Artist Profile for Lily Sandover Kngwarrey < Back Lily Sandover Kngwarrey Lily Sandover Kngwarrey ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE LILY SANDOVER KNGWARREY - ALHWERT Sold AU$0.00 top Anchor 1 PROFILE Lily Sandover Kngwarrey Lily Sandover Kngwarreye was born c 1937 at MacDonald Downs on the Utopia clan lands. She began painting during the 1988-9 CAAMA summer workshop following almost a decade making batik. The adopted ‘sister’ of Emily Kngwarreye, Lily was her closest friend and constant companion, often referring to Emily when in a humorous mood as ‘granny’. The Sandover River, winds its way through the sprawling homelands of the Alyawarr people. The surrounding country is characterized by red sands dotted with ghost gums and, in season, with explosions of wildflowers set against piercing blue skies. The Alyawarr live in simple outstations adjacent to the river, which for much of the year is a wide sandy strip lined with dry silver grasses and shady trees. Lily was the eldest daughter of senior Alyawarr elder Jacob Jones and she in turn became the senior woman for the site of Entibera. She painted the important Two Sisters stories and a range of stories about bush foods including Honey Grevillia. When painting, Emily Kngwarreye and Lily Sandover were inseparable companions. Lily looked after the older Emily closely, while painting her own works alongside. Lily painted hundreds of paintings over the years as she worked beside her friend and, right up until the last months of her life,  Emily camped with Lily and their family on Delmore Downs. Her tribal country lies close to the homestead at Delmore Downs owned by the Holt family for whom Emily Kngwarreye painted more than 1500 paintings between 1989 and her death in 1996. Together Emily and Lily would travel and live for long periods on Delmore surrounded by an extended family that at times could grow to 40 women and children. When an ‘official’ art centre, Urapuntja Artists, was established at Utopia, Lily became a founding member and during this time she collaborated with Northern Editions to produce a number of etchings including 'Alhwert I' and 'Alhwert II’, now in the collection of the National Gallery of Australia. The alhwert (pronounced 'allota') was a small burrowing bettong, or kangaroo rat, that is now extinct. The prints depict ‘iepa grass’, the traditional food source and home of the alhwert. The centre from which the patterns radiate is where the alhwert made its home. This became Lily Sandover’s defining image and the subject of the vast majority of her paintings.  Former art coordinator of Urapuntja Artists Narayan Kozeluh, who worked with Lily over many years, noted in 2009 that when painting this image ‘Lily would place a heavily loaded painting stick of white onto a black canvas and in one fluid motion push it away creating swirling patterns that stylized the grass which her painting represented’. While best known for works in contrasting black and white, she would occasionally apply other colours such as red acrylic on a yellow ochre ground. In time Lily, like her father, became a senior spokesperson for the Alyawarr people. She exhibited at Gallery Gabrielle Pizzi in 1989 and at the Hogarth and Coo-ee Galleries in Sydney during 1991 but failed to gain the recognition that many felt she deserved due to her restricted subject matter and the fact that she spent so much time in her more famous countrywoman’s shadow. While Lily Sandover had only one solo exhibition in 1991 in Melbourne, her work was included in a number of important group shows during her lifetime. They included exhibitions with Stephane Jacob's Arts d'Australie in Paris, Flash Pictures at the National Gallery of Australia, and works from the Holmes a Court Collection which toured Scotland and a number of USA venues including Harvard University, University of Minnesota, and Lake Oswego Center for the Arts. She is represented in the collections of the Netherlands Aboriginal Art Museum in Utrecht, The National Gallery of Australia, Canberra, The Holmes a Court Collection, Perth, and a number of important private collections in Australia and overseas. ARTIST CV Market Analysis MARKET ANALYSIS under 40 works by Lily Sandover have appeared at public auction since her work first appeared in 1994. In that first year four works were offered of which only one sold for $1,725. Her success rate remained at a low 42% until 2005 when five works were offered and all sold for a total value of $59,247. Her results have continued to be mixed since that time, leaving her current clearance rate at 46% and total sales at auction $105,035. While her best result to date is the $21,510 achieved for a 120 x 150 cm work carrying Delmore provenance at Christies in 2005, no less than 6 works have sold for more than $9000. Christies and Lawson~Menzies have championed this artist in the secondary market. Sandover was a relatively prolific artist for a no more than six years and the majority of her works were small and of relatively minor importance. Major works are limited, especially paintings on the scale of the one illustrated here. This major piece depicting Ayippa (Iepa) Grass was part of a collection of 12 specially commissioned major works by Utopia women artists in 1997 and curated and overseen by Urapunja artists. The collection included works by Poly, Kathleen and Angelina Ngal, as well as Gloria, Kathleen and Violet Petyarre. The collection was broken up in 2008. 