Indigenous Fine Art Auction | May 5th, 2026

AUSTRALIAN INDIGENOUS FINE ART | 5 MAY 2026 | SYDNEY TH

AUCTION | Indigenous Fine Art

Auction Live and Online

Tuesday 5 May 2026 | 6pm AEST Start th 31 Lamrock Ave Bondi Beach NSW 2026

Auction Viewing

30 April - 5 May 2026 | 10-5pm th th Telephone/Absentee Bids

email bids to auctions@newsteadart.com phone: +61 412 126 645 Bidding Forms Pages 150-152

Live Online Bidding

Via Invaluable www.invaluable.com

Theodore Bruce www.theodorebruce.com.au

AUSTRALIAN INDIGENOUS FINE ART | MAY 2026 | SYDNEY

Welcome to our May 5th, 2026 Indigenous Fine Art auction. This sale includes a diverse selection of Australian indigenous sculptures, barks, and paintings on canvas created between the 1950s and the second decade of the 21st Century. At its’ heart is the Bangalay Collection, of more than 40 Arnhem Land Lorrkon sculptures, spirit figures, old bark paintings, and contemporary indigenous works, formerly installed at Bangalay, the landmark award winning, Peter Stutchbury designedhomesteadintheupperKangarooValley.

With a combined estimate of AUD $905,000 - $1,274,000 and artworks by 87 individual artists, this 109 lot offering reaches across the full breadth of Australian First Nations art: from the Western Desert to northeast Arnhem Land, from the Kimberley to the Tiwi Islands, and from bark paintings acquired directly from their makers in the field in 1960, to works completed duringthelastdecade.

The sale includes a number of Eastern Desert paintings, most notableofwhicharethreeworksby EmilyKameKngwarreye (c.1915–1996), Lots 16, 50 and 66. Early Western Desert works include AnatjariTjakamarra’s Origins of Soakages, 1973 (Lot 61) which carries an estimate of AUD $30,000–$40,000 and bears Geoff Bardon’s handwritten inscription verso, identifying the iconography and mapping the soakages, sandhills, and bullroarers. Bardon catalysed the Western Desert painting movement and here, adhered to the back of a board from the most formative period is his own handwritten field note. Alongside it, WillyTjungurrayi's Yawutinya, 1978 (Lot 62) and works by Johnny Scobie Tjapanangka, Turkey Tolson Tjupurrula, Dinny Nolan Tjampitjinpa, Charlie Egalie Tjapaltjarri, and others — the majority accompanied by originalPapunyaTulacertificates.Togethertheyconstitutethe mostsubstantialsurveyofearlyPapunyapracticetoappearat auctionthisyear.

Four of the early barks in this sale were purchased directly from their makers at Maningrida by a researcher working at the Sydney University/Northern Territory Joint Crocodile ResearchProjectwiththelegendaryacademicHarryMesselin 1975 (Lots 35 – 37). Another, attributed to MathamanMarika (Lot 38), was field-collected by the Protector of Aboriginal Affairs, NT, in 1960 and entered a private collection that same year. It is among the oldest-provenanced works in the sale. Narritjin Maymuru’s bark (Lot 40), created in 1979, was purchased that same year from Australian National University scholarlyexhibitionofYirrkalapainting.

Amongst the Kimberley works are two by Rover Joolama Thomas Koonawarratji (Lot 5), estimated at $18,000–$25,000),waspaintedforWarmunTraditionalartistsfollowing hisreturnlateinlifetohisdesertbirthplace.MyHand(Lot29), estimated at $25,000–$35,000 was painted three years after Thomas returned from representing Australia at the Venice Biennale. Queenie Nakarra McKenzie and Paddy Jaminji are each represented by works purchased directly from the artists at Warmun under the auspices of the Warmun Community Council prior to the establishment of an art centre in the community.

There are six magnificent hollow log sculptures in this sale. Three were created by the former ‘young gun’ Gunybi Ganambarr (born 1973), an artist who has gone on to redefine Yolngu art conventions. All of these superb pieces were originally sourced from Bill Gregory’s Annandale Galleries via theBuku-LarrngayMulkaatYirrkala(Lots83–88).

FOURLIVESWORTHNOTING

Patsy Anguburra Lulpunda (c.1898–2000) did not begin painting until she was one hundred years old. Three Dogs (Lot 4) estimated at $12,000–$18,000 was among her final works two years later. Yinarupa Gibson Nangala’s painted coolamon, (Lot 103) carries a presale estimate of $2,5005,000. She was among the last Pintupi people encountered in the Western Desert in 1963 and began painting in the early 1980s when she finally came in with the Pintupi Nine in 1984. Both TommyYannimaWatson (Lot 48) and Sally Gabori (Lot 14) began painting during the final decade of their lives. Tommy Watson’s work was commissioned by Jean Nouvel for theinstallationoftheMuséeduQuaiBranly,and SallyGabori was the recipient of a solo retrospective exhibition at the Fondation Cartier, in Paris. Both have had several major monographspublishedontheirstellarcreations.

Our selection of works for this sale combines decades of connoisseurship and direct community engagement with rigorous scholarship. Our team is committed to transparent, ethical practice and to the presentation of works of lasting cultural significance with the seriousness they deserve. The authority of these artworks is inherent in their origins, their journeys and the communities that continue to share their meaning.

