- 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
- Lots 281 to 290
- Lots 291 to 300
4th In House Auction
No buyer’s premium, GST inclusive
9th June 2013
At our premises
11-15 CHRISTENSEN STREET
Wednesday 5th to Sunday 9th June
From 11am to 4pm each day
Auction times (approximate)
Sunday 9th June - Afternoon Session - Lots 1-150 … 4pm
Sunday 9th June - Evening Session - Lots 151-300 … 7pm
All times are in Australian Eastern Standard Time (EST).
Click the links to the left to view the lots
My HIGH estimates for 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%.
HAMMER PRICE IS ALL YOU PAY.
NO BUYERS PREMIUM AND 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 the paintings by the catalogues images even though the measurements are included in centimetres. To easily and quickly visualise the size, we have included a size reference with each lot on the internet catalogue.
The 29 paintings from the Nangara Collection are highlighted by an orange frame throughout this auction catalogue.
Aboriginal Gallery of Dreamings
4th Aboriginal Art Auction
Date 9th June 2013
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.
Meet the Team
The Aboriginal Gallery of Dreamings and AGOD Auctions team
Monique Mac Neill
Tara Ebes McCullough
We sadly miss Hilton Cook, and artists, Jack Dale and Heather "Anjolu" Umbagai.
Heather "Anjolu" Umbagai
For those of you who have been passionate for more than twenty years about Aboriginal Art, the magnificent cover painting by Rover Thomas Joolama of Bedford Downs 1984 might ring a bell and bring back memories. lt travelled around the world until 2009 as #106 in NANGARA, the Australian aboriginal art exhibition, from the EBES COLLECTION.
Works from Nangara were exhibited worldwide from 1991 until 2011, starting in Belgium and Washington DC and finishing in the Ludwig Museum in Germany.
Lot #299 - Rover Thomas - Exhibited Ludwig Museum 2010-2011
On 6 May the Emily Museum, the first museum to be dedicated to a single Aboriginal artist, Emily Kame Kngwarreye was opened in Cheltenham as part of the Aboriginal Gallery of Dreamings complex incorporating the twice annual AGOD Auctions that fund the Museum.
In this, our 4th Auction, 29 of the rare works from the Nangara collection and featured in the out of print collectable Nangara Catalogue will be offered for sale and will include a complimentary copy of the catalogue valued at $200.
A second Rover in this sale, Lot #299, was chosen to be included in the recent Exhibition Remembering Forward, by the Ludwig Museum in Cologne, Germany, having been exhibited in London some years ago.
Rover Thomas With Hank & Tara Ebes in the Gallery explaining the story of the painting on the front cover (Lot #300)
A series of long, narrow panels, representing the best of the old masters, produced during their heyday and acquired direct from Papunya Tula Artists are 10 of the 29 Nangara paintings in this sale. All the works in Nangara will be sold over the next few years to help fund The Emily Museum. A project that has taken 15 years to complete from its inception in October 1994 when “The Emily Wall” was commissioned until the official opening on 6 May 2013.
Old masters panels as exhibited in Asahikawa, Hokkaido, Japan 2001
It was twenty one years ago …
It was twenty one years ago when the concept of a private collection of Aboriginal Art was conceived to travel around the world and spread the word and images of an art movement I had fallen in love with over the preceding 4 years. Of the hundreds of paintings bought and commissioned by The Aboriginal Gallery of Dreamings every year, then located at the top end of Bourke Street, we decided to keep the very best and build up a collection that represented the Central and Western Desert artists as best we could but also touching on the Top End and Kimberley regions to illustrate the wide range of styles from our vast continent.
The international appeal of the Central and Western Desert paintings no doubt stems from the similarity of the ancient body painting designs and elaborate ground paintings produced on canvas rather than bark representing an ancient history but visually contemporary modern conceptual art reminiscent of the New York School of The 50’ and 60’s. None of the indigenous artists were in any way influenced by white society when they started producing their stories on moveable surfaces with the help of Geoffrey Bardon and others in the early 70’s.
Nangara at Arken, the Museum Modern Art, Copenhagen, Denmark 2006
By late 1995, The Nangara collection was ready to head overseas. More than 350 works of art, incorporating a couple of dozen fabulous works from earlier exhibitions in Europe and America, were packed into a 44 foot container with 7000 two volume catalogues in three languages ready to be shipped uninsured to Antwerp for the first exhibition venue, The Sint Jan Museum in beautiful old Brugge in Belgium. As I closed the heavy metal doors I mentally stopped breathing for the next 31 days until the Museum rang to say they had unpacked it all and nothing was damaged.
