David Brown Jangala | Ngurra Ngayunku (My home) Art Leven - 17 Thurlow St, Redfern, Gadigal / Sydney 5 - 26 July 2025 David Brown Jangala | Ngurra Ngayunku (My home) David Brown Jangala 5 - 26 July 2025 David Brown Jangala | Ngurra Ngayunku (My home) David Brown Jangala 5 - 26 July 2025 Art Leven - 17 Thurlow St, Redfern, Gadigal / Sydney Art Leven, in conjunction with Waringarri Aboriginal Arts, is delighted to present Ngurra Ngayunku (My Home), the fourth solo exhibition by David Brown Jangala. This highly anticipated exhibition follows Jangala’s receipt of the 2024 Art Leven Award at the Paddington Art Prize and marks a significant moment in the artist’s rapidly rising career. David Brown Jangala’s work is a striking fusion of desert abstraction and observational realism—two languages inherited through a life lived between his father’s Country at Kiwirrkurra and his mother’s Country at Mulan in east Kimberley. His paintings reflect a deep sense of place, memory, and continuity, informed by ancestral stories passed down from his grandparents, as well as his own lived experiences of moving across Country. The exhibition title, Ngurra Ngayunku (My Home), speaks to this grounding—a recognition of the physical and spiritual landscapes that have shaped him. Jangala is part of a new generation of artists emerging from the Kimberley and Western Desert regions who honour traditional narratives while also innovating stylistically. In this new body of work, he continues to build on the dual styles he’s known for, depicting sites of personal and cultural significance with layered attention to detail, story, and form. As he explains, “I can do both styles, desert style and realism style.” This versatility gives his work a compelling dynamism that resonates with both collectors and curators alike. Presented in partnership with Waringarri Aboriginal Arts—one of Australia’s oldest and most respected Indigenous-owned art centres—Ngurra Ngayunku (My Home) celebrates Brown’s growing recognition as a vital voice in contemporary Aboriginal art. It is a proud return to Redfern, where his debut exhibition in 2022 first introduced audiences to the strength of his vision. DAVID BROWN - WALLA WALLA price AU$5,600.00 DAVID BROWN - MANTATI price AU$1,750.00 DAVID BROWN - UNTITLED price AU$1,300.00 DAVID BROWN - WIRRUL price AU$1,100.00 DAVID BROWN - WALLA WALLA price AU$1,100.00 DAVID BROWN - WALLA WALL price AU$1,100.00 DAVID BROWN - QUITE MORNING SUNRISE price AU$1,100.00 DAVID BROWN - UMARRI (YUMARI) price AU$480.00 DAVID BROWN - KUNAMARRA Sold AU$0.00 DAVID BROWN - WINTAKU price AU$1,750.00 DAVID BROWN - WIRRUL price AU$1,450.00 DAVID BROWN - UNTITLED price AU$1,300.00 DAVID BROWN - HISTORY OF MY HOMELAND price AU$1,100.00 DAVID BROWN - KARILWARRA price AU$1,100.00 DAVID BROWN - KUNAMARRA (HUNTING PLACE) price AU$1,100.00 DAVID BROWN - SWEET COUNTRY price AU$1,100.00 DAVID BROWN - UMARRI (YUMARI) Sold AU$0.00 DAVID BROWN - WALATU Sold AU$0.00 DAVID BROWN - WALLA WALLA price AU$1,750.00 DAVID BROWN - UNTITLED price AU$1,300.00 DAVID BROWN - UNTITLED price AU$1,300.00 DAVID BROWN - YUMARI price AU$1,100.00 DAVID BROWN - MY HOME SWEET HOME price AU$1,100.00 DAVID BROWN - WALLA WALLA price AU$1,100.00 DAVID BROWN - NGURRA NGAYUNKU (MY HOME) price AU$650.00 DAVID BROWN - WALATU Sold AU$0.00 ExDBrown

Artist Profile for Jan Billycan < Back Jan Billycan Jan Billycan 1930 - 2016 ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE JAN BILLYCAN - KIRRIWIRRI Sold AU$0.00 JAN BILLYCAN - KIRRIWIRRI Sold AU$0.00 top Anchor 1 PROFILE Jan Billycan 1930 - 2016 Jan Billycan (aka Djan Nanundie)'s work depicts the country of her birthplace, Kirriwirri and other sites in Ilyarra country. This is a land of spreading mud flats, gleaming salt lakes and a life-giving network of freshwater springs with their source deep underground. It was the home of the Yulparija people, deep in the Great Sandy Desert, before drought and mining caused the environmental catastrophe that drove them to the coastal refuge of Bidyadanga south of Broome. That was a time of grief and exile that lay dormant in the memories of the survivors. The stirrings of an art movement had reawakened these memories, breathing new life into an ancient land and its story.??Emily Rohr of Broome’s Short Street Gallery brought art materials to the aged care home in after being alerted to the elderly residents' desire (or ‘need’ as Daniel Walbidi suggested to her) to paint. The profusion of colour and untutored vitality that erupted took the eventual results to southern cities before the year was out. Sell-out group and solo shows followed, with Judith Ryan featuring them