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Paddy Goowoomji Nyunkuny Bedford

Also known as Kuwumji Bedford

Paddy Goowoomji Nyunkuny Bedford

Paddy Goowoomji Nyunkuny Bedford

1922 - 2007

Also known as Kuwumji Bedford

Region: East Kimberley

Community: Kununurra

Language: Gija

Born at Bedford Downs Station in the East Kimberley around 1922, Paddy Goowoomji Bedford spent many years as a stockman, trading his labour for basic provisions. Though he had been involved with ceremonial painting all his life, it was by chance that a gallery dealer happened upon some of his boards in a rubbish tip in the mid 1990’s. From such humble beginnings Paddy Bedford started painting formally in 1997, with the formation of Jirrawun Aboriginal Arts.

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PROFILE

Paddy Goowoomji Nyunkuny Bedford

1922 - 2007

Region: East Kimberley

Community: Kununurra

Language: Gija

Born at Bedford Downs Station in the East Kimberley around 1922, Paddy Goowoomji Bedford spent many years as a stockman, trading his labour for basic provisions. Though he had been involved with ceremonial painting all his life, it was by chance that a gallery dealer happened upon some of his boards in a rubbish tip in the mid 1990’s. From such humble beginnings Paddy Bedford started painting formally in 1997, with the formation of Jirrawun Aboriginal Arts.


Initiated by Freddy Timms with help from artist Tony Oliver, the group which includes Timms, Peggy Patrick, Rammy Ramsay and others, has gained exponential notoriety. In tangible terms Jirrawun Arts has been able to provide the kind of individual support and promotion of its artists that art centres have difficulty emulating. Numerous shows were organised through the group, in which Bedford starred during his lifetime, including “Blood on the Spinifex” at the National Gallery of Victoria and “True Stories” at the Art Gallery of New South Wales.


“I’m a millionaire,” Bedford shouted when he received his first cheque as an artist. Over the following decade his painting style developed from simple expanses of flat ochre to masterful luminous textured surfaces. Painting in a recognisable East Kimberley style in which plains of ochre are disrupted only by sparsely planted shapes, Bedford masterfully combined important ancestral Dreamings with depictions of his environment and contemporary historical events.

His health and dexterity at various times dictated the medium in which he worked. Introduced to gouache and paper after 2000, he created intimate works that were equally successful as those depicted in ochres. In both mediums his paintings are imbued with authority and an absolutely distinctive individual language within the east Kimberley conventions. Characteristic of Bedford’s style are richly ochred surfaces with minimal arrangements of circular shapes, often centered upon a band, and delineated by white dots. Though important Dreamings such as the Emu, Turkey, and Cockatoo are present in many of his works, like the narratives of his family history they are not depicted in any figurative form. This is evidenced in the self-published book, Walk the Line, produced during 2004, in which Bedford depicted important sites and explored the culture of his people.

 

Bedford's exceptional talent garnered significant attention. He was amongst the few selected to contribute to the permanent installation at the Musee du Quai Branly in Paris and was honoured, during his lifetime, with the unprecedented recognition of a retrospective exhibition and a major catalogue by the Museum of Contemporary Art in Sydney during 2007, which toured nationally and coincided with the year of his passing, encapsulating the extraordinary legacy of his late -emerging career. 

ARTIST CV

Selected Collections:


Art Gallery of New South Wales, Sydney.

Musée du Quai Branly, Paris, France.


Selected Solo Exhibition:


2009 - 2010: Paddy Bedford - Crossing Frontiers, AAMU, Netherlands.

2006 - 2007: Paddy Bedford, Museum of Contemporary Art, Sydney.

2001 - Raft Gallery, Darwin.

2000 - Chapman Galleries, Canberra; Martin Browne Gallery Sydney.

1998 - My Country - William Mora Galleries, Melbourne.


Selected Group Exhibitions:


2019 - Light, bright and white, featuring Yimula Munungurr, Manini Gumana , Djirrirra Wunungmurra, Ka hleen Ngale, Lamangirra #2 Gumana, Kitty Napanangka Simon, Judith Nungarrayi Martin, Joy Garlbin, Paddy Nyunkuny Bedford at Cooee Art Gallery, Sydney, NSW.

2010 - Passing on tradition - new and old Kimberley, featuring Gordon Barney, Paddy Bedford, Jack Britten, Charlene Carrington, Tommy Carroll, Billy Duncan, Hector Jandanay, Lily Karedada, Rosie Karedada, Queenie McKenzie, Jock Mosquito, Beerbee Mungnari, Mark Nodea *, Nancy Nodea, Nancy Noonju, Peggy Patrick, Rusty Peters, Marcia Purdie, Shirley Purdie, Phyllis Thomas, Freddy Timms, Enry Wambiny @ Coo-ee Aboriginal Art Gallery, Sydney.

