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Paddy Bedford Sold at Auction Prices

b. 1922 - d. 2007

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        • PADDY NYUNKUNY BEDFORD, UNTITLED, 2004
          Mar. 26, 2024

          PADDY NYUNKUNY BEDFORD, UNTITLED, 2004

          Est: $10,000 - $15,000

          PADDY NYUNKUNY BEDFORD (c.1922 - 2007) UNTITLED, 2004 gouache on crescent board 50.5 x 76.0 cm bears inscription verso: Jirrawun Aboriginal Arts cat. PB WB 3 2004.181 PROVENANCE Jirrawun Arts, Kununurra, Western Australia The Estate of Paddy Bedford William Mora Galleries, Melbourne Private collection, Melbourne Deutscher and Hackett, Melbourne, 18 May 2011, lot 42 Private collection, Melbourne LITERATURE Storer, R.,  Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 176 (illus.) © courtesy of The Estate of Paddy Bedford

          Deutscher and Hackett
        • PADDY NYUNKUNY BEDFORD, UNTITLED, 2004
          Mar. 26, 2024

          PADDY NYUNKUNY BEDFORD, UNTITLED, 2004

          Est: $8,000 - $12,000

          PADDY NYUNKUNY BEDFORD (c.1922 - 2007) UNTITLED, 2004 gouache on crescent board 50.5 x 76.0 cm bears inscription verso: Jirrawun Aboriginal Arts cat. PB WB 3 2004.198 PROVENANCE Jirrawun Arts, Kununurra, Western Australia The Estate of Paddy Bedford William Mora Galleries, Melbourne Private collection, Melbourne Deutscher and Hackett, Melbourne, 18 May 2011, lot 41 Private collection, Melbourne LITERATURE Storer, R.,  Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 177 (illus.) © courtesy of The Estate of Paddy Bedford

          Deutscher and Hackett
        • PADDY NYUNKUNY BEDFORD, UNTITLED, 2003
          Nov. 22, 2023

          PADDY NYUNKUNY BEDFORD, UNTITLED, 2003

          Est: $12,000 - $15,000

          PADDY NYUNKUNY BEDFORD (c.1922 - 2007) UNTITLED, 2003 gouache on crescent board 51.0 x 76.5 cm bears a written dedication to the recipient verso, dictated by Paddy Bedford and transcribed by Tony Olivero: ‘To my friends Peter and Karen, thank you, lawyer that a true story – everything. Gardia damage them at Bedford Downs. Proove it now No matter gardia don’t believe. Paddy Quilty got wild over bullock – but other gardia wanted those blackfella women. My mum carrying me when bad thing happen with cheeky gardia. Paddy Quilty give me his name – “We’ll have to call him after me – ‘Paddy Bedford’.’ That Trevor Smith and Jack Carey they cheeky gardia – Carey bad man cut women’s milk and miller (vagina) – BAD PEOPLE – Murders – cut man’s prick as well. Thank you, from Lawman Paddy – I know everything law way. I got olden time law that old people show us. Paddy Bedford, October 2003, Kununurra   Paddy Bedford gouache on crescent board September 2003 Jirrawun Arts Kununurra, WA' PROVENANCE Jirrawun Arts, Kununurra, Western Australia Paddy Bedford, Kununurra Private collection, Melbourne, a gift from the above © courtesy of The Estate of Paddy Bedford

          Deutscher and Hackett
        • Paddy Bedford (circa 1922-2007) Untitled, 2003
          Aug. 29, 2023

          Paddy Bedford (circa 1922-2007) Untitled, 2003

          Est: $12,000 - $18,000

          Paddy Bedford (circa 1922-2007) Untitled, 2003 bears inscription verso: Jirrawun Arts cat. 'PB WB 2003-30 PB' gouache on crescent board 82.0 x 101.0cm (32 5/16 x 39 3/4in).

          Bonhams
        • Paddy Bedford - Krill Krill (Dance Board), 2001
          Jun. 20, 2023

          Paddy Bedford - Krill Krill (Dance Board), 2001

          Est: $8,000 - $12,000

          Though he had been involved with ceremonial painting all his life, Paddy Bedford did not begin painting formally until he was in his late 70s in 1997. While important Dreamings such as the Emu, Turkey, and Cockatoo are present in many of his works, this board, made for Junba, depicts Lungabun (Jack Humble Bore on Bedford Downs). Junba, referred to as a corroboree or bungl in other parts of Australia, is considered essential for social and emotional wellbeing, and handing down culture and language. Paddy was an enigmatic octogenarian, who stood out as a uniquely talented artist. 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 a retrospective exhibition and a major monograph by the Museum of Contemporary Art in Sydney, which toured nationally.

          Cooee Art
        • Mud Springs - Yuwangeny
          May. 23, 2023

          Mud Springs - Yuwangeny

          Est: $70,000 - $100,000

          Paddy Bedford 1922-2007 Mud Springs - Yuwangeny, 2002 Signed ‘PB’ and bears artist’s name and Jirrawan Arts catalogue number PB862002-124 on the reverse  Natural earth pigments on Belgian linen 59 in x 70 ⅞ in (150 cm x 180 cm)

          Sotheby's
        • PADDY NYUNKUNY BEDFORD, UNTITLED, 2004
          Mar. 22, 2023

          PADDY NYUNKUNY BEDFORD, UNTITLED, 2004

          Est: $8,000 - $12,000

          PADDY NYUNKUNY BEDFORD (c.1922 - 2007) UNTITLED, 2004 gouache on crescent board 51.0 x 76.0 cm bears inscription verso: Jirrawun Arts cat. PB-WB-3-2004–188 PROVENANCE Jirrawun Arts, Kununurra, Western Australia The Laverty Collection, Sydney, acquired from the above in April 2004 EXHIBITED Paddy Bedford, Museum of Contemporary Art Australia, Sydney, 6 December 2006 – 15 April 2007, then touring Art Gallery of Western Australia, Perth, 12 May – 22 July 2007; Bendigo Art Gallery, Victoria, 11 August – 16 September 2007; University Art Museum, University of Queensland, Brisbane, 16 November 2007 – 1 March 2008 LITERATURE Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 177 (illus.) Beyond Sacred: Australian Aboriginal Art: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 249 (illus.) © courtesy of The Estate of Paddy Bedford

          Deutscher and Hackett
        • PADDY NYUNKUNY BEDFORD, UNTITLED, 2004
          Mar. 22, 2023

          PADDY NYUNKUNY BEDFORD, UNTITLED, 2004

          Est: $8,000 - $12,000

          PADDY NYUNKUNY BEDFORD (c.1922 - 2007) UNTITLED, 2004 gouache on crescent board 51.0 x 76.0 cm bears inscription verso: Jirrawun Arts cat. PB WB 2004–186 PROVENANCE Jirrawun Arts, Kununurra, Western Australia The Laverty Collection, Sydney, acquired from the above in April 2004 EXHIBITED Talking About Abstraction, Ivan Dougherty Gallery, Sydney, 27 May – 3 July 2004 LITERATURE Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 177 (illus.) © courtesy of The Estate of Paddy Bedford

          Deutscher and Hackett
        • PADDY NYUNKUNY BEDFORD, CAMEL GAP, 2004
          Dec. 01, 2022

