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          Cooee Art was originally established in 1981 and runs a hybrid art model to represent and support artists in an ethical and sustainable way. We have two galleries, our flagship gallery in the heart of Aboriginal Sydney in Redfern and a boutique showroom gallery in Australia’s iconic Bondi Beach along with a seperate fine art auction wing, Cooee Art Auctions established in 2017. Cooee is now Australia’s oldest exhibiting Indigenous art gallery. Since first working with Australian Aboriginal artists in 1981, we have presented the finest First Nations art through exhibitions and events in Australia, Europe, and the Americas.

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Cooee Art foremost acknowledges Australia’s First Nations Peoples, the Gadigal people of the Eora Nation, as the traditional owners and custodians of the unceded land and waters on which we work and reside.

ABORIGINAL FINE ART GALLERY, PURCHASE AUSTRALIAN INDIGENOUS ART, CONTEMPORARY AND ABORIGINAL ART FOR SALE – SYDNEY

Price and availability are subject to change at the gallery’s discretion. While we try to ensure the accuracy of all data across the website, Cooee Art reserves the right to cancel a sale due to price change.

The artist holds the copyright for all images throughout the website and must not be reused or reproduced in any way without explicit permission.

© COOEE ART 1981 – 2021

Jimmy Kurtnu Pike

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Profile

Born at Kurntikujarra in the Great Sandy Desert of Western Australia during the Second World War, Walmajarri artist Jimmy Pike was just 13 when his people became some of the last to walk into the European-owned cattle stations that were gradually taking over their desert environment. He became a stockman at Cherrabun station near Fitzroy Crossing, and learnt to ride horses and round up cattle. (Pike's English-language name was borrowed from that of a famous Australian jockey). Nearly twenty years later, he found work as a carpenter building community housing for the Aboriginal settlement at Fitzroy Crossing.

A tribal murder in 1980 resulted in his imprisonment in Fremantle, and it was here that he came into contact with the techniques and materials of contemporary art practice. Art teachers Stephen Culley and David Wroth immediately recognized the extraordinary power of his early artistic explorations, including bright texta colour drawings and vigorous linocut designs. ‘We didn’t teach Pike how to make art, he had that intuitive ability already. All we did was open a few doors for him,' they said (As quoted by Counsel 1997: 56). In Fremantle, memory and imagination had helped him to bring the lost years of his childhood back to life and he became determined to renew those sacred connections. It was in prison too that Pike met Pat Lowe, a British-born woman working as a community welfare officer who had dreamed of coming to Australia as a child and had taught in East Africa. On his release in 1986 Pike and Lowe married, and together they returned to his desert homeland where they lived for the next three and a half years.

From here he continued to collaborate with Culley and Wroth, who had formed Desert Designs, a conceptual design company that transposed Pike’s traditional imagery and patterns onto fabric, clothing and domestic items. While decorating the body and useful objects fitted well with Aboriginal traditions, Desert Designs managed to maintain the creative and cultural integrity of Pike’s interpretations of ancient iconography while offering a range of new interpretive possibilities. With Jimmy as their artistic leader, the company worked with a number of other artists and created a new industry that developed throughout the 1980’s and 1990’s, ethically manufacturing and licensing Aboriginal designs for some of the world’s most prestigious companies including Sheraton, Hermes, and Oraton amongst others. This created the income that enabled Jimmy Pike to live a free and independent life as an artist in his own country. For here, in the unique physical and spiritual setting of his desert homeland, was the wellspring of Pike’s dynamic creativity, which became identified with its compelling, sinuous line and intense colour. Many of his paintings and prints represented maps and narratives about this country and incorporated decorative patterns his people used on spears, boomerangs or utensils. Yet Pike also brought an individual perspective to his subject matter, which gave his work a very contemporary flavour. His two-dimensional flattened figures and energetic designs conveyed a hard-edge modern sensibility. While he imparted his knowledge and expressed his deep feelings for his ancient traditions, he carried this a step further by responding to more immediate experiences and ideas that fed into his rich and active imagination.

