This year, we have honoured the historical narrative of Australian First Nations art by ​c​urating the collection chronologically to create a clearer interpretation for our audiences – both in Australia and abroad.

An early highlight is Yingapungapu at Djarrakpi​ circa 1962​ by ​t​he often-overlooked Yolŋu artist, Narritjin Maymuru.​ This exceptional work is an incredible discovery​ for us – having never appeared at auction in Australia before.​ Rain Dreaming with​ Ceremonial Man, another ​highlight by Johnny Warangula, is regarded as​ the most encyclopaedic of his Kalipinypa paintings. I encourage you to read​ Professor Howard Morphy’s and John Kean’s authoritative essays on both of these works when our catalogue is released.

​And, we ​are thrilled to rediscover Alec Mingelmanganu’s​ Wanjina​ circa 1980 – one of the last large-scale canvases by this most important artist​ to​ remain in private hands.​

Another significant highlight is​ Emu​ 1990 by Emily Kam​ Kngwarray​ –​ a distinctive picture ​which resonates with iconic qualities. This work has been in the same private collection since 2003 and was exhibited in the first important retrospective ​o​f Emily's work in 2008.

Finally, Bill Whiskey Tjapaltjarri’s monumental master​piece Rockholes near the Olgas​ 2007 caps off a truly remarkable body of institutional-quality work within th​i​s collection.