at the NGV in the exhibition 'Colour Power' (2004). Among them, the distinctive works of Jan Billycan emerged as the expressions of a unique and startling talent. In 2011 she won the West Australian Indigenous Art Award at AGWA in Perth.??Jan was a respected Marpan, or medicine woman, and as such had the ability of x-ray vision. This capacity fed into her cell-like compositions that jangle and vibrate, similar to, as Emily Rohr says, a musical composition. It was a different manner of perception, and when applied to the geography of place and memory carried with it the emotion of lived experience. Jan’s discordant greens, oranges, greys and purples had generated much discussion. The desert and the coast became the site of a disrupted continuity, but the desert iconography remained unmistakable.??There is Jila (living water) in this country including Karrparti, Kawarr, Jurntiwa, and Wirrguj. Other places include Dodo, Kartal, Kiriwirri and Yukarri. When Jan was young she walked all around these places with her parents. Jan explained "In living water there is a quiet snake. Sometimes he rises up, but we sing him down sometimes he can travel and bring rain. Ilyarra is my country Ilyarra, where I grew up. Lots of tali (sand dunes) and jila in this country. This big dog country." Her grainy textures instilled her works with the weight or gravitas of ‘an imaginary repossession’ (Nicholas Rothwell). Jan mixed her colours on the canvas, tracing over networks of sketched underpainting. She built her layers toward a colour and density that pushed all our boundaries, psychological as well as physical.??Jan’s close working proximity to the other painters of the Yulparija group meant that singing and discussion were ever-present as they brought back to their lives, lost relatives, precious ancestors and beloved sacred sites. These artists re-drew the perimeters of Western Desert art, though their links were still apparent. The scarcity of water that drove the flight from their homeland reverberates in their paintings with an insistent call. It remains one of the most remote and rugged regions of the world and the homeland of a diverse and dynamic Indigenous culture. Such precious memories are held in these works, for future generations of Yulparija and for all of us to contemplate. Profile author: Sophie Baka Collections: Aboriginal Art Museum, The Netherlands. Canning Stock Route Project Collection, National Museum of Australia, Canberra. Dr Ian Bernhardt Collection Dr Ian Constable Collection Harvey Wagner Collection, USA Laverty Collection Myer Collection National Gallery of Australia National Gallery of Victoria Newcastle Regional Art Gallery Sam Barry Collection William Mora Collection Individual Exhibitions: 2009 - Jan Billycan Solo, William Mora Galleries, Melbourne. 2008 - Kirriwirri, Short Street Gallery, Broome, WA. 2007 - Jan Billycan, William Mora Galleries, Melbourne; Kirriwirri, Short St Gallery at Mary Place, Sydney. Group Exhibitions: 2013 - 'The Bright The Bold and The Beautiful', Coo-ee Aboriginal Art Gallery, NSW 2011 - Western Australian Indigenous Art Award – finalists, featuring Jan Billycan, Michael Cook, Timothy Cook, Angkaliya Curtis, Gunybi Ganambarr, Angelina George, Gary Lee, Danie Mellor, Patrick Mung Mung, Trevor Nickolls, Lena Nyadbi, Tiger Palpatja, Kuruwarriyingathi Bijarrb Paula Paul, Reko Gwaybilla Rennie, Nyilyari Tjapangati, Nyapanyapa Yunupingu, Art Gallery of Western Australia, Perth. 2011 - Summer Haze, JGM Galleries, London, UK 2011 - Pearls, Paint and Ilma, Aratong Galleries, Australian High Commission, Singapore 2011 - Yulparija 2011, Aboriginal and Pacific Art, Sydney, NSW 2011 - Green, Outstation Gallery, Darwin, NT 2011 - Bidyadanga Recent Paintings, Chapman Gallery, Canberra ACT 2010 - Hedland Art Awards, Port Hedland Courthouse Gallery, WA 2010 - 27th Telstra National Aboriginal & Torres Strait Islander Art Award, Darwin, NT 2010 - Yiwarra Kuju, Canning Stock Route exhibition, National Museum of Australia, Canberra ACT 2010 - Melbourne Art Fair, Royal Exhibition Building, Short St Gallery & William Mora Galleries present the Yulparija artists 2010 - White, Short St Gallery, Broome WA 2009 - Short on Size, Short St Gallery, Broome ,WA 2009 - Shalom Gamarada Aboringinal Art Exhibtion, University of NSW, Sydney 2009 - From Desert to Saltwater Country, Redot Gallery, Singapore 2008 - Olympic IOC Expo Centre, Canning Stock Route Project, Beijing, China 2008 - From the Desert to Saltwater, Booker, -Lowe Gallery, Houston, Texas 2008 - Bidyadanga Artists 2008, AP Bond Art Dealer, Adelaide, SA 2008 - Paintings from remote communities: Indigenous Australian art from the Laverty collection, Newcastle Regional Gallery, Newcastle, NSW. 2007 - National Indigenous Art Triennial 07, National Gallery of Australia, Canberra. 