Adrian Newstead OAM, Co-Founder, Newstead Art Auction

Estimate: $5,000 – $7,000

(1932 – 1997)

Wimmitji Tjapangati (c.1924 – 1997)

Inulputja, near Jupiter Well, 1993

synthetic polymer paint on canvas

90 x 60 cm

EXHIBITION HISTORY

The Art of Balgo Hills, Cooee Art, Sydney, NSW, 1993

Estimate: $6,000 – $8,000

Rockholes and country near the Olgas, 2007

synthetic polymer paint on canvas

91 x 46 cm

Estimate: $7,000 – $9,000

Patsy Anguburra Lulpunda

Three Dogs, 2000

natural earth pigment on canvas

65.5 x 72 cm (c.1898 – 2000)

Estimate: $12,000 – $18,000

Rover Joolama Thomas Koonawarratji, 1995

natural earth pigments on Belgian linen

90 x 60 cm (c.1926 – 1998)

EXHIBITION HISTORY

Images of Power, Ladner + Fell Gallery, Armadale, Vic, October 2006

Estimate: $18,000 – $25,000

natural earth pigments on bark

50 x 86 cm

Estimate: $3,000 – $5,000

(1924 – 1973)

Estimate: $3,000 – $5,000 (1916 – 1987)

John Mawurndjul (1952 – 2024)

Ngalyod - Rainbow Serpent, 1988

natural earth pigments on bark

61 x 173 cm

Estimate: $7,000 – $9,000

(1957 – 2024)

Mardayin Design, 2004

natural earth pigment on stringy bark

159 x 39.5 cm

Estimate: $4,000 – $6,000

LOT 10

Owen Yalandja (1962 - )

Yawkyawk, 2003

Kurrajong (Brachychiton diversifolius) with natural earth pigments and PVC fixative 187 cm

Estimate: $2,500 – $3,500

LOT 11

James Iyuna Mimih Spirit, 2003

Estimate: $1,500 – $2,500 (1959 - 2012)

Peanut Tree (Sterculia quadrifica) with natural earth pigments and PVC fixative 305 cm

Tjungkara Ken (1969 - )

Seven Sisters, 2018

synthetic polymer paint on linen

152.5 x 122 cm

Estimate: $6,000 – $8,000

200 x 130 cm

Estimate: $6,000 – $8,000

Estimate: $25,000 – $35,000

Wawiriya Burton

(c.1928 – 2021)

Ngayuku Ngura – My Country, 2019

synthetic polymer paint on Belgian linen

182 x 144 cm

184.5 x 147 cm (framed)

Estimate: $22,000 – $26,000

Estimate: $70,000 – $90,000

Awelye-Atnwengerrp, 2006 synthetic polymer paint on canvas

80 x 126 cm

Estimate: $3,000 – $5,000

four panels, 90 x 90 cm (each)

Estimate: $3,500 – $4,500

Warlpinni Freda (c.1928 – 2004 )

Untitled, 1999 earth pigments on canvas

119.5 x 84.5 cm

Estimate: $3,000 – $5,000

(c.1923 – 2023)

Jilamara Design, 2015

natural earth pigments on Belgian linen

86 x 55 cm

PROVENANCE

Munupi Arts & Crafts Association, Pirlangimpi, Melville Island, NT, Cat No. 15-158

Private Collection, NSW

Estimate: $4,000 – $6,000

Estimate: $4,000 – $6,000

130 x 108 cm

Estimate: $18,000 – $25,000

Lorna Naparrula Fencer (c.1924 – 2006)

Yarla (Bush Potato), 2001

synthetic polymer paint on canvas

148 x 76 cm

PROVENANCE

Cooee Art, Sydney, NSW

Acquired direct from the artist by Adrian Newstead whist working in the field

Estimate: $5,000 – $7,000

Patrick Mung Mung (c.1944 - )

Road to Loomoogoo Country, 2002

natural earth pigment on canvas 120 x 90 cm

PROVENANCE

Warmun Art Centre, Warmun Community, WA, Cat No. WAC 243/02 Private Collection, NSW

Estimate: $5,000 – $7,000

Long Tom Tjapanangka

Untitled

synthetic polymer paint on linen

50 x 101 cm

(c.1929 – 2006)

PROVENANCE

Watiyawarnu Arts, Mount Leibig, NT

The David Bromley Chapel Street Studio Collection, Vic Leonard Joel, Prahran, Vic, 18 November 2012, Lot 494

Private Collection, NSW

The country Long Tom Tjapanangka painted was the country he walked as a young man, the ancient ranges around Ikuntji, or Haasts Bluff, some 230 kilometres west of Alice Springs, where tali, the sandhills, and puli, the rocky outcrops, define a landscape of immense ceremonial significance. Hetti Perkins, writing in Tradition Today for the Art Gallery of NSW in 2014, noted that his dense, clotted application of paint evokes a palpable sense of country, and that his tendency toward the figurative was anomalous within classic Western Desert painting — an idiosyncratic fusion that reflected the cultural hybridity of the Ikuntji community.

That quality is present here. Against a deep red-brown ground, bold golden arched forms descend from the upper edge and border, their scalloped edges built up with layered impasto that gives the surface a physical weight. The palette is reduced to two tones, the whole composition held in a tension between landscape and abstraction. In the lower right, a single small bird, black and white, sits in the open field below the arching forms, a figurative detail of the kind Tjapanangka's contemporaries rarely allowed themselves.

