Sculpture Artworks in current stockroom

(alphabetically by artist surname)

A collection of fine ceremonial poles

Category: Aboriginal Sculpture

Various Artists ()

A collection of fine ceremonial poles

earth pigments on hollow stringybark log

168 x 24cm (left), 235 x 15cm (centre), 196 x 15cm (right)

Provenance

DJIRRIRRA WUNUNGMURRA (b. 1968)

Yukuwa 729-19

(left)

CAROLINE DATJULUMA GUYULA (b. 1973)

Milŋiyawuy 7582-21

(centre)

JOCELYN YIMULA MUNUŊGURR (b. 1974)

Djapu 7759-21

(right)

Winter’s End

Category: Contemporary International Sculpture

Zadok Ben-David (b. 1949)

Winter’s End2008

hand cut painted aluminium

Diam: 148.5cm

edition of 1

Essay

Zadok Ben-David is an internationally acclaimed London-based artist. Born in Yemen and raised in Israel, he studied at London’s St. Martin’s School of art, where he also taught from 1977-1982. In 1988 he was selected to exhibit as Israel’s representative at the Venice Biennale. His delicate, hand-cut painted aluminium sculptures play with shape and use strong lines and fine detailing to suggest growth, renewal and the connectedness of natural forms.

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Zig Zag

Category: International Sculpture

Zadok Ben-David (b. 1949)

Zig Zag2010

hand cut Corten steel

H322 x W50 x D9 cm

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On Hold for a Bigger Collector than You

Category: Large Scale Works Mixed Media Sculpture

Danny First ()

On Hold for a Bigger Collector than You2011

Laser-cut recycled plastics

81 x 66 x 183cm

Provenance

Maloney Fine Art, Los Angeles

Essay

Danny First has developed a body of work utilizing reclaimed / recycled materials to create functional benches which incorporate text reflecting First’s droll sense of humour. Whether it is figurative orutilitarian in nature, First’s work is light and unpretentious. Informed by art history and the tradition of creating sculptural forms, First’s sculpture reflects the artist’s optimistic view of life.

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Larrakitj

Category: Aboriginal Sculpture

Yinimala Gumana ()

Larrakitj

H: 231cm

Provenance

Baku-Larrnggay Mulka, NT

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Owl

Category: Australian Mixed Media Sculpture

Noel McKenna (b. 1956)

Owl2002

oil on ceramic tile

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Prez

Category: Australian Sculpture

Clement Meadmore (1929 - 2005)

Prez1992

bronze

stamped 'Meadmore,' numbered 1/6 and dated

102 x 82 x 82cm

1/6

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Frog Leaping, [made in collaboration with potter Lino Alvarez]

Category: Australian Sculpture

John Olsen (b. 1928)

Frog Leaping, [made in collaboration with potter Lino Alvarez]2021

hand painted ceramic

100 x 60 x 60 cm

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Equine Impedimenta (Tully’s Baggage)

Category: Australian Contemporary Sculpture Traditional

Tim Storrier (b. 1949)

Equine Impedimenta (Tully’s Baggage)2019

bronze

H:36 x W22 x L49cm, base length 31.5cm

edition of 50

Essay

Equine Impedimenta (Tully’s Baggage) is an exquisite sculpture of a horse with an assortment of artist’s paraphernalia strapped to its mount. Inspired by the artist’s fascination with horses and the history of our human relationship with them Tim Storrier states, “Horses are beautiful creatures. Their partnership with us is ancient and although not without coercion it has been a wonderfully productive relationship” (Bowral, 2020). Having done numerous studies, drawings and paintings of horses and having collaborated with a master sculptor, Liao Shengxiang, Storrier was inspired to create these bronze maquettes that stand as tributes to these beautiful creatures.

Biography
1949 Born, Sydney
1967–69 Studied at the National Art School, Sydney
2020 Currently lives and works in Bowral, NSW
Awards and Commissions
2017 Awarded Doug Moran National Portrait Prize, Sydney
2017 Awarded a Fellowship of the National Art School, Sydney
2014 The Packing Room Prize, Art Gallery of New South Wales, Sydney
2012 Awarded the Archibald Prize Art Gallery of New South Wales, Sydney
for The Histrionic Wayfarer (after Bosch)
1994 Awarded the AM in the Australia Day Honours for services to
contemporary Australian art
1990 BHP Commission for International Iron and Steel Institute Conference
1984 Awarded the Sulman Prize
1978 Awarded R. M. Ansett Hamilton Art Award
1968 Awarded the Sulman Prize
1967 Awarded Sakura Colour Products Prize

Collections
Metropolitan Museum of Art, New York; National Gallery of Australia,
Canberra; National Gallery of Victoria, Melbourne; Art Gallery of New South
Wales, Sydney; Queensland Art Gallery, Brisbane; Art Gallery of Western
Australia, Perth; Australian National University, Canberra; Deakin University,
Geelong; City of Hamilton Art Gallery, Victoria; Western Australian Institute
of Technology, Perth; Bathurst Regional Art Gallery, NSW; New England
Regional Art Museum, NSW; City of Rockhampton Art Gallery, Queensland;
Museum and Art Galleries of the Northern Territory, Darwin; Wollongong
City Gallery, NSW; Bar Association of New South Wales, Sydney; The
Australian Print Collection, Wagga Wagga; Regional Art Gallery, NSW

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Tiwi Figure from Bathurst and Melville Islands

Category: Sculpture Traditional

Ben Tipungwuti (1916 - 1979)

Tiwi Figure from Bathurst and Melville Islands

natural earth pigments on carved ironwood

65.5cm

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Pukamani Pole

Category: Aboriginal Sculpture

Bede Tungutalum (b.1952)

Pukamani Pole

natural earth pigments on ironwood

height: 174 cm

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Selection of ceremonial poles

Category: Aboriginal Sculpture

Djirrirra Wunungmurra (b. 1968)

Selection of ceremonial poles

Essay

(left)

Yukuwa 3142-17

earth pigments on stringybark hollow pole

232 x 28cm

(centre)

Yukuwa 6499-18

earth pigments on stringybark hollow pole

267cm

SOLD

(right)

Bukyu (Larrakitj) 3047-19

earth pigments on stringybark hollow pole

256cm

SOLD

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Kunapipi Ceremony

Category: Aboriginal Sculpture Traditional

Yirawala (1897-1976)

Kunapipi Ceremonyc. 1965

ochre on bark

71 x 25cm

Provenance

Purchased from Sandra Holmes, Collection of Leo Kelly, Sydney; Sotheby’s June 2000, Lot 284

Essay

One of the most celebrated Australian Aboriginal artists of the twentieth century,Yirawala was a seminal figure in the contemporary bark painting movement. He was a man of high ritual authority who worked tirelessly to communicate the value of his culture to outside audiences through his art. Yirawala was the most influential of the artists in the Croker Island ‘school’ of bark painting in the 1950s and 1960s. He was a Kuninjkuritual leader with access to a vast amount of religious iconography, whose bark paintings featured the shimmering rarrk (cross-hatching) patterns of the Mardayin ceremony. With their origins in ceremonial body painting, rarrk designs are associated with the power of the Ancestor beings. Yirawala’s style of painting, which included these designs to dazzling effect, influenced many of the best-known bark painters working today.