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 17 Thurlow Street Redfern NSW 2016 8 June 2021 | 7PM Start INDIGENOUS FINE ART AUCTION 8 June 2021 | 7PM Start INDIGENOUS FINE ART AUCTION 8 June 2021 | 7PM Start 17 Thurlow Street Redfern NSW 2016 Welcome to the first Cooee Art Indigenous Fine Art offering for 2021. Our specialists have collected 100 lots with a total value of $1.8-2.4 million for this multi-vendor auction which will be held in our newly appointed auction showrooms in Redfern on June 8th starting at 7pm. The sale features 16 lots from the estate of Lorna Mellor AM who acquired most of her lovely collection from her close family friend Dorothy Bennett. Lorna Mellor was a stylish, larger than life character, who played a leading role in children’s health care as the International President of the Diabetes Foundation. Her collection included rare Tiwi artefacts that Dorothy Bennett personally collected during the 1950s and 1960s, as well as Arnhem Land barks and sculptures, two lovely works by Albert Namatjira (Lots 33 and 36), and other exquisite desert paintings. Amongst them is Clifford Possum’s refined 1982 work Yabbierangu, Honey Ant Dreaming. It is a delight, and carries a very conservative pre-sale estimate of $40,000-60,000 (Lot 37). VIEW CATALOGUE VIEW RESULTS WATCH THE VIDEO

NaparrulaMitji Mitjili Naparrula Mitjili Naparrula 1946 Described as one of the brightest stars of the Haasts Bluff art movement, Mitjili Napurrula has lived a life of absolute involvement in the formative years and ongoing development of modern desert art. Her mother, Tjunkiya Napaltjarri, who also became an artist of public repute, ‘came in’ from the drought-stricken Pintupi/Lurjita country seeking refuge and rations in the remote community of Haasts Bluff. Along with her extended family, she was settled at Papunya, where Mitjili was born in 1945. Mitjili grew up in Papunya and later married the artist, Long Tom Tjapanangka. The couple returned to Haast’s Bluff as part of the 1980’s outstation movement and both artists, often in conjunction, proceeded to contribute significantly to the emerging art community there. Mitjili began painting in 1992, encouraged by the opening of the Ikuntji Women’s Centre, the social and artistic hub of Haast’s Bluff and nearby desert communities. Under the guidance of art coordinator Marina Strocchi, Ikuntji rapidly developed an exciting style of its own, propelled in part by the older women who had been assistants to Geoffrey Bardon’s first painting men. As a member of a family of distinguished artists, including her brother Turkey Tolson Tjupurrula, Mitjili grew up watching artists paint. Her mother became one of the foundation group of female artists that formed after the Kintore/Haasts Bluff painting project in 1994. Mitjili learned the symbolic language of her tradition from her mother who would relate the mythic stories to her and draw them in the sand. While it took years before she developed her own mature style, Mitjili gained an international following after winning the Alice Springs Art Prize in 1999. By then she had confidently embraced her own naturalistic approach to painting. Her individualistic style conveys a personal vision, anchored always in the country of her ancestors. Through the process of gradually reducing the complexity of her imagery, Mitjili works towards creating a tapestry of repeated shapes and symbols. Her singularly distinctive iconography is often highlighted by dazzling combinations of strong, complimentary tones. Alternatively, contrasting colours may be starkly juxtaposed, jumping out from the canvas in vibratory shapes and patterns, captivating audiences of modern sensibility. The beautiful desert oak, Watiya Tjuta, is one of Mitili’s familiar motifs, originating from her father’s country at Uwalki where red sand hills, native grasses and wirt trees stretch to the horizon’s edge. Like her famous brother, Turkey Tolson, Mitjili inherited the right to paint her Ilyingaungau, a site in the Gibson desert where the ancestors prepared their spears (kulata). Turkey’s iconic Spear Straightening paintings should be seen as the complimentary balance to his sister’s feminine rendition of the plants and places associated with the cutting of wood and assembling of spears. Mitjili’s record price at auction was achieved in November 2004, when a large three metre canvas originally commissioned by Mason Gallery in Darwin sold for $26,400. Entitled Uwalki: Watiya Tjuta, 2004 it had justified the $25,000 - 30,000 presale estimate placed on it by Lawson~Menzies specialists. Interestingly, not one single work in the artist’s