emily kame kngwarreye prints

The ceremonial cycles of many of these separate elements fell under Kngwarreye’s own purview as an elder within her community. AUD1,000 - AUD2,000, Description: Kame flowers, 1991 in The requirement to understand the life cycles of all bush foods is necessary to survival. Awelye (my Dreamings), Alatyeye (pencil yam), Arkerrthe (mountain devil lizard), Ntange (grass seed), Tingu (a Dreamtime pup), Ankerre (emu), Intekwe (a favorite food of emus, a small plant), atnwerle (green bean), and Kame (yam seed). EMILY KAME KNGWARREYE Significantly, Untitled, 1992 was created at a time when Kngwarreye’s painting was itself undergoing a process of transformation, with the artist abandoning the background tracery of the underlying yam roots, a consistent compositional device in her earlier paintings and transitioning instead into fields of pure dots. Estimate: We are observing strict physical distancing and hygiene measures to protect the health of visitors and staff and minimise the spread of COVID-19 (coronavirus). 95DG 1606 1. The requirement to understand the life cycles of all bush foods is necessary to survival. 94A047

87 (illus.)

Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. She knew nothing of any other schools of art - she’d never even seen another painting. EMILY KAME KNGWARREYE "Bush Yam" Acrylic on Canvas Comes with COA 78cm x 63cm, Estimate: EMILY KAME KNGWARREYE c1910 - 1996, A CARPETED DESERT, 1990, synthetic polymer paint on canvasSIGNED: inscribed verso: artist's name and Delmore Gallery cat.
Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. AUD200,000 - AUD250,000. bears inscription verso: artist’s name and Delmore Gallery cat.

Colours continually shift with the movement of the sun and rare rainstorms batter and flood the surroundings, leading to a brief proliferation of flowering plant life. All rights reserved. "In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. EMILY KAME KNGWARREYE "Bush Yam" Acrylic on linen. Emily Kame Kngwarreye: Werke Australischer Privatsammlungen, Kunsthaus Zug, Zug, Switzerland, 1 October 2019 – 12 January 2020

The artist’s ceremonial activities, called Awelye, are based on the belief that she is helping to nurture or ‘grow up’ her country’s food sources. Museum of Victoria, Melbourne

Works from this period have often been compared with the paintings of the early 20th century colourists, such as Monet or Delaunay, Kngwarreye’s paintings however, are not an optical science or a study of colour, but rather the artist’s highly personal response to the much-loved land of her birth. Synthetic polymer paint on linen, stretched, unlined and unframed. AUD70,000 - AUD90,000, Description: Bears artist's name together with Delmore Gallery catalogue number 93G024 on reverse. 94FO54 Private collection, Melbourne, since 1994, Estimate:

Ngwarray’s vital traceries both conform to, and seem to expand beyond, her clan codes, in abstractions of ceremonial markings and imagery of her country’s flora and fauna. In this painting, which can be viewed horizontally or vertically, radiant fields of yellow and pink dots cluster and trace across the surface vary in hue and density. PROVENANCE: 1S14 AUD45,000 - AUD55,000, Description: (c. 1910-1996) (c.1910 ‎- 1996) 120.5 x 91.0 cm 'Ngelyerre, 1994. Awelye, 1989 - 90, synthetic polymer paint on canvas, 140.0 x 72.0 cm, in the Holmes à Court collection, Perth, illus. She began using larger brushes to create broader circular dabs of paint which often involved 'double dipping' the brush in a second colour before applying the paint to the canvas. Not only did the lines give structure to these works, but made a fundamental statement of their ceremonial validity. Description: EMILY KAME KNGWARREYE(c.1910-1996)MY MOTHERS COUNTRYSigned Emily verso, Indigenart certificate accompanies this workAcrylic on canvas84 x 84cm$4,000/6,000, Estimate: 17, p. 88 (illus.) "Emily’s work has been regularly compared to the New York abstract expressionists Jackson Pollock, Willem de Kooning and Mark Rothko. This was also a time when Kngwarreye experimented with colour and broadened her palette beyond traditional colours and their derivatives, to incorporate brighter hues such as blue, green, and in this case, vivid reds and yellows. ESSAY: Tjukurrpa: Desert Dreamings: Aboriginal Art from Central Australia (1971 - 1993), Art Gallery of Western Australia, Perth €3,000 - €3,500, Description: Reflecting the total connectedness to the land to which she belongs, each painting became a metaphorical self-portrait and declaration of her people’s profound sovereignty over the land. As well, the lines link in with the ritual of body painting during "awelye", or ceremonial proceedings. All rights reserved. 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.