2008 - Paintings from remote communities: Indigenous Australian art from the Laverty collection, Newcastle Regional Gallery, Newcastle, NSW.

2006-2007 - Gifted: Contemporary Aboriginal Art: The Mollie Gowing Acquisition Fund, Art Gallery of New South Wales, Sydney.

2004 - Australian Culture Now, National Gallery of Victoria, Federation Square, Melbourne.

2002->2003 - Blood on the Spinifex, Ian Potter Museum of Art NGB, Melbourne.

2002 - Rhapsodies in Country, GrantPirrie at Art Miami, USA.

2001 - Four men, Four Paintings, Raft Gallery Darwin Ochre; Short Street Gallery Broome.

2000 - Land Mark : Mirror Mark: Prints by Aboriginal artists from the collection of the Northern Territory University, Drill Hall Gallery Australian National University; later at Columbia State University USA, Kluge Ruhe Collection of Aboriginal Art University of Virginia; William Mora Galleries, Melbourne; Gaagembi Poor Things, William Mora Galleries Melbourne, Christmas Exhibition; Martin Browne Fine Art, Sydney.

1999 - My Country - Northern Territory University Gallery Darwin NT; Painting Country, William Mora Galleries Melbourne; Chapman Galleries Canberra; Mapping Our Countries, Djamu Gallery, Australian Museum, Sydney.

1998 - Jirrawun Aboriginal Artists- Martin Browne Fine Art; Jirrawun Artist's Exhibition Artists from Crocodile Hole- Perth.


Bibliography:


Green, Charles., Ed 2004 - Australian Culture Now, National Gallery of Victoria. Ross, H. (ed.) Impact Stories of the East Kimberley, East Kimberley Working Paper No 28 CRES ANU 1989. Flanagan, M. More than a passing knowledge, The Age 30 November 1998. Georgeff, Simon, Drawing the line. The Sunday Age, 23 August 1998, Agenda p 16 Deutsher Menzies auction catalogue Kofod, Frances., Art Collector magazine and interviews with the artist 1998, 1999, 2000. Australia's 50 Most Collectable Artists, Australian Art Collector, Issue 15, Jan-March 2001, p 62.

Market Analysis
MARKET ANALYSIS 

Paddy Bedford, like Eastern Anmatjerre artist Emily Kngwarryee, produced paintings for no more than a decade towards the end of his life. However, unlike Kngwarreye, who created over 4,000 works before her passing in 1996, Bedford's output was more restrained, marked by a late-blooming artistic career characterized by a few but powerful pieces. At his best, Bedford's minimal, abstracted ochre works possess a strength comparable to that of Rover Thomas, the pioneer of the East Kimberley style.


Bedford's physical capacity to create major paintings was limited, leading him to focus on smaller, more manageable works on linen and artboard, as well as paintings on paper using gouache. Most of his artistic output was produced for Jirrawun Arts, with only a handful of canvas and artboard works created during a workshop in late 2001. This workshop, organized by Neil McLeod for Jack Dale at his home in Derby, allowed Bedford to work alongside an old friend. Despite being well-documented, these works are generally not included in his official catalogue raisonné, resulting in their diminished market value.


Between 2000 and 2006, Bedford's secondary market results were largely influenced by non-Jirrawun pieces, the standout being a 106 x 147 cm work on linen titled Caves at Old Bedford (2001), which fetched AUD 19,200 at the Lawson-Menzies auction in November 2004. The turning point came in 2007, with the sale of Girrganyji the Brown Falcon Dreaming (2000), a magnificent 180 x 150 cm canvas that exceeded expectations, selling for AUD 17,625 at Shapiro's June 2003 auction. This sale marked a significant moment in Bedford's market trajectory, establishing him as a notable figure in the realm of contemporary Indigenous Australian art.


As the years progressed, Bedford's works gained recognition, and his legacy continued to resonate within the art community, reflecting a growing appreciation for his unique voice and the cultural narratives embedded in his creations. In 2007, the market for works by Paddy Bedford saw a remarkable surge. Eight of his works sold that year with 100% clearance rate, generating a total of AUD 694,200. 