2007 - 24th Telstra National Aboriginal & Torres Strait Islander Art Award, Museum and Art Gallery of the Northern Territory, Darwin. 2006 - Northern Journey, The Priory at Bingie, Bingie, NSW 2006 - Bidyadanga Painters - Jan Billycan & Weaver Jack, William Mora Galleries, Melbourne. 2005 - 22nd Aboriginal and Torres Strait Islander Awards, Museum and Art Gallery of the Northern Territory, Darwin; The return of our land, Gallery Gondwana, Alice Springs, NT; Mummy and daughter, William Mora Galleries, Melbourne; Bidyadanga 2005, Short St . Gallery, Broome WA 2004 - Divas of the Desert, Gallery Gondwana, Alice Springs; Desert to Saltwater, Short Street. Gallery, Mary Place Gallery, Sydney; Desert Ocean, Short Street Gallery, Kidogo Gallery, Fremantle, WA; Bidyadanga Artists, William Mora Gallery, Melbourne; Bidyadanga Artists, Raft Art Space, Darwin; Bidyadanga Art, Art House Gallery, Sydney. 2003 - Manjyiljara, Short Street Gallery, Broome, WA. Awards: 2011 - WA winner of Western Australian Indigenous Art Award, AGWA, Perth. 2010 - Most Outstanding Work, Hedland Art Awards Bibliography: The Age Newspaper, Yulparija show their colours, April 19 2004. The Australian Newspaper, West Coast's Late Bloomers, April 2004. The Australian Financial Review Magazine, Art Direction, June 2004. Painting Country - A West to East Journey, World Expo Aichi, Catalogue. July 2005. The Australian, Look Whose Been Framed Now, 17 March, 2006. ARTIST CV Market Analysis MARKET ANALYSIS A detailed Market Analysis is currently being worked on. Should you like a completed Market Analysis for any artist, please let us know. Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

Artist Profile for Billy Joongarra Thomas < Back Billy Joongarra Thomas Billy Joongarra Thomas 1920 - 2012 ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE BILLY JOONGOORRA THOMAS - UNTITLED SOLD AU$16,000.00 top Anchor 1 PROFILE Billy Joongarra Thomas 1920 - 2012 Billy Joongarra Thomas (c.1920 – 2012) began painting for Waringarri Arts in Kununurra in 1995. He was already in his seventies and like his friend and fellow artist Rover Thomas had spent his youthful years droving cattle on the Canning Stock Route, deep in the remote desert regions of Western Australia. He knew his country intimately and never ceased his ceremonial immersion and involvement within it. Right up until his final years, he continued to spend long periods ‘out bush’ before coming in to Billiluna or Kununurra again to paint. He was revered as a senior lawman and healer, custodian of secret initiation rites and ceremonial songlines. By the time he died in his 90s, peacefully, in the aged care facility at Fitzroy Crossing, he had participated in major exhibitions that brought the Kimberley tradition and history to the world. His paintings are held in state and private collections worldwide, still commanding high prices as part of a treasured and important indigenous legacy. Born near Billiluna, the southern end of the Canning Stock Route, Billy inevitably became caught up in the repercussions of this huge well-sinking and cattle-moving project through the Great Sandy and Gibson deserts, which was nearing completion at his birth. The traditional nomadic lifestyle of his Wangkajunga people, like all the desert tribes of this vast inland area, was disrupted and their sensitive ecological balance with their ancient homelands destroyed forever. Alongside other young Aboriginal men, Billy began droving cattle through the northern regions and tapping into a great cultural interchange that in some respects was the only positive aspect of what became known as the ‘wild time’. As later histories have laid bare, brutal treatment from white settlers saw the widespread killing, dislocation and dispossession of the desert dwellers. During this time, their traditional network of ceremonial songlines and shared sacred sites became a source of social interchange and spiritual support, directly feeding into the evolution of today’s vital Kimberley art movement. From the mid 1980s, contemporary artworks from the Kimberley were shown in Australia’s state galleries to an appreciative public audience, and recognisable personal styles emerged. The decade ended with the first Aboriginal artists (Rover Thomas and urban artist Trevor Nickolls) to represent Australia at the Venice Biennale. Some time later, around 1995, Billy Thomas walked into Waringarri Arts to ask the manager, Kevin Kelly, for art materials and was soon rewarded with sell