Tjapanangka was born around 1929 at Lupul in the Frederick Ranges and worked as a stockman and police tracker before coming to painting at Ikuntji Arts Centre in the early 1990s alongside his first wife Marlee Napurrula. He stated his intent was to paint for everyone rather than making works of implicit sacred significance.

Estimate: $2,000 – $4,000

Carboyd Ranges - Texas Hills, 1993

natural earth pigments on canvas

92 x 122 cm

Estimate: $20,000 – $30,000

Charlene Carrington (1977 - )

Texas Downs, 2004

natural ochre and pigments on canvas

120 x 90 cm

PROVENANCE

Warmun Art Centre, Turkey Creek, WA, Cat No. WAC 081/04

Private Collection, NSW

Accompanied by a certificate of authenticity from Warmun Art Centre

Estimate: $1,500 – $2,500

Rover Joolama Thomas (c.1926 – 1998)

Untitled, Rover's hand prints on Country, 1993

natural earth pigments on canvas

90 x 60 cm, 95 x 64.5 cm frame

Estimate: $25,000 – $35,000

Hills of Bedford Station, c.1982

natural earth pigments on plywood

61 x 92 cm

Estimate: $20,000 – $30,000

Jimmy Nerrimah (c.1924 – 2013)

Untitled, 1994 synthetic polymer paint on canvas

90 x 60 cm

PROVENANCE

Field Collected by the Luma Community Development Manager, Denise Goldie, 1994

Estimate: $2,500 – $3,500

Estimate: $18,000 – $25,000

Walangkura Napanangka I (Uta Uta's Wife)

(c.1922 – 2010)

Untitled, 2004

synthetic polymer paint on Belgian linen

153 x 91 cm

PROVENANCE

Papunya Tula Artists Pty Ltd, Alice Springs, NT, Cat No. WN0409158

Alcaston Gallery, Fitzroy, Vic, Cat No. AK11703

Private Collection, NSW

Accompanied by certificates of authenticity from Papunya Tula Artists and Alcaston Gallery, and two photographs of the artist with the work

EXHIBITION HISTORY

Papunya Tula Artists Group Show, 8 - 30 April 2005, Alcaston Gallery, Melbourne

Estimate: $5,000 – $7,000

David Milaybuma (1938 – 1994)

Crocodile, 1975

natural earth pigment on stringy bark

33 x 103 cm

PROVENANCE

Purchased in 1975 directly from the artist by the current owner who worked at the Sydney University/NT Joint Crocodile Research Facility, Maningrida, NT

Estimate: $1,600 – $2,400

David Milaybuma (1938 – 1994)

Goanna and fish, 1975

natural earth pigments on stringybark

30 x 77 cm

PROVENANCE

Purchased in 1975 directly from the artist by the current owner who worked at the Sydney University/NT Joint Crocodile Research Facility, Maningrida, NT

Estimate: $1,400 – $1,800

John Nameradje

(c.1926 – 1980)

Kangaroo Being Hunted, 1975

natural earth pigment on stringy bark

61 x 74 cm

PROVENANCE

Purchased from Maningrida Arts and Crafts in 1975 by the current owner who worked at the Sydney University/NT Joint Crocodile Research Facility, Maningrida NT

Estimate: $3,000 – $4,000

Curly Bargadubu

Kangaroo , 1975

natural earth pigment on stringy bark

66 x 90 cm (c.1924 – 1987)

PROVENANCE

Purchased in 1975 directly from the artist by the current owner who worked at the Sydney University/NT Joint Crocodile Research Facility, Maningrida NT

Estimate: $3,000 – $4,000

Attr. Mathaman Marika

(1920 – 1970)

Hunters and Spirits, c.1960

natural earth pigment on bark

126 x 48 cm (frame size)

PROVENANCE

Collected by Charles Banon, Protector of Aboriginal Affairs, NT, 1960

Private Collection, SA

Lawsons, Fine Decorative Arts including a single vendor offering of Omega Watches and Contemporary Painting and Sculpture, Sydney, NSW, 27 June 2019, Lot 6 Private Collection, NSW

Estimate: $2,000 – $3,000

Barama Myth Cycle, 1977

natural earth pigments on bark

75 x 36 cm (1932 - )

PROVENANCE

Lawson Menzies Aboriginal Art Auction, Sydney, November 2005, Lot no. 196 Private Collection, NSW

Accompanied by a certificate of authenticity from Lawson Menzies

Estimate: $2,500 – $3,500

Narritjin Maymuru (c.1916 – 1981)

The Journey of the Possum and Guwak to Djarrakpi, 1979

natural earth pigments on stringybark

136 x 44 cm

Estimate: $5,000 – $8,000

Gawirrin Gumana (1935 – 2016)

Baraltja Monuk, 2008

natural earth pigment on stringy bark

175 x 65 cm

PROVENANCE

Buku Larrngay Mulka, Yirrkala, NT, Cat No. 3377L

Private Collection, NSW

Accompanied by a certificate of authenticity from Buku-Larrngay Mulka Centre, Yirrkala Art Centre

