Artist Profile for Beryl Jimmy < Back Beryl Jimmy Beryl Jimmy ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE BERYL JIMMY - WANAMPI SOLD AU$3,000.00 BERYL JIMMY - KAPI TJUKULA Sold AU$380.00 top Anchor 1 PROFILE Beryl Jimmy 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 .

FIRST NATIONS FINE ART AUCTION Art Leven - 17 Thurlow St, Redfern, Gadigal, NSW 2016 Tuesday 12th November 2024 AEDT 7:00pm FIRST NATIONS FINE ART AUCTION Important Works by First Nations Artists Tuesday 12th November 2024 AEDT 7:00pm FIRST NATIONS FINE ART AUCTION Important Works by First Nations Artists Tuesday 12th November 2024 AEDT 7:00pm Art Leven - 17 Thurlow St, Redfern, Gadigal, NSW 2016 VIEW AUCTION RESULTS Welcome to our November 2024 First Nations Fine Art Auction, the inaugural offering under the Art Leven banner. I am proud to showcase the continuing evolution of ‘Australia’s’ oldest exhibiting First Nations-focused fine art gallery and only such specialised auction house. Art Leven aims to honour the legacy of Cooee Art, which was founded by Adrian Newstead and Louise Ferrier in 1981. While we embrace a new name, our focus remains unchanged— reflecting the evolving times while staying deeply committed to promoting Indigenous art and culture. Our goal is to foster a deeper, more intimate appreciation of First Nations artists, both past and present, within the continent’s art communities and beyond. Art Leven represents the evolution of Cooee Art’s legacy, forging new pathways for collaboration and growth. I am pleased to present the collection we have carefully curated over the past six months, featuring a selected offering of 93 lots valued between $1,240,000 and $1,600,000. This collection showcases the diversity and richness of First Nations art across the continent. Featuring heavily throughout this auction are key works that explore contemporary themes. Notable pieces include seminal works by Tracey Moffatt (Lot 23), Reko Rennie (Lot 25), and a video installation by Dr. Christian Thompson AO (Lot 26). Additionally, the cover lot (Lot 24) by Michael Riley, ‘‘Untitled (Bible) Cloud Series’, was carefully selected for its strong symbolism. As Michael Riley noted, “cloud was quite a resolved series for me, in that it brought all elements together: my childhood, the Christianity from my childhood, the problems with that, and also histories of Aboriginal peoples.” Vendors from across Australia, the Americas, and Europe have contributed, featuring traditional bark paintings, sculptures, limited edition prints, drawings, and photographic works. Among the many notable lots is an early Papunya board painted during the ‘interregnum’ period and attributed to Timmy Payungka Tjapangati (Lot 10). The work is accompanied by a fascinating essay by John Kean, detailing his process for authenticating and attributing the work. Created around 1972, this highly intricate painting is a rare foundational work from one of the most significant moments in this continent’s art history. Its creation marks a pivotal turning point that transformed both the contemporary art movement and the nation’s identity. The rare ceremonial figure, Lot 80, was believed to have been collected on Mornington Island and has been kept on display at The Zillman Museum of Wonders in Imbil, Queensland for decades. The 74 centimeter tall figure is adorned with a beard of human hair, ceremonial paint, and a conical ceremonial headdress. The rare and remarkable work carries an estimate of $18,000 - $22,000. This year came the thrilling announcement of Emily Kame Kngwarreye’s (Emily Kam Kngwarray) solo retrospective to be held at the Tate Modern, London in 2025. We are excited to once again present a stunning selection of the legendary artist’s works. Lot 9, Untitled (Awelye), painted in January 1994 and estimated at $60,000 - $80,000, beautifully captures the subtle pink hues of Utopia in summer. Lot 17, Alalgura (My Country), from October 1994, estimated at $140,000 - $160,000, is a vibrant portrayal of Kngwarreye’s country after the rains, often referred to as the “green time”. This piece features a rare abundance of blue. Additionally, Lot 72, Summer Business (1992), estimated at $130,000 - $150,000, draws the viewer’s eye across the canvas with the dynamic movement of the landscape. Other highlights include a work by Rover Joolama Thomas (Lot 71), created in 1993 for the Waringarri Aboriginal Arts Centre. With a conservative estimate of only $70,000 to $90,000, this