out shows himself. His unique, gritty ochres, with their palpable sense of earthy authenticity, employed traditional desert iconography to depict country through the lens of its ancestral associations. His cultural knowledge was formidable, but he would dot over and scrape back his mark making in order to ensure that secret, sacred aspects were veiled from general view. This gave a distinctive lightness to his work, reflected in his colour choices of much white and light grey, dusky pinks and yellow-brown ochres. Billy’s totem was the black snake . Its sinewy swirls thread through his own Dreamtime landscapes, connecting the underground waterholes that are the vital sites of replenishment and ceremony. Waarla is a huge mudflat in the Great Sandy Desert that becomes a vast lake after rain. It is a historic meeting place for diverse desert rites that Billy maintained and taught to young initiates. His connection to the land was inextricably woven into his art. Billy’s fluidity of drawing became more accentuated in his later works. Gestural brushstrokes carry sumptuous white across the daubed and layered surface - the earthy being supplanted by the atmospheric. Billy stopped painting in 2005 but not before tutoring his son, Lloyd Quilla. His seminal works are likley to provide foundational patterns for a future generation of artists. Author: Sophie Pierce Group Exhibitions: 2004 - Colour Power - Aboriginal Art Post 1984, National Gallery of Victoria Federation Square, Melbourne; EXPLAINED, A closer look at Aboriginal art, Aboriginal Art Museum, Utrecht, The Netherlands. 2002 - An Artists Survey, Balgo Hills, at Hogarth Galleries, Paddington. 2001 - Dixieme Biennale Internationale de la Gravure, - Arts d'Australie • Stephane Jacob / Sarcelles; Australie,Visages d’un continent, Arts d'Australie • Stephane Jacob / Galerie Visages de l'Art, Marly-le-Roi. 2000 - Arts d’Australie, Arts d'Australie • Stephane Jacob / Espace Mezzo - Avenue des Champs-Elysees, Paris; Accents Australiens, Arts d'Australie • Stephane Jacob / Espace Adamski Designs, Paris. 1999 - Australie – Art, Arts d'Australie • Stephane Jacob / J.L. Amsler - Bastille, Paris. 1998 - Le Temps du Rêve, Arts d'Australie • Stephane Jacob / Bibliothèque municipale, Le Perreux-sur-Marne; Propositions Australiennes, Arts d'Australie • Stephane Jacob / galerie Luc Queyrel, Paris. Bibliography: Ryan, Judith (editor), Colour Power - Aboriginal Art Post 1984, National Gallery of Victoria, Melbourne, 2004 (C). ARTIST CV Market Analysis MARKET ANALYSIS While living at the small settlement of Billiluna, Billy Thomas began painting the odd acrylic work on canvas for Warlayirti Artists at Balgo Hills in the mid 1990s. Soon after, however, on a journey into Kununurra, he met Kevin Kelly, the manager of Warringarri Arts. From this time onward his preferred medium was earth pigment (natural ochre collected from the region). When Kevin Kelly left the 'official' art centre to establish his own Red Rock Arts in Kununurra Billy followed. His most important works and the exhibitions they featured in date from the beginning of their friendship. His works first appeared at public auction in1999 and since then over 100 paintings have been up for sale. However, these results are dominated by small early works that have depressed his average price and success rate. Prior to 2018, Kangaroo and Spear Dreaming, 2001 , had held his record since 2007. The painting measured just 90 x 120 cm, yet achieved $30,000 including buyer's premium against a presale estimate of $20,000-30,000, in Sotheby's, Important Aboriginal Art sale held in Melbourne during July that year. A much larger spectacular painting, Gunambalayi Travels of the Black Snake, 1998 , was expected to do far better when Mossgreen advertised the sale of the Ross & Rona Clarke Collection in Brisbane, in September 2012. Mossgreen had hoped to achieve at least $30,000 and possibly as much as $50,000. It just fell short of the previous record at $29,280, even though it was considerably larger at 150 x 180 cms. Though his best result was only $10,800, 2015 was a wonderful year for Thomas. Nine works were offered for sale and every single one sold. By the end of the year his average price stood at $6,799. Until 2018, 19 works have sold for more than this of which 12 had sold for more than $10,000, and of the 25 works offered for sale between 2013 and the end of 2017, all but 2 found a buyer, an indication that whenever one of his works comes up for sale it is hotly contested, especially if it demonstrates that spare earthy pale white aesthetic so prized by collectors. Sothebys included three excellent examples of Thomas's work in its London Aboriginal Art sale. Gunambalayi - Travels of the Black Snake set a new reord price for the artist at $39,877 and Kangaroo and Spear Dreaming sold for $33,231 establishing his second highest record to date. Another Untitled work sold for $28,800, his 5th highest price ever. Overall 71 works have sold of 115 offered since they first appreared at auction in 1999. A stronger indicator of their success however is his sales since 2014. No less than 24 sold of 27 offered during the last 3 years is the best indicator that the finest works by this artist are considered to be highly desirable and worthy of the finest collections. Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

Artist Profile for Stephen Brameld & Jay Staples < Back Stephen Brameld & Jay Staples Stephen Brameld & Jay Staples ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Stephen Brameld & Jay Staples ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

NEW ART – THE PRIMARY MARKET The primary sector of the art market is where newly created works are generally consigned by artists to a gallery or dealer who exhibits them. < Back HOW TO COLLECT ABORIGINAL ART — THE ART MARKET - NEW ART VS OLD ART Mar 21, 2021 NEW ART – THE PRIMARY MARKET The primary sector of the art market is where newly created works are generally consigned by artists to a gallery or dealer who exhibits them. NEW ART – THE PRIMARY MARKET The primary sector of the art market is where newly created works are generally consigned by artists to a gallery or dealer who exhibits them. The gallery acts as an agent, and is remunerated through a commission on sales. It generally bears the cost of the exhibition and sets the prices, taking into account the size and medium of the works and the reputation of the artist. As it is uncommon for artists to have a ‘sell out’ show, works are generally held in the stock room and are available for sale after the exhibition while the dealer continues to attract customers, arrange commissions, enter works in art prizes, create publicity, and publish material promoting the artist. Having this sort of association with the dealer allows the artist to concentrate on their art production and this specialisation is ideally of benefit to both parties. Not all artists generate enough income to compensate dealers for the costs of conducting exhibitions, but galleries generally cross subsidise less successful artists with income derived from those whose works underpin the gallery’s financial viability. Formal contracts are far more common amongst non-Indigenous artists and their dealers than has been the case with Aboriginal artists. Even community art centres have argued strongly against exclusive contracts with artists whose lack of literacy and numeracy skills place them at a disadvantage in negotiations unless an educated local language speaker is present to assist in the process. Nevertheless, those galleries that have become signatories to the newly introduced Art Industry Code of Conduct have agreed to use standard contracts when working directly with Indigenous artists in order to demonstrate transparency and equity in their dealings. Daisy Chains – Jacob Stengle182.0 x 152.0 cm Contracts are only useful if they describe the role and responsibilities of each party toward each other. Most agents, whether community based or independent, have been extremely reluctant to subject Indigenous artists to punitive clauses that could lead to litigation, given the constant need for money to support families living in remote communities. However, whether under contract to a dealer or not, successful artists, both black and white, are liable to receive offers to move to other galleries and the majority of dealer rivalry arises from often emotive accusations of ‘poaching’. Most galleries eventually jettison unsuccessful artists and these eventually drop out of the artist-gallery system, while the galleries take on a mix of new younger, and already established artists that they are able to win over from others. As eminent economist Dr. Jon Stanton has observed, The abiding characteristic of the primary market is the general level of excess demand; there are more paintings for sale than there are willing purchasers. There are more artists than the number that can be represented by galleries; galleries exhibit more paintings than anyone is willing to buy, and galleries operate at lower than normal profit levels.’