Discover upcoming art gallery exhibitions at Art Leven. Experience the rich diversity of Indigenous artistry showcased in our thought-provoking displays. EXHIBITIONS Art Leven (formerly Cooee Art) has a yearly exhibition program, with regular exhibition openings, alongside many other scheduled events, talks, and private collector’s previews throughout the year. See which exhibition is currently on view and sign up to the newsletter to receive the latest news and future exhibition invitations. SYDNEY CONTEMPORARY ART FAIR 2025 1 1 ... 1 ... 1 Past JOSHUA BONSON | SKIN - Moving Through Monochrome 2 - 23 August 2025 FIRST NATIONS FINE ART AUCTION Tuesday 17th June 2025 AEST 7:00pm Tracey Moffatt | Up in the Sky 3 - 24 May 2025 Bonnie Connelly Nakara | Minyma Kutjara Tjukurrpa 1 - 22 March 2025 Gathul’puy | Belonging to the Mangroves 14th December 2024 - 11th January 2025 FIRST NATIONS FINE ART AUCTION Tuesday 12th November 2024 AEDT 7:00pm PADDINGTON ART PRIZE October 10 - October 20 2024 SYDNEY CONTEMPORARY 5 - 8 September 2024 YAGU, GADIGAL DULUMI, GADI YUWING NGUBADI July 4 - August 1 2024 BADA WARRKU - LATE AFTERNOON SUN May 18 - June 8 2024 IT FLOWS 14 December 2023 - 13 January 2024 NGARUKURUWALA KAPI MURRUKUPUNI - WE SING TO THE LAND 16 November - 9 December 2023 COOEE ART LEVEN HOSTS: PADDINGTON ART PRIZE 2023 October 12-22 GUARDIANS FOR CHANGE 2nd to 30th September 2023 NAIDOC WEEK AT WORK INC 30 June to 14 July 2023 David Brown Jangala | Ngurra Ngayunku (My home) 5 - 26 July 2025 Spirits & Elements | An Exhibition of Women's Stories 3 - 24 May 2025 New Works By | Stephen Brameld & Jay Staples 3 - 26 April 2025 Balgo Horizons | Stories and Places Across Time 1 - 22 February 2025 Reclaimed | Art from Barkly November 23 - December 14 2024 SYDNEY OCEANIC ART FAIR 26 - 27 October 2024 WHO x WHO 6 - 28 September 2024 HER MEDITATIONS - BIDDY TIMMS NAPANANGKA 3 - 24 August 2024 WUMERA NANGAMAY - A SALT LAKE SERIES June 13 - July 13 2024 GAME, SET, MATCH 27 - 24 February 2024 ANCESTORS FOOTSTEPS 14 December 2023 - 13 January 2024 SYDNEY OCEANIC ART FAIR 2023 14 December 2023 - 13 January 2024 SYDNEY CONTEMPORARY 2023 7 - 10th September COUNTRY X COUNTRY 27 July - 26 August 2023 BARKLY & WARLUKURLANGU ARTISTS FROM 14 TO 18 JUNE 2023 1 2 3 1 ... 1 2 3 ... 3 Current Prev Next

SYDNEY CONTEMPORARY ART FAIR 2025 Booth J09 - Carriageworks Everleigh SYDNEY CONTEMPORARY ART FAIR 2025 SYDNEY CONTEMPORARY ART FAIR 2025 Booth J09 - Carriageworks Everleigh Ngarukuruwala Kapi Murrakupuni ‘we sing to the land’ Artists: Carol Puruntatameri & Alison Puruntatameri Presented in collaboration with Munupi Arts, Tiwi Islands 11 - 14 September 2025 Created and presented in collaboration with Munupi Art Centre, Art Leven presents an exclusive exhibition of bark works by Carol Puruntatameri and Alison Puruntatameri. In these works, an elaborate mythology, represented by a complex practice of sacred dance ceremonies and song-lines, is translated onto the surface using intricate, geometrical designs, rhythmically applied in an almost trance-like painting process. Both artists consistently evolve their traditional practises, bridging the old and new to each artwork they create. As artist Carol Puruntatameri explains: "Ngarukuruwala Kapi Murrakupuni means ‘we sing to the land’—a practice that invites our ancestors to watch over us and guide us as we gather ochre, bark, and other materials. Our paintings are like our songs to country, just as we call out and sing to our ancestors when we visit the land. This connection is woven not only into the materials we use but also into the stories and designs of our bark paintings." This booth will provide collectors and audiences with a rare opportunity to experience the raw, expressive power of Tiwi bark painting, a testament to the continuity of culture and the strength of ancestral connections. Both artists will travel to Sydney for the occasion, and will be leading a series of talks and events. REQUEST A PREVIEW CATALOGUE REQUEST TICKETS SCAF2025

