While we’re putting the final touches on the next Emily’s European Summer instalment - packed with new perspectives from the family - we thought we’d answer some of the most frequently asked questions we’ve been receiving about Emily.

In this blog, we’ll help you learn more about the person behind the name, and explore why Emily Kame Kngwarreye remains one of Australia’s most important and influential artists. Plus, for those in the fortunate position of acquiring one of Emily’s works, we’ll touch on what you should be thinking about when it comes to owning a piece of her extraordinary legacy.

Common Questions | Her Value | Provenance Information | Spelling of Her Name

Who was Emily Kame Kngwarreye?

Emily Kame Kngwarreye was an Aboriginal Australian artist of the Alhalkere people, a community from the Utopia region in Central Australia. Renowned for her unique and powerful contemporary art, Emily’s works reflect her deep connection to both her country and culture. She holds the record for the most expensive artwork ever sold by an Australian female artist, a testament to the lasting impact and value of her work.

Best known for her vibrant and abstract painting style, Emily combined traditional Aboriginal cultural symbolism with modern artistic techniques. Her works often depict the land, Dreamtime stories, and the changing seasons of her homeland, bringing a fresh and personal perspective to Aboriginal art while preserving the stories of her ancestors.

When did Emily Kame Kngwarreye start painting?

Emily Kame Kngwarreye began her artistic journey in 1978 as a founding member of the Utopia Women’s Batik Group. In 1988, the Central Australian Aboriginal Media Association (CAAMA) facilitated the group's first project, which resulted in the Utopia – A Picture Story exhibition. That same year, CAAMA introduced the women to acrylic paints on canvas through The Summer Project. Emily's first work on canvas, Emu Woman, was part of this initiative.

Emily's Batiks, installation view at Tate Modern 2025

What did she paint?

Emily Kame Kngwarreye’s artworks encompass a vast array of Dreamings tied to her land and culture. When asked about her paintings, she would often respond simply: “Whole lot, that's the whole lot.”

Her works depicted not only Awelye (women’s ceremonial body painting) but also important totems and stories from her country, including Alatyeye (pencil yam), Arkerrthe (mountain devil lizard), Ntange (grass seed), and Kame (yam seed). These symbols represent the sacred relationship between Emily and her land, where each element—from Tingu (Dreamtime pup) to Atnwerle (green bean)—carries deep cultural and spiritual significance.

Her unique approach combined these Dreamings with her vibrant, abstract style, creating an iconic body of work that speaks to both her heritage and personal expression.

What makes Emily's paintings so valuable in the art market?

Emily Kame Kngwarreye was extraordinarily prolific, creating an estimated 3,000 paintings over a career that spanned roughly eight years. Despite this impressive output, her works are rare in the market today.

Many of her early collectors have held onto their pieces for years, contributing to the limited availability of her work at auction. This scarcity, combined with the high demand for her art, drives up the value of her paintings. The emotional and cultural significance embedded in her work further elevates its desirability, making it all the more valuable when it does become available.

'Kame Colour' by Emily Kame Kngwarreye (1995) 91 x 152cm

How valuable are Emily Kame Kngwarreye’s artworks?

Over the past two decades, the value of Emily Kame Kngwarreye’s artworks has skyrocketed. For instance, her 90 x 120 cm paintings, which sold for AUD $3,500 at an early exhibition in 1990, now routinely fetch around AUD $400,000. This rise in value is driven by limited supply and increasing global demand for Aboriginal art.

Kngwarreye’s works are highly sought after by collectors and institutions worldwide, as recognition of her contributions to contemporary art and Aboriginal culture continues to grow. 

Important Auction Results: High-profile auction results further underscore this.

Earth's Creation I, 1994, 632 x 275 cm
Lot No. 54, Cooee Art (now trading as Art Leven) (NSW), sold in November 2017 for A$2,100,000
Provenance: Commissioned by Dacou Gallery in 1994.

