Artist Profile for Jimmy Djarrbbarali < Back Jimmy Djarrbbarali Jimmy Djarrbbarali ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Jimmy Djarrbbarali 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 .

Indigenous Fine Art Auction The Rod Menzies Indigenous Art Collection PART II - LOT 75, 76, 77 details. Indigenous Fine Art Auction The Rod Menzies Indigenous Art Collection PART II Auction: 5th March 2024 Starting Time 7pm Location: Art Leven 17 Thurlow Street Redfern, Gadigal OPENING PREVIEW Thursday 29th February 2024 | 5 - 8 pm AUCTION VIEWING 1st to 5th March 2024 | 10am - 6pm View Auction Details View Full Auction Catalogue LOT #75 LOT #76 LOT #77 LOT #75 ARTISTS ONCE KNOWN A COLLECTION OF THREE ARTEFACTS EST $1,800 - 2,200 PROVENANCE Various Collections, Australia Menzies Estate Collection,Vic a. A West Australian Softwood Shield, c.1930s 93h x 14w cm Collected in Turkey Creek Of elongated ovoid form with pointed ends and a raised ridged handle and decorated with animal motifs b. A Central Australian Ceremonial Men’s Hairpin, c.1900 27h x 3.5w cm The front and back deeply incised with men’s key pattern c. A Victorian Mission Parrying Shield, c. 1930 72h x 14w cm Of elongated lozenge form, solid cut handle, the triangular convex front and decorated with fine burnt engravings LOT #76 ARTISTS ONCE KNOWN A COLLECTION OF FOUR ARTEFACTS EST $2,000 - 3,000 a. A South Australian hardwood fighting boomerang, early 20th century 97 x 7w cm Of bi-convex profile, and elongated pointed form with gentle curvature. Its front and back decorated with fine linear striated fluting, fine aged patina. b. A South-East Australian Leangle Club, early to mid 19th century 65l x 9w(top) cm. The proximal end grooved with alternate bands of crosshatched incisions terminating in a large conical knob divided in a series of circular layers reducing to tip.The body unadorned and extending in a sickle form with large beaked distal end, old patina. c. A Central Australian Desert Hardwood Fighting Boomerang, c. 1950 64l x 6w cm Boomerangs such as these were used for hunting and also used as a fire making tool in conjunction with a softwood shield, or pairs as clap sticks in ceremonies. d. A Central Australian Desert Hardwood Fighting Boomerang, c. 1950 76l x 7w cm Boomerangs such as these were used for hunting and also used as a fire making tool in conjunction with a softwood shield, or pairs as clap sticks in ceremonies. LOT #77 ARTISTS ONCE KNOWN A COLLECTION OF EIGHT ARTEFACTS EST $1 ,000 - 1,500 a. A Pair of Spear Throwers, c.1970 90l x 6w cm and 73l x 4w cm North East Arnhem Land b. A Woven Dilly Bag, c.1970 26l x 17d (top) cm Central Arnhem Land c. A Central Desert Decorated Coolamon, c.1990 13h x 33w cm d. A Pair of Ceremonial Music Sticks, c.1970s 40l x 4w cm and 28.5 cm North Eastern Arnhem Land e. A Ceremonial Figure, c.1950s 56.5h x 6w cm Tanami Desert f. Two Softwood Sculptures from North-East Arnhem Land 21h x 6w cm and 19h x 5w cm g. A Painted and Decorated Shield Central Desert, c.1990 72h x 19w cm h. h Tiwi Hardwood Pole c.1990 54h x 11d (bottom) cm

Artist Profile for Willy Tjungurrayi < Back Willy Tjungurrayi Willy Tjungurrayi ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE WILLY TJUNGURRAYI - TINGARI AT KAAKURATINTJA Sold AU$0.00 WILLY TJUNGURRAYI - TINGARI Sold AU$0.00 top Anchor 1 PROFILE Willy Tjungurrayi 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 Sandy Willie < Back Sandy Willie Sandy Willie ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE SANDY WILLIE - KU TJUKURPA SOLD AU$6,500.00 top Anchor 1 PROFILE Sandy Willie 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 .