HER MEDITATIONS - BIDDY TIMMS NAPANANGKA Biddy Timms Napanangka 3 - 24 - August 2024 VIEW MAIN EXHIBITION PAGE VIEW MAIN EXHIBITION PAGE

TIMO HOGAN (1973 - ) Lake Baker (diptych) , 2023 acrylic on linen 290 x 400 cm (overall); 290 x 200 cm (each panel) POA Region: Tjuntjuntjara (Spinifex Homelands) WA Language: Pitjantjatjara RPOVENANCE: Spinifex Arts Project, WA Cat No. 23-83 Salon Art Projects, Darwin NT Private collection, United Kingdom EXHIBITED Tarnanthi - Timo Hogan: Kumpilpa Ngaranyi - Unseen, Light Square Gallery, Adelaide, October 2023  This is Lake Baker. This is a big place, a big lake. Big and white. That’s him there. That’s the Wanampi (water serpent). Wati Wanampi. Watersnake man. He is there at this lake. This is his place. He lives here. All this place is white and that watersnake man is white … Always the same place, Lake Baker. That’s because it’s my place. My father’s place . Timo Hogan for AGSA Image: Timo Hogan, 2021 Telstra Art Award Winner, Lake Baker 2020. Photo: Philip Gostelow Timo Hogan (b. 1973) was born in Kalgoorlie, Western Australia, and is a Pitjantjatjara man of the Spinifex people. Raised between Mount Margaret and Warburton, he inherited deep cultural knowledge from his father and maintains a strong spiritual and ancestral connection to his Country. Now based in Tjuntjuntjara, a remote community in the Great Victoria Desert, Hogan is a leading figure in the Spinifex Arts Project—an artist collective established as part of the Spinifex people's land rights movement, known for its powerful visual declarations of custodianship and cultural authority. Hogan’s work is centred entirely on his custodial responsibility for Lake Baker (Tjukurla), a remote salt lake near the Western Australian and South Australian border. His paintings are not landscape in a Western sense, but expressions of Tjukurpa (Ancestral Law), particularly the Wati Kutjara (Two Men) creation story and Wanampi, the ancestral water serpent believed to dwell in the lake’s depths. Hogan holds cultural authority over this site, and through his paintings, asserts that connection with solemnity and precision. Minimal in composition yet immense in presence, his paintings evoke the expanse, silence, and power of the lake. Through refined use of negative space, fluid contours and a restrained, often monochromatic palette, Hogan creates works that are both visually arresting and deeply meditative. His paintings carry a distinct sense of place—mapping both physical geography and spiritual significance. This refined visual language has earned him critical acclaim, including the prestigious 2021 Telstra National Aboriginal and Torres Strait Islander Art Award. One of his most ambitious works to date, Lake Baker (2023), is a monumental two-panel painting measuring 400 x 290 cm. Using subtle layers of acrylic on linen, Hogan renders the shimmering salt lake with a sense of vastness and reverence. Soft white fields stretch across the canvas, interrupted by rhythmic lines and subtle tonal shifts that suggest the shoreline, waterholes, and ancestral movement. The work references the Wati Kutjara Tjukurpa and Wanampi without literal depiction—their presence felt through compositional balance, movement, and stillness. As with all of Hogan’s paintings, Lake Baker is not only a portrait of place but a living document of cultural continuity. Held in major public collections including the Art Gallery of New South Wales and the National Gallery of Victoria, Hogan’s work affirms his place as a significant voice in contemporary Australian art—bringing a sacred, rarely seen landscape into national and international view, on his terms.