Untitled (Awelye), 1992, 164 x 228 cm
Lot No. 14, Deutscher and Hackett (VIC), sold in March 2025 for A$1,196,591
Provenance: Commissioned by Rodney Gooch/Mulga Bore Artists, Alice Springs, Northern Territory in 1992

Alhalkere - Old Man Emu with Babies, 1989, 152 x 122 cm
Lot No. 40, Sotheby's (NY), sold in May 2022 for ~ A$1,154,045
Provenance: Commissioned by Delmore Gallery in 1989

Earth's Creation I, 1994, 632 x 275 cm
Lot No. 60, Lawson~Menzies (now trading as Menzies) (NSW), sold in May 2007 for A$1,056,000
Provenance: Commissioned by Dacou Gallery in 1994.

Summer Celebration, 1991, 121 x 302 cm
Lot No. 15, Sotheby's (NY), sold in December 2019 for ~ A$863,544.
Provenance: Commissioned by Delmore Gallery in 1991

Earth's Creation II, 1995, 318 x 251 cm
Lot No. 29, Cooee Art (now trading as Art Leven) (NSW), sold in November 2023 for A$859,091
Provenance: Commissioned by Dacou Gallery in 1995.

These results are a testament to the growing investment potential in her work. Collectors who purchased her works in the early 2000s have seen significant returns on their investment.

What Is Provenance, and Why Does It Matter for Emily’s Art?

'Wild Flower' by Emily Kame Kngwarreye (1993) 120 x 90cm

 

Provenance plays a crucial role in establishing the authenticity and value of Emily Kame Kngwarreye’s artworks. It provides a documented history of ownership, ensuring that the work is original. Artworks with strong provenance, particularly those tied to respected galleries, exhibitions, or significant collections, generally command higher prices at auction. A well-documented provenance not only reassures collectors of the artwork’s authenticity but also affirms its legal ownership.

In our view, artworks associated with Delmore Gallery, Aboriginal Gallery of Dreamings (AGOD), Utopia Art (Chris Hodges), Dreaming Art Centre Of Utopia (DACOU), Central Australian Aboriginal Media Association (CAAMA Shop), Mbantua Gallery, Allan Glaetzer and Rodney Gooch should be regarded with equal respect. These individuals, galleries, and organisations have played an essential role in supporting and promoting Emily Kame Kngwarreye, as well as other leading Indigenous artists. Each was actively involved in the commissioning, distribution, and exhibition of Kngwarreye's work, contributing significantly to her legacy.

High-Value Provenance for Emily's Work: Provenance tied to the following individuals, galleries, and organisations is regarded as high-value for Emily Kngwarreye’s work, each playing a critical role in her legacy: 

• Dreaming Art Centre Of Utopia (DACOU), founded in 1993 by Fred Torres (Barbara Weir’s son), is an Aboriginal-owned and operated gallery that has played a foundational role in promoting Indigenous art from the Utopia region, including Emily Kngwarreye’s work.
• Aboriginal Gallery of Dreamings (AGOD) is one of the most respected galleries in the Indigenous Australian art community, and was instrumental in promoting Emily Kngwarreye’s career during her lifetime. Beyond this, the gallery commissioned the iconic Emily Wall, a major work that further solidified Kngwarreye’s place in contemporary art history. AGOD’s longstanding dedication to the Utopia artists ensures that works with AGOD provenance are highly respected and well-documented.
• Utopia Art, led by Chris Hodges, has been a key supporter of the Utopia artists, including Emily. The gallery’s early involvement in promoting her work was instrumental in bringing Emily’s art to a global audience and solidifying her place in contemporary art history.
• Delmore Gallery, located on a homestead near where Emily’s family lived, has been a key supporter of her work. While the gallery’s property is on a neighboring station and not on Emily’s country, its deep connection to the Utopia region and its unwavering commitment to Indigenous art make works with Delmore provenance highly valued, helping to preserve Emily’s legacy.
• Central Australian Aboriginal Media Association (CAAMA) has been a vital institution in promoting Indigenous art, with significant involvement in the early stages of Emily Kngwarreye’s career. Its support helped establish Emily’s international recognition, making CAAMA provenance an important part of her artistic history.
• Mbantua Gallery, based in Alice Springs, is exclusively dedicated to showcasing art from the Utopia region. With a collection of over 50,000 artworks from Utopia, the gallery has long been a key supporter of Emily Kngwarreye and other artists from the area. Notably, Mbantua was the gallery that acquired Earth's Creation when it first broke auction records and later displayed it in their museum. This significant acquisition reflects their ongoing commitment to Emily’s legacy and their central role in promoting the Utopia artists both locally and internationally.
• Names Such as Rodney Gooch & Allan Glaetzer - Provenance details for Emily’s works may often include names such as Rodney Gooch and Allan Glaetzer. Gooch was instrumental in establishing a national network of art dealers and fostering relationships that helped elevate Utopia art onto the national stage. His strategic work in the 1980s - particularly the A Picture Story and A Summer Project exhibitions - was crucial in introducing Utopia artists to a national audience. Later, Gooch became an independent art dealer, continuing his involvement with the region’s artists.