          PADDY NYUNKUNY BEDFORD, CAMEL GAP, 2004

          Est: $45,000 - $65,000

          PADDY NYUNKUNY BEDFORD (c.1922 - 2007) CAMEL GAP, 2004 ochres and pigments with synthetic binder on composition board 80.5 x 100.5 cm signed with initials verso: PB bears inscription verso: Jirrawun Arts cat. PB CB 3-2004-17 PROVENANCE Jirrawun Arts, Kununurra, Western Australia The Estate of Paddy Bedford Bonhams, Sydney, 21 November 2011, lot 3B Private collection, Sydney EXHIBITED Paddy Bedford: Crossing Frontiers, Museum of Contemporary Aboriginal Art (AAMU), Utrecht, The Netherlands, 8 October 2009 - 11 April 2010 LITERATURE Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 161 (illus.) Petitjean, G., et al., Paddy Bedford: Crossing Frontiers, Museum of Contemporary Aboriginal Art (AAMU), Utrecht, The Netherlands, and Snoeck Editions, Heule, Belgium, 2009, p. 95 (illus.) RELATED WORK Camel Gap, 2004, ochres and pigment on linen, 150.0 × 180.0 cm, in the collection of the Museum of Contemporary Art, Sydney donated through the Australian Government's Cultural Gifts Program by Colin and Elizabeth Laverty, 2012 ESSAY ‘Paddy Bedford’s paintings articulate a complex dialectic between modern materials and traditional pictorial conventions, contemporary experience, and ancient belief systems’.1 Drawing from two very different sources of knowledge, and painting with a deep sense of history and cultural responsibility, Paddy Bedford mapped the rich history of the east Kimberley using stories from his father’s, mother’s and uncle’s country. Within his canvases, historical events together with the more mundane stories about daily life on cattle stations co-exist with profound and lyrical understanding of the land and its creation stories. Bedford explored the important stories from its past whilst painting the bones of the landscape with the waterholes, stockyards and roads that he traversed throughout his life. Painted in 2001,  Camel Gap, documents an evolution in the artist’s painting style, moving beyond the more familiar ochre representations of country produced by earlier East Kimberley artists, and predicting his further innovative changes in palette and technique. Camel Gap, also known as Gernawarliyan to the local Gija people, is found in the traditional country of the artist’s mother. Located to the south-east of Bedford Downs station and adjacent to Marty’s bore, a few kilometres east of the Springvale – Lansdowne Road, it is a place where in mythological times, the goanna Garndoowoolany camped in the ngarranggarni (Dreaming). Garndoowoolany called out to Marranyi, the dingo, whom he saw at the top of the hill. It was here that Marranyi got stuck and became part of the rock. Its English name refers both to the shape of the hill and, also to the Afghan cameleers who, in the early twentieth century, travelled past this place on their journey south from the port at Wyndham to remote Kimberley communities and further afield for trade.   1. Michael Dolk cited in Storer, R., ‘Paddy Bedford’ in Michael, L.,  Paddy Bedford, Museum of Contemporary Art, Sydney 2006, p. 11   CRISPIN GUTTERIDGE

          Deutscher and Hackett
        • PADDY NYUNKUNY BEDFORD, MENDOOWOORRJI – MEDICINE POCKET, 2005
          Dec. 01, 2022

          PADDY NYUNKUNY BEDFORD, MENDOOWOORRJI – MEDICINE POCKET, 2005

          Est: $140,000 - $160,000

          PADDY NYUNKUNY BEDFORD (c.1922 - 2007) MENDOOWOORRJI – MEDICINE POCKET, 2005 ochres and pigments with synthetic binder on linen  150.0 x 180.0 cm signed with initials verso: PB bears inscription verso: date and Jirrawun Arts cat. PB8-2005-234 PROVENANCE Jirrawun Arts, Kununurra, Western Australia The Laverty Collection, Sydney, acquired from the above in August 2005 EXHIBITED Paddy Bedford, Museum of Contemporary Art, Sydney, 6 December 2006 – 15 April 2007, and touring, Art Gallery of Western Australia, Perth, 12 May – 22 July 2007; Bendigo Art Gallery, Victoria, 11 August – 16 September 2007; University Art Museum, University of Queensland, Brisbane, 16 November 2007 – 1 March 2008 LITERATURE Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, pp. 114 (illus.), 158 Beyond Sacred: Australian Aboriginal Art: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, pp. 233 (illus.), 343 Beyond Sacred: Australian Aboriginal Art: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, pp. 246, 247 (illus.), 394 ESSAY Crafting his own unique representations of country, the paintings of Paddy Bedford evoke rocky escarpments, rivers and other amorphous features of the Kimberley landscape, whilst at the same time containing a learned and poetical knowledge of the land and its creation stories. His formal language is characterised by a symbiotic relationship between bold forms and an elegant, balanced composition. While Bedford's earlier work engaged the use of natural ochres to depict his environment, his later work employed a more restrained and pared-back palette, initially using only black and white, but later incorporating grey and pink washes, applied to canvas before the previously administered layer of paint had dried, a process known as ‘ wet on wet’.   Paddy Bedford (c.1922 – 2007), also known as  Goowoomji-Nyunkuny in his own Gija language, is one of the most important Indigenous Australian artists. Painting his first works on left-over building materials in 1998, aged 75, he soon became recognised as an innovator and influential artist through his unique depictions of East Kimberley history, and for evolving the artistic tradition forged earlier by Rover Thomas and Paddy Jaminji.   Mendoowoorrji – Medicine Pocket, 2005 refers to the stretch of hills between Thoonbi and Thoowoonggoonarrin, to the south-east of Bedford Downs. Medicine Pocket was an important camping area pre-colonisation because of its ‘living water’. This region is replete with brooks and waterways flowing through open land and bordered by hills. Like so much of his work, our painting conveys Bedford’s intricate knowledge of his country, its features, topography, and sacred narratives. This land belongs to the artist’s mother’s dreaming, where in mythological times two men fought with sticks and became part of the landscape at Wanggarnaban (the place where Wanggarnal the crow camped, when she was a woman in the dreaming or Ngarranggarni in gija language). Bedford recalled ‘ Mendoowoorr country is not far, the country they call Mendoowoorrji. My uncles (my mother’s brothers) were all Mendoowoorr country owners. They have all died now. They are all buried now. It is alright, the country belongs to me now. That is why I can paint this country, because of my old people.’1 This painting was purchased by Colin and Liz Laverty directly from Jirrawun Arts, Kununurra in late August 2005 soon after it was finished. Paddy Bedford and Colin and Liz Laverty had formed a strong friendship very early on in the artist’s career, with the Laverty’s acquiring his first four recorded paintings made on discarded scraps of plywood in September 1998. During the following decade they acquired another 35 paintings by the artist, often having the opportunity to purchase works prior to exhibition. Paintings and gouaches by Paddy Bedford held in the Laverty collection have been loaned regularly to survey and other exhibitions featuring Bedford in Australia, and internationally.  In 2006, Paddy Bedford’s oeuvre was honoured with a grand retrospective at the Museum of Contemporary Art in Sydney where this work was displayed. Bedford’s first international retrospective exhibition took place in 2009 at the Museum of Contemporary Aboriginal art in Utrecht, the Netherlands. Since then, his work has been on display at several exhibitions worldwide, including the Metropolitan Museum of Art, New York; the Musée du Quai Branly, Paris; and the Museum Ludwig, Cologne.   1. The artist in conversation with Frances Kofod, in Paddy Bedford, Museum of Contemporary Art, Sydney, 2007, p. 134   CRISPIN GUTTERIDGE

          Deutscher and Hackett
        • PADDY NYUNKUNY BEDFORD, UNTITLED, 1998
          Mar. 30, 2022

          PADDY NYUNKUNY BEDFORD, UNTITLED, 1998

          Est: $20,000 - $30,000

          PADDY NYUNKUNY BEDFORD (c.1922 - 2007) UNTITLED, 1998 ochres and pigments on plywood 45.0 x 60.0 cm PROVENANCE Jirrawun Arts, Kununurra, Western Australia, cat. PB1998.04) The Collection of Colin and Elizabeth Laverty, Sydney, no. 1138, acquired from the above in September 1998 (label attached verso) EXHIBITED Mapping Our Countries, Djamu Gallery, Australian Museum at Customs House, Sydney, 9 October 1999 – 27 February 2000 True Stories: Art of the East Kimberley, Art Gallery of New South Wales, Sydney, 10 January – 27 April 2003 (label attached verso) Paddy Bedford, Museum of Contemporary Art, Sydney, 6 December 2006 – 15 April 2007, then touring to: Art Gallery of Western Australia, Perth, 12 May – 22 July 2007; Bendigo Art Gallery, Victoria, 11 August – 16 September 2007; University Art Museum, University of Queensland, Brisbane, 16 November 2007 – 1 March 2008 LITERATURE Storer, R.,  Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, pp. 63 (illus.), 143 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 229 (illus.) © courtesy of The Estate of Paddy Bedford

          Deutscher and Hackett
        • PADDY NYUNKUNY BEDFORD, UNTITLED, 1998
          Mar. 30, 2022

          PADDY NYUNKUNY BEDFORD, UNTITLED, 1998

          Est: $20,000 - $30,000

          PADDY NYUNKUNY BEDFORD (c.1922 - 2007) UNTITLED, 1998 ochres and pigments on composition board 46.0 x 74.0 cm initialled and dated verso: PB 98 bears inscription verso: Jirrawun cat no. 98 PROVENANCE Jirrawun Arts, Kununurra, Western Australia, cat. PB1998.02 The Collection of Colin and Elizabeth Laverty, Sydney, no. 1136, acquired from the above in September 1998 (label attached verso) EXHIBITED Mapping Our Countries, Djamu Gallery, Australian Museum at Customs House, Sydney, 9 October 1999 – 27 February 2000 True Stories: Art of t h e East Kimberley, Art Gallery of New South Wales, Sydney, 10 January – 27 April 2003 (label attached verso) Paddy Bedford, Museum of Contemporary Art, Sydney, 6 December 2006 – 15 April 2007, then touring to: Art Gallery of Western Australia, Perth, 12 May – 22 July 2007; Bendigo Art Gallery, Victoria, 11 August – 16 September 2007; University Art Museum, University of Queensland, Brisbane, 16 November 2007 – 1 March 2008 LITERATURE Storer, R.,  Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, pp. 63 (illus.), 143 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 228 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 240 (illus.) McDonald, E. (ed.),  Volume One: MCA Collection, Museum of Contemporary Art, Sydney, 2012, p. 187 (illus.) © courtesy of The Estate of Paddy Bedford

