- Lots 1 to 10
- Lots 11 to 20
- Lots 21 to 30
- Lots 31 to 40
- Lots 41 to 50
- Lots 51 to 60
- Lots 61 to 70
- Lots 71 to 80
- Lots 81 to 90
- Lots 91 to 100
- Lots 101 to 110
- Lots 111 to 120
- Lots 121 to 130
- Lots 131 to 140
- Lots 141 to 150
- Lots 151 to 160
- Lots 161 to 170
- Lots 171 to 180
- Lots 181 to 190
- Lots 191 to 200
- Lots 201 to 210
- Lots 211 to 220
- Lots 221 to 230
- Lots 231 to 240
- Lots 241 to 250
- Lots 251 to 260
- Lots 261 to 270
- Lots 271 to 280
3rd Inhouse Auction
No buyer’s premium, GST inclusive
Auction TWO SESSIONS
25th November 2012
At our premises
11-15 CHRISTENSEN STREET
Thursday 22nd November to Saturday 24th November - From Noon to 6pm each day
Sunday 25th November (auction day) from Noon
Auction times (approximate)
4PM to 6:30PM (Lots 1-160)
All times are in Australian Eastern Standard Time (EST).
Click the links to the left to view the lots
The front cover of this catalogue (Lot 280) features one of the magnificent paintings by Emily Kame Kngwarreye belonging to what is known as “the Last Series”. Just before her death on 3rd September 1996 Emily created 24 mostly small paintings over 3 days in late August.
Variously described by art critics and gallery academics nationally and internationally as the most magical, translucent and brilliant works of her career it is without a doubt the star of this auction and accompanied by no less than 17 other works by Emily representing her many stylistic changes over her 7 year career painting on canvas.
The last painting in the catalogue of the Japanese exhibition of Utopia: The Genius of Emily Kame Kngwarreye seen by a record 106,000 visitors 28th May to 28th July 2008 in the National Art Centre in Tokyo, was hailed by Akira Tatehata, Director of the National Museum of Art, Osaka, the instigator of the exhibition as “An exceptional work, not strictly monochromatic. There are delicate variations in the tones, achieved by subtly blending colours with each stroke to create an atmosphere that is filled with soft movement on the canvas. This makes the work an amazing space that might be called the sublime of the Dreaming or even state of Nirvana-or perhaps it is a vision of the peaceful light in which Emily is now shrouded.”
This internationally exhibited and acclaimed work will also be on display at the Factory/Museum during the viewing and on auction day with several others from the Ebes Collection.
LOT 212 - KUDDTJI KNGWARREYE - EMU DREAMING 2011
synthetic polymer paint on canvas
149 X 120cm
provenance: AGOD# 12682
My HIGH estimates for the works to be auctioned as listed represent the average current Australian commercial galleries valuation in an economically challenged market. Reserves, where applicable, are never above and usually well below the LOW estimate representing savings of up to 50% and HAMMER PRICE IS ALL YOU PAY. NO PREMIUMS, NO ADD ONS.
A glance at the estimates of our previous auctions versus the prices realised will speak for themselves. Don’t miss this one!
It is often difficult to judge the size of paintings by the catalogues images even though the measurements are included in centimetres. To easily and quickly visualize the size we have included a size reference with each lot in the catalogue.
LOT 172 - EMILY PWERLE - BODY PAINT/DESERT GRASSES 2004/05
synthetic polymer paint on canvas
152 X 122cm
provenance: AGOD# 11577
- No buyer’s premium (usually 15-25% plus GST)
- Hammer price is the final price, inclusive of GST
- All works are owned and were purchased or commissioned by AGOD over the past
22 years and come complete with the usual Gallery provenance and Certificate of
- Most paintings are on Colour Square museum quality stretchers
- Working photographs and video documentation supplied where available
- Most importantly, AGOD’s unique policy for the past 21 years allowing paintings
purchased from us to be exchanged (conditions apply) will also apply to works
purchased at our auctions.