[1] The final point here is worth considering. Commercial galleries generally operate on between 30 and 50% commission for primary market sales. This figure is considerably lower than for many products sold through retail stores, especially those that are vertically integrated. (That is they manufacture their own products, mark them up to wholesale and then mark them up again to retail. This is how they can offer up to 80% off sales at the end of each season.) Due to their low commission structure and an oversupply of art, there is a high turnover of artists and galleries. While established galleries seek ‘marquee’ artists who can ensure their financial viability and underpin their elite reputation, the vast majority of galleries and dealers struggle to win the hearts and pockets of collectors, who are drawn from a variety of walks of life. While they have an interest in visual art, most of these ‘collectors’ are not wealthy and will visit galleries many times to seek advice and develop their passion. Only very occasionally do they ever actually purchase an artwork. Those galleries that screen artists, and thereby reduce their client’s search and transaction costs, immeasurably aid collectors, in particular those who seek new and innovative works of art. Galleries differ and the styles of work and particular artists they show. They attract collectors who share their taste and value their aesthetic ‘eye’ and critical judgement, as well as their business acumen. Today, however, there is a new competitor on the scene that is challenging the conventional ‘brick and mortar’ gallery system: Online sales. Make no mistake. This can be a game changer, and an enormous boon to art buyers. But it is a trap for the unwary and foolhardy. The rules of engagement still apply, whether you buy directly off the wall of an art gallery or over the web. [1] Dr. Jon Stanford FSIA, Submission to the Department of Communications, Information Technology and the Arts, Discussion of the Proposed Resale Royalty Arrangement’2004 OLD ART – THE SECONDARY MARKET Mountain Devil Lizard Dreaming – Gloria Tamerre Petyarre300.0 x 200.0 cm An artwork, having been originally purchased in the primary market, may remain in a private or public collection for a year or a decade; It may even remain in a single family for generations.Having sold art for nearly 40 years, many of my clients were in their 30s, 40s and 50s when they first bought a work from me. As their life circumstances change and age catches up with them, they inevitably look to sell them in the secondary market. Their artwork may have been created by a highly collectable deceased or living artist, or one who has disappeared into obscurity. Whatever the case, they will look for a dealer, auction house, or online platform to help them find a new home for their pre-loved collectable.There are many dealers who specialise in the work of deceased or highly collectable artists, whose works are sourced from existing collections. Premature offerings in the secondary market can easily destroy a living artist’s primary market performance if seen to be unsuccessful, or the price paid falls below current market expectations. For this reason artists, galleries, and agents occasionally seek to manipulate secondary sales in order to ensure that works created by artists they represent are ‘supported’. They may even introduce an artist’s work themselves in order to establish a secondary market profile as part of a strategy to underpin, or even boost, their primary market standing. In Australia there are a number of successful secondary market dealers, many of whom make no bones about the fact that they purchase a significant proportion of their stock at auction. The former major dealer Dennis Savill, Phillip Bacon, Rob Gould, and a number of others who have been highly visible, as well as a large number of independent dealers and art consultants, place works into and purchase works from the major auction houses. A number of smaller auction houses purchase from the larger ones, as it is more cost effective to pay the buyers premium on the open market than employ a permanent team of art specialists to find the works for them. These smaller auction houses stage sales in regional areas beyond the reach and focus of the major players. In recent years most art auction houses have developed online facilities.It is now possible to bid online in real time as the auction is taking place halfway around the world. New online art auction platforms can operate exclusively online, function live as well as digitally, or aggregate and provide access to dozens of auctions with online bidding.In auctions it is commonly said that 80% of the value is in 20% of the works. Most auction houses make their money by charging both the buyer and the seller. They charge the buyer a premium, currently between 20% and 