piece exemplifies the artist’s exceptional skill and continues to define much of the East Kimberley’s artistic lexicon. Among the standout lots is 7, a striking gouache by Lin Onus, estimated at $30,000 to $40,000. Also featured are three works by the artist du jour, Mirdidingkingathi Juwarnda Sally Gabori (Lots 3, 13, and 88). Lot 30 presents a captivating piece by Bill Whiskey Tjapaltjarri, with a modest estimate of $20,000 to $25,000. Rounding out the highlights is Lot 11, a monumental, classic painting by the legendary Ronnie Tjampitjinpa, a key figure of the Papunya Tula collective. I hope you enjoy this catalogue as much as we have enjoyed curating it, and I look forward to welcoming you to our gallery during the viewing. Mirri Leven, Director September 2024 Auction Results View Auction Online Auction Catalogue

Artist Profile for Mick Gill < Back Mick Gill Mick Gill ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE MICK GILL - ARTISTS'S COUNTRY SOLD AU$3,500.00 top Anchor 1 PROFILE Mick Gill 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 .

TjapaltjarriBilly Billy Stockman Tjapaltjarri Billy Stockman Tjapaltjarri 1927 - 2015 From the outset, Billy Stockman was a vital figure in the Papunya art movement. He went on to become one of its most exceptional and productive figures, traveling the world as a representative of Aboriginal Culture and having his work exhibited and collected by major galleries and collectors. He stands at the transition point between the ancient and the new, his work providing a link that allows for an ongoing synthesis between cultural traditions and modern artistic practices. Essentially spiritual, the symbols that appear in his paintings are charged with authority and religious knowledge. They are grounded in the narratives of the traditional desert culture of which he is a senior custodian of particular sites and stories. Born of the Anmatyerre-Western Arrente people, at Ilpitirri, North-West of Papunya, Billy Stockman’s first experience of white people was the Coniston Massacre in 1928 at the age of two. 'All the people were running. I was a little one – in a coolamon. My mother hid me under a bush. My father had gone hunting. They killed my mother. I was grown up by her sister – Clifford Possum’s mother' (Stockman cited in Kleinert & Neal 2000: 702). Billy Stockman grew up at Napperby Station (200 km west of Alice Springs), where he was initiated and later worked as a stockman for many years. He was moved to Papunya as part of the government re-settlement program and lived on the edge of the somewhat chaotic settlement. He could often be seen there, repairing the old cars that were much valued by the new settlers, allowing them to journey back to their much-missed country. He had a large extended family and was, as Geoff Bardon described 'a man with many obligations to all' (2004: 85). Stockman also worked as a cook in the communal kitchens at Papunya and as a yards man at the Papunya School. It was this position that placed him so centrally within the mural painting endeavour that was to spark the explosion of creativity that became a modern painting movement. Along with Long Jack Phillipus, Billy Stockman assisted Kaapa Mbitjana in the painting of the Honey Ant Dreaming on the school walls in 1971. It was the culmination of a project initiated by art teacher Geoff Bardon and being a design of great power and relevance to all of the tribes of the Western Desert it generated much excitement and discussion through-out the settlement. The Honey Ant is the image of the ancestors, emerging from the ground, creating landforms while moving across it and finally returning underground, ever afterwards to be celebrated in story and ceremony. Because different tribal groups were crammed together at Papunya, it was a volatile environment and so it was important to produce designs that would not aggravate the reactive atmosphere. As the painting project continued to grow, Bardon says it was Billy Stockman in particular who understood the necessity of choosing un-controversial subjects such as food gathering or children’s stories. He communicated Bardon’s concerns to the steadily growing group of painting men who nevertheless had to regularly restrain a wish to paint more momentous subjects. As paintings began to sell in Alice Springs the demarcation between sacred and secular became clearer to the men and strategies were devised to avoid infringing tribal laws. The rules of