticity $7,500-9,000

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45 © Tjunkiya Napaltjarri/Copyright Agency, 2023

45 § TJUNKIYA NAPALTJARRI (c.1930-2009) (Language group: Pintupi) Untitled 2008 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. TN0810027 91 x 46cm PROVENANCE: Papunya Tula Artists, Alice Springs (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “This painting depicts designs associated with the rockhole sites of Umari, situated in sandhill country east of Mt Webb in Western Australia. The roundel in this work represents the rockhole at the site, while the lines represent the tali (sandhills) which surround Umari. A number of ancestral women gathered at Umari to perform ceremonies associated with the site. The women, one of the Nagala kinship subsection and the others of the Napaltjarri kinship

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subsection, later travelled towards the east.

At this site they collected the small seeds known as wangunu or woollybutt from the perennial grass Eragrostis eriopoda, to grind into a paste to make damper.

The women also gathered large quantities of the edible fruit known as pura (also known in Pintupi as pintalpa), or bush tomato, from the small shrub Solanum chippendalei. This fruit is the size of a small apricot, and after the seeds have been removed, can be stored for long periods by halving the fruit and skewering them onto a stick.

One of the ancestral stories associated with the area concerns a relationship between a man of the Tjakamarra kinship subsection and a woman of the Nagala kinship subsection. This is a mother-in-law relationship, which is taboo in Aboriginal culture.”

As stated on the Papunya Tula Artists certificate of authenticity $2,500-4,500

46 NANCY ROSS NUNGURRAYI (c.1935-2009) (Language group: Pintupi) Untitled 2000 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. NN20000208 107 x 28cm PROVENANCE: Papunya Tula Artists, Alice Springs Private collection, Melbourne $1,200-1,800

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47 § PANTJIYA NUNGARRAYI (born 1936) (Language group: Luritja) Untitled 2011 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. PN1103150 107 x 29cm

At Ngutjul the women all perished from the cold as they were unable to get their fire-sticks to light.

A small group of rounded rocks as this site is said to represent the women as they hunched their backs against the cold. The roundels in the painting represent the rockholes at this site and the lines represent the sandhills that the women travelled along between Kungkiyunti and Ngutjul.

48 NANCY ROSS NUNGURRAYI (c.1935-2009) (Language group: Pintupi) Untitled 2001 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. NN0104131 91 x 91cm

PROVENANCE: Papunya Tula Artists, Alice Springs (accompanied by a certificate of authenticity) Private collection, Melbourne

During their travels the women gathered the edible fruit pura (bush tomato) from the plant Solanum chippendalei, and mangata (quandong) from the small tree Santalum acuminatum.”

As stated on the Papunya Tula Artists certificate of authenticity $800-1,200

PROVENANCE: Papunya Tula Artists, Alice Springs Private collection, New South Wales $3,000-5,000

OTHER NOTES: “This painting relates to the rockhole site of Ngutjul, just to the east of the Kintore Community. A group of women travelled to Ngutjul from the rockhole site of Kungkiyunti (Brown Bore), situated west of the Haasts Bluff community.

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49 © Warlimpirrnga Tjapaltjarri/Copyright Agency, 2023

49 WARLIMPIRRNGA TJAPALTJARRI (born c.1960) (Language group: Pintupi) Water Dreaming at Marpurri, South of Lake Mackay, 1996 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. WT960264 122.5 x 90cm PROVENANCE: Papunya Tula Artists, Alice Springs Gallery Gabrielle Pizzi, Melbourne The Kelton Collection, United States of America $8,000-12,000

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50 JOSEPH JURRA TJAPALTJARRI (born c.1952) (Language group: Pintupi) Untitled 2007 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. JJ0702107 90 x 90cm

51 BILLY NOLAN TJAPANGATI (1939-2003) (Language group: Pintupi) Untitled 1998 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. NT980529 60 x 90cm

PROVENANCE: Papunya Tula Artists, Alice Springs Private collection, New South Wales $4,000-6,000

PROVENANCE: Papunya Tula Artists, Alice Springs Private collection, New South Wales $2,000-4,000

52 TJUNKIYA NAPALTJARRI (c.1930-2009) (Language group: Pintupi) Untitled 2005 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. TN0508168 91 x 91cm PROVENANCE: Papunya Tula Artists, Alice Springs Private collection, New South Wales $3,000-5,000 53 MARTIN TJAMPITJINPA (born c.1965-2007) (Language group: Pintupi) Untitled 2003 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. MT0303167 106 x 28cm PROVENANCE: Papunya Tula Artists, Alice Springs (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “Generally, the Tingari are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari Men were usually followed by Tingari Women and accompanied by novices and their travels and adventures are enshrined in a number of song cycles.

These mythologies form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.”

As stated on the Papunya Tula Artists certificate of authenticity $800-1,200

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54 MICK GILL TJAKAMARRA (1919-2002) (Language group: Kukatja) Water Dreaming 1987 synthetic polymer paint on canvas inscribed verso with Warlayirti Artists cat. no. 87623 99.5 x 75cm PROVENANCE: Warlayirti Artists, Western Australia (accompanied by artwork statement) Private collection, Melbourne OTHER NOTES: “This is Tjalutjaparu country. This is a big water dreaming story for Mick Tjakamarra. There is a big song for this dreaming. Men sing this song in Balgo.

This country is at the other side of Yagga Yagga, about 100km, south of Balgo. This is the Artist’s own dreaming country.”

As stated on the Warlayirti Artists artwork statement $2,000-4,000 55 MUNTJA NUNGURRAYI (c.1930-1997) (Language group: Kukatja) Seven Sisters Dreaming at Punkapinyi 1994 synthetic polymer paint on canvas inscribed verso with artist’s name and Warlayirti Artists cat. no. 58/94 90 x 60cm PROVENANCE: Warlayirti Artists, Western Australia (accompanied by a copy of a certificate of authenticity) Sotheby’s, Melbourne, 17 June 1996, lot 170 The Kelton Collection, United States of America OTHER NOTES: “This painting is part of the Tjukurrpa (Dreamtime) Seven Sisters Song Cycles. It is from the Dreaming country of Muntja, her aunty and her mother-in-law.

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Many women were travelling along the Canning Stock Route. They are always on the lookout to see which way to go. There is one old Tjakammara man watching and following them. When the women were asleep he grabbed one of the sisters and took her underground.”

As stated on the Warlayirti Artists certificate of authenticity $2,000-4,000

56 JOHNNY MOSQUITO TJAPANGATI (c.1920-2004) (Language group: Kukatja/Walmatjari) Storm Dreaming at Kurtal 1992 synthetic polymer paint on canvas inscribed verso with artist’s name and Warlayirti Artists cat. no. 554/92 120.5 x 61cm PROVENANCE: Warlayirti Artists, Western Australia (accompanied by a copy of a certificate of authenticity) The Kelton Collection, United States of America OTHER NOTES: “John is a senior rain man and the senior custodian for the law ceremony for this area.

