Buyers stay clear of Rover paintings: [2 All-round First Edition]
Corrie Perkin, John Stapleton. The Australian [Canberra, A.C.T] 15 Nov 2007: 8.
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After viewing the image via email, the trustee and executor of Mowaljarlai’s estate, Hannah Rachel Bell, said she was concerned about the painting’s authenticity. “Nobody’s doubting ([David Banggal Mowaljarlai]’s) been in the Dandenongs with Neil,” she said. “The doubt arises with what Mowal painted … and what he was prepared to hold up for a photograph.”
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TWO paintings by artist Rover Thomas failed to sell at a Sydney auction last night following debate about their provenance.
Ngarin Janu Place (Cyclone Tracy) and Rainbow Jowie, Lake Billiluna had a total estimated value of $160,000-$200,000. Their provenance notes link them to Neil McLeod Fine Arts in Melbourne, a source that has attracted the attention of experts familiar with Thomas’s style.
Several Aboriginal art scholars, dealers and artists this week told The Australian they were uneasy about the provenance of some paintings in the Lawson-Menzies sale, including four Thomas works.
A 1995 Thomas work linked with the McLeod studio, Cyclone Tracy, last night sold for $204,000, including buyer’s premium, while Thomas’s 1984 Grugrugi Owl fetched $40,800.
A highlight of the evening was a record for Paddy Nyunkuny Bedford, who died in July. His 2004 painting Joogoomoondiny — Grawler Gully fetched $300,000, more than $200,000 above its estimate.
Another painting featuring the McLeod provenance, Storm Wandjinas (1994) by David Banggal Mowaljarlai, was passed in at yesterday afternoon’s L-M sale. It had an estimate of $9000-$12,000.
Yesterday L-M sent The Australian a series of photographs of Mowaljarlai, taken during his 1994 trip to the McLeod studio. One photo features the artist beside Storm Wandjinas.
After viewing the image via email, the trustee and executor of Mowaljarlai’s estate, Hannah Rachel Bell, said she was concerned about the painting’s authenticity. “Nobody’s doubting (Mowaljarlai’s) been in the Dandenongs with Neil,” she said. “The doubt arises with what Mowal painted … and what he was prepared to hold up for a photograph.”