FIRST NATIONS FINE ART AUCTION | 17 JUNE 2025 @Greg Weight EMILY KAME KNGWARREYE (1910 - 1996) Also known as: Kngarreye, Ngwaria, Emily Kam Kngwarray Community: Utopia, Soakage Bore Outstation: Alhalkere Language: Anmatyerre Art Centre: Utopia Arts and Batik Anmatyerr woman Emily Kame Kngwarreye (Emily Kam Kngwarray) was born in Alhalker on the edge of Utopia cattle station. Preceding her professional artistic career in the late 1980’s, she worked as a batik artist for 10 years. Her career as a painter was as prolific as it was passionate; after only a few short years she had established herself internationally. She died in September 1996 leaving behind a profound and invaluable legacy which continues to grow. Over the course of her brief but prolific eight-year painting career, Kngwarreye moved through a series of distinct artistic periods. From 1989 until 1991 she painted intimate compositions, tracing plant roots interspersed with animal tracks under fine, sharp-dotted colour fields. Lot 17, Ankara Merne-Intekwe was painted in March of 1990 for her first solo exhibition and is one of the finest examples from this period. The subject, Intekwe, is considered among the most significant and distinct subjects in Kngwarreye’s oeuvre. Only a few works have been given the title of the small native bush plum that sustains the emu. The Intekwe plant (Scaevola parvifolia), is so inextricably interwoven with Kngwarreye’s identity that upon her death, Interkwe was never painted by any other artist. As her niece Violet Petyarre explained: My Auntie used to paint the fan-flower, and now we all leave that one alone. Auntie used to paint it, that one belonging to the emu. That was her own thing. Even though we all belong to the one Country, we paint separate things. These highly prized early works gave way to running dotted lines over ethereal landscapes consisting of parallel horizontal and vertical stripes representing ceremonial body painting. By 1993, Kngwarreye was painting floral imagery in a profusion of colour, often achieved by double dipping her brushes into different layers of paint. In 1995 and 1996, her painting series Anooralya (Yam) and Sacred Grasses showcase a transition from her linear body paint imagery to the expressive depiction of rambling yam roots. Kngwarreye’s Final Series consists of 24 revelatory canvases painted with large flat brushes just two weeks before her passing in 1996, mark a powerful culmination of her artistic journey. In Summer Abundance V , painted in December of 1993 (Lot 18), the application of yellow and green colours highlights the varied and changing hues in the life cycle of the Anooralya Yam and other food plants found near Alalgura on Utopia Station, west of Delmore Downs. From an aerial perspective, we see the sporadic clustered growth after a summer rain. The flourish of growth that follows is exceptional and rapid. While her preoccupation was with both the life cycle of the yam and the women’s ceremonies that celebrate its importance, Kngwarreye painted many interrelated themes, using these subjects to illustrate her Country as a whole. In an interview with Rodney Gooch, translated by Kathleen Petyarre, Kngwarreye described her subject as: Whole lot, that’s all, whole lot, awelye, arlatyeye, ankerrthe, ntange, dingo, ankerre, intekwe, anthwerle and kame. That’s what I paint: whole lot. My Dreaming, pencil yam, mountain devil lizard, grass seed, dingo, emu, small plant emu food, green bean and yam seed. Posthumously, Kngwarreye’s phenomenal body of work was chronologically curated in Margo Neale’s groundbreaking exhibition Utopia: The Genius of Emily Kngwarreye at the National Museum of Australia in 2007 and The National Gallery of Tokyo in 2008. Kngwarreye’s iconic work, Earth’s Creation I , was selected by Okwui Enwezor to be exhibited at the Venice Biennale in 2015. In recent years, Kngwarreye’s work has experienced a renewed acclaim, due in part to several significant commercial and institutional exhibitions, including Emily Kam