GALLERY II From 12 July to 30 July 2022 GALLERY II From 12 July to 30 July 2022 GALLERY II From 12 July to 30 July 2022

Artist Profile for Samuel Namunjdja < Back Samuel Namunjdja Samuel Namunjdja ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE SAMUEL NAMUNJDJA - MIMI SPIRIT (WITH FLOOR STAND) SOLD AU$1,500.00 SAMUEL NAMUNJDJA - MIMI SPIRIT (WITH FLOOR STAND) SOLD AU$1,500.00 top Anchor 1 PROFILE Samuel Namunjdja 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 Shorty Jangala Robertson < Back Shorty Jangala Robertson Shorty Jangala Robertson ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Shorty Jangala Robertson 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 .

PROVENANCE Provenance is one of the most universally misunderstood concepts in art, most particularly in Aboriginal art. < Back HOW TO COLLECT ABORIGINAL ART — PROVENANCE PROVENANCE Provenance is one of the most universally misunderstood concepts in art, most particularly in Aboriginal art. Provenance is the imprimatur conferred upon an artwork due to the entire history of its existence. It is a movable feast that only begins with how the artwork finds its way into the market and on to a client’s wall. Imagine that a painting, like an individual dollar coin in your pocket, has passed through many hands since it was first created. The dollar coin is an exact replica of thousands of other coins that came off the same press in the mint yet each has an utterly different history of ownership. Your own coin may have been used to purchase all manner of items, both legal and illegal, by rich and by poor, healthy and sick, at any time between childhood to dotage. And so it is with each and every painting created by each and every individual artist. An artwork’s provenance, and hence its value, only begins with how it found its way into the market in the first place. In the case of an old artefact, this could include whether it was actually made for its intended use or made for sale; whether it was at some time collected by a famous colonial identity; or sat on the mantelpiece in an iconic old homestead. In the case of an Aboriginal painting or sculpture, this will include whether it was produced by an artist and supplied to a community Art Centre, their official agent, an independent dealer, a taxi driver in Alice Springs, a local wholesaler, or perhaps even directly to a gallery at some point along the artist’s travels. Once past this initial transaction, the artwork may find its way into a souvenir shop, a retail outlet that specialises in Indigenous art, or a shop that carries a range of art objects and styles. If purchased by an exhibiting gallery, it may be used to advertise an exhibition in a quality art magazine and, if considered good enough, be included in a group or solo exhibition. It could be used to illustrate an invitation or included in an exhibition catalogue. The standing of the gallery that confers its imprimatur on the artwork will make a valuable contribution to its collectability, just as its sale on eBay or through a ‘fly by nighter’ will fail to enhance its value. Given the many different scenarios that are possible, I have devised a guideline for collectors, which I refer to as an Index of Provenance. This is intended as no more than a tool to assist collectors and help them understand the concept of provenance and how it can be applied by good collectors to enhance the value of their collections. While there will be those at extreme ends of the philosophical divide who may object to the relative magnitude of the points that I have bestowed for various characteristics that make up the history of any individual artwork, I have weighted them according to my own experience after discussion with fellow dealers whose experience in the industry is as extensive as my own. The accompanying table should be self-explanatory. By adding the points that you can confer upon any individual painting, the ways in which a good collector can enhance its provenance should be obvious. INDEX OF PROVENANCE This index is indicative only. It can, however, be a very powerful tool, used to determine the provenance of your artwork. Give an artwork a ‘score’ using the point system below. It is specifically for a work of Australian Aboriginal art. It can, however, be modified in order to apply to absolutely any asset class. Mount Wedge – Clifford Possum Tjapaltjarri 100.0 x 180.0 cm Aboriginal artwork Bought directly from the artist with some documentary evidence prior to 1985 2 Bought through an Art Centre 3 Bought through a recognised established wholesaler 1 Accompanied by: a certificate of authenticity from an Art Centre 2 a certificate of authenticity from a recognised established wholesaler 1 a photo of the artist with the painting 1 a photo of the artist working on the painting 2 a folio of photographs or video showing the painting being created 3 The work was/Is: Sold and documented by an exhibiting gallery* 2 Sold and documented by a retail non-exhibiting gallery