Charlie Numbulmoore Paintings & Artwork for Sale | Charlie Numbulmoore Art Value Price Guide

Oct. 11, 2022
Charlie Numbulmoore - Wandjina, c.1970
Est: $25,000 - $30,000
Charlie Numbulmoore lived for many years on Gibb River Station in the Central Kimberley where anthropologist Ian Crawford first recorded him repainting Wandjina figures in a Mamadai cave during the 1960s. The few biographical details of Numbulmoore’s life that exist are traced solely through his encounters with those anthropologists who collected his work. Following Crawford’s initial encounter, Helen Groger-Wurm collected the artist’s work on behalf of the Australian Institute of Aboriginal Studies in 1970, the same year that collector and grazier Tom McCourt purchased a number of paintings on bark, plywood, and cardboard. In his journal, McCourt recalled Numbulmoore as 'the last of the old people here… who has that certain something that impresses you… when I was in Charlie's camp, I bought several paintings he had in his hut from him… although his work is childlike, it has the primitive look of paintings seen under the rock hangings out in the bush' (cited in Sotheby’s 2003: 10).
Cooee Art
Aug. 24, 2021
Charlie Numbulmoore (circa 1907-1971) Wandjina, 1971 40.5 x 22.0 cm (15 15/16 x 8 11/16in). (irregular)
Est: $15,000 - $18,000
Charlie Numbulmoore (circa 1907-1971) Wandjina, 1971 inscribed lower right: 'CHARLIE NUMBULBOR / GIDJI TRIBE / T.M.C. 71 / WA' natural earth pigments on stone 40.5 x 22.0 cm (15 15/16 x 8 11/16in). (irregular) For further information on this lot please visit the Bonhams website
Bonhams
Jun. 08, 2021
Charlie Numbulmoore - Wandjina, c.197
Est: $15,000 - $18,000
Cooee Art Indigenous Fine Art Auction "Charlie Numbulmoore lived for many years on Gibb River Station in the Central Kimberley, where anthropologist Ian Crawford first recorded him repainting Wandjina figures in a Mamadai cave in the 1960s. The few biographical details of Numbulmoore+IBk-s life that exist are traced solely through his encounters with those anthropologists who collected his work. Following Crawford+IBk-s initial encounter, Helen Groger collected the artist+IBk-s work on behalf of the Australian Institute of Aboriginal Studies in 1970, the same year that collector and grazier Tom McCourt purchased a number of paintings on bark, plywood, and cardboard. Numbulmoore+IBk-s paintings show a unique conception of the Wandjina, characterised by large round black eyes fringed with short delicate lashes. The centre of the chest features a solid black or occasionally red oval, said to depict the sternum, heart, or a pearl shell pendant representing its spiritual essence. The almost circular head is surrounded by a very regular, tripartite halo or headdress, representing hair, clouds, and lightning. Unusual in these works is the inclusion of a mouth and a long narrow parallel-sided nose, flared at the very tip with nostrils. This very rare example of his work was created on the lid of a wooden box. The great strength of Charlie Numbulmoore+IBk-s artistic legacy is that he was able to convey the aesthetic and spiritual power of the Wandjina undiminished through a range of portable media that survive to this day.+IB0 Contact Cooee Art for more information on this Aboriginal artwork.
