7 November 2025
Alex Tweedy
Lyon & Turnbull's forthcoming Form Through Time auction on 26 November 2025 is centred around The Coppens Collection of Aboriginal Art.
The François Coppens Collection of Aboriginal Art represents over twenty-five years of passionate collecting and deep engagement with Australia’s First Nations cultural heritage. This carefully assembled collection brings together a wide range of works that reveal how artistry and meaning are deeply woven into every aspect of life and material culture.
At its heart lies an outstanding selection of shields from diverse regional traditions, alongside finely crafted woomeras, clubs, boomerangs and other objects distinguished by their balanced proportions, graceful contours and the harmonious integration of form and function. Complementing these are works of art that draw upon ancestral traditions while expressing the continuing vitality of First Nations creativity, including pieces by celebrated figures such as Dick Nguleingulei Murrumurra.
Together, the works assembled by François Coppens offer a well-rounded and insightful perspective on one of the world’s oldest and most profound artistic lineages. Aboriginal art is deeply connected to community and Country. Every object, whether a shield, boomerang or spearthrower, carries layers of meaning that link people to place, ancestors and living tradition. Designs and forms express knowledge of the land and the values that sustain it, turning practical tools into expressions of identity and belonging.
Making and using these objects reinforces shared knowledge and connection within communities, while also maintaining cultural memory across generations. Through this ongoing relationship between creativity, land and life, Aboriginal art continues to embody a living and enduring connection to Country.
Shields from across Australia show great diversity in form, design and meaning. Their shapes, materials and decorations varied between regions, reflecting local environments and cultural traditions. In the rainforests of Queensland, broad shields were carved from the buttress roots of fig trees and painted with bold totemic designs in natural pigments. In contrast, the smaller wunda shields of Western Australia were finely crafted and decorated with incised geometric patterns. In the south east, narrow hardwood shields were engraved with complex designs such as zigzags, chevrons, circles and spirals. These patterns often represented rivers, pathways or ancestral stories, linking the shield to Country and to the people who made and used it.
Making a shield required great skill and time. The process was highly valued, as the finished object carried both practical and symbolic importance. Shields were used in combat but also in ceremony and performance, expressing identity, strength and connection to ancestors. Their carved or painted surfaces could create optical effects in motion, enhancing the presence and agility of the warrior.
The decoration of shields also conveyed individuality and belonging. Each design reflected local knowledge and cultural meaning, while sharing visual links with body painting, carving and other ceremonial arts. Through their designs and craftsmanship, shields served not only as protective tools but also as powerful expressions of cultural identity and spirituality.
More than simple weapons, they embody the close relationship between people, place and creativity, uniting function, art and meaning.
We acknowledge the Traditional Custodians of the lands and waters across Australia from which the artists in this collection drew inspiration.
We pay our respects to their Elders past and present, and extend that respect to all Aboriginal and Torres Strait Islander peoples today.