  Allan Glaetzer, originally the store manager at Utopia, played a pivotal role in the development of Utopia Batik and Art, a project he established in collaboration with the Community Council that ran through the early 1990s. After Rodney Gooch left as the arts advisor for the community, Glaetzer took on the role and later worked for the Central Land Council (CLC). His contributions were essential in shaping the direction of Utopia art and ensuring its long-term success within Australia and internationally.

Why Provenance Matters:  Provenance is not just a record of ownership - it’s a reflection of the relationships, care, and cultural integrity behind the work. Individuals, galleries, and organisations like the ones mentioned above have long been part of Emily’s artistic journey, and their support goes beyond commerce; it is about preserving and sharing her legacy. As some auction houses may emphasize Delmore Gallery provenance due to its meticulous cataloging practices, it’s crucial to note that the provenance sources listed above are equally significant. Provenance from these galleries assures buyers that they are acquiring a piece that is not only authentic but also a meaningful part of Emily’s ongoing legacy in the art world.

How do you spell her name?

Emily wanted her name spelled Emily Kame Kngwarreye. Prior to her death, she confirmed this spelling, which is also inscribed on her gravestone. The family we have spoken to in recent weeks has confirmed that this remains the preferred spelling of her name.

At Kate Owen Gallery, we fully respect Emily's wishes, as well as the wishes of her family. We see no other way her name should be spelt, and we are committed to honoring this in all our dealings with her legacy.

While alternative spellings have emerged, often driven by academic or linguistic frameworks, we believe it is essential to uphold the name Emily chose for herself. This is a core part of the respect we have for her and her family's wishes.

This topic will be explored further in our upcoming article.

We hope you have enjoyed these insights and look forward to sharing our next instalment with you soon!

26 April – 25 May 2025
On Display in our Third Level Collectors Gallery

We’re thrilled to announce our upcoming exhibition The Pintupi Nine: Tradition and Legacy — a powerful celebration of one of the most extraordinary stories in Australian art.

View Exhibition Catalogue 

Emerging from the remote Gibson Desert in 1984, the Pintupi Nine captured the world’s imagination. Having lived a traditional, nomadic life until their dramatic encounter with the modern world, these artists - including the renowned Tjapaltjarri brothers (Warlimpirrnga, Walala, and the late Thomas) and their sister Yukultji Napangati - went on to create some of the most iconic works in the story of contemporary Aboriginal art.

Their paintings are deeply rooted in culture, place, and ancestral knowledge. Every canvas is a map of memory and country - rich with sacred stories, shimmering desert landscapes, and extraordinary visual language passed down for millennia.

To coincide with the exhibition, we’ve created a new article exploring the incredible story of the Pintupi Nine in more detail.

Learn More

Why These Artists Belong in Every Serious Collection

Unparalleled Cultural and Historical Significance

The Pintupi Nine represent one of the last unbroken links to a pre-contact way of life. Their paintings are not just artworks—they are living documents of an ancient culture, making them invaluable to collectors who recognize the importance of preserving Indigenous heritage.

International Recognition and Market Demand

From the National Gallery of Victoria to exhibitions in New York, their artworks are consistently featured in major institutions. This level of global recognition ensures the enduring value of their pieces, making them both a cultural treasure and a sound investment.