or wholesaler 1 Included in a documented and curated group exhibition prior to sale 1 Included in a solo exhibition of the artist’s work 2 Illustrated on the invitation or in a gallery catalogue that is sold with the painting 1 Included in a regional touring exhibition prior to, or subsequent to sale 1 Included in a national touring exhibition 2 Included in an international touring exhibition 3 Illustrated in a touring exhibition catalogue 2 Illustrated in a book 2 Illustrated in a magazine article or review which accompanies the work 1 Lent to or de-accessioned from a regional gallery or equivalent institution 1 Lent to or de-accessioned from a State gallery or equivalent institution 2 Sold from an important private collection 2 Lent to or de-accessioned from a National gallery or equivalent institution 3 Currently offered for sale or purchased from an elite gallery* 2 Previously offered for sale by a major auction house** 1 Currently offered for sale by a major auction house in its premier specialist sale (Tier One) 2 Currently offered for sale by a major auction house in its Tier Two or mixed sale 1 Thoonbi – Paddy Nyunkuny Bedford 150.0 x 180.0 cm *An exhibiting gallery is considered to have a regular exhibition program throughout the year. Holding an occasional exhibition in their gallery or in an interstate or overseas gallery is not enough to qualify as an exhibiting gallery for this purpose. If an exhibiting member of ACGA or Art.Trade you may add extra point ** Christies, Sotheby’s, Bonham’s, (In Australia Deutscher and Hackett, and Mossgreen can be considered major auction houses) The maximum index that is achievable using this guide for a work of the highest provenance is approximately 20 points. Now that you have worked out your score, let’s see exactly what this means HOW TO BUILD THE PROVENANCE OF YOUR ARTWORK – – and, as a consequence, increase its value You will find the points system above to be an extremely useful and reliable indicator of the desirability of any work that you may be considering for purchase or that is already in your own collection. While not mentioned in any of the criteria that attract points, you can be almost certain that there will often be a high degree of correlation between an artwork’s aesthetic value and its increasing index of provenance. However, the most important information that this index of provenance can provide is HOW YOU CAN ENHANCE THE VALUE OF YOUR ARTWORK. This is how good collectors increase the imprimatur of individual pieces and, in fact, their entire collection. 1-4 COLD If this is a painting bought directly off the artist or a dealer with no bone fides and was not bought through a reputable shop or gallery, it will not be of interest to the secondary market unless it has considerable age and the work is of a high quality. It is unadvisable to purchase paintings in this category that were not created at least pre-1985, as once in your collection they are extremely difficult to sell. In the case of Aboriginal artworks, those created prior to the establishment of art centres and specialist dealers and galleries may be an exception if they are aesthetically pleasing, rare, or culturally significant. 5-8 TEPID Artworks in this category should be well documented with either a certificate from the community art centre or working photograph(s). They may have been bought through a recognised gallery or dealer and should therefore be a reasonable investment if held on to for a long enough time to appreciate. Anything that can be done to increase the provenance of a work of art in this category will enhance its value. Lending it to an institution, getting it into a publication, etc. all helps, providing it is a good piece painted with integrity by a recognised artist. 9-12 WARM A good collector, or sophisticated investor, will seek to ensure that the majority of artworks in their collection are in this category or above. It is far easier to build the imprimatur of art that already has this level of provenance. These works are likely to be readily acceptable to the secondary market. All works of a lower quality or provenance level should be shed, or their provenance improved in order to rigorously maintain a good collection. 13-16 HOT These are works of high pedigree. Art in this category will always sell for a premium price and be highly sought after by serious collectors. These are generally listed as ‘top lots’ when sold and have a full page or more dedicated to them in sale catalogues. 