Cooee Art
Mar. 14, 2018
CHARLIE NUMBULMORE CIRCA 1907- 1971 | Wanjina
Est: £12,000 - £18,000
Natural earth pigments on eucalyptus bark
Sotheby's
Mar. 14, 2018
CHARLIE NUMBULMORE CIRCA 1907- 1971 | Wanjina
Est: £25,000 - £35,000
Natural earth pigments on eucalyptus bark
Sotheby's
May. 25, 2016
CHARLIE NUMBULMOORE , (c.1907 1971) , ARKULA SPIRIT BEING, 1970 , natural earth pigments on cardboard
Est: $25,000 - $35,000
CHARLIE NUMBULMOORE , (c.1907 1971) , ARKULA SPIRIT BEING, 1970 , natural earth pigments on cardboard DIMENSIONS: 73.0 x 63.0 cm PROVENANCE: Painted at Gibb River Station, West Kimberley, Western Australia Tom McCourt, South Australia Private collection, South Australia Sotheby's, Melbourne, 9 July 2001, lot 7 (label attached verso) Collection of the late Duncan Kentish, Adelaide ESSAY: Purchased by South Australian pastoralist Tom McCourt, during a memorable field trip to the Kimberley in 1971, this painting represents one of several made by Charlie Numblemore and bought by McCourt. Notably, Charlie was referred to as 'Numbulbor' by McCourt and also considered by him to belong to the Gidji [Kija] speaking people of south central Kimberley. However, it is now understood that the artist was of the Wurla language group, an eastern branch of the Ngarinyin-speaking peoples of the central Kimberley. During the 1960s, Charlie worked closely with anthropologist Ian Crawford who recorded him repainting wanjina images in Mamadai cave and collected a significant number of his works, many executed on sheets of brown paper. In particular, Crawford provides a detailed account of Charlies approach to the reworking of these important images, and outlines techniques he used.1 Works by Charlie were also commissioned by Helen Groger-Wurm on behalf of the then Australian Institute of Aboriginal Studies in 1970. These paintings now form part of the National Estate.2 McCourt spent some time with Charlie Numbulmore and his collection of the artists work remained for a long time the largest collection held privately. Significantly, it represents the final works undertaken by Charlie. Described in his book, Aboriginal Artefacts, as one of a number of paintings on cardboard, stored in Charlie's hut at Gibb River, McCourt notes that it is a painting of A 'devil-devil' in brown and black, with claws on its fingers. 3 There are a wide variety of spirit beings, generically known as jimi, inhabiting the world of the people of the north Kimberley - some are benevolent and play an important role in ensuring there will be a regular supply of bush tucker including wild honey or sugarbag. Others however, are malevolent and very dangerous. Exaggerated ears and the pronounced claws or talons identify the subject of this picture as an evil sprite or spirit being. It may represent either an arkula - an evil aspect of the spirit of a dead person or, as the subject appears to be female, it may depict Jilinya, a fearsome female spirit who inhabits the bush and preys on humans.4 1. Crawford, I.M. The Art of the Wanjina: Aboriginal Cave Paintings in Kimberley, Western Australia, Oxford University Press, London, 1968, pp.25-27 2. Ryan, J. with Akerman, K. (eds), Images of Power: Aboriginal Art from the Kimberley, National Gallery of Victoria, Melbourne, 1993, pp.20-21 3. McCourt, T., Aboriginal Artefacts, Rigby, Adelaide, 1975 4. For more details of these spirit beings see: Akerman, K., Wanjina: Notes on Some Iconic Ancestral Beings of the North Kimberley, Hesperian Press, Western Australia, 2016, pp.145-170 KIM AKERMAN
Deutscher and Hackett
Sep. 15, 2015
CHARLIE NUMBULMOORE (c.1907-1971) Wandjina c.1970 natural earth pigments on bark
Est: $12,000 - $18,000
CHARLIE NUMBULMOORE (c.1907-1971) Wandjina c.1970 natural earth pigments on bark inscribed verso: "FROM GIBB RIVER/ W.A./ (collected /1970)" 58 x 50.5cm PROVENANCE: Gifted to the vendor by a friend whilst living in Western Australia in 1970 Private collection, Melbourne
Leonard Joel
Jun. 10, 2015
CHARLIE NUMBULMORE CIRCA 1907-1971 | The Wanjiina at Mamadayi
Est: £10,000 - £15,000
Natural earth pigments on masonite
Sotheby's
Nov. 19, 2012
Charlie Numbulmoore (circa 1907-1971)
Est: -
Wanjina natural earth pigments on slate 42 x 20cm
Bonhams
Oct. 18, 2011
Charlie Numbulmoore circa 1907-1971 WANJINA (CIRCA 1970) natural earth pigments on eucalyptus bark
Est: $30,000 - $50,000
