Emily did not take up painting seriously until she was nearly 80. The powerful colours in this work are taken from the life cycle of the berry called The exhibition featured Emily Kame Kngwarreye’s earliest paintings on canvas that were made during the summer of 1988 - 89 and her painting, From late 1991 onwards Emily explored a range of techniques having largely abandoned the fine dotting and submerged linear tracing which characterised her earlier works. ), Neale M., The paintings go on the block on March 27. The work appears to be in excellent condition with no visible evidence of repair or restoration. ALALGURA LANDSCAPE II,1994 December was overwhelmingly humid with hot northerly winds. Paintings measuring up to 120 x 180 cm in size sold regularly in galleries for between $10,000 and $20,000 while those around 90 x 120 cm sold for $8,000-10,000. SS1199724 GIFT FROM ARTIST TO BARBARA WEIR UTOPIA c. EARLY 1990'S (Emily Kame Kngwarreye was Barbara Weir's Grandmother who brought her up after moving back from Brisbane to Utopia). A number of exceptional paintings, including this particular work, were produced between November 1991 and February 1992. Neale M. EMILY KAME KNGWARREYE "Bush Yam Flower" Acrylic on Belgium linen. Kngwarreye suggests not only a sense of delight in the colours of the landscape; rather, now colour itself becomes both the impetus for – and subject of – such paintings. Isaacs, J., Smith, T., Ryan, J., Holt, D., and Holt,J., DIMENSIONS: Crossroads - Toward a New Reality: Aboriginal Art from Australia, The National Museum of Modern Art, Kyoto, Japan; The National Museum of Modern Art, Tokyo, Japan CRISPIN GUTTERIDGE, Estimate: Emily Kame Kngwarreye: Alhalkere, Paintings from Utopia, Macmillan Publishers, Melbourne, 1998 Emily Kame Kngwarreye is one of the most important contemporary aboriginal artists to emerge from Australia's Central Desert. (ed. 2. Throughout 2012 and 2013, despite a very soft market, Emily’s sales remained execptionally strong. EMILY KAME KNGWARREYE (c.1910-1996) UNTITLED Signed Emily, Bush Myths stamp, Indigenart stamp, and stock number TOAAC 1080 verso Acrylic on canvas 83 x 83cm $4,000/6,000, Description: Emily Kame Kngwarreye circa 1910-1996 UNTITLED (1991) synthetic polymer paint on linen 134 X 109CM PROVENANCE Delmore Gallery, via Alice Springs (stock 1V45) Private Collection, Sydney Australian Aboriginal Art, Christie's Australia, Melbourne, 30 August 2005, lot 47, illustrated Private Collection, South Korea PROPERTY FROM A PRIVATE COLLECTION, SOUTH KOREA, Estimate: (c.1910 – 1996) AUD7,000 - AUD10,000, Description: A rare loss for one of Rod Menzie’s ‘notorious’ buyer groups. synthetic polymer paint on linen Emily has custodial responsibility for various bush tucker species, all of which are preferred by the emu. It was the subject of a great number of Emily Kngwarreye's paintings, which were created, most familiarly, in a vast array of vibrant colours. By 2006, 39% of the 346 works sold at auction had been offered through Sotheby’s compared to 22% by auction houses owned by the Menzies group, 11% by Shapiro/Philips and 8% by Bonhams and Goodman. Earths Creation II, was another major multi-panelled piece that had been painted during the same 1995 workshop as her record breaking work. EMILY KAME KNGWARREYE (CIRCA 1910-1996) Yam Dreaming c1994 acrylic on linen inscribed with cat no. She has captured the tonal colour of hayed-out water catchments, whilst ceremonies are in process accompanied by an over-arching serious need for rain to replenish all life forms.