17-20 STELLAR As there are only works of museum quality here, you will be lucky to own one even if you have very deep pockets and an insatiable appetite for the best of the best. I strongly recommend that those collectors who are primarily concerned with the investment potential of their paintings take a good look at those works with an Index of Provenance lower than 9 (i.e. those in the cold and tepid categories). While there are a variety of ways to enhance their value, serious consideration should be given to culling them, most especially if the options of improving their provenance are limited. This is especially important advice for those whose works are in a superannuation fund or similar investment portfolio. Works with a low provenance index should be sold and the money generated reinvested into works that are more easily moved into higher index categories. By simply using the information above many of the ways in which you can improve the value of your art should be clear. These include lending works for inclusion in touring exhibitions, loaning works to institutions and exhibiting galleries, or promoting them through articles in art magazines and the media in general. The worst possible thing that you can do for a work of art is to roll it up and store it under your bed or lock it away as if it were a share document or the title to a property. To increase in value, a painting should be as visible as possible. TIP NUMBER 5: LESS IS BEST – the cream always rises to the top Always purchase fewer works of higher value and better provenance than spreading your limited funds too thin. Investing in works created by major established artists is definitely far safer in the long term, but these ‘blue chip’ paintings will be less likely to reap spectacular results. Target paintings by acknowledged artists, in styles as represented in major institutions, if investment potential is a key objective. Once an artist dies or is no longer able to paint, the finite supply of paintings relative to the increasing domestic and international demand means that prices rise. Hank Ebes, Aboriginal Gallery of Dreamings, February 2005[4] Art is no different from the share market. If you want blue-chip artists the fluctuations are going to be minimal. Others may reap spectacular profits both in the long term and the short term but there are no guarantees. Charles Nodrum, December 2005[5] Previous Next Featured artworks Quick View ANGELINA PWERLE NGAL - UNTITLED ( BUSH RAISIN MAN) Price AU$3,000.00 Quick View ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Out of stock Quick View LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Price From AU$13,500.00 Quick View BRONWYN BANCROFT - UNTITLED Out of stock Quick View JOSHUA BONSON - SKIN: A CELEBRATION OF CULTURE Price AU$8,500.00 Quick View Book BOOK - KONSTANTINA - GADIGAL NGURA Price From AU$99.00 Quick View FREDDIE TIMMS - MOONLIGHT VALLEY Price AU$35,000.00 Quick View NEIL ERNEST TOMKINS - BURN THERE, DON'T BURN THERE Price AU$7,000.00

Artist Profile for Abie Kemarre Loy Abie Loy < Back Abie Kemarre Loy Abie Loy Abie Kemarre Loy 1972 Abie Loy ARTIST PROFILE ARTIST CV MARKET ANALYSIS Abie Kemarre Loy, born in 1972, is a contemporary Indigenous Australian artist from Central Australia. A member of the Anmatyerre community, Loy's artistic journey began under the guidance of her grandmother, the renowned artist Kathleen Petyarre. Loy's initiation into the artistic world occurred in the early 1990s, marking the beginning of a prolific and influential career that continues to this day. READ FULL ARTIST PROFILE ABIE KEMARRE LOY - BUSH HEN DREAMING SOLD AU$6,000.00 ABIE KEMARRE LOY - WOMENS CEREMONY (RED) SOLD AU$600.00 ABIE KEMARRE LOY - BUSH LEAF DREAMING Sold AU$0.00 ABIE KEMARRE LOY - BUSH LEAF Sold AU$0.00 ABIE KEMARRE LOY - BODY PAINTING Sold AU$0.00 ABIE KEMARRE LOY - AWELYE Sold AU$0.00 ABIE KEMARRE LOY - WOMENS CEREMONY (BROWN) SOLD AU$600.00 ABIE KEMARRE LOY - WOMENS CEREMONY (BLUE) SOLD AU$600.00 ABIE KEMARRE LOY - BUSH LEAVES Sold AU$0.00 ABIE KEMARRE LOY - BUSH LEAVES Sold AU$0.00 ABIE KEMARRE LOY - BODY PAINTING Sold AU$0.00 ABIE KEMARRE LOY - SAND HILL COUNTRY Sold AU$0.00 top Anchor 1 PROFILE Abie Kemarre Loy 1972 Abie Kemarre Loy, born in 1972, is a contemporary Indigenous Australian artist from Central Australia. A member of the Anmatyerre community, Loy's artistic journey began under the guidance of her grandmother, the renowned artist Kathleen Petyarre. Loy's initiation into the artistic world occurred in the early 1990s, marking the beginning of a prolific and influential career that continues to this day. Loy’s work is deeply rooted in her Anmatyerre heritage, often reflecting the traditional stories and cultural practices passed down through generations. Her paintings are distinguished by their intricate dotting technique, a hallmark of Central Australian Indigenous art, which she uses to convey complex narratives and Dreamings, particularly those related to Bush Medicine Leaves. These leaves hold significant cultural and medicinal value in her community, and her representation of them is both a celebration of Anmatyerre culture and a testament to her deep connection with the land and its traditions. The artist's colour palette typically incorporates earthy tones, reflecting the hues of the Central Australian landscape. Loy's application of paint is meticulous, with each dot carefully placed to create patterns that resonate with vibrancy and depth. This meticulous approach not only reflects