top ten results has been achieved by market leader Sotheby’s. In fact Sotheby’s have offered only two minor works, which both failed to find a buyer. This is doubtless due to the fact that since the mid 1990’s Mitjili has increasingly painted for dealers outside of art centre patronage. Mitjili’s results at auction are dominated by small and minor works and this has resulted in an average price at auction of just $2,475 for works on canvas and $873 for works on paper. In 2015 for instance, no less than 17 works appeared for sale at public auction and although 13 of these sold, the highest price acheiveed was only $1200. Nevertheless, due principally to the large number of works that have appeared at auction since she began painting, Mitjili’s Aboriginal Art Market Rating ranks her amongst the top 100 living artists. Her works are generally bold, with a strong decorative design appeal. Collectors should seek out good works, with a preference for larger pieces with a strong contemporary aesthetic. These should continue to satisfy and find a ready market when offered for resale in the future. 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

NGARUKURUWALA KAPI MURRUKUPUNI - WE SING TO THE LAND 16 November - 9 December 2023 NGARUKURUWALA KAPI MURRUKUPUNI - WE SING TO THE LAND 16 November - 9 December 2023 NGARUKURUWALA KAPI MURRUKUPUNI - WE SING TO THE LAND 16 November - 9 December 2023 Art Leven (formerly Cooee Art) 16 November - 9 December 2023 Opening: Thursday 16 November | 6-8pm Munupi Arts & Crafts Association is located along Melville Islands North-Western coastline at Pirlangimpi (also known as Garden Point). It is the most recently formed art centre on the Tiwi Islands. The Munupi artists, inspired by their natural lush environment and the Tiwi creation stories, are renowned for their striking approaches to colour and design. Frequently referred to as “Jilamara” (design), their artworks are created using traditional earth ochres, mixed to create a wide range of colours. “Our paintings are like our songs to country, just like when we go to country we call out and sing to our ancestor”. Carol Puruntatameri ( in discussion with Guy Allain) “Ngarukuruwala Kapi Murrukupuni, means ‘we sing to the land’. We do this to invite our ancestral elders to watch over us, and to thank them for the bush food and other traditional plants and materials that we gather and hunt for, including the ochre and bark. When we go to country, we enact Ngarikuruwala Kapi Murrukupuni so that our ancestors know that we are coming, inviting them to guide and protect us. As we leave country, we sing out to the ancestors to thank them and to let them know of our gratitude and knowledge of their presence and wisdom. Our practice of Ngarikuruwala Kapi Murrakupuni is not only transported in the materials gathered to create our bark paintings—it is also intertwined into our images and designs. This is reflected in the stories and meanings that we convey in and through our creative expressions.’’ Paulina Puruntatameri and Carol Puruntatameri ( in discussion with Dashielle Allain) View Catalogue ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Sold AU$35,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI Sold AU$19,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPAL (DIPTYCH) Sold AU$18,000.00 CHRISTINE DAISY PURUNTATAMERI - PWONGA price AU$7,800.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI Sold AU$7,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) price AU$6,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Sold AU$5,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPAL price AU$4,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Sold AU$3,500.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI Sold AU$3,500.00 CHRISTINE DAISY PURUNTATAMERI - PWONGA price AU$3,300.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Sold AU$3,000.00 SHIRLEY PURUNTATAMERI - PUPUNI JILAMARA price AU$2,600.00 DELORES TIPUAMANTUMIRRI - PARLINI JILAMARA price AU$2,100.00 VIRGINIA GALARLA - TAPALINGA (STARS) price AU$1,800.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPAL Sold AU$1,800.00 SHIRLEY PURUNTATAMERI - PUPUNI JILAMARA price AU$1,300.00 CAROL PURUNTATAMERI - YIPALI AND PURRUKUPALI Sold AU$0.00 CORNELIA TIPUAMANTUMIRRI - BANAPA Sold AU$0.00 SHIRLEY PURUNTATAMERI - PUPUNI JILAMARA Sold AU$0.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Sold AU$22,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI Sold AU$19,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) price AU$12,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI Sold AU$7,500.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI Sold AU$7,000.00 DELORES TIPUAMANTUMIRRI - PWONGA price AU$5,500.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Sold AU$5,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI price AU$4,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI price AU$3,500.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) price AU$3,500.00 ARTHUR JOHN COWELL - JIYIMPIRRIYANGA price AU$3,200.