Kngwarray  curated by Hettie Perkins and Kelli Cole for the National Gallery of Australia (NGA) and Emily: Desert Painter  held at the influential Gagosian Gallery Paris in 2023. In July of this year, the Tate Modern in London will hold a major solo retrospective, marking the most significant international exhibition dedicated to an ‘Australian’ artist. LOT 17 Ankara Merne - Intekwe, 1990 122 x 92 cm; 126 x 96 cm (framed) acrylic on linen Estimate: $450,000 - $550,000 PROVENANCE Painted in Utopia, March 1990 CAAMA Shop (Central Australian Aboriginal Media Association), Alice Springs, NT Cat No. 21-390 Utopia Art, Sydney NSW Private collection, Vic Essay by Christopher Hodges Emily Kngwarreye’s First Solo Show was held at Utopia Art Sydney in April 1990. Not surprisingly it attracted attention from contemporary collectors from across the country, a few curators and a lot of artists, many of whom still express their deep regret at an opportunity missed! Utopia Art Sydney in those days was at Stanmore at the top of two flights of stairs, and this painting was the first to come into view as you entered the gallery. Ankara Merne - Intekwe was catalogue number 6 in an exhibition of 19 paintings. It was snapped up on the opening day and its been in the same hands ever since. Rodney Gooch, Emily Kngwarreye and I had discussed the concept of a solo exhibition the previous year, and Kngwarreye began work on the show soon after but this was one of the last works to be finished for the show, painted in March 1990. It is an outstanding example from this period. Layer upon layer of fine dotting subtly reveals the underlying structure below. Earthy pinks and ochres form undulating, shifting fields. Touches of red and yellow ochre, and highlights of black and white, meld together to form a rich deep space that draws you in. You can see the very Kngwarreye touch of a few extra dots here and there that add spark and mystery to the composition. You can feel the artist working through the layers, energising the field with every mark. The sides of the canvas are painted too, with the stripes which we know represent body paint or ‘awelye’. They border the composition and though not visible when looking head on, they nevertheless add to the real presence this painting exudes. These borders were a special element that was soon to disappear, until the major breakthrough paintings of 1994 when the ‘awelye’ took centre stage. Today this painting is an absolute classic of its era, fine dotting with endless variation. Offered for the first time since it was collected 35 years ago, perfect provenance, from her First Solo Show. It’s a joy to see it again. Don’t miss the opportunity this time! Christopher Hodges April, 2025 LOT 18 SUMMER ABUNDANCE V, 1993 90 x 120 cm; 92 x 122 cm (framed) acrylic on linen $150,000 - $200,000 PROVENANCE Delmore Gallery, NT Cat No. 93L050 The Thomas Vroom Collection, The Netherlands Bonhams, Aboriginal Art: The Thomas Vroom Collection, Sydney, NSW, September 2015, Lot No. 207 Private collection, Vic Accompanied by a certificate of authenticity from Delmore Gallery Bears inscription verso: commissioned by Delmore Gallery via Alice Springs NT, 93L050, Emily Kngwarreye

FIRST NATIONS FINE ART AUCTION II JUNE 2025 This curated selection of exemplary boards from the seminal stages of the Papunya movement. They are a fine representation what is widely considered to be the birthplace of the modern First Nations art movement as we know it. The magic of these first paintings is in their direct link to their sacred, functional, and ceremonial origins. The paintings are direct translations of drawings in the sand onto canvas or board. In many cases, they represent some of the first archival recordings of an over 65,000-year-old culture. Much has been written about the genesis of the painting movement in Papunya during the early 1970s. It may in fact be the most documented and studied area of ‘Australian’ First Nations fine art, thanks in part to the expansive documentation and first-hand accounts of Geoffrey Bardon, the school teacher who helped create Papunya Tula Artists with the original group of approximately 20 ‘painting men.’ The group included John Kipara Tjakamarra (Lot 11), Old Walter Tjampitjinpa (Lots 12, 13, 15), Anatjari No. III Tjakamarra (Lot 14), and Long Jack Philippus Tjakamarra (Lot 16). LOT 11 | JOHN KIPARA TJAKAMARRA (c.1932 - 2002) WALINNGI (WOMEN CATCHING A SNAKE) , 1973 57 x 34 cm; 73 x 60 cm (framed) synthetic polymer powder paint on composition board $30,000 - $40,000 PROVENANCE Painted at Papunya, NT in 1973 Papunya Tula Artists, NT Cat No. JJ731226 Aboriginal Arts and Crafts, ACT Anvil Gallery, Albury, NSW Private collection, NSW Sotheby’s Australia, Melbourne, Vic, April 1991, Lot No. 60 Private collection, NSW Adhered verso: the Aboriginal Arts and Crafts Pty. Ltd. certificate and accompanied by the original Sotheby’s receipt EXHIBITED Aboriginal Art from Papunya, The Anvil Gallery, Albury, NSW, 1974 The influence of those formative years extends well beyond the original Papunya Tula artistic circle. It is visible not only in subsequent generations of Papunya Tula artists — such as Willy Tjungarrayi (Lot 26), Ronnie Tjampitjinpa (Lots 9, 53, 76) and Willie Tjapanangka (Lot 27) but also in the majority of paintings presented in this auction. This legacy reveals itself through shared stylistic elements, the continued use of traditional materials and techniques, and, finally, in the frameworks through which these paintings are now understood and appreciated. LOT 26 | WILLY TJUNGURRAYI (c.1936 - 2018) KIRITJINYA, TINGARI YOUNG MEN STORY , 1976 60.5 x 45.5 cm; 70 x 55 cm (framed) acrylic on canvas board $9,000 - $11,000 PROVENANCE Papunya Tula Artists, NT Cat No. WJ761071 Private Collection, Vic Accompanied by a certificate of authenticity from Papunya Tula Artists Bears inscription verso: Willy Tjungurrayi, KirKirity Kurudji, Tingari (young man) story, WJ761071, 15/14/ONII/5 When reflecting on this period, it is important to recognise that many of the artists had once lived traditional, nomadic lives—disrupted by the brutal assimilation policies imposed by the coloniser. The Papunya settlement, established in 1959, was a direct outcome of this policy. People from diverse language groups, including Luritja, Pintupi, Anmatyerr, Warlpiri, and Western Aranda, were forcibly removed from their sacred lands and gathered into the settlement. By many accounts, Papunya was marked by a collective feeling of deep loss and depression, its inhabitants severed from the cultural and spiritual landscapes that had sustained them for generations. By 1970, a vast generational divide grew between the elders, whose lives were shaped by a reality that no longer existed, and a younger generation that had lived the majority of their life in the Papunya settlement without having experienced the traditional nomadic way of life. In response to this cultural rupture, a number of senior men (soon to become the painting group) painted a series of murals on the Papunya school walls. These aimed to transmit cultural knowledge and reconnect younger generations with their heritage. The most significant of these was the Honey Ant Dreaming mural, a story shared by the various language groups residing in the settlement. From this moment, the artists transitioned from wall paintings to boards, developing a visual language through which ancestral stories could be preserved and passed on. LOT 27 | WILLIE TJAPANANGKA (1938 - 1979) EMU DREAMING STORY , 1977 40.5 x 30.5 cm; 46 x 36 cm (framed) acrylic on canvas board $6,000 - $8,000 PROVENANCE Papunya Tula Artists, NT Cat No. WB77804 Private collection, Vic Accompanied by a certificate of authenticity from Papunya Tula Artists Bears inscription verso: Willie Jabanunka, 15/25/WOII/5, 77804 Geoffrey Bardon quickly developed close relationships with the ‘painting men’. Through an open and respectful exchange, over time, he came to learn many elements of the stories they painted and the symbolic structures that underpinned