production and reception in such intercultural transactions however continue to pose difficulties, as they still do for many indigenous cultures. Billy Stockman’s work was among the first to stir the purchasing public’s interest. He made a point of thanking Bardon personally and began to apply himself with great enthusiasm to painting. All of the men were greatly encouraged by the money received from the sale of their paintings. It was a way of improving the life of their families but also re-kindled a sense of self and community esteem among the men who had, to a degree, been estranged from their once important tribal positions. Senior men were instrumental in advising on symbols, stories and meanings during the creative process. Billy Stockman had a way of focusing on simple, self-contained vignettes. They often contained stylised, naturalistic plants and animals and a symmetry and decorative quality that appealed to buyers. This talent followed from his skill as an accomplished wood-carver. Like many stockmen, he had learned to whittle wood and as Bardon commented 'could turn a beanwood branch into two or three snakes in a complex inter-twining design' (2004: 31). As the art movement gathered momentum, his life as a stockman had also prepared him for negotiating with the world of the ‘whitefella’. Billy Stockman held many official positions, playing a critical role in the newly established Aboriginal Arts Board during the 1970’s and a stint as chairman of Papunya Tula Artists. He became a campaigner for the outstation movement and was one of the first to move to his own station at Illili, West of Papunya. Here, he continued painting his Dreamings and instructed younger artists on the ancient knowledge, in particular the Budgerigar, Water, Snake and Wild Potatoe Dreamings of his own country. He and his wife Intinika have two sons and two daughters, of whom one, Gillian, has also become a painter. Declining health brought about his retirement to the Hetti Perkins Hostel in Alice Springs. He remained an inspiring figure and authority for the Western Desert people until his death in 2015, a reliable, responsible and caring man who Bardon described as 'embodying all that was loving and trusting in traditional family life' (Bardon 2004: 85). When Sotheby’s set Billy Stockman’s record price of $201,500 (for the 54.5 x 46 cm 1971 board Wild Potato (Yala) Dreaming) in 1998, the result was second only to Johnny Warangkula’s Water Dreaming at Kalipinypa 1972( sold the previous year for $206,000, in the annuls of all Aboriginal art sales). It was still the fourth highest result ever achieved for an Aboriginal painting by the end of 2001, but 19th highest at the end of 2004 and the 34th by the end of 2006. Neverthelessm few artist’s record prices have lasted as long. Billy Stockman's next highest result is however only $36,000. This was achieved for a 1991 work entitled Travels of the Spider Ancestors (was sold by Lawson~Menzies in June 2008, Lot 262). It was a good result for a late career work by one of the early Papunya artists and justified the confidence Lawson~Menzies specialists had in it, evidenced by the presale estimate of $35,000-45,000. Brave of them, as all of the artists top ten results at the time were for 1971-1973 boards and apart from this spectacular exception nothing painted after 1978 had appeared in the artists 15 highest results or has generated more than $8,000 for its seller since. This very prolific artist, who created work for more than 30 years has had over 320 works offered for sale since his first paintings appeared at auction in 1988. Yet his career average price is just $5,055 despite a respectable clearance rate of 59%. While 1998 was by far his best year at sale with 16 of 17 works sold including his record price, 2005 was also a good year with 17 of 19 painting selling. This however was the last time Billy Stockman’s fortunes were on the ascendant. Since then his clearance rate has been under 50%. Only 13 paintings in total have sold for more than $10,000 and it is his low average price that has prevented Billy Stockman from attaining a higher place in the annuls of Aboriginal art. When, in 2005 Sotheby’s offered a rare sculpture of a Carpet Snake carved by the artist in 1972, it created quite a sensation. Estimated at just $1,000-1,500 (Lot 269) this rather spectacular object measuring just 69 cm in length sold for $22,800. It is by far and away his best result for a work in any medium other