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI price AU$3,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Sold AU$2,200.00 JACQUELINE PURUNTATAMERI - PARLINI JILAMARA price AU$2,000.00 VIRGINIA GALARLA - TAPALINGA (STARS) price AU$1,800.00 JACQUELINE PURUNTATAMERI - PWOJA JILAMARA price AU$1,700.00 PATRICK PURUNTATAMERI - TUMARRARINGINI (WILDFLOWER) price AU$650.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Sold AU$0.00 FRANCESCA PURUNTATAMERI - PUPUNI JILAMARA Sold AU$0.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVE) Sold AU$0.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPAL price AU$19,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI price AU$18,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Sold AU$12,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) price AU$7,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI Sold AU$6,500.00 KARINA (PENNY) COOMBES - JITAKA (SWORDFISH) Sold AU$5,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI price AU$5,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI price AU$4,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI price AU$3,500.00 FRANCESCA PURUNTATAMERI - PUPUNI JILAMARA price AU$3,300.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Sold AU$3,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI Sold AU$3,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI Sold AU$2,200.00 SHIRLEY PURUNTATAMERI - PUPUNI JILAMARA price AU$1,900.00 VIRGINIA GALARLA - TAPALINGA (STARS) price AU$1,800.00 PATRICK PURUNTATAMERI - TUMARRARINGINI (WILDFLOWER) price AU$1,300.00 VIRGINIA GALARLA - MINGA 1 Sold AU$0.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Sold AU$0.00 JOSEPHINE BURAK - MILIMIKA Sold AU$0.00 CHRISTINE DAISY PURUNTATAMERI - PWONGA Sold AU$0.00 Ngarukuruwala

Artist Profile for Kunmanara Wingu Tingima < Back Kunmanara Wingu Tingima Kunmanara Wingu Tingima ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Kunmanara Wingu Tingima Wingu Tingima was a senior woman of the Pitjantjara people of the Great Victoria Desert, a vast area that stretches across southern central Australia. She grew up in the semi-nomadic tradition near her birthplace, Nyumun, close by the rock hole at Kuru Ala, W.A. She referred to her young self as a ‘bush girl’, having had no contact with European people until her family, prompted by severe drought and atomic testing in the area, walked into the mission at Ernabella. Wingu lived and worked there, spinning and weaving wool and it was there that she met Eileen Yaritja Stevens, who became her life long friend and painting colleague. When the community of Irrunytju was established in the 1980s, Wingu returned to be close to her home country. She was in her seventies by then but swiftly became one of the foremost artists at Irrunytju Arts (established in 2001). Because her friend Eileen had settled at Nyapari, Wingu lived between the two communities and painted also for Tjungu Palya Artists. The two families were close and became related by a marriage between two of their children. The art centre of Tjungu Palya (meaning ‘good together’) provides a hub for artists from many of the surrounding settlements. They ignore to some degree the ‘whitefella borders’ that divide this red desert and spinifex region between three states. Community members planted large, shady trees and built homesteads with large verandahs, providing an oasis for painting during the hot summers. Though she only painted over the ten years before her death at the age of about 90, Wingu’s success was striking. The early years of traditional culture fed into the iconography and the mythical narratives that became her subject matter. The dexterity with materials that comes with the craft skills of desert life enabled a confidence and fluidity of style that bursts upon the canvas, with rich, mosaic-like colour and sinewy, sensuous linear elements. Wingu does not illustrate events or depict her country explicitly, but evokes and alludes to ancient imagery drawn from deep cultural knowledge. She draws upon the rock art, sand drawings and ceremonial body painting passed on to her through her elders. Her ideas for paintings would often come to her in dreams or visitations from her totemic eagle Ancestors, who could also forewarn her of significant events. The rock hole at Kuru Ala (Wingu’s birthplace) is a sacred place for the seven sisters, Kungkarrakalpa, and is the focus of many of Wingu’s paintings. Kungkarrakalpa is a multi-layered epic of pursuit and creation. During the dreamtime, the sisters were running away from the old man Wati Nyliru, a magician (Ngankurri) who knew how to change into things and trick them. They rested by the rock hole while he surreptitiously transformed himself into a quandong tree. When the sisters tasted the fruit they knew it tasted strange. They suspected it was the magician and so continued their flight. Eventually, they flew up into the sky to escape him and became the constellation the Pleiades, while he slithered away as a snake. There are many