Against a backdrop of economic uncertainty, Art Leven [formerly Cooee Art], the continent’s oldest exhibiting Indigenous-focused art gallery and the only such specialised auction house, achieved impressive results in its inaugural auction under the new branding. The November 12th First Nations Fine Art Auction delivered strong results for artworks by established and emerging artists alike. As a full room of bidders and enthusiasts gathered at Art Leven’s Redfern showroom, a vibrant energy accompanied competitive bidding and keen interest sustained throughout the evening.
The auction presented an array of pieces from pioneers of the movement alongside emerging voices and fast rising stars. The selection underscored Art Leven’s staunch commitment to ethical standards with a strong emphasis on provenance. Achieving a 75% clearance rate by volume was above all expectations in the current economic climate, while a 109% sale rate by value confirms that the high end of the market remains robust.
Leading off the offering was a small yet powerful piece by Emily Kame Kngwarreye (Kam Kngwarray), which sparked intense bidding and ultimately realised close to double its high estimate, certifying her status as a favourite among serious collectors. Measuring only 55 x 75.5 cm, Lot 1 carried an estimate of $30,000 –$40,000 and sold for $78,000 on the hammer ($97,500 incl. buyer’s premium). Kngwarreye’s success was mirrored with Lot 9 and Lot 17, the latter selling for $330,000 ($412,500 incl. buyer’s premium) against an estimate of $140,000 –$160,000.
Other established names also resonated strongly with collectors, Bill Whiskey Tjapaltjarri’s work Rock Holes Near the Olgas (Lot 27) reached a hammer price of $28,000 for a 125 x 91 cm canvas, marking the highest price for a work under 180 cm. Lot 10, a 1972 Papunya board with a rarely-granted export permit, presented good value via internet bidding at $137,500. A small 1988 bark by John Mawurndjul fetched $14,000 on the hammer, more than double the price of any comparably scaled work sold on the secondary market.
In addition to established market heavyweights, the auction highlighted a dynamic selection of works from emerging First Nations artists, with many pieces significantly outperforming estimates. This new generation brought contemporary themes and fresh perspectives that captured the attention of younger collectors—a promising indicator for the future of First Nations art in the secondary market.
Ngirpanta, 2021 by Patju Presley (Lot 37) sold for a hammer of $14,000, doubling the estimated price. Queensland artist Joanne Currie Nalingu’s 2010 piece Dusk River II sold for the high estimate after a back and forth between a bidder in the room and a telephone bidder. The success across generations encapsulates Art Leven’s role in not only presenting the most renowned artists but also in supporting the next wave of First Nations talent.
The results confirm Art Leven’s market leadership, reflecting collector confidence in the cultural significance and investment value of these works despite economic challenges. With strong performances across both established and emerging artists, the November 12 auction underscored the rich depth and diversity of First Nations art and highlighted Art Leven’s essential role in connecting these works with an appreciative and expanding global audience.