Aesthetic Excellence and Unique Artistic Vision

Each artist brings a distinct yet complementary style, creating mesmerizing visual narratives of Dreaming stories. Their work is characterized by intricate patterns, rich textures, and deep symbolism, making them a striking addition to any collection.

Investment Value and Legacy

Aboriginal art is one of the fastest-growing segments in the global art market, with works by the Pintupi Nine consistently increasing in value. As these artists age, and with the recent passing of Thomas Tjapaltjarri, their paintings become even more significant, heightening their desirability among serious collectors.

Own a Piece of History

The Pintupi Nine’s journey from isolation to international acclaim is one of the most extraordinary stories in contemporary art. Their works offer more than just visual beauty—they carry the weight of history, culture, and an ancient artistic tradition. For collectors, acquiring a piece by the Pintupi Nine is not just about owning exceptional art; it’s about preserving and celebrating one of the world’s oldest living cultures.

Kate Owen Gallery is honored to present these extraordinary works. Explore our exhibition and invest in a legacy that transcends time.

View Paintings

Not the man or woman of your dreams, but the perfect artwork for your home or office!

With over 2,000 artworks here at the gallery, the process of finding 'the one' may seem daunting - but we've asked our amazing art consultants (who have over 50 years experience in art consultancy combined!) what are the key signs they know their clients have found their perfect artwork. 

 If you compare every other possible artwork to it, chances are you've found the one!

What if I said I had another client who wanted to purchase the artwork today - how would you feel? If you wouldn't be that bothered, maybe it isn't the one for you..

Daniel Goldshaft, Senior Art Consultant

This is why I love our home trial service! You can learn a lot about your taste this way. Like music, some art takes time to get to know. Sometimes the best art reveals itself slowly.... at the end of the home trial period, are you still admiring the artwork and finding wonderful new details you didn't notice before? Or perhaps you already can't imagine the space without it!  

If you're  emotionally invested in a couple of artworks and can't decide, sometimes it's good to refer back to the key guidelines you had when you first started looking for a piece of art; did you have a particular size in mind? Did you want the space to have a certain 'feel'? Or do you want an artwork that is bold, vibrant or quiet? If the artwork ticks all the boxes, then bingo! you've found it!

Some couples have such different styles and aesthetics, just finding ONE artwork that you both agree is beautiful is an amazing feat (I've had some clients that have had to wait 12 months for this moment to happen!) When that moment does happen - snap up the artwork pronto to avoid disappointment!

I always say 'go with your gut' even if you don't know how it will work with other pieces in your house...If you always follow your instincts you'll find over time your own unique aesthetic shines through, and you'll have a home full of treasured  pieces that each hold a special story for you.

     I think buying a piece of art should be a pleasurable, fun experience. If you feel like you need to make a quick decision as you feel the need for closure, or you have a pressing deadline, it might be best to place the artwork on hold for 24 hours, or take it on a home trial. We want you to be 100% happy with your selection.

It can get very busy on the weekends in the gallery, so come prepared if you can, know the size that you require and, if possible, bring photos on your phone of the space.

 Remember it’s not always about the look of the painting in isolation, but how it will influence your space. Let our experienced staff guide you.

   
Surrey Webb, Senior Art Consultant

If you're new to the concept of buying art, then sign up to our mailing list and come along to our exhibitions! You’ll soon discover the myriad of different styles of art that are out there. The more you’re able see and experience, the more you’ll discover the works that pull at your heart. See if you can time your visit with one of our artist in residence programs. Learning the process, techniques and concepts behind a piece can give you a whole new perspective on what it means and how it makes you feel. Take notes on the types of works that speak to you the most – is there a particular style, medium or theme that you seem attracted to consistently?

  Just remember, you’re the one who will be admiring this piece on your wall, day in and day out. While we can direct you towards a particular artist you might like, when it comes to choosing something for your home, it’s entirely personal. You don’t want to spend the big dollars on a piece that you tire of within a year! Your friends and our art consultants may have lots of experience and knowledge about an artists’ standing in the market, but they don’t know your home or your personal preferences. Trust yourself.