Prior to contact he lived here with his family in the traditional hunter gatherer lifestyle. This painting depicts the small spirit men called “Yardungul” bringing rain to the desert. These beings are said to live in the clouds and can be persuaded to bring rain after certain ceremonies are conducted.”

As stated on the Warlayirti Artists certificate of authenticity $6,000-8,000 57 CHARLIE GORDON TJAKAMARRA (born c.1930) (Language group: Kukatja) Sandfrog Dreaming Near Lappi Lappi 1989 synthetic polymer paint on canvas inscribed verso with artist’s name and Warlayirti Artists cat. no. 349/89 120 x 84cm PROVENANCE: Warlayirti Artists, Western Australia (accompanied by a copy of a certificate of authenticity) The Kelton Collection, United States of America OTHER NOTES: “The central series of waterholes were left in the Dreamtime by a sandfrog hopping through. He was looking for place to make his camp but could not find anywhere. After leaving his mark in this country, he carried on to other places in the west. Soakage and claypan water is available here at all times during the year.”

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

57 © Charlie Gordon/Copyright Agency, 2023

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58 © Jean Baptiste Apuatimi/Copyright Agency, 2023

58 JEAN BAPTISTE APUATIMI (1940-2013) (Language group: Tiwi) Ngulu Bathurst Island 2002 natural ochres on canvas inscribed verso with Tiwi Designs cat. no. TD207-02 120 x 100cm PROVENANCE: Tiwi Designs, Northern Territory (accompanied by a certificate of authenticity) Private collection, Melbourne $5,000-7,000

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59 ARTIST UNKNOWN (born 20th Century) Untitled - Tunga c.1970 natural earth pigments with binding on bark 74 x 45 x 20cm PROVENANCE: The Artist, Bathurst or Melville Islands, Northern Territory Private collection, Melbourne $4,000-6,000

60 HENRY GAMBIKA NUPURRA (born 1932) (Language group: Djambarrpuyngu) Banumbirr - Morning Star Pole 2000 natural earth pigments, feathers, bush string and cotton on carved wood 178cm (height) PROVENANCE: Elcho Island Arts & Crafts, Elcho Island, Northern Territory (accompanied by a copy of a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “This is a dhuwa (moiety) pole for dhuwa clans. It is from my father’s side. We use it for a memory ceremony, (usually around one year after the death of the person) for dhuwa, only or for men’s business.

It sends the spirit to the star (the Banumbirr star known as Venus).

The flowers are the mokuy’s (spirit of the deceased) nahta (food) - gingja, wild fruit. The ones on string are the ripe nahta the others are not ready to eat. The white feathers (going around pole) is the start of the travel, to call the clans from Ngaymil, Ramingining, Djapu, Rorruwy. The red (orange) one has arrived at all the clans. The bush string wrapped around the pole. The different places the Banumbirr travels to. White is the rising of the star. Orange (yellow) is when it is there and this black (brown) is when it is back home again and put in the bag.”

The Artist, as stated on the Elcho Island Arts & Crafts certificate of authenticity $4,000-6,000 61 ROMOLO TIPILOURA (born 1957) (Language group: Tiwi) Purukuparli natural ochres on ironwood 187cm (height) PROVENANCE: Jilamara Arts and Crafts, Northern Territory (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “Purukuparli was the first mortal who performed the first Pukumani (funeral) ceremony to grieve for his dead son. He is shown here with ceremonial objects, false beard, traditional naga (skirt) and parmigini (armbands).”

As stated on the Jilamara Arts and Crafts certificate of authenticity $3,000-5,000

62 JAMES IYUNA (1959-2012) (Language group: Kununjku) Mandjabu (Fish Trap) ochre pigments with PVC fixative on stringybark 166 x 51cm PROVENANCE: Maningrida Arts & Culture, Northern Territory (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “Kuninjku people traditionally make two sorts of conical fish traps, one called Mandjabu made from mill (Malaisia scandens) a vine and a smaller one called Manyilk Mandjabu made from grass manyilk (cyperus javanicus). The mill (large) conical fish trap is bigger and stronger than the manyilk variety and is used in tidal reaches of creeks to catch large fish.

The smaller and lighter manyilk trap is used in fresh water flowing creeks to catch smaller fish and fresh water prawns. Traditionally, only men were involved in the construction of the large fish traps, but small children were used to crawl inside to assist with the inner trap.”

As stated on the Maningrida Arts & Culture certificate of authenticity $4,000-6,000 63 IRENIE NGALINBA (born c.1979) (Language group: Kununjku) Wak Wak 2008 ochre pigments with PVC fixative on stringybark 97 x 57cm PROVENANCE: Maningrida Arts & Culture, Northern Territory (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “This painting depicts a sacred site at ‘Kurrurldul’, an outstation of Maningrida.

The ‘rarrk’, or abstract crosshatching, on this work represents the design for the crow totem ancestor called ‘Djimarr’. Toady this being exists in the form of a rock, which is permanently submerged at the bottom of Kurrurldul Creek. The ‘Djimarr’ rock in the stream at Kurrurldul is said to move around and call out in a soft hooting tone at night. Both the stone itself and the area around it are considered sacred.

The imagery represents the rock mentioned above at the bottom of Kurrurldul creek, which is the final transmutation of the dreaming ancestor ‘Djimarr’.

Finally, the pattern used here is also the crow design used in the sacred ‘Mardayin’ ceremony, which is a large regional parti-moiety ceremony now rarely conducted in central and eastern Arnhem Land.”

As stated on the Maningrida Arts & Culture certificate of authenticity $1,500-2,500

60 © Henry Gambika Nupurra/ Copyright Agency, 2023

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64 NANCY HENRY RIPIJINGIMPI (c.1935-1993) (Language group: Tiwi) Janus Figure c.1979 natural earth pigments on wood 128cm (height) PROVENANCE: Executed on Melville Island, c.1979 Aboriginal and South Pacific Gallery, Sydney Private collection, Melbourne $10,000-15,000 65 OLD NYM DJIMURRGURR (c.1910-1970s) (Language group: Gunwinggu) Maraian Ceremony - Male and Female Barramundi c.1965 natural earth pigments on eucalyptus bark artist’s name, language group and description on unknown label attached verso 72 x 55cm PROVENANCE: Sotheby’s, Melbourne, 28 June 1999 Stella Downer Fine Art, Sydney 1999 Private collection, Sydney OTHER NOTES: “The Turtle followed a dreaming path, and after fighting with Porcupine. As a man he had dragged a stick making creeks and rivers in the vicinity of Oenpelli and then as a Turtle he swam along these creeks and rivers, travelling by water and short stretches of Land - Following the same Dreaming path.