After the exhibition in Belgium, Nangara was transported to a small 1000 year old village in The Netherlands called Workum, home for the next 14 years in an old pottery/warehouse close to my mother and ancestors. Exhibitions ranging from Amsterdam to Japan and America to Denmark, Workum facilitated the need for a northern hemisphere location to save on shipping costs and travel time.
Nangara in Japan
Nangara was named by Clifford Possum Tjapaltjarri in 1992 when he started painting regularly for the Aboriginal Gallery of Dreamings he also called Nangara, "a very special place". His now famous 1971 small board painting titled “Love Story" was featured in the catalogue as one of the masterpieces within the collection of works by more than a hundred artists represented in Nangara. Clifford was no doubt the ultimate storyteller, the Rembrandt of the Aboriginal Art movement and as brilliant an artist as the famous Dutchman.
From the moment I saw my first Emily Kame Kngwarreye painting in 1989 I was in love, and for the next 7 years until her death in 1996, l concentrated on acquiring as many of her works in every style she produced with a passion that never waned. Minimalism, impressionism, conceptual, call it what you like, the lady was a genius. More than 30 of her masterpieces collected before 1995, not including the 53 panel Emily Wall, graced the last 30 pages
of the Nangara catalogue. More than 200 were collected after Nangara left the country, including 14 of her famous “Last Series" and late works produced in 1996 before her death on 2nd September. To my mind, no Australian artist has ever had a greater impact on our national art heritage than “Emily" as she was soon known after a career of only 7 years.
After staging her first international solo exhibition in the Oude Kerk in Amsterdam in 1999, during a tearful moment while packing up the Emily Wall after an extremely successful and critically acclaimed show by the Dutch media, it occurred to me that I may not see it again until a major Museum borrowed if for an exhibition some time in the future, and decided right there and then that my first priority back in Australia was to find a place to live for the rest of my life with a wall big enough to hang the 15 x 5 meter “Emily Wall". In 2001 the perfect building was found and bought and the factory/warehouse has been the centre of my Universe.
Emily Wall in Amsterdam, 1999
One of the first projects was to “hang” the “Emily Wall” when it was flown back from The Netherlands shortly after the factory walls had been covered. The results were breathtaking and apart from a short 6 months break for The Copenhagen, Denmark exhibition, it has been permanently on display right here in Cheltenham.
After the closure of the city location of The Aboriginal Gallery of Dreamings all the stock was moved to Cheltenham for sale by appointment and in 2008 the entire Nangara collection was repatriated to Australia. The need to exhibit Aboriginal art by a private Gallery to educate and promote Aboriginal art was over and financially prohibitive. However, the thought of creating an Emily Museum, dedicated to just a single artist had been in my mind since 1994 and supported by highly experienced directors of Museums world wide I had been in contact with during the Nangara days and all were convinced it should happen.
Emily Museum, Cheltenham
Until last month, it did not happen. No venue, no funding, no government support was forthcoming. Not a priority during these financially troubled years. Years that will soon be forgotten by a new generation, like my grandson Jack who proclaimed “wow”! when he first saw The Emily Wall at three years old. No country is remembered for its financial status in this world but every nation has a pride in art heritage and none go back further uninterrupted than Aboriginal art.
The Emily Museum won’t always be in a converted Factory, but it is a beginning, a work in progress. For the next few years it will be funded by twice yearly auctions from the AGOD stock like this one, our fourth, sold without a Buyer’s Premium saving 25%, from The “Museum” in the shadow of The “Emily Wall”. The best news is that in this auction, 29 works from the Nangara collection will be auctioned. All The works from Nangara, except the Emily’s now incorporated into The Emily Museum, will be sold during the next few years, guaranteeing the Museum’s funding for years to come.
Don’t forget to visit the Museum!
For further details visit
The Emily Museum
The EMILY MUSEUM was officially opened on 6th May 2013.
Imagine Amsterdam without the Rembrandt or van Gogh Museums. Imagine Paris without Picasso or Nice without Matisse. Imagine any country without a Museum tribute to the most famous sons and daughters of their cultural history.
Recessions and GFC’s come and go but Art and Culture will always endure and have world wide for centuries.
Australian Art without Emily? Unimaginable!
34 of Emily's paintings were included in the NANGARA collection in I995 and were exhibited for 20 years world wide. They are now part of the Emily Museum.
To help fund and enlarge the Museum, the Nangara works remaining will be sold over the next few years as their purpose to enlighten, educate and enchant international audiences is no longer as important as the creation of a world class Museum dedicated to a single Aboriginal genius simply called EMILY.
The first 29 affordable masterpieces are featured in this our fourth auction. Don't miss the opportunity to acquire one of Nangara’s iconic paintings complete with the original two volume catalogue in three languages.
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.