Your taste is always growing and evolving. Don’t be afraid to step outside your comfort zone. You may find that as time passes, you’ll be drawn into different styles, colours and genres – but that’s just part of the fun! Keep an open mind when visiting the gallery and you might surprise yourself with how diverse your art taste really is. There are no boundaries and the only person you need to please is yourself – so let yourself fly free! 

If you find an artwork that you can’t stop thinking about, chances are it’s meant to be in your life.

 
Kirby Olave, Indigenous Art Consultant

 Related Topics:

• About our Art Collection
• Frequently Asked Questions
• Browse Artworks by Price Range

What an incredible start to the year it has been for the KOG Crew. Here's a summary of 2019 so far;

exhibitions and artist in residence programs

So far we've held two exhibitions in our 'defining tradition' series, with more planned later in the year and extending in to the 2020 exhibition schedule. This weekend will be the official launch of our exhibition seven sisters where artists Andrea Adamson, Athena Nangala Granites and Gabriella Possum Nungurrayi depict the epic Aboriginal Dreamtime story of an Ancestral Being in the guise of a man - who relentlessly pursues seven sisters (Ancestral Women) over land and sky. It is a tale of lust, love, passion and danger. We are hanging the exhibition this week and it is a cracking selection of works - this exhibition is a must-see! Follow the links below to find out more about our past and current exhibitions.

• defining tradition | the first wave & its disciples
• defining tradition | the colourists
• seven sisters 

We know our artist in residence program is hugely popular and we are planning to have another one this year, but please be advised that many of the artists we represent have great family and cultural responsibilities meaning plans can change at a moments notice. To stay up to date with the latest news on our artist in residence programs, sign up to our mailing list.

What other exhibitions do we have in store for 2019? Well, we like to keep it a surprise! But if you're a fan of Barbara Weir, Karen Napaltjarri Barnes, Helen McCarthy or just love black and white artworks - watch this space! We'll have some exciting news for you shortly.

artist awards & recognition

A big CONGRATULATIONS to Lockhart River artist Fiona Omeenyo who is a finalist in this years Montalto Sculpture Prize! Fiona's work has been widely exhibited in Australian galleries since winning her first art award in 2001. She has had 15 solo exhibitions and over 40 group exhibitions, as well as being represented in many private and public collections including the National Gallery of Victoria and QUT Art Museum. View Fiona's latest body of work here

We also send our CONGRATULATIONS to Helen McCarthy Tyalmuty - selected as a finalist in the 2019 Calleen Art Award! The acquisitive painting prize is held at the Cowra Regional Art Gallery each year. The winner is announced on Saturday 4 May.

Helen McCarthy Tyalmuty 'Marrawuk (Start of the Wet)' - HMCG0112A  119 x 200cm

Already winner of the Peoples Choice Award at the 2007 Telstra National Aboriginal & Torres Strait Islander Art Award, in 2017 Helen appeared as a finalist in prestigious art prizes such as the Paddington Art Prize, the Georges River Art Prize, and was awarded the Inaugural Margaret Olley Art Award at the Mosman Art Prize. Over the last eighteen months Helen has spent time in Alice Springs, Darwin, Daly River and Sydney, with 2019 promising to be another exciting year of creative output.

gallery awards & recognition

The KOG Crew are still buzzing after being named Champion Specialised Retail Small Business for 2019 at The Australian Small Business Champion Gala Dinner and Awards Ceremony held on Saturday 6 April with over 1,100 guests in attendance. Daniel, Surrey and Liz were in attendance and received an award statuette, certificate and gained national recognition as an industry leader. Here at Kate Owen Gallery, we couldn’t do what we do without the incredible artists who choose to bless us with their art and our wonderful clients, so a big heartfelt THANK YOU!

We've also just received the news that our loyal clients have voted for us in the 2019 Inner West Local Business Awards and we have been named as a FINALIST! Our sincere thanks for your loyalty and support over the years. 2019 is certainly turning out to be an exciting year for Kate Owen Gallery!