          Deutscher and Hackett
        • PADDY NYUNKUNY BEDFORD, UNTITLED, 1998
          Mar. 30, 2022

          PADDY NYUNKUNY BEDFORD, UNTITLED, 1998

          Est: $20,000 - $30,000

          PADDY NYUNKUNY BEDFORD (c.1922 - 2007) UNTITLED, 1998 ochres and pigments on composition board 47.5 x 74.0 cm initialled and dated verso: PB 98 bears inscription verso: Jirrawun Arts cat. PB7983 PROVENANCE Jirrawun Arts, Kununurra, Western Australia, cat. PB1998.01 The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 1998 EXHIBITED Mapping Our Countries, Djamu Gallery, Australian Museum at Customs House, Sydney, 9 October 1999 – 27 February 2000 True Stories: Art of the East Kimberley, Art Gallery of New South Wales, Sydney, 10 January – 27 April 2003 (label attached verso) Paddy Bedford, Museum of Contemporary Art, Sydney, 6 December 2006 – 15 April 2007, then touring to: Art Gallery of Western Australia, Perth, 12 May – 22 July 2007; Bendigo Art Gallery, Victoria, 11 August – 16 September 2007; University Art Museum, University of Queensland, Brisbane, 16 November 2007 – 1 March 2008 LITERATURE Storer, R.,  Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, pp. 63 (illus.), 143 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 228 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 240 (illus.) McDonald, E. (ed.),  Volume One: MCA Collection, Museum of Contemporary Art, Sydney, 2012, p. 187 (illus.) © courtesy of The Estate of Paddy Bedford

          Deutscher and Hackett
        • PADDY BEDFORD (1922-2007) Untitled 2003 gouache on acid free crescent board
          Mar. 22, 2022

          PADDY BEDFORD (1922-2007) Untitled 2003 gouache on acid free crescent board

          Est: $8,500 - $12,000

          PADDY BEDFORD (1922-2007) Untitled 2003 gouache on acid free crescent board 51 x 76cm PROVENANCE: Jirrawun Arts, Western Australia 2003 William Mora Galleries, Melbourne (stamp verso) Leonard Joel, Melbourne, 3 June 2008, lot 64 Private collection, Melbourne OTHER NOTES: Please note that 5% of the sale price of this lot will be distributed directly to NEIVA (The National Endowment for Indigenous Visual Arts) to support this initiative.

          Leonard Joel
        • Paddy Bedford - Win Bil Ji - Old Bedford Station, 2001
          Mar. 08, 2022

          Paddy Bedford - Win Bil Ji - Old Bedford Station, 2001

          Est: $18,000 - $25,000

          Paddy Bedford (Nyunkuny) was born in 1922 at Ngarrmaliny on Bedford Downs cattle station in the East Kimberley and grew up leading an active ceremonial life while working as a stockman on Old Bedford, Old Greenvale, and Bow River cattle stations. 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 1990s. He subsequently participated in two workshops organised by ethnographer and field collector Neil McLeod, that were conducted at the home of his contemporary and friend Jack Dale in 1997 and 1998, before Bedford joined Freddie Timms as a founding member of the Jirrawun Arts collective in 1998. This work depicts Police Rock Hole (or Win Bil Ji) as it was originally recorded by McLeod. Located on Old Bedford Station, its Gidja name is more familiarly recorded as Winperrji. This is an important site for the White Cockatoo Dreaming that is central to many of the creation stories from the Kimberley. The work can be read as both abstract and narrative, and as an overview of the landscape. The articulation of forms defined by lines of white dotting which appear to float across the canvas, are reminiscent of Rover Thomas’s work. In 2006, Paddy Bedford was selected as one of eight Aboriginal artists to contribute designs for the buildings of the Musée du quai Branly, Paris. Later that year he was honoured with a retrospective exhibition at The Museum of Contemporary Art, Sydney.

          Cooee Art
        • PADDY BEDFORD (1922-2007) Untitled 2003 gouache on acid free crescent board
          Nov. 23, 2021

          PADDY BEDFORD (1922-2007) Untitled 2003 gouache on acid free crescent board

          Est: $10,000 - $15,000

          PADDY BEDFORD (1922-2007) Untitled 2003 gouache on acid free crescent board 51 x 76cm PROVENANCE: Jirrawun Arts, Western Australia 2003 William Mora Galleries, Melbourne (stamp verso) Leonard Joel, Melbourne, 3 June 2008, lot 64 Private collection, Melbourne OTHER NOTES: Please note that 5% of the sale price of this lot will be distributed directly to NEIVA (The National Endowment for Indigenous Visual Arts) to support this initiative.

          Leonard Joel
        • Paddy Bedford - Jirljin (Red Pocket), 2000
          Jun. 08, 2021

          Paddy Bedford - Jirljin (Red Pocket), 2000

          Est: $25,000 - $35,000

          Cooee Art Indigenous Fine Art Auction "Paddy Bedford stood out as a uniquely talented artist. He was already in his 77th year when he began painting his first works. Red Pocket is near the Springvale-Landsdown Road, between Ida Mere Yard and Janterrji, Southeast of Bedford Downs Station. Here, a pocket of 'red' earth is surrounded by hills in an area that is typically characterised by black soil plains running all the way to the base of the Durack Ranges at the edge of the East Kimberley plateau. There are a lot of small caves in the area that were traditional Gija camping places. In this painting two big hills are separated by a narrow gap through which people passed, either on foot when walking though country or on horses when mustering cattle. The sharp contrast between the field of red-brown ochre and the white negative space can be seen as a stylistic bridge between works by earlier east Kimberley painters such as Rover Thomas and Paddy Jaminji, and Bedford's works that were created with a singular original vision later in his career. Paddy went on to achieve great renown as an artist and was amongst the few selected to contribute to the permanent installation at the Musee du Quai Branly in Paris. During his lifetime, he was honoured with the unprecedented recognition of a retrospective exhibition and a major catalogue by the Museum of Contemporary Art in Sydney in 2007, which toured nationally." Contact Cooee Art for more information on this Aboriginal artwork.

          Cooee Art
        • PADDY NYUNKUNY BEDFORD, THOOWOONGGOONARRIN, 2000
          Mar. 17, 2021

          PADDY NYUNKUNY BEDFORD, THOOWOONGGOONARRIN, 2000

          Est: $35,000 - $45,000

          THIS LOT HAS BEEN WITHDRAWN

          Deutscher and Hackett
        • Paddy Bedford - Untitled, 1998
          Oct. 20, 2020

          Paddy Bedford - Untitled, 1998

          Est: $6,000 - $10,000

          Characteristic of Paddy Bedford's painting style are richly ochred surfaces with minimal arrangements of circular shapes 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. Paddy Bedford, an enigmatic octogenarian, stood out as a uniquely talented artist. He was already in his 77th year when he painted his first works, of which this was one of his earliest. He was photographed during its creation whist staying with his friend Jack Dale in Derby in 1998. Paddy went on to achieve great renown as an artist and was amongst the few selected to contribute to the permanent installation at the Musee du Quai Branly in Paris. During his lifetime, he was honoured with the unprecedented recognition of a retrospective exhibition and a major catalogue by the Museum of Contemporary Art in Sydney in 2007, which toured nationally.