her dedication to her craft but also serves as a visual metaphor for the interconnectedness of community, land, and heritage. Loy's art is more than aesthetic expression; it is a form of cultural preservation, educating and inspiring both Indigenous and non-Indigenous audiences about the richness of Anmatyerre traditions. Her works are a bridge between ancient customs and contemporary art, showcasing the dynamic and living nature of Indigenous Australian culture. ARTIST CV Market Analysis MARKET ANALYSIS Abie Loy is an Indigenous Australian artist whose artworks have gained significant recognition both in Australia and internationally. Her pieces are sought after by collectors and enthusiasts who are drawn to the authenticity and cultural depth of her work. The market for Indigenous Australian art has been steadily growing, and artists like Loy, who have a strong connection to their cultural heritage and a unique artistic voice, are at the forefront of this surge in interest. Her works not only hold aesthetic value but are also appreciated for their cultural significance and as investments in Indigenous art. Abie Kemarre Loy's journey as an artist is not just about her individual achievements but also about her role in the broader narrative of Indigenous Australian art. Her work stands as a vibrant testament to the enduring strength and beauty of Anmatyerre culture. Loy has participated in many significant exhibitions showcasing Indigenous Australian art and is recognized as a key figure in contemporary Indigenous Australian art. Her works are held in major Australian and international collections. Below is a list of selected group exhibitions in which Abie Loy has participated: 1997 - Dreampower, Art of Contemporary Aboriginal Australia - Mountain Devil Lizard Dreaming, Japingka Gallery, Desert Designs, Fremantle WA - Documenta, Kasel, Germany - The Alice Prize Exhibition, Alice Springs NT - Japingka Gallery, Desert Designs, Fremantle WA 1998 - Our Country Then and Now, Gallerie Australis - Raiki Wara: Long cloth from Aboriginal Australia & Torres Strait, National Gallery of Victoria, Melbourne VIC 1998 - 15th Telstra National Aboriginal & Torres Strait Islander Art Exhibition Darwin, NT - Utopia Dreamings, Japingka Gallery, Fremantle WA 1999 - Joint Indonesian – Utopia Batik Workshop for Third Pacific Arts - Utopia Recent Works, King Street Gallery, Perth WA - North by North East, Landscape & Ceremonial Paintings from Utopia, Alcaston Gallery, Melbourne - SALA Week, Gallerie Australis, Adelaide SA 2000 - Utopia, Framed Gallery, Darwin NT - The Collection, Gallerie Australis, Adelaide SA 2001 - 15th Telstra National Aboriginal & Torres Strait Islander Art Exhibition, Darwin NT - Little Gems, Japingka Gallery, Fremantle WA 2002 - Kimberly, Central Desert & Utopia, Japingka Gallery, Fremantle WA - Abie Loy & Violet Petyarre, Recent Paintings, Mary Place Gallery, Paddington NSW 2002 - Generations Japingka Gallery, Fremantle WA 2003 - Abie Loy – Recent Paintings, Fire-works Gallery, Brisbane Qld 2004 - Arrnkerthe, New Paintings, Coo-ee Gallery, Sydney NSW 2004 - Group Show Gadfly Gallery, Perth WA 2005 - Dreamings, Gadfly Gallery, Perth WA - Utopia & Beyond, Maunsell Wicks, Paddington NSW 2006 - Abie Loy & Kathleen Petyarre, New Paintings, Maunsell Wickes Gallery, Paddington NSW 2006 - Recent Painting, Kathleen Petyarre & Abie Loy, Framed Gallery, Darwin NT 2006 - Luminaries of the Desert, Japingka Gallery, Fremantle WA - Balmain Art & Craft show, Indigenous Gallery, Sydney NSW 2008 - Utopia Collection, Japingka Gallery, Fremantle WA 2011 - In Black and white, Japingka Gallery, Fremantle WA 2012 - Little Gems, Japingka Gallery, Fremantle WA - Sandover River Country, Japingka Gallery, Fremantle WA - Recent Works, Japingka Gallery, Fremantle WA - Desert Gold, Japingka Gallery, Fremantle WA 2014 - Desert Song, Japingka Gallery, Fremantle WA 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 Ada Bird Petyarre < Back Ada Bird Petyarre Ada Bird Petyarre 1935 - 2009 ARTIST PROFILE ARTIST CV MARKET ANALYSIS Ada Bird Petyarre, the eldest of seven sisters, was a prominent artist from Utopia, a region located 230 kilometres northeast of Alice Springs in a remote and arid area. Along with her sisters Kathleen, Gloria, Violet, Myrtle, and Jean, Ada spent most of her life in Utopia, contributing to the rise of its art scene. READ FULL ARTIST PROFILE ADA BIRD PETYARRE - AWELYE, MOUNTAIN DEVIL SOLD AU$5,000.00 ADA BIRD PETYARRE - ALCHIRA SOLD AU$600.00 ADA BIRD PETYARRE - NGENYA- SWEET WILD FLOWER SOLD AU$1,100.00 top Anchor 1 PROFILE Ada Bird Petyarre 1935 - 2009 Ada Bird Petyarre, the eldest of seven sisters, was a prominent artist from Utopia, a region located 230 kilometres northeast of Alice Springs in a remote and arid area. Along with her sisters Kathleen, Gloria, Violet, Myrtle, and Jean, Ada spent most of her life in Utopia, contributing to the rise of its art scene. Utopia's art gained swift prominence, particularly highlighting the influential