than painting. Sotheby’s have in fact made up most of the running on Billy Stockman’s works with their closest competition coming from Lawson~Menzies. He is, however, one of the most durable and recognised artists amongst collectors. Amongst his most notable failures at sale have been the large work Totemic Snakes 1985, that had been purchased from Deutscher~Menzies in June 1999 (Lot 17) for $8,050 when estimated at $8,000-10,000. Offered again at Lawson~Menzies in May 2007 (Lot 120) it simply could not justify its presale estimate of $18,000-22,000. Another failure was the beautifully rendered and extremely attractive board entitled Kangaroo Dreaming, Papunya which should have fully justified Mossgreen’s confidence in placing a presale estimate of $20,000-22,000 (Lot 190) but was passed in at their August 2008 sale. Further reinforcing the price sensitivity of Billy Stockman’s works, Frog Corroborree, a large early 1973 board, failed to sell at Deutscher~Menzies in June 2000 (Lot 144) when offered at $25,000-35,000, though it later sold at Sotheby’s in 2002 (Lot 335) for just $8,400 with a lowered expectation of $7,000-10,000. On a more positive note, a board entitled Women’s Bush Tucker Story 1972 (measuring 61 x 69 cm and bearing a Stuart Art Centre code number from the 11th consignment) originally failed to sell when offered at Lawson~Menzies in May 2004, carrying an estimate of $35,000-50,000 yet sold for $30,000 at the same auction house three years later. This is the artist’s fifth highest record at sale to date. It would seem that, for the time being at least, those interested in works by the most seminal artists of the movement should be able to include Billy Stockman in their collections for what will come to be considered a bargain price. His early boards are wonderful buying at anything under $30,000 and there are any number of 1980s and 1990s paintings to be had for a song. Billy died in September 2015 after a long and fruitful life. It is is definitely time that collectors began to reassess this wonderful old man’s legacy. Explore our artworks See some of our featured artworks below ANGELINA PWERLE NGAL - UNTITLED ( BUSH RAISIN MAN) Price AU$3,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Out of stock LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Price From AU$13,500.00 BRONWYN BANCROFT - UNTITLED Out of stock JOSHUA BONSON - SKIN: A CELEBRATION OF CULTURE Price AU$8,500.00 BOOK - KONSTANTINA - GADIGAL NGURA Price From AU$99.00 FREDDIE TIMMS - MOONLIGHT VALLEY Price AU$35,000.00 NEIL ERNEST TOMKINS - BURN THERE, DON'T BURN THERE Price AU$7,000.00 SHOP NOW

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

You are moving into a new apartment and may want a work of art to match your new space. You know the size and colours that will work for you and have an idea of the genre you are attracted to (modern, abstract, landscape, still life, expressionist, avant-garde). < Back HOW TO COLLECT ABORIGINAL ART — BUYING PRIMARY AND SECONDARY ARTWORKS ONLINE You are moving into a new apartment and may want a work of art to match your new space. You know the size and colours that will work for you and have an idea of the genre you are attracted to (modern, abstract, landscape, still life, expressionist, avant-garde). You also know how much you are prepared to spend. Art may be a luxury product but there are artworks to meet every budget. You probably intend to buy only one or two paintings, but if you are interested in art you could go on to buy a dozen over the next decade or two. You may be one of those rare individuals who are destined to become a serious ‘collector’ – only time will tell. Perhaps you live in the countryside, outside of the city with its many commercial galleries. You may live in the city and be surrounded by them. It can be scary and intimidating, appearing to be ignorant, when seeking prices from staff who appear too busy to stop what they are doing. There are so many galleries and so many different types of art. It shouldn’t take forever to find a gallery, artist or artwork you like. We are all comfortable buying clothes and books over the internet. Why not art? In fact, online sales are the single most rapidly expanding sector of the fine art market. According to a survey in 2014, 71% of recipients had bought art online, sight unseen, and 89% of galleries regularly sell artworks to clients on the basis of a digital image only*. Since then, from 2015 to 2017, online art