them. This knowledge contributed to the creation of a foundational visual lexicon that remains profoundly relevant today. Many of the early paintings were accompanied by handwritten notes and diagrams, sometimes attached to the reverse of the artworks, providing insight into the complex meanings embedded within the imagery. By the 1980s, with Andrew Crocker taking the helm of the company in 1979, the highly annotated and didactic methods of description used by Papunya Tula Artists up to that point gave way to the more abstracted language of the wider fine art world. This new approach often cast a vague mystical sheen over the art form rather than disseminating its individual symbolic elements. Vivienne Johnson described the move as a “revolutionary shift away from the […]previous emphasis on the cultural significance of the paintings […] Crocker’s flamboyant style and this promotional strategy were effective in attracting the art world’s attention to works that had previously been thought of only in the context of ethnographic museums.”   ¹ LOT 13 | OLD WALTER TJAMPITJINPA (c.1910 - 1981) WOMEN AND SNAKES , 1973 43.5 x 23cm; 52 x 30.5 cm (framed) synthetic polymer paint on composition board $20,000 - $30,000 PROVENANCE Painted at Papunya, NT in 1973 Papunya Tula Artists, NT Cat No. 735705 Private collection, NSW Sotheby’s, Important Aboriginal Art, Melbourne, Vic, June 1999, Lot No. 311 Private collection, WA Thence by descent The Jory Family Collection, Qld Bears annotated diagram verso (right) In a statement prepared for display at Papunya Tula exhibitions, Crocker wrote: “Much could be said about the genesis of the Western Desert School and also of its role in the artists’ society. I think that for the purposes of this exhibition the paintings should be allowed to exercise their own aesthetic appeal and that explanations of content and symbolism be best kept to a minimum.” This auction presents an outstanding selection of early boards, all created by founding artists of Papunya’s art movement. Included are three exceptional early boards by Old Walter Tjampitjinpa, who was one of Geoffrey Bardon’s closest friends and confidants among the painting men. Tjampitjinpa played a pivotal role in shaping Bardon’s understanding of the emerging visual language, and his paintings remain central to the history of the movement. LOT 12 | OLD WALTER TJAMPITJINPA (c.1910 - 1981) WATER STORY , 1972 46 x 31 cm (irregular); 68 x 53 cm (framed) synthetic polymer powder paint on composition board $50,000 - $70,000 PROVENANCE Painted at Papunya, NT in 1972 Stuart Art Centre, Alice Springs, NT Cat No. 12001 Private collection, New York, USA Sotheby’s, Aboriginal Art, Melbourne, Vic, July 2004, Lot No. 409 Private collection, WA Thence by descent The Jory Family Collection, Qld Adhered verso: a certificate of authenticity from Stuart Art Centre with an annotated diagram ILLUSTRATED Geoffrey Bardon and James Bardon, Papunya: A Place Made after the Story (Miegunyah Press, 2004), p.187 (right) Old Walter was something of a gentle and kind patron in my gradually improving understanding of the Aboriginal way of life. Later he told me that he was the custodian of the Water Dreaming and his many variations on this theme afforded me knowledge of ceremonial sites and special places […] 2 Both Lot 12 (Water Story, 1972) and Lot 15 (Water Story, 1972) are stunning examples of the classic Water Dreaming. Stylistically, the key distinction between these two works lies in their approach to colour and composition. While Lot 12 is rich with dense, high-contrast dot work in vivid colours, Lot 15 adopts a more restrained palette, with finely dotted elements throughout, resulting in a minimal and more subtle composition. […] it was for Old Walter, because of his kindliness, that I felt a strong affection. He spoke in a garbled and very brief and humble manner, repeating in his paintings the simple, classic Water Man and running water images, quietly, yet with a marvellous concentration. His painting was an expression of his eternal and universal response to phenomena such as the desert storms at Kalipimpinpa. 