          Cooee Art
        • PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), CAMEL GAP, 2001, ochres and pigments with synthetic binder on linen
          Mar. 18, 2020

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), CAMEL GAP, 2001, ochres and pigments with synthetic binder on linen

          Est: $80,000 - $120,000

          PADDY NYUNKUNY BEDFORD (c.1922 – 2007) CAMEL GAP, 2001 ochres and pigments with synthetic binder on linen SIGNED: signed with initials verso: PB DIMENSIONS: 180.0 x 150.0 cm PROVENANCE: Jirrawun Arts, Kununurra, Western Australia (cat. PB 3-2001-97) RAFT Artspace, Darwin Private collection, Darwin, acquired from the above in 2002 EXHIBITED: Four Men, Four Paintings, RAFT Artspace, Darwin, March 2001 (as ‘Goanna Dreaming – Camel Gap’) Paddy Bedford, Museum of Contemporary Art, Sydney, 6 December 2006 – 15 April 2007, then touring to: Art Gallery of Western Australia, Perth, 12 May – 22 July 2007; Bendigo Art Gallery, Victoria, 11 August – 16 September 2007; University Art Museum, University of Queensland, Brisbane, 16 November 2007 – 1 March 2008 LITERATURE: Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, pp. 36 (illus.), 37, 149 (illus. ESSAY: From the time he first began painting on canvas in 1998, it took less than a decade for Paddy Bedford to be one of the most sought-after contemporary artists in Australia’s metropolitan galleries with collectors and museum curators keenly chasing his works at commercial exhibitions in East coast capitals. Like many of the first generation of contemporary indigenous artists, Paddy Bedford had lived a long and eventful life before taking up a brush to apply pigments and ochres to a stretched canvas of Belgian linen. As Michael Dolk comments in his introduction to the 2007 retrospective catalogue for the Museum of Contemporary Art, Sydney ‘Paddy Bedford’s paintings articulate a complex dialectic between modern materials and traditional pictorial conventions, contemporary experience and ancient belief systems’.1 Bedford painted with a deep sense of history and cultural responsibility, using stories from his father’s country, or his mother’s and uncle’s country. Bedford explored the rich history of the east Kimberley and the important stories that have mapped its past, painting the bones of the landscape with the waterholes, stockyards and roads that he traversed all his life. Within his canvases, historical events and more mundane stories about daily life on cattle stations co-exist creating a body of work with profound and lyrical knowledge of the land and its creation stories. Camel Gap, 2001 documents an evolution in his painting style and characterises Bedford's link between the more familiar style of the earlier East Kimberley painters and his own innovative changes in style and technique in representations of country. Camel Gap is a story from the artist’s mother’s traditional lands that illustrates the shared recent history of Gija and non-Aboriginal people. Known as Gernawarliyan to the local Gija people, it is located to the south-east of Bedford Downs adjacent to Marty’s bore, a few kilometres east of the Springvale – Lansdowne Road. It is connected to a ngarranggarni (Dreamtime) story of the goanna Garndoowoolany who camped here. Garndoowoolany called out to Marranyi, the dingo, who he saw at the top of the hill. It was here that Marranyi got stuck and became part of the rock. Its English name refers to the shape of the hill and also to the Afghan cameleers who, in the early twentieth century, travelled past this place on their journey south from the port at Wyndham to remote Kimberley communities and further afield for trade. Until the time of his passing in 2007, Bedford continued to experiment with form and pictorial convention, his use of wet-on-wet painting techniques and gestural mark making elevated his work to new heights of contemporary expression. With his dramatic monochromatic contrasts and hints of pure figuration, his simple, minimalist approach was in stark contrast to the more recognised desert (dot) paintings that had become so-wel

          Deutscher and Hackett
        • PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), JINANGGANY – CATTLE CREEK, 2004, ochres and pigment with synthetic binder on Belgian linen
          Mar. 18, 2020

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), JINANGGANY – CATTLE CREEK, 2004, ochres and pigment with synthetic binder on Belgian linen

          Est: $120,000 - $150,000

          PADDY NYUNKUNY BEDFORD (c.1922 – 2007) JINANGGANY – CATTLE CREEK, 2004 ochres and pigment with synthetic binder on Belgian linen SIGNED: signed with initials verso: PB bears inscription verso: title and Jirrawun Arts cat. PB 6-2004-172 DIMENSIONS: 150.0 x 180.0 cm PROVENANCE: Jirrawun Art Corporation, Wyndham, Western Australia Helene Teichmann collection, Melbourne EXHIBITED: Looking Forward – Looking Back: Contemporary Works from the East Kimberley, Bathurst Regional Art Gallery, New South Wales, 12 October – 9 December 2018 (illus. in exhibition catalogue, p. 17) LITERATURE: Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 154 (illus.)

          Deutscher and Hackett
        • 3 Volumes Frangos, S. "Timothy Cook Dancing witrh the Moon"; Pub. UWA, 2012; "Paddy Bedford", MCA, 2008; "Jimmy Pike, Graphics from...
          Feb. 13, 2020

          3 Volumes Frangos, S. "Timothy Cook Dancing witrh the Moon"; Pub. UWA, 2012; "Paddy Bedford", MCA, 2008; "Jimmy Pike, Graphics from...

          Est: $30 - $40

          3 Volumes Frangos, S. "Timothy Cook Dancing witrh the Moon"; Pub. UWA, 2012; "Paddy Bedford", MCA, 2008; "Jimmy Pike, Graphics from the Christensen Fund Collection"

          Lawsons
        • PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), THOOWOONGGOONARRIN, 2006, ochres and pigment with acrylic binder on Belgian linen
          Aug. 28, 2019

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), THOOWOONGGOONARRIN, 2006, ochres and pigment with acrylic binder on Belgian linen

          Est: $120,000 - $160,000

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), THOOWOONGGOONARRIN, 2006, ochres and pigment with acrylic binder on Belgian linen SIGNED: signed with initials verso: PB bears inscription verso: title, William Mora Art Fair, and Jirrawun Arts cat. PB 6-2006-258 DIMENSIONS: 150.0 x 180.0 cm PROVENANCE: Jirrawun Arts, Kununurra, Western Australia William Mora Galleries, Melbourne (stamped verso) Private collection, Melbourne, acquired from the above in 2006 EXHIBITED: William Mora Galleries at Melbourne Art Fair, Melbourne, 2 – 6 August 2006 Paddy Bedford, Museum of Contemporary Art, Sydney, 6 December 2006 – 15 April 2007, then touring to: Art Gallery of Western Australia, Perth, 12 May – 22 July 2007; Bendigo Art Gallery, Victoria, 11 August – 16 September 2007; University Art Museum, University of Queensland, Brisbane, 16 November 2007 – 1 March 2008 LITERATURE: Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, pp. 116 (illus.), 159 (illus.) ESSAY: Painting for Paddy Bedford was multi-layered; an expression of country and cultural memory, as well as a declaration of identity and statement of claim to the land itself. As Michael Dolk argues, painting suggests a physical and tactile relation to land, ‘To behold painting is to hold country and to remain beholden to its ancestral tradition’.1 Painting his first works in 1997, aged 75, Paddy Bedford soon became recognised as an innovator and important artist through his unique depictions of East Kimberley history and he is credited with evolving the artistic tradition forged earlier by Rover Thomas and Paddy Jaminji. Crafting his own representations of country, Bedford’s formal language is characterised by a symbiotic relationship between bold forms and an elegant, balanced composition. His painting evokes rocky escarpments, rivers and other amorphous features of the Kimberley landscape, whilst at the same time containing a learned and poetical knowledge of the land and its creation stories. As curator Russell Storer observes, ‘his paintings articulate a complex dialectic between modern materials and traditional pictorial conventions, contemporary experience and ancient belief systems’.2 Executed in 2006 and catalogued as painting PB 6-2006-258 in the chronological index of Bedford’s works, this painting represents the country of Thoowoonggoonarrin, also known as Tunganary, located to the south of Bedford Downs in his mother’s country. Tunganary Gorge is home to a permanent waterhole and is the dreaming place for Thoowoonggoonarrin, a large tree with dark leaves that is related to the fig tree ( Celtis philippinensis). The artist's maternal aunt died and is buried at this place. Thoowoonggoonarrin, 2006 was one of the last paintings executed by Bedford and can be seen as a culmination of the innovative changes in style and technique he developed to create his own representations of country. Here, large dominant forms along with the interplay between positive and negative space create a strikingly beautiful rendering of country. A sublime encrusted surface with washes of white and grey create a unique translucent quality, a consequence of the artist’s wet on wet painting technique. It is important to note that multiple narratives intertwine in Bedford’s paintings. Family stories, historical events and a deep connection to his country are often masked by the simple, bold starkness of his imagery and technique. 1. Dolk, M., ‘Are we Strangers in this Place’ in Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 20 2. Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 11 CRISPIN GUTTERIDGE

          Deutscher and Hackett
        • POSSIBLY PADDY BEDFORD, UNTITLED, ACRYLIC AND NATURAL EARTH PIGMENTS ON CANVAS LAID ON BOARD, 93 X 62CM, ARTIST NAME AND 10/09 INSCR...
          Jul. 11, 2019

          POSSIBLY PADDY BEDFORD, UNTITLED, ACRYLIC AND NATURAL EARTH PIGMENTS ON CANVAS LAID ON BOARD, 93 X 62CM, ARTIST NAME AND 10/09 INSCR...