This is a dramatic increase compared to prior years, where sales totals typically ranged between AUD 6,600 and AUD 58,200. Several factors that may have contributed to this spike include the posthumous value increase: Bedford passed away in 2007, leading to a sudden rise in demand and prices as collectors anticipate limited future supply. This phenomenon is common in the art market, where an artist's death can elevate the perception of scarcity and value. It was also aided by the Recognition and Institutional Interest. Around this period, Bedford's work was gaining more critical attention, both nationally and internationally. His distinctive style, rooted in the Indigenous Australian experience and landscape, had garnered the attention of collectors, museums, and galleries, which likely boosted demand. 


In 2006, his selection as one of only eight Australian artists to produce a site-specific work for the prestigious Quai Branly Museum in Paris marked a significant milestone, highlighting his unique cultural and artistic contributions. This project helped to elevate his reputation within the global art scene.


The posthumous solo exhibition at the Museum of Contemporary Art (MCA) in 2007 played a significant role in the surge in demand for Paddy Bedford’s work that year. Such an exhibition would have heightened his visibility and appeal in both art circles and the public eye, enhancing his reputation and positioning his work as highly collectible. 


The exhibition have introduced his art to a wider audience, including international collectors, further fuelling the high sales volume and record-breaking revenues seen in 2007. The 2007 peak in sales represents a milestone in Bedford's market trajectory, with record-breaking revenues that solidified his work's position in the Australian art market. 


One of the highest results for Paddy Bedford, highlighting significant demand for his work during this period was the sale of Joogoomoondiny - Grawler Gully (2004) offered by Lawson~Menzies (now trading as Menzies) in their Australian Aboriginal Art auction in Sydney on November 14, 2007, as Lot No. 19. Ultimately, it achieved a final sale price of AUD 300,000 (including buyer’s premium). After this spike, the data shows fluctuating sales but a general increase in attention to his work, culminating in 2011, when total sales again reached a high of AUD 1,694,252 with a record 40 work offered for sale and 68% clearance rate, quite possible influenced by the growing international recognition. 


The "Crossing Frontiers" exhibition at AAMU in the Netherlands (2009-2010) further introduced his work to European audiences, reinforcing his status as an influential contemporary Indigenous artist and expanding the collector base for his paintings.  


After the peak in 2011, Paddy Bedford’s market experienced some fluctuations as interest adjusted following the initial posthumous demand. Here’s a breakdown of trends by period, including clearance rates: In 2012, Bedford's works garnered AUD 412,116 in sales with a clearance rate of 63.6%  In 2013, total sales rose to AUD 624,027, with a clearance rate of 57.9% (11 sold out of 19 offered). In 2014, the sales total decreased to AUD 256,681, with a clearance rate of 53.8% (7 sold out of 13 offered). In 2015, the otal sales increased to AUD 546,800 with a strong clearance rate of 85.7% (12 sold out of 14 offered), likely driven by Bedford’s increasing recognition in Australian and international collections.


2016–2019 could be characterised by gradual Decline in the number of offered works. In 2016, sales remained steady at AUD 533,298, with a clearance rate of 78.6% (11 sold out of 14 offered). 2017 saw a decline in the offered works, which led to the drop in the total sale value down to AUD 449,430, with the clearance rate remaining steady at 90% (9 sold out of 10 offered). 2018 and 2019 witnessed the further decline in volume with only four works sold for a total of AUD 180,115, resulting in a clearance rate of 50% (4 sold out of 8 offered) in 2018, and only two works sold for AUD 129,320, resulting in a clearance rate of 66.7% in 2019. 


The 2020–2022 market can be characterised by the renewed Interest. In 2020 only three works were offered and sold for AUD 234,000, with a clearance rate of 100%, indicating strong valuation and selective purchasing by high-end collectors, possibly influenced by a renewed focus on Indigenous art during a challenging global period.


2022 saw a substantial increase in value at AUD 484,159, with a clearance rate of 85.7% (6 sold out of 7 offered) and only one unsold piece, suggesting Bedford’s works were again drawing significant attention. His significant work Mendoowoorrji - Medicine Pocket (2005) sold by Deutscher and Hackett in the "Important Australian + International Fine Art" auction, Melbourne, on 01/12/2022 for the record AUD 319,091. In 2024, sales amounted to AUD 249,136 with a clearance rate of 100% (4 sold out of 4 offered). This indicates a consistent collector base.  


Post-2011, Paddy Bedford’s market shows a stabilization period with periodic revival, influenced by targeted exhibitions and a steady collector base. The fluctuations indicate that while demand remains strong, it is selective, with buyers focusing on specific high-quality works. The clearance rates throughout the years reflect varying levels of market activity, highlighting both strong interest and periods of adjustment.

Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments.
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