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FIRST NATIONS FINE ART AUCTION III | 2025

Important Works by First Nations Artists


Welcome to our biannual First Nations Fine Art Auction, to be held in our Redfern gallery on the 18th of November 2025. This auction marks an exciting new chapter in the Australian art market as we introduce two pioneering initiatives: Priority Bidding and Hybrid Auctions, both designed to reimagine how collectors and vendors engage with contemporary auction practices. In addition, we have extended our viewing period to two weeks, presenting the offering both as an auction viewing and a curated exhibition.


The Priority Bidding model was launched internationally by Phillips, New York only two months ago and rewards collectors who participate ahead of the auction day by securing a discounted buyer’s premium of only 15%, compared to 25–29% charged by most Australian auction houses. This initiative encourages serious collectors to engage ahead of auction day, ensuring smoother transactions and more competitive bidding outcomes. Further explanation on this process can be found on page 124.


The Hybrid Auction merges the convenience and accessibility of online bidding with the excitement of a live auction, combining the best aspects of both formats. Conducted live by the auctioneer from Art Leven’s Redfern showroom, all bidding will take place remotely via phone, absentee, or online platforms, eliminating geographical barriers while retaining the energy and precision of traditional live auctions.


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At the time of writing this, the uncertain opening of The Stars We Do Not See exhibition in the United States, reflects a shifting international art landscape. The UBS 2025(1) Global Art Market Report noted that the international auction market was down across all segments with the exception of the under $5,000 mark, which grew in both value (by 7%) and volume (by 13%). Our focus has turned to small yet significant pieces, reflecting the current buyer demand, aiming to separate ourselves from an art market that is often criticised for being increasingly out of touch with the contemporary buyer. Alongside conservatively valued blue-chip pieces by the likes of Mirdidingkingathi Jurwanda Sally Gabori (LOT 16), Emily Kame Kngwarreye (LOT 17), Rover Joolama Thomas (LOT 36), and Lin Onus (LOT 34), are works in more affordable price ranges, including big name artists, as well selected works by some of the movement’s rising stars.


In keeping with this theme, the auction includes a selection of objects including two opalescent glass coolamons by iconic Balgo Artists, Eubena Nampitjin (LOT 11) and Bai Bai Napangardi (LOT 12). Janice Pungautiji Murray’s Jipiyontongi bird sculpture (LOT 13), revitalised traditional Tiwi sculpture through the medium of aluminium, a decade before Buku-Larrŋgay Mulka defined the genre.


One highlight of this auction is a collection of seven hand-painted ukuleles (LOT 15) by artists including Ronnie Tjampitjinpa, Mervyn Rubuntja, George Hairbrush Tjungurrayi, as well as renowned landscape painter Luke Sciberras. Created during a series of projects facilitated by Carol Ruff for Hula Dreams: An Exhibition of Hand-Painted Ukuleles, they are accompanied by a collection of photographs of the artists as well as a working photo of ‘Australian’ photographer Greg Weight & George Hairbrush Tjungurrayi. Opening this auction are two of Lola Deli Ryan’s iconic shell-covered Sydney Harbour Bridges (LOT 1), showcasing alternative media, a rarely represented area of the secondary market.


In recent years, bark painters have reclaimed their place in the contemporary art dialog with exhibitions such as Yolŋu Power: The Art of Yirrkala at the Art Gallery of New South Wales (2025), Bark Salon at the Ian Potter Centre: NGV Australia, and Madayin: Eight Decades of Aboriginal Bark Painting from Yirrkala (2023–24), which toured major museums in the United States. These exhibitions have shown bark painting’s evolution from the earliest commissions to its current global resonance. This, in addition to significant advances in their preservation and conservational display techniques, have made bark paintings popular targets for any contemporary collection.


LOTS 21–33 and 57–68 represent the diversity of Australia’s Top End artists with examples from every region known for traditional bark painting. Including the Arnhem Land master John Mawurndjul (LOT 25), celebrated contemporary Yolŋu artist Dhambit Munuŋgurr (LOT 21) and the fine rarrk of Narritjin Maymuru (LOT 24). From the Kimberly’s, featuring the powerful presence of Waigan Djanghara’s Wandjina (LOT 6), to the dramatic contrasting pigments of the Groote Eylandt barks, and an Unknown Artist who renders a rhythmic portrayal of the Jilamara ceremony (LOT 28).


The cover lot features a powerful image of Rover Joolama Thomas’ Bow River Station (LOT 4), is complemented by another work by Thomas, Yillimbiddi Country, (LOT 36) painted for Waringarri Aboriginal Arts in 1989. A personal favourite, Pinkalarta (LOT 49) painted in 2005, is the largest work ever offered at auction by Yulparija artist Alma Webou Kalaju. Ngoia Pollard Napaltjarri’s piece, Swamps near Nyrripi (LOT 38), shimmers and mesmerises with detail alongside a serious masterwork by Warlpiri favourite Dorothy Robinson Napangardi, Karntakurlangu (LOT 39), painstakingly painted from 2009 to 2010, is another major highlight.


This season’s auction captures the extraordinary depth, innovation, and integrity of First Nations Art, from ceremonial origins to contemporary experimentation. We invite you to join us for our extended viewing and to experience, firsthand, the future of art auctions through our new Priority Bidding and Hybrid Auction platforms.


(1) Note 3.4 of the Art Basel UBS 2025 Global Art Market Report.


Emma Lenyszyn

First Nations Fine Art Specialist


October, 2025







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