The lead up to a major secondary market exhibition such as Significant often presents challenges and breakthroughs along the way. This year, that created a momentum that translated into our most remarkable sale to date.

When I was approached by Carey Lyon and Jo Crosby to sell their exceptional collection of important early Papunya boards, I had mixed feelings. Having been on Carey and Jo’s collecting journey from the beginning and having sold most of the works in their collection to them; I felt elated to be reunited with them, but it was a bittersweet moment too.

But in art, as in life, every transition marks a new beginning. And as these artworks find new custodians, they will drive the momentum of an evolving marketplace, which fosters confidence and in turn, opportunities for the next generation of artists.

This market is dynamic, exciting, evolving, and alive!

Throughout the process with Carey and Jo, the significance of these early boards has been ever present; these artworks which form the foundations of the Western Desert art movement, helped me form the foundation of this annual exhibition. These paintings are rare and exceptionally beautiful; often referred to as ’the jewels’ of this genre, they are also highly collectable.

A series of remarkable occurrences took place during the consignment process. I have often found that paintings attract paintings, and two of the most important early Papunya boards—works I have been eager to consign since my tenure at Sotheby’s—were taken in for sale soon after our agreement to consign those of Carey and Jo. Together, they form the most formidable group of rare and early boards to appear on the market for a very long time.

Shorty Lungkata Tjungurrayi Man Dreaming 1972 | © Shorty Lungkata Tjungurrayi/Copyright Agency 2026

Shorty Lungkata’s Man Dreaming 1971/1972, and Yumpululu Tjungurrayi’s Special Ceremony 1972 complete this truly incredible segment of the sale, and I could not be more thrilled with their inclusion.

Yumpululu’s work is rarely seen on the market; I have only ever sold one other important work by this artist.

The work by Shorty Lungkata which featured as a highlight of the acclaimed exhibition, Tjukurrtjanu: Origins Of Western Desert at the National Gallery of Victoria (NGV) in 2012-13 is a genuine masterpiece. This is the first time it has been offered for sale in almost forty years.

These two works – alongside Big Corroboree with Water 1972 by Uta Uta Tjangala and Kaapa Tjampitjinpa’s early rendition of Honey Ant Travelling Dreaming 1971 from Carey and Jo’s collection—can be considered national treasures.

This section of the sale is a triumph for our team and for the artists we represent. The boards will form an ‘exhibition within the exhibition’ at our Melbourne gallery—an exhibition not to be missed.

D’Lan Davidson

Some of the challenges of forming these vast exhibitions is the timing of when artworks will appear, and from where. And the ‘not knowing’ what the exhibition will eventually look like—until the very end of the consignment period can be difficult.

With many years of experience, firstly as a dealer, then as a specialist at Sotheby’s, and now in this gallery environment—I have learned to remain patient and never to panic. I believe artworks have a life of their own, and that they will always appear at just the right time.

Another challenge in building such an important market sale across three locations—Melbourne / Sydney / New York—is managing client expectations. It is important to maintain market excitement, and to harness that enthusiasm through client inclusion. We want every client to feel that they are a part of this ‘journey’ with us.

Through our work, we continue to build confidence in this critically important market, but most importantly, we are helping to build legacy for the significant artists we represent—both living and deceased.

This year’s sale has been a little easier to form than previous years. Not only did we have the Lyon & Crosby Collection confirmed early—and a successful consignment campaign from November through March—but our New York consignments also came early forming a strong body of contemporary work which is perfect for our U.S. audience.

Artists in this section include Emily Kam Kngwarray, Patju Presley, several leading Papunya Tula artists—including Joseph Jurra and Yukultji Napangati—along with a masterwork by Queenie McKenzie and a scintillating early picture by Wimmitji Tjapangati.

Sydney will feature two important early pieces by Albert Namatjira and an incredibly rare and early Rainforest Shield from far North Queensland. This shield was originally acquired in 1910 by Czech botanist Karel Domin during his travels through Queensland as part of a scientific expedition to Australia and Java. It has remained in private hands since then. Works of such rarity are simply never seen anymore.

This is an important inclusion in Significant as it dates back to the 19th century and highlights the intergenerational artistic talent of Australian First Nations people.

Also included in the Sydney exhibition are two monumental works by Timo Hogan and Noŋgirrŋa Marawili. The Timo is arguably the most important example to have appeared on the secondary market to date, measuring 290 x 400 cm. And the Noŋgirrŋa diptych Baratjula 2015 is also an incredible recent discovery, measuring a 200 x 244 cm. Both works are extraordinary statements by these respective artists and will form centrepieces to the overall exhibition.

Finally, we are honoured to bring Nyapanyapa Yunupiŋu’s unprecedented series Djorra 2014 from the collection of Dennis and Debra Scholl to our Melbourne gallery in 2026. Due to a shortage of bark at the time, Yunupiŋu created this vast series, consisting of 45 individual drawings and paintings, on discarded print proofs from the Yirrkala Print Space. The outcome can be declared nothing short of a triumph, and we look forward to finding a deserving home for this important series.

I hope that this journal provides a meaningful insight into the 12 months of energy, dedication, and discoveries that happen behind the scenes, that shape Significant every year.

This year’s sale is valued at AUD$7 million (USD$4.95 million). I am excited to see it brought to life through the research, writing, photography and presentation to come; and of course, to share it with our international clients and audiences.

D’Lan Davidson