Estimate: $6,000 – $8,000

Alan Jameison

Wati Kalaya, 2009

synthetic polymer paint on Belgian linen

134 x 140 cm

PROVENANCE

Spinfiex Artists, SA Private Collection, NSW

Estimate: $3,500 – $4,500 (c.1935 - )

(1934 – 2003)

Maparr Rockhole, 1999

synthetic polymer paint on canvas

120 x 80 cm

PROVENANCE

Warlayirti Artists, Balgo Hills, WA, Cat No. 56A/99

Private Collection, NSW

accompanied by a certificate of authenticity from Warlayirti Artists

Estimate: $3,500 – $4,500

Helicopter Tjungurrayi

(c.1947 - )

Wangkartu, 2004

synthetic polymer paint on linen

120 x 80 cm

EXHIBITION HISTORY

Yungmantja, 6 - 17 July 2004, Alcaston Gallery, Melbourne, at Depot Gallery, Sydney, NSW

Estimate: $5,000 – $7,000

(c.1937 - 2021)

Estimate: $4,000 – $6,000

Maringka Roberts (1979 - ) & Gladys Roberts

(1954 - )

Tjulpuntjulpunpa - Desert Wildflowers, 2021

synthetic polymer paint on Belgian linen

195 x 198 cm

PROVENANCE

Kaltjiti Arts, Fregon, NT, Cat No.114-21KA

Private Collection, Vic

Estimate: $6,000 – $8,000

Kathleen Ngale (c.1930 – 2021)

Untitled, from Arnwekety (Bush Plum Dreaming) Series, 2009 synthetic polymer paint on linen

120 x 151 cm

Estimate: $9,000 – $15,000

Estimate: $60,000 – $80,000

Estimate: $4,000 – $6,000

(1974 - )

Emily Kame Kngwarreye

My Country, 1995 (c.1910 – 1996)

79 x 84 cm (stretched), 85 x 90 (frame)

Estimate: $20,000 – $40,000

Naata Nungurrayi

Sandhills in Tjuntupul

synthetic polymer paint on linen

122.5 x 165.5 cm (1932 – 2021)

Estimate: $15,000 – $18,000

synthetic polymer paint on linen

170 x 100 cm

Estimate: $8,000 – $12,000 (1950 – 2021)

Nyurapayia (Mrs Bennett) Nampitjinpa (c.1935 – 2013)

Untitled, 2010

synthetic polymer paint on Belgian linen

159 x 120 cm

PROVENANCE

Yanda Aboriginal Art, NT

Rupert Betheras Collection, Vic Private Collection, Vic

Illustrated in The Art of Nyurapayia Nampitjinpa (Mrs Bennett), McGregor and Hobbs, McMillan Art Publishing, Melbourne, 2014, page 168

Estimate: $20,000 – $30,000

Yala Yala Gibbs Tjungurrayi (c.1924 – 1998)

Wangulkarratja - Muntarri Dreaming, 1984

synthetic polymer paint on canvas board

76 x 38 cm

PROVENANCE

Papunya Tula Artists, NT, Cat No. YY 841238

Private Collection, Vic

Accompanied by an original certificate of authenticity from Papunya Tula Artists, NT

The Tingari travelled. Across vast stretches of the Western Desert, these ancestral figures moved through the country performing ceremonies, shaping sites and inscribing the land with the song cycles that Pintupi men carry and transmit today. As the Papunya Tula Artists documentation for this work records, a large group of Tingari Men visited Wangulkarratja, a large rockhole south-west of Kintore, during their travels west to Mantati. Since events associated with the Tingari Cycle are of a sacred nature, no further detail was given. The painting maps that passage. Large concentric circles, each one a rockhole site, are distributed along the vertical axis and connected by lines of dotting that trace the Tingari route across country. The background is filled throughout with parallel wavy lines in deep ochre and brown, the marks of country moving continuously beneath the track. It is a composition of sustained linear authority, the kind of structure Geoff Bardon, who first brought Yala Yala to a painting surface in 1971, described as the work of a man who gave himself to painting with complete seriousness. Yala Yala was born around 1924 south-west of Lake Macdonald and was approximately forty years old when he and his family walked out of their remote homelands to Papunya in 1963. He was among the first artists to develop the grid style of concentric circles and connecting lines that most Pintupi painters had adopted by the end of the 1970s, and by the time of his death in 1998 was one of the last still working in it. His widow, Ningura Napurrula, became one of the leading names in Western Desert art in the years that followed.

Estimate: $3,500 – $4,500

Jack

Kunti Kunti

Crow Dreaming Site of Muyinga, 1984

synthetic polymer paint on board

76 x 38 cm

PROVENANCE

Papunya Tula Artists Pty Ltd, Alice Springs, NT, Cat No. JK841251

Private Collection, Vic

Estimate: $3,500 – $4,500 (c.1930 – 1990)

Accompanied by an original certificate of authenticity from Papunya Tula Artists Pty Ltd