aspects to the story and each carries a specific spiritual meaning that is embedded within the work, investing it with a compelling immediacy. Her paintings of Kungkarangkurra were chosen as finalists in NATSIA Awards in 2003, 2006 and 2008. In their years of public acclaim, Wingu and her friend Eileen would often travel together to the cities for exhibitions openings and, like their art works, their characters complimented each other well - Wingu, reserved and reflective, speaking in a rhythmic, almost oracular voice, and Eileen, ebullient and effusive, seeming often larger than life (Nicholas Rothwell). Their success enabled them to become the financial mainstay for their families and they passed their artistic skills on to several of their grandchildren. Wingu’s work can today be found in the state and national galleries of Australia as well as in international collections. It is often included in landmark shows such as ‘I have a dream’, a tribute to Martin Luther King Jnr held in New York City in 2009, a year before her passing. She was considered a master of colour, knowing instinctively how to create effects through layers and texturing that make her works comparable to the depth and beauty of the star-filled desert skies.   Profile author: Sophie Pierce ARTIST CV Market Analysis MARKET ANALYSIS Wingu Tingima's unimpressive clearance rate is more indicative of current trends than of her talent as an artist. When a work of hers appeared at auction for the first time in 2003, it sold for $12,400, instantly setting the tone for her future in the secondary market. Until 2015, when her public auction offerings had exceeded 20 work for the first time, paintings by Wingu had almost always sold either above their high presale estimate or not at all. Wingu's highest price at auction was set in 2008, when Kangkuru Munu Malanypa 2005 sold for $30,533 against a presale estimate of $18,000 - 25,000, almost doubling the previous record set only 8 months prior.  Only one work has been sold at auction multiple times, to disappointing results. Kungkarrakalpa (2008) first sold to the Alan Boxer Collection in 2015 for $5,856 when carrying a presale estimate of $2,500-3,500. Only two years later in 2017, after Boxer’s death, the work was reoffered with a raised estimate of $4,600 - 5,600. The work failed to justify this, however, and ended up selling for just $4,385, representing a loss of more than a $1,000. In only a decade of artistic activity, Wingu Tingima created an incredibly rich though modest body of work, with very few works being generic or sub-par. Though her auction appearances of late have garnered disappointing results, expect any major work that appears at action in the near future to raise intense interest. 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 Nora Wompi < Back Nora Wompi Nora Wompi ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE NORA WOMPI - KNUAWARRITJI Sold AU$2,800.00 top Anchor 1 PROFILE Nora Wompi 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 Charlie Ward < Back Charlie Ward Charlie Ward ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Charlie Ward 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 Gloria Tamerre Petyarre < Back Gloria Tamerre Petyarre Gloria Tamerre Petyarre 1938 ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE GLORIA PETYARRE - BODY DESIGN SOLD AU$2,800.00 GLORIA PETYARRE - CEREMONIAL BODY PAINTING (TRIPTYCH) Sold AU$0.00 GLORIA PETYARRE - BUSH MEDICINE (BUSH LEAVES) Sold AU$0.00 GLORIA PETYARRE - BUSH MEDICINE Sold AU$0.00 GLORIA PETYARRE - BUSH MEDICINE Sold AU$0.00 GLORIA PETYARRE - BUSH MEDICINE Sold AU$0.00 GLORIA PETYARRE - BUSH LEAVES Sold AU$0.00 GLORIA PETYARRE - LEAVES Sold AU$0.00 GLORIA PETYARRE - BUSH MEDICINE LEAVES Sold AU$0.00 GLORIA PETYARRE - BUSH MEDICINE LEAVES Sold AU$0.00 GLORIA PETYARRE - BUSH LEAF MEDICINE DREAMING Sold AU$0.00 GLORIA PETYARRE - BUSH MEDICINE LEAVES Sold AU$0.00 GLORIA PETYARRE - MOUNTAIN DEVIL LIZARD DREAMING Sold AU$0.00 top Anchor 1 PROFILE Gloria Tamerre Petyarre 1938 Raised in a remote part of the Eastern Desert and instructed in Anmatyerre law and traditions, Gloria Petyarre participated in the first art programs organized at Utopia in 1977 when 39 years of age. These early batik-making workshops marked the emergence of Aboriginal women artists. Up to this time they had commonly assisted men in the completion of their paintings, but were rarely permitted their own paint and canvas. From the outset their works were informed by the natural shapes and patterns of local leaves, flowers, seeds and grasses which provided the touchstone of form and structure. Gloria’s early batiks were richly colourful and reflected the daily interaction of the desert women with their environment. When art advisor Rodney Gooch introduced the women to acrylic paints and canvas in the early 1980’s a range of new possibilities were opened up that were both distinctively female and without precedent in the Aboriginal art movement. Until this time women had been unacknowledged as artists in part