- Our fourth in house auction will be held on March 2013
For many years Clifford visited our Gallery at the top end of Bourke Street to deliver paintings we commissioned from him whenever he was staying in Melbourne with friends or family. Every new arrival was greeted by the Gallery staff with great excitement and standard procedure was Clifford tellling us the story of the painting in great detail while seated in front of it with clapping sticks while I recorded him singing the painting, “into life” as he called it, on video while I shot many still photographs. Visitors lucky enough to be in the Gallery by chance during one of his visits were soon mesmerized by Clifford’s charm and charisma and often purchased the work after he finished his explanation.
One day he came in after working all night, grumpy and tired and flatly refused to stay and explain the dreaming on video for provenance and our education. No matter what I said, the answer was “No, I gotta go, just pay me, I sing him next time”.
Sensing an urgency for Clifford wanting to leave the Gallery as soon as possible, I went downstairs to the office to raid the safe. When I got back a few minutes later, to my amazement, Clifford was explaining the Dreamtime story of a large framed earlier work of his hanging on the wall, to a small ten year old boy who had been wandering around in the upstairs Gallery with his parents and who kept asking him questions about the iconography. Twenty minutes later the great man left the building without looking back at his last creation, laying unsung on the floor until he came back a few days later.
Twenty years later Clifford is gone but the memories of his glorious visits for over a decade are etched on DVD’s and hanging on walls all over the World forever.
Lot 260 in this our third auction features Clifford’s fabulous “skeleton” painting of the Tjungurrayi man painted in 1996. It deserves a special mention not just because it is a brilliant painting but Clifford told us the story and sang the related songs sitting in front of Warlugulong ’77 (now in the National Gallery of Australia in Canberra) which inspired it. When we acquired the large topographical painting in early 1995 Clifford visited our Gallery the day it arrived and spent two hours explaining the many Dreamings it contained, which has been recorded on video.
|Clifford seated under Warlugulong ’77 explaining the story of Lot 260 to Tara Ebes in 1996|
|Monique Mac Neill
Aboriginal Gallery of Dreamings
3rd Aboriginal Art Auction
Date 25th November 2012
Please post or email this completed form to:
11-15 Christensen Street
Hank Ebes 0419329886
Monique Mac Neill 0417224382
Absentee Bids must be received 24 hours prior to commencement of auction.
The Emily Museum
In 1999 a large poster was produced by the Oude Kerk where it was displayed to advertise the first International solo Exhibition of Emily in AMSTERDAM featuring this pivotal work as the background. A few of these original and rare posters are available from the Gallery/Museum in Cheltenham.
The factory/warehouse in Cheltenham was established in 2001 to house a number of collections currently totalling more than 3500 paintings and works of art ranging from Aboriginal art, antique prints and maps, library, Chinese and European art and a rare collection of Earth as well as space rocks (meteorites) and related materials. The 350 Aboriginal masterpieces that were acquired between 1990 and 1995 to form the Nangara international touring collection were returned to Cheltenham in 2009. More than 200 Emily Kame Kngwarreye works were set aside to form the core for a Melbourne located Emily Museum but failed to find government interest or sponsors to fund the ambitious project after trying for a decade. The income from these inhouse auctions will help fund the planned permanent Emily Museum in Cheltenham to be opened in 2013. In addition to displaying “the Emily Wall” (5 meters by 15 meters) and a rotating display from the 200 core paintings by Emily, we will include exhibitions from our other collections. Details can be found on our website www.emilymuseum.com.au
|Emily Wall. Made up of 53 panels - “My Country” 1995 (5X15 Meters)|
|The Emily Museum installation. Opening in 2013.|
CONDITIONS OF SALE AND BUSINESS
All bidders must register to bid, providing photographic proof of identity.
The Auctioneer will regulate bidding and increments at his discretion.
The Purchaser may remove the goods from the premises of the Aboriginal Gallery of Dreamings the Tuesday following the auction from 12 noon once the property has been paid for in full. Payment must be made within 7 days. Payment may be made via credit card, cheque or direct transfer.
Bank deposit details:
Account name: Aboriginal Gallery of Dreamings
|Address:||National Australia Bank
330 Collins Street
Melbourne, Victoria 3000
|BSB Number:||083 004|
|Account Number:||04880 7161|
Auctions have NO BUYERS PREMIUM and are GST inclusive, and if applicable Artist Resale Royalty inclusive.
Telephone bids, absentee bids and commission bids will be offered but no responsibility for errors and omission related to these services will be accepted.
Members of the public attend at their own risk.