          Est: $700 - $1,400

          POSSIBLY PADDY BEDFORD, UNTITLED, ACRYLIC AND NATURAL EARTH PIGMENTS ON CANVAS LAID ON BOARD, 93 X 62CM, ARTIST NAME AND 10/09 INSCRIBED ON DECORATORS ART LABEL VERSO

          Leonard Joel
        • POSSIBLY PADDY BEDFORD, UNTITLED, ACRYLIC AND NATURAL EARTH PIGMENTS ON CANVAS LAID ON BOARD, 93 X 62CM, ARTIST NAME AND 10/09 INSCR...
          Jul. 04, 2019

          POSSIBLY PADDY BEDFORD, UNTITLED, ACRYLIC AND NATURAL EARTH PIGMENTS ON CANVAS LAID ON BOARD, 93 X 62CM, ARTIST NAME AND 10/09 INSCR...

          Est: $1,000 - $2,000

          POSSIBLY PADDY BEDFORD, UNTITLED, ACRYLIC AND NATURAL EARTH PIGMENTS ON CANVAS LAID ON BOARD, 93 X 62CM, ARTIST NAME AND 10/09 INSCRIBED ON DECORATORS ART LABEL VERSO

          Leonard Joel
        • PADDY NYUNKUNY BEDFORD, UNTITLED, 1998
          Jun. 25, 2019

          PADDY NYUNKUNY BEDFORD, UNTITLED, 1998

          Est: $18,000 - $25,000

          PADDY NYUNKUNY BEDFORD (c.1922 – 2007) UNTITLED, 1998 natural earth pigments and synthetic binder on composition board DIMENSIONS: 102.0 x 122.0 cm PROVENANCE: Painted for Tony Oliver in Kununurra, Western Australia in 1998 Private collection, New South Wales This work is sold with an accompanying statement of provenance from Tony Oliver: ‘The attached image is a Paddy Bedford painting on hardboard by the artist at Pindan Avenue, Kununurra in 1998. The painting was amongst the first paintings the artist made for the nascent Jirrawun Arts group of Gija painters. The painting was created on the same day Hector Jandanay a close friend of Paddy’s named the painting group, Jirrawun (one mob standing together) which consisted of himself, Freddie Timms, Churchill Cann, Rusty Peters,Tiger Moore and Paddy Bedford. Tony Oliver helped form Jirrawun Arts with The Gija. He was founding Chief Executive Officer of Jirrawun Arts Aboriginal Arts incorporated under the Aboriginal Corporations Act and later Artistic Director of Jirrawun Arts Corporation. He worked closely with Paddy Bedford throughout the duration of his time with Jirrawun Arts until the artist’s death.’

          Deutscher and Hackett
        • PADDY NYUNKUNY BEDFORD, (c.1922 - 2007), MAD GAP, 2004, ochres and pigments with acrylic binder on composition board
          Apr. 10, 2019

          PADDY NYUNKUNY BEDFORD, (c.1922 - 2007), MAD GAP, 2004, ochres and pigments with acrylic binder on composition board

          Est: $45,000 - $65,000

          PADDY NYUNKUNY BEDFORD, (c.1922- 2007), MAD GAP, 2004, ochres and pigments with acrylic binder on composition board SIGNED: signed with initials verso: PB bears inscription verso: Jirrawun Arts cat. PB CB 6-2004-31 and WM 2005 DIMENSIONS: 80.0 x 100.0 cm PROVENANCE: Jirrawun Arts, Kununurra William Mora Galleries, Melbourne (stamped verso) Private collection, Melbourne EXHIBITED: Paddy Bedford: Heart of Blackness, William Mora Galleries, Melbourne, 25 May 18 June 2005 LITERATURE: Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 162 (illus.) ESSAY: The art of Paddy Bedford is a convergence of what Marcia Langton calls the ‘beautiful and the brutal’.1 His paintings evoke the recent, often dark, history of the East Kimberley following white settlement, yet remain strikingly beautiful in their painterly rendering of country with a sublime encrusted surface, where washes of pink and grey create a unique translucent quality, a consequence of the artist’s wet on wet painting technique. Gooweriny or Mad Gap (The place of the Cypress Pine) is found in the southern part of the artist’s Mother’s country in the remote east Kimberley region of Western Australia. Located about 50 kilometres south of Bedford Downs Station, Gooweriny (also known as Jarlaloon) is situated beside a seasonal river with permanent water-holes and is surrounded by big hills where caves, utilised by local people as shelter before the arrival of Europeans, are found. Whilst renderings of the Mad Gap site by other artists from Bedford’s generation are mostly concerned with Gija myths, by means of a compositional structure that ‘stems from the memory of sites and features of the landscape corresponding with stories of the ngarranggarni, which form an evolving repertoire of designs or motifs,’2; Bedford challenges this interpretation in his representation. Locations integral to memories of the artist’s everyday stock-camp life, and the surrounding country he visited whilst mustering cattle, feature strongly in the composition of Mad Gap, 2004. Roads, rivers and landscape becoming recurring motifs in his work. Insightful in its renewal of memory from the killing times and station times, Bedford conveys the history, recent and past, within the geography of the region. In relation to Bedford’s art, Michael Dolk notes that it is ‘no longer sustained by the social relations that once defined the practice and meaning of painting in its ceremonial context, Bedford’s painting reveals an introspective dimension, a process of reflection and dialogue with different social and cultural dimensions of the Gardiya (whitefella) world’.3 1. Langton, M., ‘Goowoomji’s World’ in Michael, L., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 51 2. Dolk, M., ‘Are We Strangers in this Place?’ in Michael, L., Paddy Bedford, Museum of Contemporary Art, Sydney 2006, p. 40 3. ibid., p. 17 CRISPIN GUTTERIDGE

          Deutscher and Hackett
        • PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), MENDOOWOORRJI - MEDICINE POCKET, 2000, ochres and pigment with acrylic binder on linen
          Feb. 24, 2019

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), MENDOOWOORRJI - MEDICINE POCKET, 2000, ochres and pigment with acrylic binder on linen

          Est: $55,000 - $65,000

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), MENDOOWOORRJI - MEDICINE POCKET, 2000, ochres and pigment with acrylic binder on linen SIGNED: inscribed verso: artist’s name and Jirrawun Aboriginal Arts cat. PB CB 3 2000.64 DIMENSIONS: 180.0 x 150.0 cm PROVENANCE: Jirrawun Aboriginal Arts, Kununurra William Mora Galleries, Melbourne (stamped verso) Private collection, Melbourne LITERATURE: Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, pp. 83, 147 (illus.) CONDITION REPORT: This work is in excellent, stable and original condition.

          Deutscher and Hackett
        • PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), UNTITLED, 2004, gouache on crescent board
          Nov. 28, 2018

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), UNTITLED, 2004, gouache on crescent board

          Est: $5,000 - $7,000

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), UNTITLED, 2004, gouache on crescent board SIGNED: bears inscription verso: Jirrawun Arts cat. PB WB 3 2004-187 DIMENSIONS: 51.0 x 76.0 cm PROVENANCE: Jirrawun Arts, Kununurra The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in April 2004 EXHIBITED: Paintings from Remote Communities: Indigenous Australian Art from the Laverty Collection, Sydney, Govett Brewster Art Gallery, New Zealand, 15 December 2007 – 24 February 2008; then touring to Newcastle Art Gallery, Newcastle, 5 July – 31 August 2008 LITERATURE: Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 177 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 234 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 248 (illus.)