25% on top of their winning bid (the hammer price of artwork). Depending on the rarity and desirability of an artwork, auction houses are generally prepared to lower their seller’s (vendor’s) commission, which can vary from as much as 20% on works worth less than $5,000 to 5% on works worth more than $100,000. In the case of some extremely rare and highly desirable pieces, auction houses will even consign them at 0%. However, while the sellers commission is always a matter of negotiation, the 20-25% ‘buyer’s premium’ is inviolable! Auction houses would never sacrifice a penny of it, as it represents the greater part of their income.An Australian ‘Tier One’ auction house will offer between 80 and 250 individual works of art worth a total of anything from $500,000 to $10 million in one single evening. In an attempt to attract fashionable and well-heeled audiences, and to achieve between 70 and 90% clearance (success) rates, the major auction houses produce full colour catalogues with the highest production values. They have just one shot at selling, after months of hard work. However, when run professionally auctions are, without a doubt, the most successful way of selling quality art. In the words of the mercurial Rod Menzies, proprietor of Menzies Art Brands. ‘There’s nothing as successful in the world of sales as Going…Going… Gone!’ More on buying and selling through auctions later on. 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Artist Profile for Yangarriny Wunungmurra < Back Yangarriny Wunungmurra Yangarriny Wunungmurra ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE YANGARRINY WUNUNGMURRA - GANY'TJURR (WHITE FACED HERON) SOLD AU$1,200.00 top Anchor 1 PROFILE Yangarriny Wunungmurra ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

Artist Profile for Patrick Mung Mung < Back Patrick Mung Mung Patrick Mung Mung ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE PATRICK MUNG MUNG - UNTITLED Sold AU$0.00 PATRICK MUNG MUNG - PURNULULA Sold AU$0.00 PATRICK MUNG MUNG - PURNULULA Sold AU$0.00 top Anchor 1 PROFILE Patrick Mung Mung ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

BLACK ART WHITE WALLS From 01 January to 28 February 2016 BLACK ART WHITE WALLS From 01 January to 28 February 2016 BLACK ART WHITE WALLS From 01 January to 28 February 2016 "The Adrian and Anne Newstead Indigenous Art Collection This exhibition draws on the extensive personal collection of Indigenous art accumulated by Adrian and Anne Newstead while working with Aboriginal and Torres Strait Islander artists over the past 30 years. Adrian Newstead is a dealer, writer and consultant. He and Anne own the oldest Aboriginal art gallery in Australia." "[[20160630111124|left,no,,landscape]] Adrian and Anne began their involvement with the creation and subsequent bloom/boom of the Aboriginal art market in 1980. Their art collection is an intimate one, built through personal relationships, serendipity, and a keen sense of historical and cultural importance. It is a platform by which a different narrative can be told: that of art as an expression of relationships, culture, spirituality, the land and kinship. The Newstead Collection comprises more than 1000 canvas paintings, barks, artefacts, prints, posters and sculptures. It represents a linear history of Aboriginal art and craft from the earliest days of the movement, through to the establishment of the first art centres and, beyond this, into the mainstreaming of Aboriginal art and its national and international acceptance as a dynamic contemporary art movement. There is a strong emphasis on printmaking as Adrian Newstead was instrumental in initiating this medium amongst Aboriginal and Torres Strait Islander artists. He published hundreds of limited editions, as well as organising and promoting Australian Indigenous prints on the international stage. This exhibition includes rare examples of early prints, as well as those by several of indigenous Australias most important printmakers. During Adrian and Anne Newsteads 30-year involvement, black art has moved inexorably onto white walls, subtly affecting the many millions of people who have come to live with and love it. Many would say that the Aboriginal art movement has been the single most effective vehicle in advancing understanding, empathy and reconciliation between black and white Australia. Viewing this beautiful show and reading the meanings of the works, and the circumstances under which they were collected, reveals the story of a very personal journey deep into the culture of Australias oldest inhabitants. Galleries the Exhibition Toured to: Grace Cossington Smith Gallery - 23 January - 30th March 2014 Wagga Wagga Regional Gallery - 7th April - 12th June 2014 Walker Street Gallery - 4th September - 8th October 2014 Moree Plains Gallery - 1st December - 29th January 2015 Manning Regional Gallery - 3oth January - 15th March 2015 Burrinja Regional Gallery - 4th July - 28th September 2015 Brunswick Regional Gallery - 16th October - 8th November 2015 Caloundra Regional Gallery - 20th January - 28th February 2016 [[20160630111252|left,no,,large]] [[CELL-ARTWORKS|20160630111552,20160630112025,20160630112039,20160630112147,20160630112132|N,N,hero,Y,3,Y]] [[CELL-ARTWORKS|20160630111939,20160630112008|N,N,hero,Y,2,Y]]"

