Important Australian Indigenous Art
22 March 2023


(c.1910 - 1996)

synthetic polymer paint on linen

151.5 x 91.0 cm

bears inscription verso: artist’s name and Delmore Gallery cat. 95I015

$80,000 – $120,000
Sold for $288,409 (inc. BP) in Auction 73 - 22 March 2023, Melbourne

Commissioned in September 1995 by Delmore Gallery, Alice Springs
Private collection, Melbourne


Emily Kame Kngwarreye: Alhalkere, Paintings from Utopia, Queensland Art Gallery, Brisbane, 20 February - 13 April 1998; Art Gallery of New South Wales, Sydney, 15 May - 19 July 1998; National Gallery of Victoria, Melbourne, 22 September - 22 November 1998, cat. 83 (label attached verso, as 'Untitled (Merne Kame')
Emily Kame Kngwarreye: Werke Australischer Privatsammlungen, Kunsthaus Zug, Zug, Switzerland, 1 October 2019 – 12 January 2020


Neale M., Emily Kame Kngwarreye: Alhalkere, Paintings from Utopia, Macmillan Publishers, Melbourne, 1998, cat. 83, pl. 13, p. 28 (illus., as 'Untitled (Merne Kame'))

Catalogue text

This work is accompanied by a certificate of authenticity from Delmore Gallery that states:


Emily Kame Kngwarreye, 1992
Photographer: Christopher Hodges
© Utopia Art Sydney

Emily Kngwarreye’s “Untitled 1995” exposes the artist as a master colourist who has immersed herself in the full atmosphere that speaks for and celebrates the dramatic event of storms bringing rain, and with that, a celebratory vision of country transformed.

Colour not only distinguished between the ripe and the not so ripe fruits and flower sources of her landscape, but also conveys the all-important aerial view of where water and fertile country lie. Intricate dot-work is dramatically directioned to show an aerial view of Emily’s birthplace, Alhalkere. The form of the country steers stormwater through a filigree of creeks and catchments that replenishes the Sandover River system which spreads out across Utopia Station country, ultimately rejuvenating stories of creation, celebration and communal gatherings.
The colours red, white and yellow are constants with Kngwarreye’s palette. They reference the body paint of Emu men in ceremony and vital Kame seed – Kngwarreye’s custodial Anulare yam daisy. “Untitled 1995” is a wonderful vibrant creation, radiant when sunlight comes across its space, and on cold days it radiates warmth from the wonderful collision of dots full of fertile energy.’