          Deutscher and Hackett
        • PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), WIRWIRJI – DONKEY HOLE, 2000, ochres and pigment with acrylic binder on Belgian linen
          Nov. 28, 2018

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), WIRWIRJI – DONKEY HOLE, 2000, ochres and pigment with acrylic binder on Belgian linen

          Est: $28,000 - $35,000

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), WIRWIRJI – DONKEY HOLE, 2000, ochres and pigment with acrylic binder on Belgian linen SIGNED: signed with initials verso: PB bears inscription verso: To: CHAPMAN GALLERY., and Jirrawun Arts cat. PB 3 2000.68 DIMENSIONS: 80.0 x 100.0 cm PROVENANCE: Jirrawun Arts, Kununurra Chapman Gallery, Canberra Private collection, Sydney, acquired from the above in 2000 LITERATURE: Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 147 (illus.) RELATED WORK: Ngarrmaliny – Cockatoo at Police Hole, 2003, ochres and pigment with acrylic binder on Belgian linen, 80.0 x 100.0 cm, illus. in Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 97 ESSAY: This work is accompanied by documentation from Jirrawun Arts. Catalogued as painting PB 3 2000.68 in Bedford's chronological index of works, this painting on linen was executed in 2000, and represents the country of Wirwirji . Also named Tea Hole, Donkey Hole and Police Hole by Paddy Bedford on different occasions, it is located approximately 10 kilometres north east of Bedford Downs homestead adjacent to Horse Creek in his mother's country and is home to a deep permanent waterhole. It is the place where his mother died when she was only middle-aged and where her body was wrapped in paperbark and placed in caves in the traditional ways of this country.1 Painting his first works in 1997 at the age of 75, Paddy Bedford soon became recognised as an innovator and important artist through his unique depictions of East Kimberley history. He is credited with evolving the artistic tradition forged earlier by Rover Thomas and Paddy Tjaminji. Crafting his own representations of country, Bedford’s formal language is characterised by the relationship between bold forms and an elegance and balance in composition. Passing on knowledge about his country, it’s features, and the sacred narratives connected to it as well as stories relating to everyday life is a fundamental purpose of his paintings. Bedford’s paintings recall the country where he grew up and in which he traversed in his everyday life. Rocky escarpments, rivers and other amorphous features of the Kimberley landscape are evident, whilst at the same time containing a learned and poetical knowledge of the land and its creation stories. 1. Kofed, F., ‘Places in Paddy Bedford’s Country’ in Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 135

          Deutscher and Hackett
        • PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), BUSH TURKEY DREAMING, 2001, ochres and pigment with acrylic binder on Belgian linen
          Nov. 28, 2018

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), BUSH TURKEY DREAMING, 2001, ochres and pigment with acrylic binder on Belgian linen

          Est: $40,000 - $60,000

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), BUSH TURKEY DREAMING, 2001, ochres and pigment with acrylic binder on Belgian linen SIGNED: signed with initials verso: PB bears inscription verso: artist’s name, title, date, and Jirrawun Arts cat. PB 8 2001-108 DIMENSIONS: 135.0 x 122.0 cm PROVENANCE: Jirrawun Arts, Kununurra Short Street Gallery, Broome Private collection, New South Wales LITERATURE: Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 150 (illus.) RELATED WORK: Lightning Creek, 2004, ochres and pigment with acrylic binder on composition board, 80.0 x 100.0 cm, in the collection of the National Gallery of Victoria, Melbourne, illus. in Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 101 This work is accompanied by a certificate of authenticity from Short Street Gallery and a Jirrawun Arts cataloguing sheet. ESSAY: Typified by bold forms and a balance in composition, the paintings of Paddy Bedford are a combination of modern materials and traditional pictorial conventions, contemporary experience and ancient belief systems. His art evokes the rivers, roads, waterholes, rock escarpments and other features of the Kimberley landscape, reflecting the artist’s knowledge of land he criss-crossed in his former life as a stockman. Behind the subtlety and harmony of each composition exists a learned and deep knowledge of the land and its creation stories describing how the landscape, plants and animals were created and in which the laws governing much human behaviour were instituted. Lerndijwaneman or Lightning Creek is in part of the artist’s father’s country and is the home of Birnkirrbal, the ancestral bush turkey. One of the artist’s important Dreamings and a favourite painting subject, Lerndijwaneman lies at the northern end of his country, beside the Wilson River in the shadow of the Durack Range. In mythological times, the site is where Birnkirrbal made camp after she had left the emu at Garnanganyjel (Mount King). As Paddy Bedford narrates the story, ‘The Turkey had travelled a long distance and stopped at Lerndijwaneman to rest and eat a little fruit called gawoorroony. [Here she] … went to sleep on the red ground (indicated by the circle in the upper part of the picture). If the emu had had her way, they would have kept walking and there would have been constant daylight. Without this rule for sleeping made by the turkey there would have been no rest, only constant day … Because the Turkey did that, we all sleep at night’.1 Lerndijwaneman is also the place where another ancestor, the eagle in the form of a man, flaked stone to make spearheads.2 1. Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 80 2. Information from the accompanying catalogue notes from Jirrawun Arts CRISPIN GUTTERIDGE

          Deutscher and Hackett
        • Paddy Bedford (1922-2007) Untitled 1998
          Nov. 27, 2018

          Paddy Bedford (1922-2007) Untitled 1998

          Est: $30,000 - $40,000

          Though he had been involved with ceremonial painting all his life, it was by chance that a gallery dealer happened upon some of Paddy Bedford's boards in a rubbish tip in the mid 1990s. From such humble beginnings Paddy began painting formally in 1997, upon the formation of Jirrawun Aboriginal Arts. Characteristic of his painting style are richly ochred surfaces with minimal arrangements of circular shapes 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. Paddy Bedford, an enigmatic octogenarian, stood out as a uniquely talented artist. 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.

          Cooee Art
        • Paddy Bedford (1922-2007) Untitled 2003
          Nov. 27, 2018

          Paddy Bedford (1922-2007) Untitled 2003

          Est: $6,000 - $8,000

          Paddy Bedford was born at Bedford Downs Station in the east Kimberley c.1922. Like many of his Gidja countrymen, Bedford worked as a stockman for the majority of his life in return for rations of tea, flour and tobacco. 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 1990s. From such humble beginnings Paddy began painting formally in 1997, with the formation of Jirrawun Aboriginal Arts. Over the following decade his painting style developed from simple expanses of flat ochre to masterful luminous textured surfaces. 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. Paddy Bedford, an enigmatic octogenarian, stood out as a uniquely talented artist. 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.

          Cooee Art
        • Rammey Ramsey (1935-) Untitled (My Country - Warlawoon) 2007
          Nov. 27, 2018

          Rammey Ramsey (1935-) Untitled (My Country - Warlawoon) 2007

          Est: $6,000 - $8,000

          Ramsey is a senior Gija lawman who, like his contemporary Paddy Bedford, began painting relatively late in life for Jirrawun Aboriginal Arts Corporation. This work reflects his country at Elgee Cliffs, North West of Halls Creek, also known as Warlawoon Country. It references roads, stockyards, waterholes and vast gorge country. According to Ramsey 'When the strong wind comes blowing from the east it throws dust everywhere. It is a place for the rainbow snake, the dangerous one. In early days if strange people went there the people had to perform a welcoming ceremony, putting water from the country on them (the strangers). Lots of people would come to dance: Joonba style. My parents lived there.’

          Cooee Art
        • Five Bonhams Australia Catalogues Editions, including The Fehily Collection of Contemporary Art, Paddy Bedford [7]
          Nov. 23, 2018

          Five Bonhams Australia Catalogues Editions, including The Fehily Collection of Contemporary Art, Paddy Bedford [7]

          Est: $30 - $60

          Five Bonhams Australia Catalogues Editions, including The Fehily Collection of Contemporary Art, Paddy Bedford [7]

          Theodore Bruce
        • PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), JIRLJIN (RED POCKET), 2000, ochres and pigments with acrylic binder on Belgian linen
          Aug. 29, 2018

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), JIRLJIN (RED POCKET), 2000, ochres and pigments with acrylic binder on Belgian linen

          Est: $30,000 - $40,000

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), JIRLJIN (RED POCKET), 2000, ochres and pigments with acrylic binder on Belgian linen SIGNED: signed with initials verso: PB bears inscription verso: To: Chapman Gallery, Jirrawun Arts cat. PB 3 2000.77 DIMENSIONS: 122.0 x 135.0 cm PROVENANCE: Jirrawun Arts, Kununurra Chapman Gallery, Canberra Private collection, Sydney LITERATURE: Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 148 (illus.) This work is accompanied by a certificate of authenticity from Jirrawun Arts, Kununurra ESSAY: The paintings of Paddy Bedford mostly refer to existing places in the landscape of the country he grew up in which were integral to his everyday life. Roads and rivers are recurring motifs in his work and other amorphous features evoke the vertical escarpments, rounded hills and large rocks of the Kimberley. At the same time, the subject matter of his paintings is drawn from two primary and very different sources of knowledge and experience: historical events and the more mundane stories about daily life on cattle stations in the Kimberley intersecting with a profound and lyrical knowledge of the land and its creation stories. This painting shows a place, called Jirljin in Gija and Red Pocket in English, which is adjacent to the Springvale-Landsdown Road, between Ida Mere Yard and Janterrji, south east of Bedford Downs Station. Here there is a pocket of ‘red’ earth surrounded by hills in an area that is typically characterised by black soil plains running all the way to the base of the Durack Ranges at the edge of the East Kimberley plateau. It is part of Bedford’s uncle’s country and there are a lot of small caves in the area that were traditional Gija camping places. In the neighbouring hills the country is called Langanban, a dreaming place for a round fungus known as langany.1 Jirljin (Red Pocket), depicts two big hills separated by a narrow gap through which people passed either on foot when walking though country or on horses when mustering cattle. The artist used to ride through this country when, as a young man, he worked as stockman. The ochre palette highlights Bedford's link to the more familiar style of the earlier east Kimberley painters Rover Thomas and Paddy Tjamatji, but the large dominant forms along with the interplay between positive and negative space signal the original vision of an artist who created his own representations of country, a harbinger of what was to come. The importance of painting for Paddy Bedford was multi-layered – in addition to passing on knowledge about his country, it’s features, and the sacred narratives connected to it,2 painting was an expression of country and cultural memory. Bedford’s art was also a claim to identity and consequently his paintings are an assertion of an intimate connection to the land itself. As Michael Dolk argues, his painting suggests a physical and tactile relation to land, 'To behold painting is to hold country and to remain beholden to its ancestral tradition’.3 1. Information from accompanying Jirrawun Arts certificate of authenticity 2. Petitjean, G., ‘ Crossing Frontiers: Paddy Bedford in Europe’, AAMU, Museum of Contemporary Aboriginal Art, Utrecht, 2009 3. Dolk, M., 'Are we Strangers in this Place', in Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 20 CRISPIN GUTTERIDGE