George Yappa Tjungala Tingari, 1981

(c.1945 – 1989)

synthetic polymer paint on canvas

71 x 114.5 cm

At Watanuma, southeast of Jupiter Well, there is a rockhole. The designs in this painting were inspired by Tingari ceremonies held at this site, certified by K. Williams of Papunya Tula Artists in January 1981. The central roundels represent the rockholes; the other roundels the ceremonial participants; a sinuous wavy line traces the path of a snake whose passage through the area created a creekbed; and the field of dots across the ground represents a rocky outcrop. The Tingari constitutes ancient and secret post-initiatory instruction for young men of the region, transmitted through lengthy song cycles to which the visual designs serve as complementary mnemonics – the familiar vocabulary of forms used subjectively, so that the artist alone can convey a full interpretation. George Yappa Tjungala was born around 1945 at Witingu in country between Jupiter Well and present-day Kiwirrkura. Following the death of his father he was adopted by Anatjari Tjampitjinpa, one of the founding generation of Papunya Tula Artists. In 1963 his family was sighted by government patrols and a year later relocated to Papunya, where George began his artistic life assisting senior painters including Uta Uta Tjangala and Charlie Tarawa Tjungurrayi. By the mid-1970s he was painting in his own right, his practice rooted in Eagle Hawk Dreaming and Tingari stories connected to his country around Kirrpinga, Kiwirrkura and the great waterhole at Wala Wala. This work was painted at Sandy Blight Junction in 1981, at the height of the Western Desert painting movement's first great decade.

Estimate: $4,000 – $6,000

Pinta Pinta Tjapanangka

(c.1928 – 1999)

Men's Ceremony at Pinari, 1998

91 x 61 cm

PROVENANCE

Papunya Tula Artists Pty Ltd, Alice Springs, NT, Cat No. PP 9808224

Aboriginal Gallery of Dreamings, Melbourne, Vic, Cat No. AGOD7245

Private Collection, Vic

Accompanied by certificates of authenticity from Papunya Tula Artists Pty Ltd and the Aboriginal Gallery of Dreamings

Estimate: $4,000 – $6,000

Estimate: $6,000 – $8,000

Lindsay Bird Mpetyane

Bush Plum (Shield & Hooked Boomerang), 2010

synthetic polymer on Beanwood shield

66.5 x 23 cm (shield)

76 cm (boomerang)

PROVENANCE

The Blythman Collection

Estimate: $4,000 – $6,000 (c.1942 – 2024)

Clifford Possum Tjapaltjarri (c.1932 – 2002)

Women's Ceremony (Shield) & Possum Trail at Napperby (Woomera), c. 2010 synthetic polymer on Beanwood shield

65 x 20 cm (shield), 86 x 11 cm (woomera)

PROVENANCE

The Blythman Collection

Estimate: $5,000 – $7,000

Anatjari

Tjakamarra (1938

– 1992)

Origins of Soakages, 1973 powder pigment on composition board

92 x 22.5 cm

PROVENANCE

Papunya Tula Artists Pty Ltd, Alice Springs, NT, Cat No. A730808

Private Collection, Vic

Sotheby's, Fine Australian Aboriginal and International Paintings, Melbourne, Vic, 22 – 23 November 1999, Lot 478

Private Collection, Vic

Sotheby's, Aboriginal Art, Melbourne, Vic, 26 July 2004, Lot 410

Private Collection, WA

Thence by descent

The Jory Family Collection, Qld

Private Collection, Vic

Accompanied by original Papunya Tula Artists Pty Ltd documentation card with hand-drawn annotated diagram

Estimate: $30,000 – $40,000

(c.1930 – 2018)

synthetic polymer on board

76 x 38 cm

Estimate: $30,000 – $40,000

synthetic polymer paint on linen

125 x 211 cm (c.1948 - )

PROVENANCE

Lawson Menzies, Sydney, NSW, 31 May 2005, Lot 175

Private Collection, NSW, acquired at the above sale

Accompanied by a certificate of authenticity from Lawson Menzies

Estimate: $10,000 – $12,000

(1932 – 2021)

Women's Ceremonial Painting, 2000

synthetic polymer paint on linen

180 x 60 cm

PROVENANCE

Kimberley Australian Aboriginal Art, Melbourne, Vic Cooee Art, Sydney, NSW, Cat No. AANA0006 Private Collection, Israel

Accompanied by certificates of authenticity from Kimberley Australian Aboriginal Art and Cooee Art Gallery, and a photograph of the artist with the work.

Estimate: $5,000 – $7,000

Gloria Petyarre (c.1945 – 2021)

Mountain Devil Lizard Dreaming, 2005

210 x 150 cm

PROVENANCE

Mbantua Gllery, NT, Cat No. Mb28726 Private Collection, NSW

Estimate: $5,000 – $7,000

My Country, 1995 synthetic polymer paint on linen

x 201 cm (c.1910 – 1996)

Estimate: $80,000 – $100,000

Kathleen Ngale (c.1930 – 2021)

Arnwekety - Bush Plum, 2010

synthetic polymer paint on linen

151 x 91 cm

PROVENANCE

Delmore Gallery, NT, Cat No. 10E053 Metro Five Gallery, Vic Private Collection, Vic

Estimate: $5,000 – $7,000

122 x 100 cm

Estimate: $4,000 – $6,000

Walangkura Napanangka I (Uta Uta's Wife) (c.1922 – 2010)

Travels of a Group of Women near Umari Rockhole, 2004

synthetic polymer paint on Belgian linen

153 x 93 cm

PROVENANCE

Papunya Tula Artists Pty Ltd, NT, Cat No. WN0406100

Private Collection, Vic

Lawson Menzies Aboriginal Art Auction, November 2005, Lot No. 40

Private Collection, NSW

Accompanied by certificates of authenticity from Papunya Tula Artists and Lawson Menzies