3 LOT 15 | OLD WALTER TJAMPITJINPA (c.1910 - 1981) UNTITLED (WATER DREAMING) , 1972 61 x 40.5 cm (irregular); 72 x 51 cm (framed) synthetic polymer powder paint on composition board $50,000 - $70,000 PROVENANCE Painted at Papunya, NT in 1972 Stuart Art Centre, NT Cat No. 19218 Private collection, SA Sotheby’s, Important Aboriginal Art, Melbourne, Vic, June 1999, Lot No. 192 Private collection, WA Thence by descent The Jory Family Collection, Qld Bears inscription verso: ‘19218’ Also featured is a remarkable 1973 board by Anatjari No. III Tjakamarra (Lot 14), who was a foundational figure in the movement’s emergence, renowned for his meticulous technique and refined aesthetic. As Bardon observed, Anatjari worked with great care, employing fine sable brushes to achieve a crystalline precision in his paintings. His compositions were, rich in decorative cross hatching and dotting, intricate ceremonial designs transposed onto canvas and board, all the while drawing from the traditions of sand painting and body decoration. LOT 14 | ANATJARI No. III TJAKAMARRA (c.1938 - 1992) ORIGINS OF SOAKAGES , 1973 92 x 22.5 cm; 101 x 31.5 cm (framed) synthetic polymer paint on composition board $30,000 - $40,000 PROVENANCE Painted at Papunya, NT in 1973 Papunya Tula Artists, NT Cat No. A730808 Private collection, Vic Sotheby’s, Fine Australian, Aboriginal and International Paintings, Melbourne, Vic, November 1999, Lot No. 478 Private collection, Vic Sotheby’s, Aboriginal Art, Melbourne, Vic, July 2004, Lot No. 410 Private collection, WA Thence by descent The Jory Family Collection, Qld Adhered verso: a certificate of authenticity from Papunya Tula Artists with annotated diagram Finally, Long Jack Philippus Tjakamarra’s Water Dreaming (Lot 16), painted in 1971, the very first year of the Papunya painting movement and part of the fourth consignment of paintings is perhaps the highlight of the collection. This highly significant and beautiful board is illustrated in Geoffrey Bardon’s seminal book, Papunya - A Place Made after the Story (p.171) and is explicitly referred to in Bardon’s profile of the artist in the beginning of the book. Tjakamarra was an essential member of the original painting group, advising and assisting with the creation of the murals that ignited the movement, he painted on the walls of the school where Geoffrey Bardon taught. “He [Tjakamarra] represented the goodness and givingness always within the Aboriginal people.” 4 Samuel Sterneborg, 2025 LOT 16 | LONG JACK PHILIPPUS TJAKAMARRA (1932 - 2020) WATER DREAMING , 1971 44.5 x 22.5 cm; 67.5x 44.5 cm (framed) synthetic polymer powder paint on composition board $50,000 - $70,000 PROVENANCE Painted at Papunya, NT in November/December 1971 Stuart Art Centre, Alice Springs, NT Cat No. SAC 4 1 (Consignment 4, painting 1) Private collection, NSW Sotheby’s, Important Aboriginal Art, Melbourne, Vic, June 2002, Lot No. 166 Private collection, WA Thence by descent The Jory Family Collection, Qld Accompanied by a certificate of authenticity with annotated diagram and two letters from Geoffrey Bardon Bears inscription verso: Cat No. SAC 4 1; 3” T+S; 3 1/2 B: NAT ILLUSTRATED Geoffrey Bardon and James Bardon, Papunya: A Place Made after the Story (Miegunyah Press, 2004), p.171 (left) The elemental forms of line, dot and circle show the Water Dreaming: the line represents running water, the dotting the rain and the circles waterholes in the landscape. The traditional ‘U’ form is the Ceremonial Water Man invoking the rain. The simplicity of the design is of the earliest style used at Papunya during my time and is not unlike its sand mosaic and body paint origins. - Geoffrey Bardon ¹ Vivienne Johnson’s essay in Genesis and Genius, p.192 ² Geoffrey Bardon, Papunya Tula - Art of the Western Desert, 1991, p.28-29 ³ Geoffrey Bardon, Papunya - A Place Made after a Story, 2004, p.74 4 Geoffrey Bardon, Papunya - A Place Made after a Story, 2004, p.84