Rediscovering and maintaining the sacred sites and waterholes that once sustained his family’s nomadic journeying became Jimmy’s passion and helped him to consolidate the mythological world of ancestors and Dreaming stories that were his people’s spiritual source. When they were not exploring or hunting, Jimmy continued painting and Pat started to write. At home, far away from the hustle and bustle of the rag trade and the fickle art market, Jimmy continued to paint on his rough work table made from old planks, under a brush shade structure, driving 180 kilometres into Fitzroy Crossing every few weeks to drop off the work and pick up supplies. One of the many creative results of his time with Pat Lowe in the desert was Jilji 1990, a fascinating account of desert life and desert living, written by Lowe and illustrated by Pike. It was the first of several collaborations.

During the eighties, when the Australian art world was beginning to open its eyes to the different styles and strands of contemporary Aboriginal art, Jimmy Pike’s work was exhibited alongside other Kimberley artists but just as readily fitted in shows featuring the younger urban artists emerging from city art schools that had been brought up in suburban surroundings. His powerful and distinctive use of colour and line reserved him an expressionistic corner in the middle of this growing diversity. Desert Designs was at the same time finding its place as a new icon of Australian fashion and contributing significantly to international perceptions of Australian culture. By the close of the eighties, he had become one of Australia’s most well known Aboriginal artists, receiving important commissions and travelling to the southern cities and overseas for openings and events. As he gained first a national and then an international reputation, he had successful exhibitions in China, the Philippines, South Africa, Italy and England, and produced work relating to his experiences in each of these countries.

A gentle but determined man, Jimmy Pike was always patient with curious questioners when he made one of his infrequent visits to the city. Alongside his international fame in the world of art and design, his deep, velvety voice proclaimed his respected position as tribal elder, musician and singer of tribal songs. He was a man of extraordinary energy and mischievous humour. Time spent with him was often full of laughter, as he described the pleasures of eating roast feral cat for Christmas dinner, or explained how he made himself "invisible" when being chased by the police for yet another motoring offense.

While he lived with Pat in his isolated desert homeland, they worked on a number of books together. Amongst these were Yinti: desert child (1992), Desert Cowboy (2000) and Jimmy and Pat Meet the Queen (1997) – a delightful fantasy about Aboriginal land rights. In his own quiet way, Jimmy Pike, forced by circumstance into white society, turned his back on it, rekindling his sense of belonging to the land. Though he died of a heart attack on his outstation at  sixty-two years of age, his work continues to celebrate that sense of belonging that asserts its core position at the centre of Indigenous identity.

MARKET ANALYSIS

Jimmy Pike was a much better and important artist nationally and internationally than his secondary market results would indicate. Although his average price is just $850 overall, the average price of his paintings is much more respectable at around $5,000. These include the four original works on paper that have sold at an average price of just under $5,000.     

It is unfortunate that so few original artworks have been available on either the primary or secondary market.  Many of these are in important collections here and overseas including the Christensen Fund Collection and the Desert Design Archives. If any of these, especially those held by Desert Design and the Steve Culley Collection, are released, they should dramatically alter his results. He was a master of graphic design and despite his death in 2002, it is still possible to purchase many of his prints through the Australian Art Print Network and its client outlets. Moreover fabrics incorporating his imagery are still used by fashion designers, most notably Fremantle’s Megan Salmon. Jimmy’s prints have sold well below primary market prices at auction, where their average price has been a paltry $182. By comparison even the smallest black and white image starts at $450 in the galleries that stock them. Little wonder then that that over 90% of the ones offered have sold. Given time, his prints should slowly increase in value despite the lack of a real secondary Aboriginal print market outside of prints created on rare occasions by major artists like Rover Thomas, Emily Kngwarreye, Paddy Bedford and Queenie McKenzie.

Pike’s top price of was set in June 2007 when Woman Carrying Her Two Boys 1989, a painting that measured 76 x 60 cm, sold for $12,000 at Lawson-Menzies (Lot 122). This was $2,000 above the highest estimate ever carried by one of his works. It transcended his previous record set by Lawson~Menzies in May 2004 for a work in texta-pen on paper. Cityscape 1981, a 55.5 x 75.5 cm. eccentric view of Sydney’s sky-scape sold for $8,400 (Lot 10), once more well over it’s high presale estimate of $6,000. That year was in fact the highest grossing year for Pike’s works at auction, generating $20,580 from the five works sold of the six offered.

Collectors would be well advised to trawl the auction houses to purchase Pike’s prints. Given his prodigious talent, his wide renown, and the affection in which he is held, owning one of Jimmy Pike’s colourful or bold black and white prints can bring great pleasure. They are strong, confident images by a master of graphic design, a delight to live with, and currently greatly undervalued in the market. While doing so one should always keep an eye out for one of his original works. These are unique and relatively rare and could prove to be a very profitable find.  