Estimate: $5,000 – $7,000

(c.1946 – 2014)

Travels of Kutungka, 2006

synthetic polymer paint on linen

205 x 290.5 cm

PROVENANCE

Muk Muk Fine Art, NT Chalk Horse Gallery, NSW Private Collection, Vic

Estimate: $20,000 – $30,000

Kathleen Petyarre (c.1940 – 2018)

My Country - Sandhills, 2007 synthetic polymer paint on Belgian linen

121.5 x 122 cm

PROVENANCE

Gallery Australis, Adelaide, SA, Cat No. GA0797096

Cooee Art, Sydney, NSW

Private Collection, NSW

Estimate: $5,000 – $7,000

Nancy Ross Nungurrayi

Womens Dreaming, c. 2000

synthetic polymer paint on Belgian linen

90 x 122 cm (c.1935 – 2010)

PROVENANCE

Aboriginal Dreamtime Gallery, Vic Private Collection, NSW

Estimate: $3,000 – $5,000

Nancy Ross Nungurrayi

Women's Dreaming, 2003

synthetic polymer paint on Belgian linen

120 x 91 cm (c.1935 – 2010)

PROVENANCE

Readback Book Exchange, Darwin, NT, Cat No. NR2003120 Private Collection, Vic

Accompanied by a folio of 9 photographs of the artist creating the work

Estimate: $2,500 – $3,500

My Mother's Country, 2007 synthetic polymer paint on linen

120 x 240 cm

PROVENANCE

Mbantua Gallery, Alice Springs, NT, Cat No. MB033214 Private Collection, NSW

Accompanied by certificate of authenticity from Mbantua Gallery

Estimate: $8,000 – $12,000

123 x 90 cm

PROVENANCE

Aboriginal Gallery of Dreamings, Melbourne, Vic, Cat No. AGOD9211

Private Collection, Vic

Accompanied by a certificate of authenticity from the Aboriginal Gallery of Dreamings

Estimate: $5,000 – $7,000

Walangkura Napanangka II

(c.1946 – 2014)

111 x 204 cm

PROVENANCE

Red Desert Gallery, Eumundi, Qld, Cat No. RDG240108154-WN Private Collection, NSW

Estimate: $12,000 – $18,000

Walangkura Napanangka I (Uta Uta's Wife)

Untitled, 2007

synthetic polymer paint on linen

122 x 62 cm (c.1922 – 2010)

PROVENANCE

Papunya Tula Artists Pty Ltd, Alice Springs, NT, Cat No. WN0710121

Lennox Street Gallery, Richmond, Vic, Cat No. WN2 Private Collection, Vic

Estimate: $3,000 – $5,000

Ronnie Tjampitjinpa

Water Dreaming, 2004

synthetic polymer paint on canvas

190 x 300 cm (1943 – 2023)

PROVENANCE

Australian Aboriginal Dreamtime Gallery, Alice Springs, NT

Private Collection, NT

Accompanied by a photograph of the artist creating the work

Estimate: $8,000 – $12,000

182 x 152 cm

Estimate: $15,000 – $20,000

Ronnie Tjampitjinpa (1943 – 2023)

Tingari Cycle at Wilkinkarra (Lake Mackay), 1996

183 x 152 cm

PROVENANCE

Papunya Tula Artists Pty Ltd, Alice Springs, NT, Cat No. RT960446

Private Collection, Vic

Sotheby's, Important Aboriginal Art, Melbourne, Vic, June 2011, Lot 164.

Aboriginal Gallery of Dreamings, Melbourne, Vic, Cat No. AGOD7264

Private Collection, Vic

Accompanied by certificates of authenticity from Papunya Tula Artists Pty Ltd and the Aboriginal Gallery of Dreamings

Estimate: $20,000 – $30,000

Jimmy Nerrimah (c.1924 – 2013)

Untitled, 1994

synthetic polymer paint on canvas

90 x 60 cm

Estimate: $2,500 – $3,500

Jimmy Nerrimah (c.1924 – 2013)

Untitled, 1994

synthetic polymer paint on board

90 x 60 cm

Estimate: $2,500 – $3,500

Timothy Wulanjbirr (1969 - )

Lorrkon Hollow Log, 2009

natural earth pigments on Stringybark (Eucalyptus tetradonta)

225.5 x 16.5 cm

PROVENANCE

Maningrida Arts & Culture, Maningrida, NT, Cat No. 1175-09

Private Collection, NSW

Accompanied by a certificate of authenticity from Maningrida Arts & Culture

Estimate: $2,000 – $3,000

natural earth pigments on Stringybark (Eucalyptus

303 cm

Estimate: $6,000 – $9,000

Estimate: $5,000 – $8,000

natural earth pigments on Stringybark (Eucalyptus

317 cm

Estimate: $6,000 – $9,000

James Iyuna

(1959 - 2012)

Lorrkon Hollow Log, 2005 natural earth pigments on Stringybark (Eucalyptus

208 x 20 cm

Estimate: $3,000 – $4,000

Manalay Yunupingu (1962 - )

Gumatj Larrakitj, c.2006

natural earth pigments on Stringybark (Eucalyptus tetradonta)

292 x 20 cm

Estimate: $2,500 – $3,500

COMPARABLE SALE: [To be entered — comparable auction result for this artist/work]