role of female artists and their distinct themes in Aboriginal art. Originally a large cattle station, Utopia saw Ada working in her youth before the land was returned to its traditional Anmatyerre and Alyawarre owners in 1978 by the Aboriginal Land Fund Commission. This allowed the establishment of small settlements across the 1,800 square kilometres. Born at Mulga Bore (Akaye Soakage), Ada continued to live there with her extended family, raising two daughters and four sons. In the late 1970s, Ada participated in batik-making workshops organised by an adult education programme. The women, including Ada, adeptly adopted this traditional Indonesian craft, which resonated with their experiences in body painting for Awelye (women's ceremonies). Ada's vibrant personality shone through in her work, characterised by bright colours and fluid linear designs. Her early batiks on silk were highly sought after by collectors, including the celebrity collector, businessman Robert Holmes a Court, and German filmmaker Wim Wenders, who not only acquired one of Ada’s batiks but also cast her in his film Till The End of the World, partially shot in Central Australia. Ada was a senior elder of the Anmatyerre people, respected for her talent and cultural significance. The process of body painting for Awelye was integral to her art, with its preparation considered as vital as the ceremony itself. The paintings involved elaborate preparations including the application of fat and ochre on the body, enhancing its visual impact by firelight during ceremonies. Ada's growing confidence and expertise led her to adopt acrylic painting during the 'Summer Project' workshops in 1988-89, facilitated by the Central Australian Aboriginal Media Association (CAAMA). This transition marked the emergence of a unique style that became characteristic of the Utopia artists. Ada’s work featured prominently on the front cover of the major book, Utopia Women’s Painting (1989), and her artworks were acquired by prestigious institutions like the National Gallery of Australia. One of Ada’s most renowned subjects in her paintings was Arnkerrth, the Mountain Devil Lizard, a creature deeply embedded in Anmatyerre lore and believed to have shaped the desert landscape. Contrary to early European perceptions, the Anmatyerre people cherished these lizards, often keeping them as pets due to their unique camouflage abilities. Ada Bird Petyarre passed away in 2004 after a stroke, leaving behind a legacy of traditional knowledge and striking artworks. Her works, celebrated for their vivid palette and elegant designs, are held in collections worldwide, cementing her status as an inspiring figure in early Aboriginal contemporary art. ARTIST CV Individual Exhibitions: 1990: Utopia Art, Sydney. Group Exhibitions: 2008: More than stories, Utopia Art Sydney, Sydney. 2005: Decouvrir, Rever, Investir, Australian Embassy, Paris, France. 2004: Binocular: looking closely at Country, Ivan Dougherty Gallery, Sydney; Reves de Femmes, Galerie DAD, Mantes-la-Jolie, France. 2001 - 2002: Land of Diversity, The Northern Territory, at Hogarth Galleries, Paddington. 1994: Power of the Land, Masterpieces of Aboriginal Art, National Gallery of Victoria.; 1994, Yiribana, Art Gallery of New South Wales, Sydney. 1993: Central Australian Aboriginal Art and Craft Exhibition, Araluen Centre, Alice Springs; The Tenth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin; Tjukurrpa, Desert Dreamings, Aboriginal Art from Central Australia (1971-1993), Art Gallery of Western Australia, Perth WA; After The Field, Manly Art Gallery & Museum, Sydney; ARATJARA, Art of the First Australians, Touring: Kunstammlung Nordrhein-Westfalen, Dusseldorf; Hayward Gallery, London; Louisiana Museum, Humlebaek, Denmark. 1992/3: New Tracks Old Land: An Exhibition of Contemporary Prints from Aboriginal Australia, touring USA and Australia. 1991: Flash Pictures, National Gallery of Australia; 1991, Aboriginal Women's Exhibition, Art Gallery of New South Wales, Sydney; The Eighth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin. 1990: 'Utopia - A Picture Story,' an exhibition of 88 works on silk from the Holmes a Court Collection by Utopia artists which toured Eire and Scotland.; 1990, A Portfolio of Australian Women Artists, Macquarie Gallery, Sydney.; 1990, Contemporary Aboriginal Art from the Robert Holmes a Court Collection, Harvard University, University of Minnesota, Lake Oswego Center for the Arts, United States of America; Utopia Artists, Flinders Lane Gallery, Melbourne. 1989: Utopia Women's Paintings, the First Works on Canvas, A Summer Project, 1988-89, S. H. Ervin Gallery, Sydney; Utopia Batik, Araluen Centre, Alice Springs; Utopia, Utopia Art, Sydney.; Utopia Women, Coventry Gallery, Sydney. 1988: Time Before Time, Austral Gallery, St Louis, USA.; Contemporary Aboriginal Art, Utopia Art, Sydney. 1977-1987: Exhibited with the Utopia women at exhibitions in Australia and overseas. 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 .