Charlie Numbulmoore circa 1907-1971 WANJINA (CIRCA 1970) natural earth pigments on eucalyptus bark 44.5 X 32CM PROVENANCE Private Collection Aboriginal Art, Sotheby's, Melbourne, 24 June 2002, lot 28, illustrated Private Collection, New South Wales Charlie Numbulmoore, cave-painter and artist, resided for many years at Gibb River Station in the central Kimberley, heartland of the Ngarinyin people. During the 1960s Charlie worked closely with anthropologist Ian Crawford, who recorded him repainting Wanjina images in Mamadai cave. A detailed account of Charlie's approach to the retouching of these important images, and of the techniques he used is provided by Ian Crawford. (1) Works by Charlie Numbulmoore along with those of other Ngarinyin, Wunambal and Worora artists were commissioned by Helen Groger Wurm on behalf of the Australian Institute of Aboriginal Studies in 1970. These paintings are now part of the national estate. (2) In 1971 South Australian grazier and collector, the late Tom McCourt, visited the central Kimberley and purchased a number of paintings, on plywood and cardboard, depicting Wanjina and 'devil-devil' argula beings that Charlie had executed. (3) McCourt also commissioned Charlie to paint a Wanjina figure on an archaeological millstone found on an adjacent station. Traditionally paintings of Wanjina on small stones were not common in the Kimberley, but they did occur and one found in 1977 is now in the collections of the Western Australian Museum. Commissioned painted stones, such as McCourt's example or others done by Karruwara in 1975 are a more common and recent phenomena. Charlies Numbulmoore's Wanjina figures are generally readily identifiable. Those that are shown head and shoulders only are usually solid white (invariably derived from the mineral huntite) figures with details added in red, black and yellow. In the centre of the chest a solid, usually black but occasionally red, oval form said to depict the sternum/ heart or a pearl shell pendant. The almost circular heads are surrounded by a very regular headdress/hair/clouds/lightning halo. Solid black round eyes with delicate lashes are windows to the furthest edges of the universe – and beyond. These eyes, along with the narrow, outlined noses suggest the silent crania of clan ancestors that still rest on shelves and in crannies of many Wanjina caves. Kim Akerman (1) Ian Crawford, The Art of the Wandjin: Aboriginal Cave Paintings in Kimberley, Western Australia, Oxford University Press, London, 1968, pp. 25-27 (2) See Judith Ryan and Kim Akerman, Images of Power: Aboriginal Art from the Kimberley, National Gallery of Victoria, Melbourne, 1993, pp. 20-21 (3) Tom McCourt, Aboriginal Artefacts, Rigby, Australia, 1975, pp. 48, 52-53
Smith & Singer
Feb. 21, 2011
Attributed to Charlie Numbulmoore Two Wanginas
Est: $3,000 - $4,000
Attributed to Charlie Numbulmoore Two Wanginas Natural earth pigments on bark 47 x 25 cm
Mossgreen Auctions
Oct. 14, 2009
CHARLIE NUMBULMOORE A Pair Of Wanjina, c1970
Est: $40,000 - $60,000
CHARLIE NUMBULMOORE A Pair Of Wanjina, c1970 natural earth pigments on cardboard 59.0 x 91.0 cm
Deutscher and Hackett
Jul. 24, 2007
CHARLIE NUMBULMOORE , TWO SPOTTED WANJINA c.1970
Est: $40,000 - $50,000
Natural earth pigments and natural binders on cardboard
Sotheby's
Jul. 24, 2007
CHARLIE NUMBULMOORE , WANJINA 1971
Est: $150,000 - $200,000
Natural earth pigments on plywood
Sotheby's
Jul. 24, 2007
CHARLIE NUMBULMOORE , BUSH SPIRITS 1971
Est: $40,000 - $60,000
Natural earth pigments on cardboard
Sotheby's
Jul. 24, 2007
CHARLIE NUMBULMOORE , DEVIL DEVIL c.1969
Est: $18,000 - $25,000
Bears the artist's stenciled hand on the reverse Natural earth pigments and synthetic binder on composition board
Sotheby's
Jul. 24, 2007
CHARLIE NUMBULMOORE , TWO WANJINA c. 1970
Est: $12,000 - $18,000
Natural earth pigments on slate
Sotheby's
Jul. 31, 2006
CHARLIE NUMBULMOORE 1907-1971
Est: $18,000 - $25,000
WANJINA C.1970 MEASUREMENTS 44 by 18.5 cm Bears inscription 'Charlie's Sacred Stone, Gibb River, Kalumuburroo (sic.) WA' on the reverse Natural earth pigments on slate PROVENANCE Probably executed at Gibb River Station, Western Australia Private collection, Victoria Cf. For related paintings and a discussion on the artist see Crawford, I. M., The Art of the Wanjina, Aboriginal Cave Paintings in the Kimberley Western Australia, Oxford University Press, London, 1968; McCourt, T., Aboriginal Artefacts, Rigby Press, Australia, 1975; Ryan, J. and Kim Akerman (eds.), Images of Power, Aboriginal Art from the Kimberley, National Gallery of Victoria, 1993 Charlie's Wanjina figures are generally readily identifiable. Those that are shown head and shoulders only are usually solid white (invariably derived from the mineral huntite) figures with details added in