160 x 70 cm (1967 - )

Estimate: $4,000 – $6,000

Irenie Ngalinba (1979 - )

Ngalyod Rainbow Serpent, 2004

natural earth pigments on Stringybark (Eucalyptus tetradonta)

109 x 59 cm

PROVENANCE

Maningrida Arts & Culture, Maningrida, NT, Cat No. 517-04

Private Collection, NSW

Accompanied by a certificate of authenticity from Maningrida Arts & Culture

Estimate: $1,800 – $2,200

Ivan Namirrkki Mangodbi, 2004

natural earth pigments on Stringybark (Eucalyptus tetradonta)

125 x 55 cm

PROVENANCE

Maningrida Arts & Culture, Maningrida, NT, Cat. No. 870-04

Private Collection, NSW

Estimate: $2,500 – $3,500 (1961 - )

Accompanied by a certificate of authenticity from Maningrida Arts & Culture

James Iyuna

Ngalyod, 2004

Estimate: $1,500 – $2,500 (1959 - 2012)

natural earth pigments on Stringybark (Eucalyptus tetradonta)

176 x 48 cm

(1927 – 1999)

Tingari at Yungalanya, 1978

synthetic polymer paint on canvas board

31 x 61 cm

Estimate: $2,000 – $3,000

Charlie Egalie Jabaldjari (Tjapaltjarri)

Kutata, 1976

synthetic polymer paint on board

56 x 71 cm

Estimate: $2,500 – $4,500

COMPARABLE SALE: [To be entered — comparable auction result for this artist/work]

Untitled, 1978

synthetic polymer paint on canvas board

50.5 x 61 cm, 81 x 71 cm (framed) (c.1922 – 2006)

Estimate: $750 – $900

Turkey Tolson Tjupurrula

Untitled, 1978

synthetic polymer paint on canvas board

55.5 x 71 cm, 88.5 x 73 cm (framed) (c.1928 – 2021)

Estimate: $1,500 – $2,500

Ted Egan Tjangala

(c.1940 – 2011)

Lightning, 2005

wamulu plant fibre, natural ochre and binder on board

120 x 45 cm

PROVENANCE

Commissioned by Arnaud Serval, Alice Springs, NT, 2004, Cat No. TET010-05

Annandale Galleries, Sydney, NSW, Cat No. ASer 17

Private Collection, NSW

Accompanied by a certificate of authenticity from Annandale Galleries and a copy of the exhibition catalogue Wamulu

Estimate: $2,000 – $3,000

Les Midikuria (1938 – 1996)

Mardayin Arm Bands, 1992

natural earth pigments on Stringybark

130 x 58 cm

Estimate: $1,500 – $2,500

David Malangi (1927 – 1999)

Creatures of the Arafura Swamplands, c.1990

natural earth pigments on bark

56 x 29 cm, 50 x 77.5 cm (framed)

Estimate: $1,000 – $2,000

(1912 – 2004)

Mirrnturr, 2003

synthetic polymer paint on Arches Paper 250 gsm

75 x 106 cm

Estimate: $3,000 – $5,000

Dorothy Napangardi (1956 – 2013)

Women's Ceremony, 1998

synthetic polymer paint on linen

121.5 x 60 cm

PROVENANCE

Gallery Gondwana, Alice Springs, NT, Cat No. DN3095

Aboriginal Gallery of Dreamings, Melbourne, Vic, Cat No. AGOD7369

Ebes Collection, Vic

Accompanied by a certificate of authenticity from the Aboriginal Gallery of Dreamings

Estimate: $4,000 – $6,000

Walangkura Napanangka II (c.1946 – 2014)

Travels of Katungka Napanangka, 2002

synthetic polymer paint on linen 91 x 61 cm

PROVENANCE

Papunya Tula Artists Pty Ltd, Alice Springs, NT, Cat No. WN0203017 Private Collection, NSW

Estimate: $2,000 – $3,000

My Country, 2010 synthetic polymer paint on Beanwood shield 89 x 24 cm (1960 - )

PROVENANCE

The Blythman Collection

Estimate: $2,500 – $5,000

Paddy Sims Japaljarri (c.1917 – 2010)

Warlu Jukurrpa, 2003 synthetic polymer paint on canvas 91 x 91 cm

PROVENANCE

Warlukurlangu Artists Aboriginal Corporation, Yuendumu, NT, Cat No. 1142/3 Private Collection, NSW

Estimate: $3,000 – $5,000

Janganpa

synthetic polymer paint on canvas

107 x 76 cm

Estimate: $3,000 – $5,000

synthetic polymer paint on paper 07 x 76 cm, 83.5 x 103 cm (framed)

Estimate: $3,000 – $5,000

Star in the Billabong, 1998 synthetic polymer paint on canvas 110 x 81 cm (1950)

PROVENANCE

Elcho Island Art Centre, NT, Cat No. C/0160 Private Collection, NSW

Estimate: $1,500 – $2,500

Estimate: $3,500 – $4,500

Estimate: $800 – $1,200

How to Bid

Newstead Art presents Fine Australian Aboriginal Art, a curated sale of 109 lots to be held on Tuesday 5 May 2026 at 31 Lamrock Avenue, Bondi Beach, Sydney. The auction will be conducted as a live sale with in-person, online, absentee and telephone bidding. All works may be viewed by appointment prior to the sale. To arrange a private viewing or request a condition report, please contact Adrian Newstead at adrian@newsteadart.com

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The Aboriginal Art Association of Australia (AAAA) serves and represents artists, individuals and organisations that produce, promote, protect or support Aboriginal art and the cultures that create and nurture that art.

