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Lot 88

Paddy Bedford
(circa 1922-2007)
Ngarrmaliny-Cockatoo at Police Hole, 2003

Amended

The Laverty Collection: Contemporary Australian Art

24 March 2013, 14:00 AEDT

Sydney, Museum of Contemporary Art

Sold for AU$198,000 inc. premium

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Paddy Bedford (circa 1922-2007)

Ngarrmaliny-Cockatoo at Police Hole, 2003
inscribed 'PB' and bears title and Jirrawun Arts catalogue number PB 7-2003-157 on the reverse
natural earth pigments on linen
150 x 180cm (59 1/16 x 70 7/8in).

Footnotes

PROVENANCE:
Purchased from Jirrawun Arts, Kununurra, Western Australia in September 2003
The Laverty Collection, Sydney

EXHIBITED:
2004 Australian Culture Now, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 8 June - 1 August 2004

LITERATURE:
Linda Michael (ed.), Paddy Bedford, exh. cat., Sydney: Museum of Contemporary Art, Sydney, 2006, p.97 (illus.), p.153 (illus.)
Linda Michael,'2004: Australian culture now in Melbourne', Art Monthly Australia, August 2004, no. 172, p.25 (illus.)
Charles Green (ed.), 2004 Australian Culture Now, Melbourne: National Gallery of Victoria, 2004, p.106 (illus.), p.211
Peter Anderson,'Honk4Art', Australian Art Review, November 2004 - February 2005, p.91 (illus.)
Colin Laverty and Elizabeth Laverty et al., Beyond Sacred: Recent Painting from Australia's Remote Aboriginal Communities - the collection of Colin and Elizabeth Laverty, Melbourne: Hardie Grant Books, 2008, p.21 (illus.)
Colin Laverty and Elizabeth Laverty et al., Beyond Sacred: Australian Aboriginal Art - the collection of Colin and Elizabeth Laverty, Edition II, Melbourne: Kleimeyer Industries, 2011, p.245 (illus.)

In the Ngarranggarni (Dreaming) Ngarrmaliny is a
place associated with the ancestral White Cockatoo
who had prevented a large group of men from
travelling south beyond Gija country. It lies on Foal
Creek in Paddy Bedford's father's country. In the
latter years of his life, Bedford allowed his paintings
to breath through the assured ease of his brush
marks within more open compositions. This stands in
contrast to the treatment in earlier paintings on the
same subject such as Cockatoo, 1999 (Michael, L. [ed.],
Paddy Bedford, Sydney: Museum of Contemporary
Art, 2006, p.71), two paintings by the title Jaworraban–
Cockatoo Dreaming of 2002 (ibid. p.82), one of which
is in the Kaplan–Levi Collection, Seattle, USA, and
Cockatoo Dreaming, 2002 (ibid. p.85). Despite the variety
of compositions on the one Cockatoo Dreaming
theme, Michiel Dolk argues that '...the association of
motif with place is clearly recognisable.' (ibid. p.41).

Wally Caruana

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