He was cooked and eaten by Mimis but they never broke him up in pieces or burnt up his remains.”

As stated on the label attached verso $7,000-10,000 66 PETER GIRIRRKIRIRR (born 20th century) (Language group: Djinba) Long Neck Tortoise and Water Python 2002 ochres on wood 180cm (height) PROVENANCE: Bula’bula Arts, Northern Territory (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “The long neck tortoise and the water python are commonly found in Peter’s Ganalbingu country, Part of this area forms the World Heritage listed Arafura Wetlands.”

As stated on the Bula’bula Arts certificate of authenticity $2,000-4,000

64 © Nancy Henry Ripijingimpi/Copyright Agency, 2023

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67 PETER MINYGULULU (born 1942) (Language group: Mandhalpuy) Badurru: Munjarrpuy Story earth pigments on wood 249cm (height) PROVENANCE: Bula’bula Arts, Northern Territory (accompanied by a certificate of authenticity) Private collection, Melbourne EXHIBITIONS: Pussycat & Friends, Philip Gudthaykudthay, Peter Minygululu and Jimmy Moduk in association with Bula’bula Arts, William Mora Galleries, Melbourne, 20 July -16 August 2005, cat. no. 4 $4,000-6,000 68 SAMBO ASHLEY MINDILIWUY (1927-1988) (Language group: Rembarraga) Two Tjupulara (Long Tom) 1984 natural earth pigments on bark artist’s name, date and title inscribed on Mimi Aboriginal Arts label verso 75 x 39cm PROVENANCE: Mimi Aboriginal Arts and Crafts, Northern Territory (label verso) The Collection of John Graham, Melbourne $1,000-2,000 69 MICK GILL TJAKAMARRA (1919-2002) (Language group: Kukatja) Napakulangu 1987 synthetic polymer paint on canvas inscribed verso with artist’s name and Warlayirti Artists cat. no. 87/735 113 x 84cm PROVENANCE: Warlayirti Artists, Western Australia (accompanied by artwork statement) Private collection, Melbourne

69 © Mick Gill/Copyright Agency, 2023

OTHER NOTES: “This painting depicts Old Biddy Nugoray’s Dreaming, Biddy is Mick’s aunty and her black fella name is Kukunti.

Lightning was chasing the old men and old women, so they sat down underground in a hidden place.

Mick’s father was one of these old men. This country is called Napakulangu. It is close to Yagga Yagga, south of Balgo.”

As stated on the Warlayirti Artists certificate of authenticity $2,000-4,000

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72 © Mick Gill/Copyright Agency, 2023

70 ARTIST UNKNOWN (born 20th Century) Two Goannas and Snake natural earth pigments on eucalyptus bark 53 x 28cm PROVENANCE: Painted in Oenpelli, Northern Territory, c.1976 The Collection of John Graham, Melbourne $1,500-2,500 71 ANCHOR BARRBUWA WURRKIDJ (c.1924-1977) (Language group: Kuninjku) A Long-Necked Tortoise (Komdow) natural earth pigments on bark artist’s name, title and location on Oenpelli Arts label verso 48 x 27cm PROVENANCE: Painted at Liverpool River, Northern Territory Oenpelli Arts, Arnhem Land (label verso) The Collection of John Graham, Melbourne $1,500-2,500

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72 MICK GILL TJAKAMARRA (1919-2002) (Language group: Kukatja) Napakulangu 1987 synthetic polymer paint on canvas inscribed verso with artist’s name and Warlayirti Artists cat. no. 87/178 76 x 100cm

73 TJUMPO TJAPANANGKA (1930-2007) (Language group: Pintupi/Kukatja) Untitled (Ngunkanapilka, West of Lake Mackay) 1991 synthetic polymer paint on canvas inscribed verso with artist’s name and Warlayirti Artists cat. no. 667/91 150 x 75cm

PROVENANCE: Warlayirti Artists, Western Australia (accompanied by artwork statement) Private collection, Melbourne

PROVENANCE: Warlayirti Artists, Western Australia (accompanied by a copy of a certificate of authenticity) Private collection, United States of America Sotheby’s, Aboriginal Art, Melbourne, 26 July 2004, lot 251 Private collection, Melbourne

OTHER NOTES: “This painting depicts Mick Tjakamarra’s Dreaming.

It is a painting of his own country which is called Napakuangu. There are plenty of waterholes and creeks in this country, which is south of Yagga Yagga.

Mick sometimes calls it ‘Water Dreaming’ place.”

As stated on the Warlayirti Artists certificate of authenticity $1,500-2,500

OTHER NOTES: “The painting gives a bird’s eye view of the artist’s traditional country showing some of the main features. All of these are associated with the travels and exploits of Two Men or Wati Kutjarra in the Dreamtime or Tjukurrpa. They camped at all these places and have left signs and powers in the land.

These are looked after by senior men such as the artist.”

As stated on the Warlayirti Artists certificate of authenticity $7,500-9,000

74 BOB BILINYARRA (c.1920-1975) (Language group: Djinang) Diverbirds and Gunjal, The Catfish c.1985 natural earth pigments on bark artist’s name and title on unknown label verso 61 x 30cm PROVENANCE: Painted in the Maningrida region, Central Arnhem Land, Northern Territory The Collection of John Graham, Melbourne $1,500-2,500 75 TOMMY STEELE (born 1940) (Language group: Burarra) Fish Trap jungle vine (Malaisia scandens) 180cm (height) PROVENANCE: Maningrida Arts & Culture, Northern Territory (accompanied by a copy of a certificate of authenticity) William Mora Galleries, Melbourne Private collection, Melbourne OTHER NOTES: “To make fish traps and fish net fences artist firstly get vine-mirlarl from the jungle and they put it in water for one night to make it soft. Next they start weaving it, they make rings for the inside to keep the fish traps shape. Artists work for three for four weeks on the fish trap. They also make string from kurrajong- burdage to attach the hibiscus- bardainy rings and to tie the conical end of the fish trap.

This fish trap is used in saltwater side and the freshwater side and people also use fish net fences called mun-dirra. Along time ago they would put the mun-dirra-fish net fence across rivers and creeks and in the middle, they would place the an-gujechiya the fish trap, they also use small things like sticks, rocks, mud and grass to block the fish from going through.

People catch fish like saltwater barramundi rajarra, freshwater barramundi Janambal, small black freshwater catfish buliya, bonefish an-guwirrpiya and Sand bass dalakan in these fish traps.”