The AAAA is committed to:

Advocating for Aboriginal artists and the Aboriginal art industry.

Promoting ethical conduct.

Supporting cultural integrity.

Campaigning for fair trade.

Providing networking opportunities and advice.

Together, we are building a dynamic Aboriginal visual arts community—empowering artists, celebrating cultural heritage, and ensuring a sustainable, inclusive future for the industry.

Become a trade, artist, or supporter member!

email: mail@aboriginalart.org.au website: aboriginalart.org.au

TThe aim of the Oceanic Art Society is to further the understanding and appreciation of Oceanic art. The focus is on traditional and contemporary art and cultures of the indigenouspeopleofMelanesia,Micronesia,Polynesiaand Australasia.

Activities

Regular presentations and seminars throughout the year

QuarterlyJournal

YearlyOASForum

SydneyOceanicArtFair(SOAF)

OtherEventsandPublications

JOIN US. The Society welcomes anyone with an interest in Oceanic art. Our membership is international and includes collectors, academics, artists, students, art dealers and museum professionals. Please visit our website www.oceanicartsociety.org.au

The Dealer is the Devil Inside the Aboriginal art trade

Adrian Newstead

Brandl&Schlesinger,480pp 173x245mm

200colourphotographs

$60.00hb$50.00pbwflaps thisistheonlybookonthehistoryof theAboriginalarttrade forthegeneralreaderinterestedin Aboriginalculture,artandart collectors,andartinstitutionsand students

Availableatnocosttoaccredited librariesandteachinginstitutions

Adrian Newstead’s explosive memoir lifts the lid on what Robert Hughes once described as “the last great art movement of the 20th century.” After thirty years sitting round campfires with Aboriginal artists all over Australia, Newstead has produced the definitive expose of “the first great art movement of the 21st century”. From remote indigenous communities with their dispossessed populations of tribal elders and troubled youth, to the gleaming white box galleries, high powered auction houses, and formidable art institutions of major cities all over the world, Newstead combines personal anecdotes with an insider’s grasp of the international art market. Newstead watched as the value of the Aboriginal art industry jumped from one million dollars in1970totwohundredmilliondollarsin2000.

With vivid portraits of artists, dealers and scamsters, the book races from pre-contact and colonial days to the heady celebrations of the Sydney Olympics and the devastating impact of the global financial crisis. Newstead’s humour, love and respect for his subjects produces a story that reads at times like a thriller and also a lament for a lost world.

“Newstead brings to this book a valuable personal and exceptionally well-informed perspective... disarmingly frank and honest... written in a very accessible manner... devoid of ethnographic jargon of the anthropologists or the art speak of the arts industry apparatchiks...” Sasha Grishin, Professor of Art History,ANU

About the Author

Adrian Newstead is an Aboriginal art consultant, dealer, and art commentator, based in Bondi, NSW. He has had thirty years experience working in Aboriginal and Australian Contemporary art and established Coo-ee Aboriginal Art Gallery, Australia’s oldest continuously operating Aboriginal art gallery, in 1981. He is the current President of the Aboriginal Art Association of Australia and a former DirectorofAboriginalTourismAustralia.

Purchase direct from author: www.newsteadart.com.au/the-dealer-is-the-devil adrian@newsteadart.com

ABSENTEE BID FORM

BIDDER REGISTRATION FORM

Newstead Art auctions are open to the public and held at 31 Lamrock Ave, Bondi Beach. There are four ways to participate: in person, by telephone, by absentee bid, or online.

A premium of 25% (inclusive of GST) is applied to the hammer price for every lot sold. The hammer price reflects the final bid accepted by the auctioneer. SUCCESSFUL PURCHASES: Once the auctioneer's hammer falls, the sale is concluded and the buyer assumes full responsibility for the lot from that moment. PAYMENT: Following the sale, you will receive an invoice from our Post-Sale Services team. The total due will comprise the hammer price, the 25% buyer's premium, and any applicable third-party platform fees. Bank transfer is the preferred payment method; account details will be included on your invoice. A surcharge of 1.7% + AUD $0.30 applies to Visa, MasterCard, and AMEX transactions. Cheque and cash payments are accepted; cheques require five business days' clearance before goods may be released. GST: A 10% GST applies when: (a) the vendor is GST-registered, in which case GST is included in the hammer price; (b) GST is included in any additional fees levied by Newstead Art; and (c) GST is included in the buyer's premium. COLLECTION AND SHIPPING: For collection arrangements, shipping options, or carrier recommendations, please contact auctions@newsteadart.com. Newstead Art will endeavour to arrange cost-effective delivery but you are welcome to organise your own transport. Identification is required upon collection. Lots not collected within seven days may incur storage and handling charges. If Newstead Art packs and dispatches goods on your behalf, a service fee will apply and we cannot accept liability for any damage in transit.

I confirm that I have read and accept the terms and conditions of sale published at www.newsteadart.com.au and/or providedattheauctionviewingattheBondiBeach premises.