Emily Kame Kngwarreye circa 1910-1996 UNTITLED

Painted at Delmore Downs Station, Northern Territory in June, 1990 (catalogue number 0L08)
Delmore Gallery, via Alice Springs
Aboriginal Gallery of Dreamings, Alice Springs
Private collection, Maryland, USA

There are no visible repairs or restorations. Minor surface abrasions appear along the upper left edge and corner, and in the top right corner; Minor abrasions in the lower left and right corner. The paint surface is stable and the overall condition is sound. The painting sits within a timber frame which has a gold leaf facing and a backing board.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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Cf. For paintings from the same period and relating to the landscape as it appears after the seasonal rains, see After rain, 1990, and Untitled, 1990, in the collection of the National Gallery of Victoria in J. Isaacs, T. Smith, J. Ryan et al., Emily Kngwarreye Paintings, Sydney: Craftsman House, 1998, pp.50 and 51, plates 7 and 8 respectively. See also Yam tracking, 1990, and Emu all over, 1990, in ibid, pp.52 and 53, plates 9 and 10, and in M. Neale (ed.), Emily Kame Kngwarreye. Paintings from Utopia, Brisbane: Queensland Art Gallery and MacMillan, 1998, pp.86 and 87, plates 53 and 54, (illus.).

This is an oustanding example of Kngwarreye's early atmospheric pictures based on the free-flowing meandering line of the pattern of the underground root system of the yam plant. According to the accompanying Delmore Gallery certificate, the colours of the dotting represent the abundant growth of big yams and grasses across the desert after rain. 

This painting is sold with an accompanying Delmore Gallery certificate which reads in part: ' Emily's work celebrates this dramatic expression of nature's fertile energy. The incantations of the rain-makers, coupled with the spiritual strength of the women's "awelye", are quietly acknowledged as necessary ingredients in the whole scheme of things amid such erratic seasonal patterns. After rain "muna anoolara" (a big yam), and "arthukera" (grass) grow everywhere. The dot-work represents this spread of growth. Where the background lines intersect, is the base of the yam plant. This is also where the women dig with hand and stick for the yam'.