Discover the essence of Art Leven (formerly Cooee Art), Sydney's premier Aboriginal art gallery. With a deep appreciation for Indigenous culture and creativity, we showcase a curated collection of authentic artworks. Committed to promoting and preserving Aboriginal art reflects our passion for cultural heritage. ABOUT ART LEVEN (formerly Cooee Art) "Where a picture tells a thousand words, a gallery tells a thousand stories." OUR STORY OUR STORY MEET THE TEAM TESTIMONIALS NEWS BLOG ART RESOURCES CONTACT US Art Leven (formerly Cooee Art) was established in 1981 and runs a hybrid art model to represent and support artists in an ethical and sustainable way. Our premium 480 sqm gallery and auction space in Redfern offers a unique and informative insight into the world of Australian Indigenous art. Our auctions established in 2017 is a market leader with specialist knowledge, we work with artists, galleries, museums and private collections bi-annually to curate and consign the finest Indigenous Art. Since first working with Aboriginal artists forty years ago, Art Leven (formerly Cooee Art) has presented the finest First Nations art through exhibitions and events in Australia, Europe, and the Americas. Cooee Art Leven is Australia’s oldest exhibiting Indigenous fine art gallery. With more than 3000 works of art by over 150 individual artists, our extensive stockroom encompasses a wide range of regional and individual styles. The collection includes rare bark paintings and artefacts, early desert boards and acrylic paintings, and an exciting range of contemporary Aboriginal paintings, sculpture, limited edition fine art prints, and hand-crafted traditional artefacts and books. Art Leven (formerly Cooee Art) presents monthly exhibitions in the Redfern gallery including solo shows by important living artists and thematic curated exhibitions. The exhibition schedule is supported by public programs including artist talks and workshops. The gallery welcomes drop in visits or private consultations. As well as sourcing historically significant pieces, Mirri Leven , along with her experienced team, consign contemporary artworks from Indigenous communities across the continent for their diverse range of projects. An impressive international profile, developed over 40 years’ experience, makes Art Leven (formerly Cooee Art) one of the most highly respected Indigenous galleries in Australia and abroad. Its clients include private collectors, institutions, architects, interior designers, and international visitors. Jorgen Lotz “I have purchased a number of pieces from you and have always been treated very friendly and professionally. No hesitation in dealing with Art Leven Gallery in the future" more Osman Shajahan “The Art Leven Gallery has an amazing collection. I came to find out when I was searching for works by a particular artist I couldn’t find anywhere else at that time." more Angela Stasinopoulou “We had a wonderful experience at the Art Leven gallery while visiting Sydney. Hayley helped us find a beautiful and unique piece of art and shipped it safely halfway across the world to the UK for us" more MEET THE TEAM Mirri Leven MANAGING DIRECTOR & OWNER Read Bio Emma Lenyszyn INDIGENOUS FINE ART SPECIALIST Read Bio Hayley Cotton GENERAL MANAGER Read Bio Sam Sterneborg BACK OF HOUSE MANAGER Read Bio Dr Ksenia Radchenko AUCTION ADMINISTRATOR Read Bio Charlotte Sky REGISTRAR & GALLERY ASSISTANT Read Bio CONTACT ART LEVEN Contact Us First Name Last Name Email Phone Type of enquiry Choose an option Write a message Submit Thanks for submitting! Address 17 Thurlow Street Redfern, NSW, 2016 Contact +61 (02) 9300 9233 info@artleven.com Opening Hours Tue - Sat 10:00 am – 5:00 pm Members of