sales have grown at an average of 17% per year. [The survey included 506 international art buyers (with young buyers comprising 42% of the overall sample), 130 established international art collectors, and 58 international art galleries]. While a majority of art buyers admit that they still preferred actually going to galleries, they said that the art world felt exclusive and inaccessible. As a result, more than a third of these same respondents believed that buying art online was less intimidating than buying from a physical gallery or auction house. Of the online art buyers surveyed, 75% said that the main advantage of buying online was the fact that they could find the artwork they wanted so much more easily than through trawling galleries. Spiders Web in Yari Country – Rover (Julama) Thomas 142.5 x 103.5 cm To begin a journey of online discovery and eventual purchase, you should find an online environment in which you can discover, browse, learn about and eventually buy art. You need an online gallery with an established reputation you can trust or, even better, an online platform that enables you to access the stockrooms of a range of established, reputable and trusted galleries. Galleries that will provide detailed information such as condition reports and certificates of authenticity to accompany your purchase. 89% of galleries in 2018 are using third party platforms on which they sell their art (this is up a whopping 30% from the previous year!) Aside from the major auction houses’ online platforms, some of the most popular websites have been Artsy (linking buyers with primary market galleries), Invaluable (an auction hosting and aggregating website) and Artnet. Social media is another huge factor in discovering and following the progress of artists and galleries. In 2018, 79% of art buyers under the age of 35 said they use Instagram to discover new artists, while 82% use it to keep up-to-date with artists they are already familiar with. The findings show that as many as 45% of repeat online buyers are willing to spend in the $10,000 and above category on fine art, compared to 19% of first-time buyers. This can only mean that the confidence to purchase higher price works is likely to increase and that the online market should grow rapidly in the coming years as technological and logistical barriers break down and buyers’ confidence in online purchasing increases. It is highly likely that a handful of online sales platforms will continue to assert themselves over others. Most people would still prefer to view an artwork in the flesh before purchasing it. It is now easy to find galleries, artists and artworks online, so that once you have discovered one or two artworks that you like, you can walk into the galleries with greater knowledge and confidence. The veil of exclusion over the art world is lifting. It’s never been easier to buy art. Visit our online gallery here. *conducted by ArtTactic and Hiscox Insurance . Click here to see the latest study. ___________________________________________ TIP NUMBER 1 ASK YOURSELF AT THE OUTSET. DO I LOVE IT? Only buy paintings that you genuinely like and get pleasure from. While purchasing an artwork may be a financial decision, the work must impart a great deal of pleasure. It is likely that you may hold on to it for your lifetime and pass it on to your heirs. While it is also possible that you will decide to sell an artwork quickly to take advantage of a perceived opportunity, you will generally fail to reap any significant financial reward if you sell an artwork too quickly. You have to be prepared to hold on to your art for up to 10 years, so you must buy something that you will love. To some this may sound like a given, but it is truly the most important factor in deciding on an artwork. You don’t need a lot of money- you just need to know what you like… I buy art because I love it. Lisa Paulsen, The Sydney Morning Herald, Spectrum, March 2011 Stay tuned for Tip Number 2 in the next issue. 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