          Deutscher and Hackett
        • 2 Volumes: "Paddy Bedford" pub. Museum Contemporary Art, 2008; Isaacs, J. "Australian Aboriginal Paintings", pub. New holland, 2002
          May. 24, 2018

          2 Volumes: "Paddy Bedford" pub. Museum Contemporary Art, 2008; Isaacs, J. "Australian Aboriginal Paintings", pub. New holland, 2002

          Est: $30 - $40

          2 Volumes: "Paddy Bedford" pub. Museum Contemporary Art, 2008; Isaacs, J. "Australian Aboriginal Paintings", pub. New holland, 2002

          Lawsons
        • PADDY BEDFORD CIRCA 1922- 2007 | Ngarrmaliny-Cockatoo at Police Hole
          Mar. 14, 2018

          PADDY BEDFORD CIRCA 1922- 2007 | Ngarrmaliny-Cockatoo at Police Hole

          Est: £120,000 - £150,000

          Natural earth pigments and synthetic binder on canvas

          Sotheby's
        • PADDY BEDFORD CIRCA 1922- 2007 | Merrmerrji
          Mar. 14, 2018

          PADDY BEDFORD CIRCA 1922- 2007 | Merrmerrji

          Est: £40,000 - £50,000

          Natural earth pigments and synthetic binder on composition board

          Sotheby's
        • PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), THOOWOONGGOONARRIN, 2000, ochres and pigments with synthetic binder on Belgian linen
          Nov. 29, 2017

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), THOOWOONGGOONARRIN, 2000, ochres and pigments with synthetic binder on Belgian linen

          Est: $30,000 - $40,000

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), THOOWOONGGOONARRIN, 2000, ochres and pigments with synthetic binder on Belgian linen SIGNED: bears inscription verso: Jirrawun Arts cat. PB 3 2000.63 DIMENSIONS: 135.0 x 122.0 cm PROVENANCE: Jirrawun Arts, Kununurra Private collection, Darwin LITERATURE: Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 147 (illus.) ESSAY: The importance of painting for Paddy Bedford was multi-layered; an expression of country and cultural memory as well as being a claim to identity and consequently an assertion of claim to the land itself. As Michael Dolk argues, painting suggests a physical and tactile relation to land, 'To behold painting is to hold country and to remain beholden to its ancestral tradition’.1 Painting his first works in 1997, aged 75, Paddy Bedford soon became recognised as an innovator and important artist through his unique depictions of East Kimberley history, and he is credited with evolving the artistic tradition forged earlier by Rover Thomas and Paddy Tjaminji. Crafting his own representations of country, Bedford’s formal language is characterised by a symbiotic relationship between bold forms and an elegance and balance in composition. His painting evokes rocky escarpments, rivers and other amorphous features of the Kimberley landscape, whilst at the same time containing a learned and poetical knowledge of the land and its creation stories. As curator Russell Storer observes, ‘his paintings articulate a complex dialectic between modern materials and traditional pictorial conventions, contemporary experience and ancient belief systems’.2 Catalogued as painting PB 8 2000.91 in Bedford's chronological index of works, this painting on linen was executed in the year 2000, and represents the country of Tunganary, Thoowoonggoonarrin, to the south of Bedford Downs in his mother's country. Tunganary Gorge is home to a permanent waterhole and is the dreaming place for Thoowoonggoonarrin, a large tree with dark leaves that is related to the fig tree ( Celtis philippinensis). The artist's mother's sister died and is buried there. Thoowoonggoonarrin, 2000 can be seen as a bridge, characterising Bedford's link between the more familiar style of the earlier east Kimberley painters and his innovative changes in style and technique to create his own representations of country. Here, large forms have become dominant along with the interplay between positive and negative space. It is important to note that multiple narratives intertwine in Bedford’s paintings. Family stories, historical events and a deep connection to his country are often masked by the simple, bold starkness of his technique. 1. Dolk, M., 'Are we Strangers in this Place', in Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 20 2. Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 11 CRISPIN GUTTERIDGE

          Deutscher and Hackett
        • PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), THOOWOONGGOONARRIN, 2000, natural earth pigments and synthetic binder on linen
          Nov. 29, 2017

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), THOOWOONGGOONARRIN, 2000, natural earth pigments and synthetic binder on linen

          Est: $40,000 - $60,000

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), THOOWOONGGOONARRIN, 2000, natural earth pigments and synthetic binder on linen SIGNED: signed with initials verso: PB bears inscription verso: Jirrawun Arts cat. PB 8 2000.91 DIMENSIONS: 122.0 x 135.0 cm PROVENANCE: Jirrawun Arts, Kununurra Martin Browne Fine Art, Sydney Private collection, Melbourne EXHIBITED: My Mother's Country, My Father's Country: New Paintings by Paddy Bedford, Martin Browne Fine Art, Sydney, 12 September – 8 October 2000 LITERATURE: Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, pp. 43 (illus.), 149 (illus.) ESSAY: In his eulogy to Paddy Bedford in September 2007, Sir William Deane recalled that he was a man of 'great dignity and spiritual strength - a much loved senior Elder and lawman who late in the story of his life discovered a rare artistic genius that resulted in him being recognised as one of the great painters of our continent’.1 Nyunkuny, commonly known by his nickname 'Kuwumji' and by his 'gardiya' name Paddy Bedford, was a Gija lawman of Jawalyi skin. Born at Bedford Downs Station in the East Kimberley in 1922, he was named by and after the infamous Paddy Quilty, owner of the station, with his surname coming from Bedford Downs, where he had worked as a stockman as a young man. When Aboriginal pastoral workers were finally awarded equal wages in 1969, Indigenous stockmen were unceremoniously expelled from cattle stations across the Kimberleys. During this time, Bedford lived between Nine Mile camp at Wyndham and Turkey Creek Mission settlement which was to become the home of the first great generation of East Kimberley artists in the early 1980s. According to Tony Oliver (who was instrumental in Bedford's career and the development of Jirrawun Aboriginal Art Corporation), Bedford was close friends with Paddy Jaminji, Hector Jandany and Rover Thomas, whose canvases he helped to prepare and whose progress he quietly observed. But it was only after these pioneers of the Kimberley movement died that Bedford took on the responsibility of painting ceremonial boards. Bedford painted his first stories on board in 1997 and within several years acquired a reputation for not only inheriting the legacy of Rover Thomas, but of pushing new boundaries with his famously fluent 'walking line'. Steeped in traditional law and the Ngarranggarrni (Gija dreaming), he drew on a seemingly endless source of traditional lore and knowledge of significant sites. His paintings combine important family Dreamings such as Garnanganyjen (Emu), Birnkirrbal (Bush Turkey) and Ngayilanji (White Cockatoo) with the physical world of roads, rivers, traditional life, stock camp life, stock yards and country visited while mustering. His work has been hailed as that of a 'new' Rover Thomas, even though he was born a few years before him. Thoowoonggoonarrin characterises Bedford's move away from the more familiar style of the earlier East Kimberley painters to create his own representations of country. His use of colour has evolved with the elimination of the ochre palette and introduction of starkly contrasting black and white, where the forms become dominant along with the interplay between the positive and negative space. In 2006, in recognition of his outstanding contribution to Australian, and indeed, world culture, Bedford was honoured by a major retrospective of his work at the Sydney Museum of Contemporary Art. He was also one of the handful of Aboriginal artists commissioned to contribute to the permanent collection of the Musée du quai Branly (Paris). Since his death in 2007 at the age of 85, Bedford’s paintings have continued to be keenly sought after as the significance and quality of his astonishing body of work becomes increasingly evide