Ervin Gallery, Sydney in April 1989. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. The anticipation of rain and the ongoing ceremonial activity enlivened the spiritual atmosphere. Alalgura Awelye II, 1994, synthetic polymer paint on canvas, 151.0 x 90.0 cm, The Holt Collection, illus. The accompanying certificate notes that; ‘To look on Emily's work from an aerial perspective is necessary to understanding her view of her country. Kngwarreye holds a position in history as one of Australia’s most significant contemporary artists and it is difficult to think of another artist who, having started painting so late in life, left such an enduring mark on modern Australian art. That's what I paint; the whole lot." Emily Kame Kngwarreye was born around 1910 at Alhalkere (Soakage Bore). The Art of Utopia, A New Direction in Contemporary Aboriginal Art, Craftsman House, Sydney, 1991, p. 61 Yam Awelye, 1996 is one of those extraordinary late paintings, the single colour – here, a deep cobalt blue – applied to the canvas in sweeping arcs limited only by the reach of Emily’s outstretched arm. Cracks in the earth’s surface indicate its presence underground. Emily Kame Kngwarreye circa 1910-1996 UNTITLED (YAM SERIES) (1995) synthetic polymer paint on linen 122 X 92CM PROVENANCE Commissioned by Delmore Gallery, Northern Territory (stock 95I081) Private Collection, Sydney Fine Aboriginal Art, Deutscher-Menzies, Melbourne, 27 June 2000, lot 15, illustrated Private Collection, Melbourne.

Kngwarreye's previous work shows them underscoring her magnificent demonstrations of brilliance with colour. As Judith Ryan notes, the potency of Kngwarreye’s paint in her later work obviated the need for a written explanation – the raw power of her colour and gesture can be appreciated across cultures and creeds.1 Invaluable cannot guarantee the accuracy of translations through Google Translate and disclaims any responsibility for inaccurate translations. An original, intuitive and often enigmatic artist, her painting career lasted less than a decade, but the critical acclaim for her prodigious output has not diminished and her reputation has been sustained both in Australia and internationally. The Sydney Morning Herald obituary reported the ‘Passing of a Home Grown Monet’.

£60,000 - £80,000, Condition Report:
The Vatican Collection, Rome, Italy, Estimate: The powerful colours in this work are taken from the life cycle of the berry called


Bears artist name and Delmore Gallery catalogue number 92I017 on reverse. EMILY KNGWARREYE 1910-1996 Desert Flowers (1992) synthetic polymer paint on canvas 152.2 x 91 cm PROVENANCE Delmore Gallery via Alice Springs (stock 921 173) Private Collection, Sydney, acquired from the above PROPERTY FROM A PRIVATE COLLECTION, SYDNEY, Estimate: Art Gallery of Western Australia, Perth AUD100,000 - AUD140,000, Description: EMILY KAME KNGWARREYE (C. 1910-1996)ARLATYEY / PENCIL YAM DREAMING / REVE POMME DE TERRE, 1995Acrylique sur toile91,5 cm x 61 cm, Estimate: no. Estimate: Utopia: Ancient Cultures New Forms, Heytesbury Pty Ltd and The Art Gallery of Western Australia, Perth, 1999, p. 40

This work is accompanied by a certificate of authenticity from Delmore Gallery, Alice Springs Though many Aboriginal paintings are focused on Dreamings, Emily chose to present a very broad picture of the land and how it supports their way of life. Painted in October of 1991, it is one of a series of paintings undertaken at the time that celebrate the life-giving forces of nature, and the corresponding metaphorical equivalents in spiritual and human terms – recurring themes throughout the artist's body of work. EMILY KAME KNGWARREYE Description:

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