As stated on the Maningrida Arts & Culture certificate of authenticity $3,000-5,000

73 © Tjumpo Tjapanangka/Copyright Agency, 2023

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76 CECINA MARDJUWA (born 20th century) (Language group: Burarra) Fish Trap jungle vine (Malaisia scandens) 201cm (Height) PROVENANCE: Maningrida Arts & Culture, Northern Territory (copy of label attached) William Mora Galleries, Melbourne Private collection, Melbourne $2,000-3,000 77 MICHAEL NGULABYA (1915-1975) (Language group: Djinang) File Snakes on Michael’s Country natural earth pigments on bark artist’s name and title on unknown label verso 58 x 28cm PROVENANCE: The Collection of John Graham, Melbourne $1,500-2,500 78 ATTRIBUTRED TO ANCHOR BARRBUWA WURRKIDJ (c.1924-1977) (Language group: Kuninjku) Crocodile c.1960 natural earth pigments on bark 77 x 23cm PROVENANCE: Painted at Liverpool River, Norther Territory c.1960 The Collection of John Graham, Melbourne $1,000-1,500

77

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79 IRENIE NGALINBA (born c.1979) (Language group: Kununjku) Wak Wak ochre pigments with PVC fixative on stringybark 112 x 37cm PROVENANCE: Maningrida Arts & Culture, Northern Territory (label verso) Private collection, Melbourne $1,500-2,500 80 KUNMANARA CARROLL (1950-2021) (Language group: Luritja/Pintupi) Walungurru 2018 stoneware with sgraffito signed and dated at base: PEPAI/ CARROLL/ 2018 39.5 x 19cm PROVENANCE: Sabbia Gallery, Sydney Private collection, Melbourne $1,500-2,500 81 JIMMY DONEGAN (born 1940) (Language group: Pitjantjatjara/Ngaanyatjarra) Pukara IV 2021 painted and hand blown glass initialled at base: JD 26 x 19cm PROVENANCE: Sabbia Gallery, Sydney 2021 Private collection, Melbourne EXHIBITIONS: PREVIEW – Sydney Contemporary at Sabbia, 13 October - 21 November, 2021 $1,600-2,600

79

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82 LIN ONUS (1948-1996) (Language group: Yorta Yorta) Wapurrar Guyi (Motionless Fish) 1995 gouache on illustration board signed lower right: Lin Onus 27 x 62.5cm PROVENANCE: Gallery Gabrielle Pizzi, Melbourne 1995 (label verso) Private collection, Melbourne Leonard Joel, Aboriginal Art & Artefacts, Melbourne, 25 October 2012, lot 13 Private collection, Melbourne $12,000-16,000

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82 © Lin Onus/Copyright Agency, 2023

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83 LILY KELLY NAPANGARDI (born 1948) (Language group: Luritja) Sandhills 2004 synthetic polymer paint on canvas inscribed verso with Watiyawanu Artists cat. no. 10-7981 122 x 60.5cm PROVENANCE: Watiyawanu Artists, Northern Territory Scott Livesey Galleries, Melbourne Private collection, Melbourne $3,500-5,500 85 PHYLLIS THOMAS (1933-2018) (Language group: Gija) Grey Crowned Bubbler Dreaming 1999 natural earth pigments and synthetic binder on canvas inscribed verso with Jirrawan Arts cat. no. PT999.37 artist’s name and title on stretcher bar verso William Mora Galleries stamp on stretcher bar verso 122 x 135cm PROVENANCE: Jirrawan Arts, Western Australia William Mora Galleries, Melbourne (stamp verso) Private collection, Melbourne $3,000-5,000

83 © Lily Kelly Napangardi/Copyright Agency, 2023

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86 © Mabel Juli/Copyright Agency, 2023

86 MABEL JULI (born c.1933) (Language group: Gija) Untitled 2003 natural earth pigments on canvas inscribed verso with artist’s name and Warmun Traditional Arts cat. no. WAC070/03 80 x 100cm PROVENANCE: Warmun Traditional Arts, Western Australia Private collection, New South Wales $1,000-2,000

87 JACK BRITTEN (c.1925-2002) (Language group: Gija) Jalaroon (Bungles/Ord River) natural earth pigments on canvas inscribed verso with artist’s name, title and Warmun Traditional Artists stamp 45 x 66cm PROVENANCE: Warmun Traditional Artists, Western Australia (accompanied by a copy of a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “Here Jack has depicted his beloved country on the east side of the Bungles through which flows the Ord River. These smaller hills are known as ‘Gwaalin’ (gwarlinn).”

As stated on the Warmun Traditional Artists certificate of authenticity $2,000-4,000

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88 © Lily Karadada/Copyright Agency, 2023

88 LILY KARADADA (born c.1937) (Language group: Wunambal) Wandjina (Rain Spirit) 1999 synthetic polymer paint on canvas inscribed verso with title, date and Narrangunny Art Traders cat. no. N-2166 150 x 118cm PROVENANCE: Narrangunny Art Traders, Western Australia Ochre Gallery, Melbourne The Elizabeth Jones Collection of Contemporary Aboriginal Art, Mossgreen Auctions, Melbourne, 14 August 2007, lot 38 Private collection, Melbourne $4,000-6,000

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89 © Tony Albert/Copyright Agency, 2023

90 © Tony Albert/Copyright Agency, 2023

89 TONY ALBERT (born 1981) Studio Study #68 2021 synthetic polymer paint and vintage materials on canvasboard 25.5 x 20cm

90 TONY ALBERT (born 1981) Studio Study #125 2021 synthetic polymer paint and vintage materials on canvasboard 25 x 20cm

91 TONY ALBERT (born 1981) Studio Study #81 2021 synthetic polymer paint and vintage materials on canvasboard 25.5 x 20cm

PROVENANCE: Sullivan+Strumpf, Sydney Private collection, Melbourne $400-500

PROVENANCE: Sullivan+Strumpf, Sydney Private collection, Melbourne $400-500

PROVENANCE: Sullivan+Strumpf, Sydney Private collection, Melbourne $400-500

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92 © Jimmy Donegan/Copyright Agency, 2023

92 JIMMY DONEGAN (born 1940) (Language group: Pitjantjatjara/Ngaanyatjarra) Pukara I 2014 synthetic polymer paint on linen inscribed verso with artist’s name and Ninuku Arts cat. no. 14-167 122 x 122cm

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PROVENANCE: Ninuku Arts, South Australia Sabbia Gallery, Sydney Contemporary, Sydney 2021 Private collection, Melbourne

93 IAN ABDULLA (1947-2011) (Language group: Ngarrindjeri) Chasing Rabbits On An Island Surrounded

By Water 1996 synthetic polymer paint on canvas signed and dated lower right: Ian. W. Abdulla 1996 title inscribed upper centre: Chasing rabbits on an Island surrounded by water when the floods used to come up. We all so had to watch out for snakes at the same time. Sometimes there would be a kangaroo or two, 1996 101 x 151cm