NungurrayiMuntj Muntja Nungurrayi Muntja Nungurrayi 1930 - 1997 Born c.1930 (though some sources say she was born as early as 1924), Muntja Nungurrayi lived most of her life in the Kimberley region of Western Australia. She was an important Tingari elder who passed on her significant tradional knowledge of women's ceremonies and dreamings through her meticulous and charged paintings. She passed away in 1997. Collection: Aboriginal Art Museum, The Netherlands. Art Gallery of South Australia, Adelaide. Berndt Museum of Anthropology, University of Western Australia. National Gallery of Australia, Canberra. The Holmes a Court Collection, Perth. Group Exhibitions: 2014 - Warlayirti: The Art of Balgo, RMIT Gallery, Melbourne. 2010 - Circles in the Sand : Aboriginal Art from Central Australia in the Kluge-Ruhe Collection featuring works by: Anatjarri No. III Tjakamarra, Bai Bai Napangati, Bessie Nakamarra Sims, Brandy Tjungurrayai, Dolly Nampijinpa Daniels, Eubena Nampitjin, Jack Jakamarra Ross -- Paddy Japaljarri Stewart, Johnny Warangkula Tjupurrula, Michael Jagamara Nelson, Mick Namarari Tjapaltjarri, Millie Skeen Nampitjin, Muntja Nungurrayai, Nancy Naninurra Napanangka, Paddy Jupurrula Nelson, Patrick Olodoodi Tjungurrayai, Rosie Nanyuma Napurrula, Sandy Gordon Tjupurrula, Sarah Napanangka, Shorty Jangala Robertson, Ted Egan Jangala, Timmy Payungka Tjapangati, Tjumpo Tjapanangka, Tommy Skeen Tjakamarra, Walangkura Napanangka, WARLUKURLANGU ARTISTS (Karrku Jupurra), William Sandy, Wintjiya Napaltjarri at the Embassy of Australia, Washington DC, USA. 2008 - Paintings from remote communities: Indigenous Australian art from the Laverty collection, Newcastle Regional Gallery, Newcastle, NSW. 2008 - Paintings from remote communities: Indigenous Australian art from the Laverty collection, Newcastle Regional Gallery, Newcastle, NSW. 2004 - EXPLAINED, A closer look at Aboriginal art, Aboriginal Art Museum, Utrecht, The Netherlands. 1993 - Aboriginal Art Exhibition, Kung Gubunga, Oasis Gallery, Broadbeach, Qld. 1992 - The View from Balgo Hills, Gallery Gabrielle Pizzi, Melbourne. 1991 - Warlayirti Artists from Balgo Hills, WA, Hogarth Gallery, Sydney. 1989 - Aboriginal Art: The Continuing Tradition, National Gallery of Australia, Canberra. 1989 - Human Form, Spirit Form, Coo-ee Aboriginal Art, Sydney. 1987 - Karnta: Aboriginal Women's Art, exhibition touring Australia and Asia. See market performance Explore our artworks See some of our featured artworks below ANGELINA PWERLE NGAL - UNTITLED ( BUSH RAISIN MAN) Price AU$3,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Out of stock LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Price From AU$13,500.00 BRONWYN BANCROFT - UNTITLED Out of stock JOSHUA BONSON - SKIN: A CELEBRATION OF CULTURE Price AU$8,500.00 BOOK - KONSTANTINA - GADIGAL NGURA Price From AU$99.00 FREDDIE TIMMS - MOONLIGHT VALLEY Price AU$35,000.00 NEIL ERNEST TOMKINS - BURN THERE, DON'T BURN THERE Price AU$7,000.00 SHOP NOW

Artist Profile for Jospehine Wurrkidj < Back Jospehine Wurrkidj Jospehine Wurrkidj ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE JOSPEHINE WURRKIDJ - MIMIH SPIRIT (STAND) SOLD AU$1,150.00 top Anchor 1 PROFILE Jospehine Wurrkidj 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 .

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NapanangkaLucy Lucy Napanangka Lucy Napanangka 1934 - 2003 Yukenbarri The first painters from the remote community of Wirrimanu (Balgo) were all raised in the bush. They were the last generation to undergo full initiation and live the traditional nomadic life. Inspiration and subject matter were drawn from the Dreaming stories that underpin the cultural framework that once allowed desert tribes to exist in this remote and arid country. Balgo itself lies at the meeting of three great deserts (The Great Sandy, The Tanami and The Gibson Deserts) and several different tribal groups. Desert tribes came to the Catholic mission (established in 1942), driven from their traditional lands by European prospectors, and a severe drought that made food and water even more difficult to find. Unlike in some others places of refuge the Palatine priests were sympathetic to Aboriginal culture and encouraged a degree of self reliance in their converts, possibly later influencing the exuberant art style that was to emerge at Balgo. Lucy Yukenbarri is considered to be one of the most innovative and daring of Balgo painters, laying down fields of intense colour with a thick, painterly texture. Her primary brushstroke has been referred to as ‘the splodge’. They are actually merged dots that she refers to as ‘kinti kinti’ (close, close). They dry quickly in the intense heat, building up with a chromatic density that has no time for gentle gradations or blended hues. The result is a rich immediacy of contrast and resonance, likened by writer James Cowan to the magic of the Persian carpet