          Deutscher and Hackett
        • PADDY BEDFORD circa 1922-2007 Jack Flood 2006 (PB 3 2006.240) ochres and pigment with acrylic binder on canvas 122 x 135 cm
          Aug. 16, 2017

          PADDY BEDFORD circa 1922-2007 Jack Flood 2006 (PB 3 2006.240) ochres and pigment with acrylic binder on canvas 122 x 135 cm

          Est: $40,000 - $50,000

          PADDY BEDFORD circa 1922-2007 Jack Flood 2006 (PB 3 2006.240) ochres and pigment with acrylic binder on canvas 122 x 135 cm PROVENANCE Jirrawun Arts, Wyndham Private Collection, Adelaide, acquired from the above in 2006 LITERATURE Russell Storer (ed.), Paddy Bedford, Museum of Contemporary Art, Sydney, 2007, p. 158 (illustrated)

          Smith & Singer
        • PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), LIGHTNING CREEK – BUSH TURKEY, 2003, ochres and pigment with acrylic binder on linen
          May. 10, 2017

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), LIGHTNING CREEK – BUSH TURKEY, 2003, ochres and pigment with acrylic binder on linen

          Est: $90,000 - $120,000

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), LIGHTNING CREEK – BUSH TURKEY, 2003, ochres and pigment with acrylic binder on linen SIGNED: signed with initials verso: PB bears inscription verso: title and Jirrawun Arts cat. PB 7-2003-158 DIMENSIONS: 150.0 x 180.0 cm PROVENANCE: Jirrawun Arts, Kununurra Private collection, Melbourne, acquired from the above in 2004 LITERATURE: Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 153 (illus.) ESSAY: Lerndijwaneman or Lightning Creek is the site where Birnkirrbal, the ancestral Bush Turkey made camp after she had left the Emu at Garnanganyjel (Mount King). It lies at the northern end of Paddy Bedford’s country, along the Wilson River in the shadow of the Durack Range. The Turkey had travelled a long distance and stopped at Lerndijwaneman to rest and eat a little fruit called gawoorroony. As Paddy Bedford narrates the story, here she ‘… went to sleep on the red ground … Because the Turkey did that, we all sleep at night.’ Lerndijwaneman is also the place where another ancestor, Nightjar, in the form of a man flaked stone to make spearheads.1 The painting was made during a particularly productive time for the artist. In 2000, along with his brother-in-law Timmy Timms, Bedford revealed a public song cycle or joonba performance about the massacres of Gija people on Bedford Downs station in the early twentieth century. It was adapted by the Neminuwarlin Performance Group as Fire, fire burning bright who perfomed the joonba at the Perth International Arts Festival and in Melbourne in 2002. The Emu Dreaming site at Garnanganyjel (Mount King) is the place a group of Gija were poisoned with strychnine. Bedford’s work featured in two major exhibitions that recounted those violent times in the eastern Kimberley when cattle stations were established and ancient hunting grounds were depleted: Blood on the Spinifex opened at the Ian Potter Museum of Art at the University of Melbourne, in late 2002, and in the following year the Art Gallery of New South Wales mounted True Stories: Art of the East Kimberley. Paddy Bedford was also among a group of eight Indigenous artists to be commissioned by the Musée du quai Branly in Paris to produce designs for the new building which opened in 2006. His design was transformed into ceramic-fired glass. Later that year the Museum of Contemporary Art, Sydney, mounted a retrospective exhibition of his work that toured to the AAMU Museum of Contemporary Aboriginal Art, Utrecht, the Netherlands. 1. Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 80 WALLY CARUANA

          Deutscher and Hackett
        • PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), MAD GAP, 2005, ochres and pigments with synthetic binder on linen
          Apr. 05, 2017

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), MAD GAP, 2005, ochres and pigments with synthetic binder on linen

          Est: $110,000 - $150,000

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), MAD GAP, 2005, ochres and pigments with synthetic binder on linen SIGNED: bears inscription verso: artist’s initials, date and Jirrawun Arts cat. PB 7-2005-228 DIMENSIONS: 150.0 x 180.0 cm PROVENANCE: Jirrawun Arts, Kununurra The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 2005 EXHIBITED: Paddy Bedford, Museum of Contemporary Art, Sydney, 6 December 2006 – 15 April 2007, then touring to: Art Gallery of Western Australia, Perth, 12 May – 22 July 2007; Bendigo Art Gallery, Victoria, 11 August – 16 September 2007; University Art Museum, University of Queensland, Brisbane, 16 November 2007 – 1 March 2008 Laverty 2, Newcastle Region Art Gallery, New South Wales, 14 May – 14 August 2011 LITERATURE: Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, pp. 104 (illus.), 157 (illus.) Hutchings, P., ‘Of spirit and myth’, The Age, Melbourne, 16 December 2006, p. 18 (illus.) ‘Form and Content,’ The Weekend Australian, 23 – 24 December 2006 (illus.) ‘Authority leaps final boundary’, The Australian, 20 July 2007 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 232 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 246 (illus.)

          Deutscher and Hackett
        • PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), UNTITLED, 2004, gouache on Crescent board
          Apr. 05, 2017

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), UNTITLED, 2004, gouache on Crescent board

          Est: $5,000 - $7,000

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), UNTITLED, 2004, gouache on Crescent board SIGNED: bears inscription verso: artist’s initials, and Jirrawun Arts cat. PB WB 2004-155 DIMENSIONS: 51.0 x 76.0 cm PROVENANCE: Jirrawun Arts, Kununurra The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in April 2004 LITERATURE: Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 175 (illus.)

          Deutscher and Hackett
        • PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), UNTITLED, 2003, gouache on Crescent board
          Apr. 05, 2017

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), UNTITLED, 2003, gouache on Crescent board

          Est: $5,000 - $7,000

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), UNTITLED, 2003, gouache on Crescent board SIGNED: bears inscription verso: artist’s initials and Jirrawun Arts cat. PB WB 2003-107 DIMENSIONS: 51.0 x 76.0 cm PROVENANCE: Jirrawun Arts, Kununurra The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in April 2004 LITERATURE: Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 172 (illus.)

          Deutscher and Hackett
        • PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), UNTITLED, 1998, ochres on plywood
          Apr. 05, 2017

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), UNTITLED, 1998, ochres on plywood

          Est: $20,000 - $30,000

          PADDY NYUNKUNY BEDFORD, (c.1922 – 2007), UNTITLED, 1998, ochres on plywood DIMENSIONS: 71.0 x 91.0 cm PROVENANCE: Jirrawun Arts, Kununurra (cat. PB1998.03) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 1998 EXHIBITED: Mapping Our Countries, Djamu Gallery, Australian Museum at Customs House, Sydney, 9 October 1999 – 27 February 2000 True Stories: Art of the East Kimberley, Art Gallery of New South Wales, Sydney, 10 January – 27 April 2003 Paddy Bedford, Museum of Contemporary Art, Sydney, 6 December 2006 – 15 April 2007, then touring to: Art Gallery of Western Australia, Perth, 12 May – 22 July 2007; Bendigo Art Gallery, Victoria, 11 August – 16 September 2007; University Art Museum, University of Queensland, Brisbane, 16 November 2007 – 1 March 2008 LITERATURE: Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, pp. 63 (illus.), 143 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 229 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 241 (illus.) McDonald, E. (ed.), Volume One: MCA Collection, Museum of Contemporary Art, Sydney, 2012, p. 187 (illus.)

          Deutscher and Hackett
        • PADDY NYUNKUNY BEDFORD, (c.1922 - 2007), UNTITLED, 1998, ochres and pigment with acrylic binder on Belgian linen
          Nov. 30, 2016

          PADDY NYUNKUNY BEDFORD, (c.1922 - 2007), UNTITLED, 1998, ochres and pigment with acrylic binder on Belgian linen

          Est: $20,000 - $30,000

          PADDY NYUNKUNY BEDFORD, (c.1922 - 2007), UNTITLED, 1998, ochres and pigment with acrylic binder on Belgian linen SIGNED: bears inscription verso: cat. PB 98-13 DIMENSIONS: 122.0 x 136.0 cm PROVENANCE: Jirrawun Aboriginal Arts Corporation, Kununurra Private collection, Queensland LITERATURE: Storer, R., Paddy Bedford, Museum, of Contemporary Art, Sydney, 2006, p. 144 (illus.)

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