SYDNEY CONTEMPORARY 2023 Booth H09 Carriageworks Sydney 7 - 10th September SYDNEY CONTEMPORARY 2023 Emily Kngwarreye, Rover Joolama Thomas, Bill Whiskey Tjapaltjarri and Konstantina 7 - 10th September SYDNEY CONTEMPORARY 2023 Emily Kngwarreye, Rover Joolama Thomas, Bill Whiskey Tjapaltjarri and Konstantina 7 - 10th September Booth H09 Carriageworks Sydney Cooee Art was established in 1981. From 2023, Australia’s oldest exhibiting Indigenous-focused gallery is solely owned by Mirri Leven. In its new era, the gallery will be run as a space of collaboration, working directly with First Nations curators, art centres, and represented artists. “Guarding for Change - Looking to the past and seeing ahead .” Our booth will symbolise the passing of torches between generations. One side will represent the primary market gallery; the other will showcase the secondary market wing, with artworks consigned to our specialists from important collections across the globe. Starting now, Leven will begin exhibiting non-Indigenous alongside our First Nations artists, exclusively through specially curated projects. These focus on technique and transparent dialogue, offering an opportunity beyond the ordinary commercial relationship between artist and gallery, fostering an environment of openness and direct exchanges between artists. The result of the first such project will be presented here alongside paintings by Konstantina, the only exhibiting Gadigal artist of the Eora Nation, whose land is host to the fair and reflected in her work. Across the booth, the secondary market is represented by the finest works of the movement’s figureheads, including Emily Kngwarreye, Rover Joolama Thomas, and Bill Whiskey Tjapaltjarri. VIEW CATALOGUE SYDNEY CONTEMPORARY WEBSITE BILLY PERRURLE BENN - ARTETYERRE price AU$10,000.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES NEAR THE OLGAS price AU$5,500.00 BILLY PERRURLE BENN - ARTETYERRE price AU$4,500.00 BILLY PERRURLE BENN - ARTETYERRE price AU$4,400.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES NEAR THE OLGAS price AU$3,000.00 KITTY NAPANANGKA SIMON - MINA MINA JUKURRPA (MINA MINA DREAMING) Sold AU$0.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLE NEAR THE OLGAS Sold AU$0.00 MICK TJAPALTJARRI NAMARARI - MOUSE DREAMING Sold AU$0.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLE NEAR THE OLGAS Sold AU$0.00 KONSTANTINA (KATE CONSTANTINE) - Gadigal Weave Sold AU$0.00 NEIL ERNEST TOMKINS - BURN THERE, DON'T BURN THERE price AU$7,000.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES NEAR THE OLGAS (DIPTYCH) price AU$5,000.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES NEAR THE OLGAS price AU$4,500.00 KITTY NAPANANGKA SIMON - MINA MINA JUKURRPA (MINA MINA DREAMING) price AU$3,500.00 EMILY KAME KNGWARREYE - UNTITLED (ANOORALYA YAM DREAMING) Sold AU$0.00 KITTY NAPANANGKA SIMON - MINA MINA JUKURRPA (MINA MINA DREAMING) Sold AU$0.00 REX E. BATTARBEE - GHOST GUM Sold AU$0.00 EMILY KAME KNGWARREYE - OF MY COUNTRY, ALALGURA Sold AU$0.00 NEIL ERNEST TOMKINS - WATER TOWER II Sold AU$0.00 KONSTANTINA (KATE CONSTANTINE) - Gadigal Weave price AU$6,200.00 BILLY PERRURLE BENN - ARTETYERRE price AU$4,800.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES NEAR THE OLGAS price AU$4,500.00 KITTY NAPANANGKA SIMON - KANAKURLANGU (WOMEN BELONGING - DIGGING STICKS) price AU$3,500.00 KONSTANTINA (KATE CONSTANTINE) - RAINING SERIES: GARANGAL Sold AU$0.00 KONSTANTINA (KATE CONSTANTINE) - TARRA Sold AU$0.00 EMILY KAME KNGWARREYE - DESERT PASTORAL Sold AU$0.00 KONSTANTINA (KATE CONSTANTINE) - GARANGALJAM Sold AU$0.00 NEIL ERNEST TOMKINS - LAJAMANU AFTERNOON Sold AU$0.00 SC23