MARKET PERFORMANCE

2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019
0.1843 0.0435 0.0222 0.0525 0.3208 0.0000 0.3681 0.2778 0.0164 0.0339 0.0000 0.0491 0.1997 0.0163 0.0309 0.0642 0.0616 0.2775 0.2072 0.0465
3/4 3/6 1/2 1/1 5/6 0/2 10/12 4/4 1/5 2/3 0/0 3/3 6/10 1/1 2/4 4/7 3/3 8/12 7/9 1/1
$3,772 $210 $493 $2,760 $4,116 $0 $1,355 $4,822 $270 $288 $0 $268 $1,108 $266 $239 $258 $422 $1,203 $876 $2,160
Yearly Market Performance Graph from 2000 -

top 10 Historical artwork sales

1

Woman Carrying Her Two Boys, 1989

auction: Lawson~Menzies Sydney lot: 122 date: 23/05/2007
76 x 60 cm Synthetic polymer paint on linen

$12,000.00
2

Cityscape 1981

auction: Lawson~Menzies Sydney lot: 10 date: 25/05/2004
55.5 x 75.5 cm Pen on paper

$8,400.00
3

Yakarn, 1990

auction: Lawson~Menzies Sydney lot: 5 date: 22/11/2006
60.5 x 76 cm Synthetic polymer paint on canvas

$7,200.00
4

Beela, 1983

auction: Lawson~Menzies Sydney lot: 13 date: 25/05/2004
51 x 76 cm Oil stick, crayon and pencil on paper

$6,600.00
5

Luurn - Kingfisher

auction: Deutscher~Menzies Melbourne lot: 199 date: 27/06/2000
111.5 x 83.5 cm Synthetic polymer paint on canvas

$6,462.00
6

Kumajarti

auction: Sotheby's Australia Pty. Ltd. Sydney lot: 66 date: 25/11/2007
75 x 55 cm Synthetic polymer paint on canvas

$6,000.00
7

Suite of Five Paintings: Waterhole Country Kurkuminti; Jilji Parrapara Kurkuminti; Nrarukunari Yarnt

auction: Phillips De Pury & Company Sydney lot: 74 date: 24/07/2000
Each 35 x 45 cm (fra Synthetic polymer paint

$5,290.00
8

Two Lizards

auction: Menzies Sydney lot: 93 date: 11/05/2017
167 x 122 cm Synthetic polymer paint on linen

$4,909.00
9

Untitled (Rain Spirit) 1998

auction: Sotheby's Australia Pty. Ltd. Melbourne lot: 265 date: 31/10/2006
65 x 20.5 x 16 cm Wood, natural earth pigments

$4,800.00
10

Thunderstorm All Over 1988

auction: Deutscher~Menzies Melbourne lot: 355 date: 27/06/2000
60.5 x 60.5 cm Synthetic polymer paint on board

$4,700.00
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Cooee Art foremost acknowledges Australia’s First Nations Peoples, the Gadigal people of the Eora Nation, as the traditional owners and custodians of the unceded land and waters on which we work and reside.

ABORIGINAL FINE ART GALLERY, PURCHASE AUSTRALIAN INDIGENOUS ART, CONTEMPORARY AND ABORIGINAL ART FOR SALE – SYDNEY

Price and availability are subject to change at the gallery’s discretion. While we try to ensure the accuracy of all data across the website, Cooee Art reserves the right to cancel a sale due to price change.

The artist holds the copyright for all images throughout the website and must not be reused or reproduced in any way without explicit permission.

© COOEE ART 1981 – 2021

Cooee Art foremost acknowledges Australia’s First Nations Peoples, the Gadigal people of the Eora Nation, as the traditional owners and custodians of the unceded land and waters on which we work and reside.

ABORIGINAL FINE ART GALLERY, PURCHASE AUSTRALIAN INDIGENOUS ART, CONTEMPORARY AND ABORIGINAL ART FOR SALE – SYDNEY

Price and availability are subject to change at the gallery’s discretion. While we try to ensure the accuracy of all data across the website, Cooee Art reserves the right to cancel a sale due to price change.

The artist holds the copyright for all images throughout the website and must not be reused or reproduced in any way without explicit permission.

© COOEE ART 1981 – 2021