that also originates from a desert land. Lucy Yukenbarri worked in a state of contemplative reverie, traversing an imaginary landscape, often singing quietly her traditional songs. Alongside the traditional domestic activities of gathering bush food and building camp, her ever-present subject is 'living' or spring water and the landmarks or stories that surround it. These water sources are depicted with dark colours and surrounded by bright areas of vivacious abstract composition, celebrating life’s continuance. Lucy’s distinctive style has left a lasting influence on Balgo painting. When Papunya painting started receiving public acclaim in the late 1970s, Balgo artists expressed concern about revealing sacred cultural designs or secret (initiate only) knowledge. Conflict between the two closely tied communities arose and the need/demand for some form of iconic veiling, abstraction or disguise was soon established throughout all Western Desert art projects. This had varying effects in different communities but when acrylic colours and canvas were introduced into Balgo’s adult education classes in the early 1980s, the explosion of raw spirit and joyful colour took everyone by surprise. By the end of that decade, creativity was at a peak and a distinct Balgo style had emerged: bright, bold and innovative. Women as well as men were active in these foundational years, including Lucy, sometimes working in conjunction with her artist husband Helicopter Tjungurrayi. “There is nothing in the world of contemporary art that can match the work of these artists”, wrote art critic John McDonald in 1995 (Sydney Morning Herald). Balgo was at the forefront of a major art movement. With her prodigious output and enthusiasm for art making, Lucy remained a quiet but leading figure at Warlayirti Artists. She was a senior law woman with an irreplaceable knowledge of the ancient places, ceremonies and narratives. In 2000, the documentary film 'Painting Country' followed the now elderly artists, including Lucy and Helicopter, on a long road trip back to their homelands near Lake Mackay and Jupiter Wells deep in the Gibson Desert. Their internalised knowledge and spiritual connection to this land of spinifex, sandhills and rocky outcrops was as strong as ever and plain to see. It is this that sustained them through many long years of loss and displacement and provided the wellspring of a formidable creative force, still vibrant and strong today. Profile author: Sophie Pierce Collections ArtBank, Sydney. Berndt Museum of Anthropology, University of Queensland. Campbelltown City Art Gallery. National Gallery of Australia. National Gallery of Victoria. The Holmes a Court Collection. Laverty Collection. Kluge Ruhe Collection, USA. Parliament House Art Collection. Alice Springs Art Foundation, Araluen Centre. Ken Thompson and Pierre Marecaux Collection. Individual Exhibitions 2003, Always Together Painting, Alcaston Gallery, Melbourne. 1999, Tjurrnu: Living Water, Alcaston Gallery, Melbourne. Group Exhibitions 1989, The Sixth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin. 1990, Warlayirti Artists, Birukmarri Gallery, Freemantle, WA. 1991, Paintings by Senior Women from the Western Desert, Vivien Anderson Gallery, Melbourne, Victoria. 1993, Aboriginal Art Exhibition, Kung Gubunga,Oasis Gallery, Broadbeach,Qld; 1993, Images of Power, Aboriginal Art of the Kimberley, National Gallery of Victoria, Melbourne. 1994, Power of the Land, Masterpieces of Aboriginal Art, National Gallery of Victoria. The Eleventh National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin. 1997 - L'Art des Aborigenes d'Australie, Arts d'Australie Stephane Jacob / Galerie de Stassart, Bruxelles. L'Art des Aborigenes d'Australie, Arts d'Australie Stephane Jacob / Espace Paul Riquet, Beziers. 1999 - Australie - Art, Arts d'Australie Stephane Jacob / J.L. Amsler - Bastille, Paris. 2002 - An Artists Survey, Balgo Hills, at Hogarth Galleries, Paddington Awards 1999, 1999 Waringarri Arts Award, East Kimberley Art Awards, Kununurra Arts Council 2000, Highly Commended, 31st Alice Prize, Araluen Centre, Alice Springs Bibliography 2001, Finnane, K, Alice Prize: 'Immense diversity of humanity', Alice Springs News, Vol 8, issue 40, Nov 7, Pg3 1994, Johnson, V, The Dictionary of Western Desert Artists, Craftsman House, East Roseville, NSW A detailed market analysis will be available shortly Explore our artworks See some of our featured artworks below ANGELINA PWERLE NGAL - UNTITLED ( BUSH RAISIN MAN) Price AU$3,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Out of stock LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Price From AU$13,500.00 BRONWYN BANCROFT - UNTITLED Out of stock JOSHUA BONSON - SKIN: A CELEBRATION OF CULTURE Price AU$8,500.00 BOOK - KONSTANTINA - GADIGAL NGURA Price From AU$99.00 FREDDIE TIMMS - MOONLIGHT VALLEY Price AU$35,000.00 NEIL ERNEST TOMKINS - BURN THERE, DON'T BURN THERE Price AU$7,000.00 SHOP NOW