EXHIBITIONS: PREVIEW – Sydney Contemporary at Sabbia, 13 October - 21 November 2021 $2,500-3,500

PROVENANCE: Anima Gallery, Adelaide Private collection, Melbourne $3,500-5,000

94 © Myra Cook/Copyright Agency, 2023

94 MYRA COOK (born 1932) (Language group: Ngaanyatjarra) Wati Nyinnga synthetic polymer paint on linen 122.5 x 127.5cm PROVENANCE: Irrunytju Arts Centre, Alice Springs (accompanied by a certificate of authenticity) Private collection, Melbourne

OTHER NOTES: “One day Punut went hunting when he came back he was looking for his wife, but the ‘Wati Nyinnga’ took her away. He chased them all the way to Kartjalulu rockhole and there he lit a big fire in the bush. They melted into the rockhole and died. Then he saw that his son was also there and died in the rockhole. In his grief he dived in and drowned. The Wati Kur-Kurpa (owl man) was sad to see this and he sucked out all the water from the rockhole and pulled out their soul to make them live again.”

As stated on the Irrunytju Arts Centre certificate of authenticity $6,000-8,000

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95 © Barney Wangin/Copyright Agency, 2023

95 BARNEY WANGIN (c.1939-2012) (Language group: Pitjantjatjara) Ngayuku Ngura - My Country synthetic polymer paint on canvas inscribed verso with artist’s name and Tjala Arts cat. no. 272-12 152 x 121cm PROVENANCE: Tjala Arts, South Australia Short St. Gallery, Western Australia (accompanied by artwork statement) Private collection, Melbourne OTHER NOTES: “In this painting Barney has depicted his country.

The different colours and designs represent variations in the landscape” As stated on the Short St. Gallery artwork statement $5,000-7,000

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96 © Dolly Snell/Copyright Agency, 2023

96 DOLLY SNELL (c.1933-2015) (Language group: Wangkajunga) Untitled synthetic polymer paint on canvas inscribed verso with artist’s name and Mangkaja Arts cat no. PC441/04 50.5 x71cm

97 LYDIA BALBAL (born 1958) (Language group: Yulparija) Untitled 2012 synthetic polymer paint on linen inscribed verso with artist’s name, date and Short St. Gallery cat. no. 28604 100.5 x 100.5cm

PROVENANCE: Mangkaja Arts Resource Agency Aboriginal Corporation, Western Australia Short St. Gallery, Western Australia (accompanied by artwork statement) Private collection, Melbourne $2,000-4,000

PROVENANCE: Short St. Gallery, Western Australia Private collection, Melbourne $3,000-5,000

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98 © Kathleen Tjapalyi/Copyright Agency, 2023

98 KATHLEEN TJAPALYI (1948-2016) (Language group: Pitjantjatjara) Antara 2011 synthetic polymer paint on canvas inscribed verso with artist’s name, date and Mimili Maku cat. no. 627-2011 76 x 56.5cm PROVENANCE: Mimili Maku Arts & Crafts, South Australia (accompanied by a certificate of authenticity) Private collection, Melbourne

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OTHER NOTES: “Antara is a sacred place for Anangu. It holds many tjukurpa (songlines) stories that cross this land.

This painting depicts this special place. Antara has a very important rockhole where the women would perform inmaku pakani, a dance ceremony that would create enough maku for everyone.

The painting also depicts the landscape which is surrounded with rocks, rockholes, creeks and mountains.”

As stated on the Mimili Maku Arts & Crafts certificate of authenticity $2,000-4,000

99 KARRIKA BELLE DAVIDSON (c.1942- 2017) (Language group: Pitjantjatjarra) Untitled synthetic polymer paint on linen inscribed verso with artist’s name and Irrunytju Arts cat. no. KD071062 102 x 137cm PROVENANCE: Irrunytju Arts Centre, Alice Springs (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “Reflecting the strong relationships between the artist, her land and culture, Karrika’s work brings together contemporary painting techniques and media with ancient visual language and tjukurrpa (dreaming stories). ‘My country is Pulpul where there is a big rockhole. Auntie heard all of the people

coming chasing a malu, but it was not really a malu, it was a man dressed up as a malu. When she heard them coming Auntie thumped on the ground so that they could all get to the water through a tunnel under the ground. When they went through the tunnel Auntie blocked the way so they could not get out. Men, women and children. They are still there. When I was a child we used to go on through the tunnel to get water with a firebrand to frighten them away.’ Karrika is Chair of Ngaanyatjarra Media.

As well as filming documentaries of her culture and painting, she continues to practice traditional cultural business, law and medicine and collect bushfoods.”

As stated on the Irrunytju Arts certificate of authenticity $3,000-5,000

100 KUNAMANARA (RAY) KEN (c.1940-2018) (Language group: Pitjantjatjara/Yankunytjatjara) Untitled 2008 synthetic polymer paint on canvas inscribed verso with artist’s name and Tjala Arts cat. no. 275-08 101.5 x 101.5cm PROVENANCE: Tjala Arts, South Australia (accompanied by a certificate of authenticity) Aboriginal and Pacific Art, Sydney Private collection, Melbourne EXHIBITIONS: Tjukurpa Nganampa Kunpu Kanyintjaku, Stories That Keep Culture Strong, Aboriginal and Pacific Art, Sydney, 17 July - 2 August 2008 OTHER NOTES: “In this painting Ray has depicted his country.

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

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

99 © Karrika Belle Davidson/Copyright Agency, 2023

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102 WILLIE KURIBI GUDABI (1917-1996) (Language group: Alawa) Untitled synthetic polymer paint on canvas 155 x 126cm PROVENANCE: Gift of the artist to the vendor when they were working in the Northern Territory, c.1980 Private collection, Melbourne $3,000-5,000 103 § MOLLY NAPURRURLA MARTIN (born c.1935) Yarla Jukurrpa (Bush Potato Dreaming) - Cockatoo Creek 2013 synthetic polymer paint on canvas inscribed verso with artist’s name and Warlukurlangu Artists cat. no. 365/13ny 91 x 41cm PROVENANCE: Warlukurlangu Artists of Yuendumu, Alice Springs (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “The Yarla Jukurrpa belongs to men of the Japaljarri/ Jungarrayi subsections and to Napaljarri/ Nungarrayi women. It comes from an area to the east of Yuendumu called Cockatoo Creek. ‘Yarla’ (bush potato [Ipomea costata]) are fibrous tubers that grow beneath a low spreading plant, found by looking for cracks in the ground. This edible tuber grows from ‘yartura’ (roots) which seek out moisture to spout new plants. Yarla are good to eat, when cooked they are really soft and tasty. The Jukurrpa tells of ‘yarla’ and ‘wapirti’ (bush carrot) ancestors fighting a big battle in this area. The specific site associated with this painting is a ‘mulju’ (water soakage) called Ngarparapunyu. In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, associated sites and other elements. The curved lines of the ‘kuruwarri’ (ceremonial designs) represent the ‘ngamarna’ (vine-lie tendrils) from which grow ‘jinjirla’ (flowers).