red, black and yellow. In the centre of the chest a solid, usually black but occasionally red, oval form said to depict the sternum/heart or a pearl shell pendant The almost circular heads are surrounded by a very regular, tripartite halo that represents headdress (and hair/clouds/lightning). The large round, black eyes fringed with short, delicate lashes usually occupy a greater proportion of the head in Numblemoore's Wanjinas than in those painted by other artists. Similarly Charlie's Wanjinas have well defined, long narrow parallel-sided noses, flared at the very tip and with the nostrils invariably depicted In 1971, South Australian grazier and collector the late Tom McCourt visited the central Kimberley (McCourt 1975, pp. 48, 52-53) and purchased a number of paintings, on slate, plywood and cardboard, depicting Wanjina and other beings that Charlie had painted. McCourt also commissioned Charlie to paint a Wanjina figure on an archaeological millstone found on an adjacent station. Traditionally paintings of Wanjina on small stones and slate were not common in the Kimberley, but they did occur and one found in 1977 is now in the collections of the Western Australian Museum. Commissioned painted stones, such as McCourt's example or others done by Karruwara in 1975 are a more common and recent phenomena Sotheby's wish to thank Kim Akerman for this catalogue entry
Sotheby's
Jul. 25, 2005
CHARLIE NUMBULMOORE 1907-1971 WANJINA C.1970
Est: $15,000 - $25,000
Natural earth pigments on shaped hardwood coolomon Provenance
Sotheby's
Jul. 26, 2004
CHARLIE NUMBULMOORE CIRCA 1907-1971 WANJINA C.1970 62 by 38.5 cm Natural earth pigments on eucalyptus bark Provenance: Painted at Gibb River Station, West Kimberley, Western Australia Tom McCourt, South Australia Private collection, South Australia
Est: $40,000 - $60,000
CHARLIE NUMBULMOORE CIRCA 1907-1971 WANJINA C.1970 62 by 38.5 cm Natural earth pigments on eucalyptus bark Provenance: Painted at Gibb River Station, West Kimberley, Western Australia Tom McCourt, South Australia Private collection, South Australia Sotheby's Aboriginal Art, Melbourne, 26/27 June 2000, Lot 15 Private collection, Sydney Cf Crawford I.M., The Art Of The Wandjina: Aboriginal Cave Paintings in the Kimberley, Oxford University Press, Melbourne 1968, for a discussion of Wanjina paintings and related works by the artist; McCourt, T., Aboriginal Artefacts, Rigby Ltd., Adelaide, 1975, pp.47, 48, 52, 53, for related paintings of Wanjina by the artist including one on cardboard at the artist camp at Gibb River; Ryan, J., Images of Power: of the Kimberley, National Gallery of Victoria, Melbourne, 1993,pp.15-19, for discussion of Wanjina paintings, and pp.20-21 for two other paintings illustrated by the artist; Berndt, R.M. and L. Phillips (eds), Australian Aboriginal Heritage, Ure Smith, Sydney, 1973, p.219, pl.229 for a related painting entitled 'The Wanjina Beings at Mamadai - East of Gibb River Station'. This painting was acquired directly from the artist at the Aboriginal camp on Gibb River Station, by author and artefact collector, Tom McCourt. McCourt in his journals from the time remarks that Numbulmoore was 'the last of the old people here...who has that certain something that impresses you' and continues, 'when I was in Charlie's camp I bought several paintings he had in his hut from him...Although his work is childlike, it has the primitive look of the paintings seen under the rock overhangs out in the bush, some of which he has painted and touched up in the past'. Indeed the artist retouched Wanjina paintings at Mamadai rock shelter in the presence of Ian Crawford in 1968 (Ryan 1992, p.16). Judith Ryan has written that Ngarinyin man Charlie Numbulmoore's works 'are characterised by huge black eyes encircled by eye lashes, a large black oval on the breast bone, no band around the shoulders, and dense white pigment on the head and torso. The headdress, decorated with parallel rows of red-ochre dots, represents clouds coming up and falling rain'. Ryan notes with regard to another example on bark painted in 1970 that 'the thick white paint and intense black features of this bark recapture for the viewer the strength and power of the original icons on rock' (ibid.). This painting has been used as part of an advertising campaign for Ozemail, where a number of notable Australians were photographed with Australian cultural emblems. Former Prime Minister Gough Whitlam was photographed in front of this Wanjina painting. A large format print of the above advertisment is included with this lot
Sotheby's