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

Campbell, JuniorRober Robert Campbell, Junior Robert Campbell, Junior 1944 - 1993 Primarily self-taught, Robert Campbell jnr. emerged during the 1980s’, as a prominent urban aboriginal artist. His bold, idiosyncratic style strikes a remarkable balance between the public and the private as he tells visual stories of his personal memories, of historical events and some of the tumultuous political breakthroughs of the day. Born in the country town of Kempsey, Campbell jnr. walked with his father through the bushlands alongside the Macleay river, finding wood suitable for making boomerangs. He would help his father decorate them with scorch-incised indigenous patterning and designs of birds and animals. They would sell them to passing tourists. After finishing school at fourteen, Campbell moved about the area working at labouring jobs but continuing to paint and sell small landscapes using a variety of found or leftover paint on cardboard. Settling back in Kempsey, alongside meeting his partner and starting a family, Campbell’s artistic vocation took centre stage. He met other artists, developed his skills and confidence and became attuned to the immensity of his people’s struggle. He liked to work under the trees in his own backyard and was always supportive of young local artists who liked to call by. He said that his subject matter came from things that touched him personally. Campbell soon became known for his brightly coloured acrylic paintings which drew on his early decorative work of naïve figures and their activities. After visiting the Northern territory in the late 80’s and meeting Aboriginal artists in their communities, he acquired new techniques such as dot painting, x-ray vision and the use of ground ochres. He grafted these methods seamlessly into his graphic style. From nostalgic, childhood scenes of camp life and bush food gathering, to brutal scenes of white conquest, murder and the poisoning of waterholes, Campbell managed to convey a sense of unflinching observation of the past whilst avoiding the heavy weight of political stridence. He often uses a sequence of frames within the painting to tell a story, such as in Abo History Facts (1988). This cartoonesque evocation of the coming of white man (in tall ships,) shows the deleterious consequences of colonisation: from initial destruction of environment and enforced segregation in crowded missions to the more recent publicity around incarceration and deaths in custody. Campbell powerfully instructs his audience while still bubbling with irrepressible colour, pattern and spirit. “Few practitioners in world art encompass joy and suffering so effortlessly as Robert Campbell jnr.” (George, 2014) Before his untimely death from heart disease, Campbells vivid colours and raw, naïve vision featured in many exhibitions, including at the Rebecca Hossack gallery in London. He helped to establish the voice of urban aboriginal art within the Australian art establishment and today, still provides us with a unique indigenous perspective on history. Reference: George, Alexander in Tradition Today: Indigenous Art in Australia, Art Gallery of NSW, Sydney 2014 Franchesca Cubillo and Wally Caruana (eds) Aboriginal and Torres Strait Islander Art: collection highlights, National Gallery of Australia, Canberra, 2010 Hossack, Rebecca, https://www.independent.co.uk/news/people/obituary-robert-campbell Explore our artworks See some of our featured artworks below ANGELINA PWERLE NGAL - UNTITLED ( BUSH RAISIN MAN) Price AU$3,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Out of stock LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Price From AU$13,500.00 BRONWYN BANCROFT - UNTITLED Out of stock JOSHUA BONSON - SKIN: A CELEBRATION OF CULTURE Price AU$8,500.00 BOOK - KONSTANTINA - GADIGAL NGURA Price From AU$99.00 FREDDIE TIMMS - MOONLIGHT VALLEY Price AU$35,000.00 NEIL ERNEST TOMKINS - BURN THERE, DON'T BURN THERE Price AU$7,000.00 SHOP NOW