‘Karlangu’ (digging sticks) are usually represented as straight lines. ‘Karlangu’ are used by women to dig for bush tucker like Yarla and Wapirti which are found underground.”

As stated on the Warlukurlangu Artists certificate of authenticity $600-800

101 © Mick Wikilyiri/Copyright Agency, 2023

101 MICK WIKILYIRI (born c.1940) (Language group: Pitjantjatjara) Ngayuku Ngura - My Country 2012 synthetic polymer paint on linen inscribed verso with artist’s name, Tjala Arts cat. no. 155-12, Alcaston Gallery cat. no. AK17846 and stamp verso 199x 123.5cm

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PROVENANCE: Tjala Arts, South Australia (accompanied by a certificate of authenticity) Alcaston Gallery, Melbourne Private collection, Melbourne EXHIBITIONS: Punu Ngangatja Palkara Tjarra - The Trees Are The Strong Fence, Alcaston Gallery, Melbourne, 27 June - 27 July 2012 $7,000-9,000

105 © Eileen Yaritja Stevens/Copyright Agency, 2023

104 § BARNEY ELLAGA (c.1941-2015) (Language group: Alawa) Sugar Bag 2010 synthetic polymer paint on linen 149.5 x 74cm PROVENANCE: Alcaston Gallery, Melbourne (accompanied by a certificate of authenticity) Private collection, Melbourne EXHIBITIONS: Barney Ellaga - New Paintings From Alawa Country, Alcaston Gallery, Melbourne, 7 - 24 September 2010

105 EILEEN YARITJA STEVENS (c.1919-2008) (Language group: Pitjantjatjara) Wati Kutjara (Two Men) synthetic polymer paint on linen inscribed verso with Irrunytju Arts cat. no.

IRRES102507 125 x 206cm PROVENANCE: Irrunytju Arts Centre, Alice Springs (accompanied by a certificate of authenticity) Private collection, Melbourne

OTHER NOTES: “The Wati Kutjara (two water snakes men) a father and son camped at Pukara near Manjatjara. The father left the son at a rockhole to grow up. The people there were cruel to him, mocking him because he looked strange and telling him to go away. The father was angry and came back to get his son. When the son was a man he went back and killed everyone at the rockhole and ate them all.

Only one person escaped. The snake slithered away to a rockhole but he was too full and vomited blood, fat and hair. The one who escaped speared the snake and he split open.”

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

OTHER NOTES: “Honey bees travelling to Cox River where my country is”, The Artist As stated on the Alcaston Gallery certificate of authenticity $2,000-4,000

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106 © Mawukura Jimmy Nerrimah/Copyright Agency, 2023

106 MAWUKURA JIMMY NERRIMAH (1924-2013) (Language group: Walmajarri) Untitled 2003 synthetic polymer paint on canvas inscribed verso with artist’s name and Mangkaja Arts cat. no. 070/03 99 x 80cm PROVENANCE: Mangkaja Arts Resource Agency Aboriginal Corporation, Western Australia Private collection, New South Wales $2,000-4,000

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ARTIST INDEX A

M

T

ABDULLA, IAN............................................................. 93 ALBERT, TONY................................................. 89, 90, 91 APUATIMI, JEAN BAPTISTE...................................... 58

MARDJUWA, CECINA.................................................76 MARIKA, DHUWARRWARR....................................... 17 MCKENZIE, QUEENIE.................................................18 MINDILIWUY, SAMBO ASHLEY............................... 68 MINYGULULU, PETER.................................................67

THOMAS, ROVER......................................................... 19 THOMAS, PHYLLIS..................................................... 85 TIPILOURA, ROMOLO................................................. 61 TJAKAMARRA, CHARLIE GORDON.........................57 TJAKAMARRA, CHARLIE WARD.............................. 36 TJAKAMARRA, MICK GILL............................. 54, 69, 72 TJAKAMARRA, RICHARD YUKENBARRI................ 33 TJAMPITJIN, JIMMY NJAMME................................... 21 TJAMPITJINPA, MARTIN............................................ 53 TJAPALTJARRI, BILL WHISKEY.............................31, 32 TJAPALTJARRI, WARLIMPIRRNGA.....................44, 49 TJAPALTJARRI, JOSEPH JURRA................................ 50 TJAPALYI, KATHLEEN................................................. 98 TJAPANANGKA, PINTA PINTA................................. 22 TJAPANANGKA, TJUMPO..........................................73 TJAPANGATI, ANDREW BULLIN.............................. 29 TJAPANGATI, BILLY NOLAN...................................... 51 TJAPANGATI, JOHNNY MOSQUITO...................... 56 TJUNGARRAIYI, GEORGE WARD,........................... 43 TJUNGURRAYI, GEORGE.................................... 37, 38 TJUPURRULA, JOHNNY YUNGUT.......................... 35 TJUTJUNA, HARRY........................................................7

B BALBAL, LYDIA..............................................................97 BILINYARRA, BOB........................................................74 BRITTEN, JACK............................................................ 87

C CARROLL, KUNMANARA......................................... 80 COOK, MYRA............................................................... 94

D DAVIDSON, KARRIKA BELLE.................................... 99 DJIMURRGURR, OLD NYM....................................... 65 DONEGAN, JIMMY............................................... 81, 92

E ELLAGA, BARNEY...................................................... 104

G GABORI, SALLY...............................................................6 GILES, NYARRAPYI..................................................... 23 GIRIRRKIRIRR, PETER................................................. 66 GUDABI, WILLIE KURIBI...........................................102

H HOGAN, SIMON.......................................................... 12

I IYUNA, JAMES.......................................................20, 62

J JACK, WEAVER...............................................................9 JULI, MABEL................................................................. 86

K KARADADA, LILY......................................................... 88 KEN, KUNAMANARA (RAY).................................... 100 KUBARKKU, MICK...................................................... 24

N NAMPITJINPA, PALUMAI ........................................ 3, 8 NAPALTJARRI, WINTJIYA........................................... 39 NAPALTJARRI, TJUNKIYA............................. 40, 45, 52 NAPALTJARRI, KATARRA BUTLER............................41 NAPANANGKA, NANCY NANINURRA................... 13 NAPANANGKA, MAKINTI..........................................27 NAPANGARDI, LILY KELLY........................................ 83 NAPANGATI, NANYUMA........................................... 15 NAPANGATI, YUKULTJI............................................. 42 NAPANGKA, BRIDGET MUDJIDELL.........................14 NAPURRULA, WALANGKURA REID....................... 26 NAPURRURLA MARTIN, MOLLY.............................103 NERRIMAH, MAWUKURA JIMMY....................10, 106 NGALINBA, IRENIE............................................... 63, 79 NGARRALJA, TOMMY MAY......................................... 4 NGULABYA, MICHAEL................................................77 NUNGARRAYI, PANTJIYA.......................................... 47 NUNGURRAYI, NANCY ROSS............... 16, 25, 46, 48 NUNGURRAYI, NAATA........................................30, 34 NUNGURRAYI, MUNTJA........................................... 55 NUPURRA, HENRY GAMBIKA.................................. 60 NYUMI, ELIZABETH.................................................... 28

U UNKNOWN, ARTIST............................................ 59, 70

W

ONUS, LIN.................................................................... 82

WANGIN, BARNEY..................................................... 95 WIKILYIRI, MICK......................................................... 101 WURRKIDJ, ANCHOR BARRBUWA......................... 71 WURRKIDJ, ATTRIBUTRED TO ANCHOR BARRBUWA........................................ 78

P

Y

PAUL, PAULA...................................................................5

YALTANGKI, TIGER........................................................2

O

R REID, CLIFF.....................................................................11 RIPIJINGIMPI, NANCY HENRY................................. 64

S SNELL, DOLLY...........................................................1, 96 STEEK, TOMMY............................................................75 STEVENS, EILEEN YARITJA......................................105

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ESTABLISHED 1919

Leonard Joel’s flagship premises and Melbourne salerooms will relocate to a larger gallery later this year. We look forward to welcoming you to our new salerooms at 1A Oxley Road, Hawthorn, soon.

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WOMEN ARTISTS — MELBOURNE AUCTION Monday 18 September 2023 333 Malvern Road, South Yarra VIC 3141

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ALISON REHFISCH (1900-1975) Flowers in Pewter Mug (detail) oil on canvas, 49.5 x 40cm $6,000-9,000 Women Artists Auction Monday 18 September 2023

THE COLLECTOR’S AUCTION Including a Private Collection of Le Verre Français Glass

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SYDNEY AUCTION Tuesday 19 September 2023 36-40 Queen St, Woollahra NSW 2025

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— To be read in conjunction with our General Conditions of Business as displayed during the viewing and auction.

CONDITIONS OF BUSINESS / SUMMARY Special Conditions of Sale – Jewellery Jewellery and watches offered by Leonard Joel are sometimes accompanied by an Independent valuation as stated in the catalogue. These valuations are conducted by registered valuers and are offered purely as independent opinions. Variation may be found as to the colour, clarity and size of stones described in these reports, consequently Leonard Joel does not guarantee these Independent Valuations. Where stones can be weighed accurately, weights will be provided. Weights of set stones are estimates only and are provided to the best of our technical ability.

Gram weight on gold and other precious metals are also given as an approximation. Wristwatches and pocket watches are offered in there current condition and Leonard Joel does not guarantee that they are in working order.

Items may be thoroughly inspected during the viewing period or by prior arrangement.

Authenticity Certificates As various manufacturers may not issue certificates of authenticity, Leonard Joel has no obligation to furnish a buyer with a certificate of authenticity from the manufacturer, except where specifically noted in the catalogue. Unless Leonard Joel is satisfied that it should cancel the sale in accordance with the Limited Warranty provided in the General Conditions of Business, the failure of a manufacturer to issue a certificate will not constitute grounds for cancellation of the sale.

GST In the event that the vendor is registered for Goods & Services Tax (GST), the invoice to the buyer will provide a separate entry for the GST which is included in the purchase price. All Leonard Joel charges for services referred to in this catalogue are exclusive of GST. Overseas buyers may be entitled to a rebate for GST charged.

For further information contact: Marie McCarthy accounts@leonardjoel.com.au Admission Leonard Joel has the right at its sole discretion without assigning any reason therefore to refuse admission to the premises or attendance at any of its sales of any person.

Commission (Absentee) Bids Leonard Joel will execute absentee bids when instructed.

Lots will be bought as cheaply as allowed by other bids and/or reserves.

Telephone Bidding Buyers interested in bidding by telephone should contact Leonard Joel as soon as possible. Please note that telephone bidding facilities are available on a first-come, first-served basis.

Bidder Registration To recognise bidders during the sale all intending buyers are required to complete a Bidder Registration Form providing full photo identification and appropriate references if required before the Sale which will enable them to bid by way of a numbered paddle allocated to them.

Buyer’s Premium There will be a buyer’s premium added to all purchases.

The buyer’s premium will be calculated at the rate of 25% of the hammer price on each lot. This is inclusive of GST. The buyer’s premium is reflected by a reduction in the Seller’s Commission and is a common practice throughout Australia and overseas.

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Property subject to the Artist Resale Royalty Lots with the § sign will be subject to payment of the Artist Resale Royalty in the event that the lot is sold for a hammer price of $1,000 or more. The Australian Resale Royalty is a flat rate of 5 percent (5%) levy on the hammer price (including GST). The Australian Resale Royalty is payable by the buyer in addition to the buyer’s premium plus applicable GST. Damage Any viewer who damages a Lot will be held liable for all damage caused and shall reimburse Leonard Joel for all costs and expenses relating to rectification of such damage.

Title Leonard Joel guarantees good title to all lots.

Warranties and Condition Reports Condition reports will be available for any lot upon request, subject to conditions.

Estimates Estimates are a reflection of Leonard Joel’s opinion of the current market values, based on historic and current market realisations of similar lots. Estimates are inclusive of any GST, which may be applicable. Actual prices at this sale may fall short or exceed the estimates.

Payment In any event accounts must be settled with Leonard Joel no later than 4pm two days after the auction. Attention is specifically drawn to condition 21 of the Buyer’s Conditions of Sale.

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

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

Credit card fees may apply.

Bank telegraph transfers should be directed to: Account name: Leonard Joel Pty Ltd Address: Westpac Banking Corporation 150 Collins Street, Melbourne VIC 3000 Australia BSB: 033–364 Account no: 942956 Collection of Lots Purchased lots must be collected no later than two days after the auction; otherwise lots shall be moved to storage at the Buyer’s expense (see below). Lots are at the Buyer’s risk from the fall of the hammer. It is strongly advised that overseas and interstate purchasers and absentee bidders make their arrangements with Leonard Joel in advance of the Sale. Charges are outlined below and are quoted in Australian dollars.

Removal and Storage Any lots not collected within two days after the auction, may be stored or resold at the Buyer’s expense.