Artist Profile for Judy Napangardi Martin < Back Judy Napangardi Martin Judy Napangardi Martin ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE JUDY NAPANGARDI MARTIN - BUSH POTATO DREAMING SOLD AU$5,000.00 JUDY NAPANGARDI MARTIN - WOMEN’S DREAMING SOLD AU$2,200.00 JUDY NAPANGARDI MARTIN - WOMEN’S DREAMING SOLD AU$430.00 JUDY NAPANGARDI MARTIN - BUSH VINE DREAMING SOLD AU$3,200.00 JUDY NAPANGARDI MARTIN - BUSH POTATO DREAMING SOLD AU$1,200.00 JUDY NAPANGARDI MARTIN - BIG TREE DREAMING Sold AU$0.00 top Anchor 1 PROFILE Judy Napangardi Martin ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

HERMANNSBURG SALON 17 Thurlow St, Redern, NSW 2016 04 July to 30 July 2022 Viewing Room HERMANNSBURG SALON Artists from the Hermannsburg School 04 July to 30 July 2022 17 Thurlow St, Redern, NSW 2016 Some people think Oh! Only dot painting really has meaning. Landscape is only pretty coloured rocks and trees. We only want dot paintings. But these hills have meaning and we have stories too, the landscape artists. We also talk about where the different Dreamings come from, and where they meet up and so on. We have two ways of painting: sand painting and landscapes. For us they both have the same Dreaming story. The landscape painting we do, it shows the country. We don’t just paint anything, that’s not our way. We are inspired by the country and the Dreaming as we paint' - Jillian Namatjira Long before desert acrylic dot paintings were first created by the Pintupi men in Papunya, romantic depictions of the desert were painted by the Arrernte people at the tiny Hermannsburg mission in the Northern Territory. These paintings captured the subtleties of colour, as the desert changes from the soft tones of summer heat, to the rich colours of the early morning and late evening light. Fifty years later these images have become synonymous with our vision of the Australian outback. Albert Namatjira, the founder of the Hermannsburg watercolour painting school, introduced painting to number of Arrernte artists, including his sons Enos and Oscar, as well as the three Pareroultja brothers who joined him on his painting expeditions. This was the first significant transitional art movement to emerge from Aboriginal Australia. Interestingly, the majority of images of this desert country are painted from a slightly elevated point of view, as if the artist was looking down ever so slightly. The majority of paintings lack a central focal point, whereby the composition is anchored as well as balanced with a visual emphasis on the edges. There is neither a dominance of forms, or a visual hierarchy between them. This exhibition is made up of selected works from the late 1960’s and 70’s from two private collections. The watercolours highlight the intense connection of these artists to their country and spurs in observers a deep-seated recognition of this country; Australia’s heart beats under each brushstroke. VIEW CATALOGUE VIEW VIDEO EX 238

THE HERMANNSBURG COLLECTION SEMINAR From 22 July to 23 July 2016 Viewing Room THE HERMANNSBURG COLLECTION SEMINAR From 22 July to 23 July 2016 Join Adrian Newstead as he delves into the history of Albert Namatjirra and the entire Hermannsburg School of artists. Expand your knowledge about this fascinating area of Australian art history. Drinks and nibbles will be served throughout the day. Saturday 23rd July 2016 2 - 3 pm $20 per person RSVP essential - click here Drinks and nibbles will be served all day so if you can not make the seminar make sure you don't miss this fascinating survey of desert watercolours spanning 60 years. View the entire exhibition online

Artist Profile for Jimmy Pike < Back Jimmy Pike Jimmy Pike ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE JIMMY PIKE - TWO SISTERS AND ONE SISTER IN LAW SOLD AU$4,500.00 top Anchor 1 PROFILE Jimmy Pike 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. ARTIST CV Market Analysis 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. Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .