The Work

This Untitled - Winter Awelye work was painted at Delmore Downs, a remote cattle station near the Utopia homelands, 250km’s northeast of Alice Springs, the landscape of her Country that shaped Kngwarray's visual language and ceremonial practices. Created during her celebrated final years, the painting embodies detailed knowledge of her Country: seasonal transformations, the Yam Dreaming, and desert ecosystems. This isn't only representation, it's cultural continuation spanning 65,000 years of practice. Previously exhibited at Kunsthaus Zug, Switzerland (2019–2020) in My Mother Country – Malerei der Aborigines. From the esteemed private collection of Pierre and Joëlle Clément.

Artist Position

ESTABLISHED. Emily Kam Kngwarray began painting at 78 and produced over 3,000 works in eight years. Her practice emerged from her role as Anmatyerre elder and custodian of women's Dreaming sites in Alhalkere. During Awelye ceremonies, women paint designs on their bodies using ground ochre and ash, applying country directly to skin. Major Tate Modern retrospective (July 2025-January 2026) attracted over 100,000 visitors. Held in British Museum, V&A, NGA, Vatican Museums and many more. Represented Australia posthumously at the 1997 Venice Biennale. Robert Hughes called the Indigenous Australian art movement she helped create "the last great art movement of the 20th century."

Market Intelligence

Earth's Creation I sold for AUD2.1 million in 2017, a record for an Australian female artist. Tate purchased three works in 2019. Late-period works from 1995-1996 are increasingly rare at market as institutions acquire them. This work carries exceptional provenance: Clément Collection, international exhibition history, institutional-quality documentation. Western audiences see connections to Rothko and minimalism. Japanese collectors recognise her calligraphic power; Emily’s 2008 Tokyo exhibition broke Warhol's attendance records.

Collection Rationale

This is THE painting to anchor your collection and a must-have institutional work, grounding serious holdings in 20th century art. Late period work when the artist had distilled her practice to essential power. Tate exhibition positions her as one of the century's most significant painters globally, not just within Indigenous Australian art. Museum-quality provenance, exhibition history, and absolute institutional validation. Opportunity to acquire before post-Tate market adjustment. A must-have.

PROVENANCE The Artist, painted at Delmore, Northern Territory

Delmore Gallery, Northern Territory, cat. no. 95F062

Private Collection, Melbourne, Victoria, acquired from the above

EXHIBITED My Mother Country – Malerei der Aborigines, Sammlung Pierre and Joëlle Clément, Kunsthaus Zug, Switzerland, 29 September 2019–2 February 2020

The Work

Scott Kahn paints enigmatic landscapes, portraits, and dreamscapes that blend real and surreal elements. Over five decades, he's maintained a commitment to figurative expression, rendering the simultaneous splendour and mundanity of everyday life through precise geometries, chromatic relationships, and masterful use of light and perspective. His surfaces are meticulously constructed; recurring people, places, and symbols create an individual point of view while opening onto universal themes. The work collapses time and space, conjuring feelings of indeterminacy and seasonal transition.

Artist Position

ESTABLISHED. Exhibiting steadily since the 1970s, Kahn gained widespread attention in 2018 when Matthew Wong posted Kahn's Cul de Sac (2017) on social media, praising him as a major influence. Recent solo presentations: Almine Rech Paris and New York (2021, 2022); David Zwirner Hong Kong Once in a Blue Moon (2024)—his first Asia presentation. Represented by David Zwirner since 2024. Works held in He Art Museum Foshan, ICA Miami, Long Museum Shanghai, Rachofsky Collection Dallas. Two Pollock-Krasner Foundation Grants (1986, 1995).

Market Intelligence

Auction record: USD1,433,138 for Big House, Homage to America at Christie's Hong Kong (2022). Past 12 months average: USD77,884. The artist’s progression from Almine Rech to David Zwirner indicates rising demand and major institutional backing. Recent solo exhibition pricing ranges from USD290,000 to USD1 million. Works are selling rapidly, Kahn's studio inventory emptied by dealers, prompting price increases. Strong Asian collector demand, particularly in Hong Kong. Recent museum acquisitions: ICA Miami, He Art Museum, Long Museum Shanghai.

Collection Rationale

Asia expansion is just beginning, Hong Kong solo positions acquisition before broader regional recognition. Studied under Theodoros Stamos at the Art Students League alongside the Rothko generation but maintained a distinct voice. Accessible entry point relative to comparable painters with similar institutional holdings and David Zwirner representation.

The Work 

Prae Pupityastaporn paints landscapes as acts of remembering. Trained in Germany, working in Bangkok, she creates works where subtle differences emerge on sustained looking; shifted colour temperature, altered atmospheric density, repositioned elements. Memory as reconstruction, not recording. Her process is organic; works evolve in relationship to each other in the studio.

Artist Position 

POST-EMERGING. Represented by Nova Contemporary Bangkok, which is strategically building her international profile. Focus Asia presentation at Frieze Seoul 2023 established regional visibility. Upcoming solo exhibition on 31 January 2026, demonstrates the gallery's commitment, and has had two Nova solos (2019, 2022), and group shows in Jakarta.

Market Intelligence 

Primary market pricing is accessible for the accomplishment level. No secondary market presence yet. German training + Thai context + gallery infrastructure = clear development trajectory. Productivity allows collectors to build depth across multiple works rather than single acquisition.

Collection Rationale 

Acquire before broader Asia-Pacific recognition. Knowledge, understanding and training provides technical rigour that appeals to all collectors; the Thai context positions for regional demand. Nova's strategic development (Frieze Seoul, upcoming solo) indicates next-phase growth. Accessible entry point with strong foundation in place.

The Work

Erica D'Ali explores cultural transmission and matrilineal knowledge through painting, drawing, printmaking, and installation. Her work navigates the space between European heritage and Australian identity, focusing on disappearing rituals of family culture. She uses pasta-making as a metaphor for how traditions are passed down, transformed, and repeated, both personal and playful, capturing layered cultural memory with intimacy. Oil paintings and monotypes, built from intuitive gesture, blur the lines between original and copy, personal and cultural memory, and historical and contemporary.

Artist Position

EMERGING. Graduated with a Master of Fine Arts from the National Art School in 2024, one of Australia's most respected fine arts training grounds. Group exhibitions at National Art School, 25B Gallery, Drawing Gallery Sydney. International residency at Studio Kura, Japan. Limited exhibition history provides acquisition opportunity before broader institutional recognition. Her practice is still developing, early-stage career trajectory.

Market Intelligence

Primary market pricing is highly accessible for emerging artists with an MFA from NAS and gallery representation. No secondary market presence. Institutional training provides technical foundation; gallery representation indicates professional infrastructure in place. Works pair with other artists exploring cultural heritage, domestic ritual, or gestural abstraction.

Collection Rationale

Entry-level acquisition for collectors beginning to build around cultural identity and contemporary Australian practice. Work that addresses identity without didacticism, the pasta-making metaphor provides accessible conversation while maintaining conceptual rigour. Vibrant and muted colour palette creates visual presence at the domestic scale. Opportunity to build a relationship with the artist's trajectory from the early stages. Accessible pricing without significant capital investment. For emerging collectors or those adding depth to existing holdings in Australian contemporary practice.