Removal Charges Each lot: $55 Storage Charges Each lot: $33 per day Protection of Movable Cultural Heritage Act 1986 (PMCH Act) Buyers should be aware of the PMCH Act which protects Australia’s heritage of movable cultural objects and supports foreign countries’ right to protect their heritage of movable cultural objects. The PMCH Act regulates the export of

nationally significant heritage objects, it is not intended to restrict normal and legitimate trade in cultural property, and does not affect an individual’s right to own or sell objects, within Australia. The PMCH Act was enacted in response to the 1970 UNESCO Convention on the Means of Prohibiting the Illicit Import, Export and Transfer of Ownership of Cultural Property. It is the responsibility of the Buyer to ensure that the export of any lots purchased are not subject to, or in breach of, this Act. Information about the PMCH Act, the Protection of Movable Cultural Heritage Regulations 1987 and the 1970 UNESCO Convention, can be found on the Department of the Environment, Water, Heritage and the Arts website at: www.environment.gov.au/heritage/movable/index Exporting Significant Australian Cultural Heritage The export of Australia’s significant cultural heritage is regulated under the Protection of Movable Cultural Heritage Act 1986 (PMCH Act.) It is not intended to restrict normal and legitimate trade in cultural property and does not affect an individual’s right to own or sell within Australia.

The PMCH Act implements a system of export permits for certain heritage objects defined as ‘Australian protected objects’.

More information is available on the Department of the Environment, Water Heritage and the Arts’ website: www.arts.gov.au/movable_heritage Enquiries can be made to the Cultural Property Section at the Department of the Environment, Water, Heritage and the Arts, T: 02 6274 1810 E: movable.heritage@environment.gov.au CITES Regulations It is the buyer’s sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any relevant export and/or import licences. The refusal of any import or export licences, any delay in obtaining such licences or any limitation on your ability to export a lot shall not permit the cancellation of the sale.

Please note that all lots marked with the symbol * are subject to CITES regulations when exporting these items outside of Australia. Information about these regulations may be found at www.environment.gov.au/biodiversity/trade-use/cites/ index.html or may be requested from: The Director International Wildlife Trade Department of Sustainability, Environment, Water, Population and Communities GPO Box 787 CANBERRA ACT 2601 Leonard Home Delivery Purchases can be delivered to your door via Leonard Home Delivery. Please note this service is available in Melbourne (Select suburbs) only and is not available for Sydney auction purchases. For any enquiries about this service please contact delivery@leonardjoel.com.au Recommended Carriers

For recommended carriers please refer to our website.

Partners:

CONTACT A LEONARD JOEL SPECIALIST Sale Rooms —

Leonard Joel Specialists —

The Auction Salon —

MELBOURNE 333 Malvern Road, South Yarra, Melbourne VIC 3141 Telephone: (03) 9826 4333 Facsimile: (03) 9826 4544 Interstate: 1800 264 333

FINE ART Olivia Fuller BArtTh, Head of Department Lucy Foster EMA, Senior Specialist, Fine Art Hannah Ryan, Specialist James Stanton, Administrator and Registrar

FURNITURE Shawn Mitchell, Manager Angus McGougan, Assistant April Chandler, Assistant Daragh Geraghty-Singlton, Assistant

INDIGENOUS ART Olivia Fuller BArtTh, Head of Department Lucy Foster BCA EMA, Senior Specialist

JEWELLERY Indigo Keane, Manager Isabella Macciolli, Assistant

DECORATIVE ARTS Chiara Curcio BA, Head of Department David Parsons, Head of Private Estates and Valuations, Decorative Arts Specialist Trevor Fleming BA, Consultant, Japanese Art Carl Wantrup, Consultant, Asian Art Natasha Berlizova, Administrator

ART SALON Amanda North, Manager Noelle Martin, Assistant

SYDNEY Ronan Sulich, Senior Advisor Madeleine Norton BFA, BComm, MLitt, Head of Decorative Arts & Art, Sydney Ella Nail, Office Manager & Administrator

VALUATIONS David Parsons, Head of Private Estates and Valuations, Decorative Arts Specialist Troy McKenzie, Queensland Representative Specialist Anthony Hurl, South Australia Representative Specialist John Brans, Western Australia Representative Specialist

SYDNEY The Bond, 36-40 Queen Street, Woollahra, Sydney NSW 2025 Telephone: (02) 9362 9045 Facsimile: (03) 9826 4544 Interstate: 1800 264 333 BRISBANE OFFICE 201 Latrobe Terrace, Paddington QLD 4064 Telephone: 0412 997 080 ADELAIDE OFFICE 429 Pulteney Street, Adelaide SA 5000 Telephone: 0419 838 841 PERTH OFFICE Telephone: 0412 385 555 email: info@leonardjoel.com.au leonardjoel.com.au CHAIRMAN & HEAD OF IMPORTANT COLLECTIONS John Albrecht BA LLB MBA CHIEF EXECUTIVE OFFICER Marie McCarthy

IMPORTANT JEWELS Hamish Sharma, Head of Department, Sydney Lauren Boustridge BSc, AJP, GG (GIA), Senior Specialist FINE JEWELS & TIMEPIECES Bethany McGougan F.G.A.A., BA Hons, MSc, Head of Department, Melbourne Patricia Kontos F.G.A.A., Senior Jewellery Specialist Indigo Keane, Luxury Specialist & Jewellery Manager Isabella Macciolli, Jewellery Assistant Leila Bakhache, Luxury & Jewellery Assistant Echo Liu, Jewellery & Luxury Administrator Henrietta Maiyah, Consultant MODERN DESIGN Rebecca Stormont, Specialist Paul Nicol, Modern Design Assistant LUXURY Indigo Keane, Specialist PRINTS Hannah Ryan, Art Specialist

OBJECTS & COLLECTABLES Dominic Kavanagh MFA, Manager Kyle Walker, Assistant

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ACCOUNTS Aaron Gurney, Finance Manager Michelle Draper, Account Manager Karishma Sareen, Accounts Assistant CLIENT SERVICES Kim Clarke, Client Services Manager Amelia Lewis, Client Services Liaison Richard Grieve, Client Services Liaison OPERATIONS & LOGISTICS Anthony Riepsamen, Manager Chris Salaoras, Logistics Assistant MARKETING & COMMUNICATIONS Blanka Nemeth, Senior Marketing, Media, & Communications Manager Lucy Lewis, Database & Marketing Coordinator PHOTOGRAPHY Paolo Cappelli, Senior Photographer & Videographer Adam Obradovic, Photographer & Videographer GRAPHIC DESIGN Maria Rossi

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Lot 10 MAWUKURA JIMMY NERRIMAH (c.1924-2013) (Language group: Walmajarri) Tarpu & Wayampajarti (detail) synthetic polymer paint on canvas 120 x 90.5cm $7,000-9,000 © Mawukura Jimmy Nerrimah/Copyright Agency, 2023

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