due to a belief that cultural values and iconography dwelt in the domain of men only, but also because women were less forward about discussing ‘women’s business’ such as their rituals, responsibilities, journeying and all important, Awelye or ceremonial body painting. Traditionally, men and women of Aboriginal societies played complementary though differentiated roles. The different yet, equally powerful cultural role of women manifested from this time as a rich abundance of unique imagery and expressiveness that began to ignite interest amongst art collectors around the world. Gloria’s first paintings depicted designs from the body painting she had been taught as a child by family elders, literally 'lifted off the body and applied to the canvas' (Hodges 1998). Details of these designs can represent the patterning of desert animals, birds or plants such as the Mountain Devil Lizard, the Emu or even wind scattered grass seeds. Ancestral beings are honoured, good rains and harvests are acknowledged and the rules of relatedness between people and country are carefully retraced and strengthened within these markings, though always suitably obscured from the uninitiated. Over time and with a tangible excitement Gloria began to more freely explore the picture plane, experimenting with bands of parallel lines, curvilinear patterns, colour schemes, and textural areas of dots and dashes. Her own sense of artistic authority quickly developed, surprising all with its boldness and beauty. Working alongside Emily Kame Kngwarreye and inspired by the older woman’s groundbreaking success and brave, expressive abstraction, Gloria similarly tapped her own experience to produce a confident and distinctive style. Her simplicity of focus allows a concentrated energy to build through pattern and repetition, reflecting the rhythm of traditional song and dance, sometimes whirling and flowing with dots and dashes of colour, other times emphasizing line in more spare and austere works which nevertheless are still 'pulsing with life' (Hodges 1998). Utopia’s longstanding status, both nationally and internationally, as a vibrant art making community has rested greatly on the strength and creativity of its women. During the successful land claim that in 1979 returned ownership to its traditional Anmatyerre and Alyawarre inhabitants, the women presented the greater part of their claim through Awelye; 'they painted the body designs, performed the dances and displayed the ritual objects that belong to their clan areas' (Brody 1989). Re-affirming their Dreaming heritage and consolidating an identity deeply rooted in relationship to their country strengthened the whole community, determining a continuing central role for women in its uniquely autonomous management. This history is reflected in Gloria’s dynamic paintings which capture the energy of the land and communicate an underlying and vibrant spirituality. During a career that has spanned almost two decades Gloria Petyarre has become one of Australia’s most successful female artists. That she has done so while working primarily as an independent artist, without assistance from a permanent art centre, is a testimony to her special ability to negotiate across a wide range of cultural and artistic relationships. These have included her special relationship with artist and gallery owner Christopher Hodges whose mentorship and assistance has resulted in many of her finest works. Besides regular solo exhibitions at his gallery, Utopia Art in Sydney, Hodges has ensured that her work has been included in important prizes and landmark exhibitions. For one of these works she was awarded the prestigious Wynne Prize, by the trustees of the Art Gallery of New South Wales in 1999. Her reputation has been further enhanced by the gallery by ensuring that her works toured internationally and by including them in important European exhibitions. Gloria continues to maintain this relationship while working with a variety of other dealers. They include her nephew Fred Torres and his Dacou Gallery, as well as Tim Jennings and his Mbantua Gallery in Alice Springs, and a number of other smaller dealers. Gloria is an artist who has grown in self-assuredness over the years, especially since emerging from behind her more famous aunt Emily Kngwarreye. She seems to derive great pleasure in the fact that she can produce work for, and enjoy the patronage of, many different people. That she take spride in the integrity and quality of her work have ensured her success. The same knowledge and vision that enriches her work sustains her as a person as she travels the world today, participating in significant exhibitions and projects, such as the mural at the Kansas City Zoo, which she designed and executed with her husband Ronnie Price. Though holding firmly to her Aboriginal traditions, Gloria continually expands upon them in her art, moving beyond the literal to create images that radiate their own integrity, thereby confirming her important place in Australia’s current contemporary art scene. ARTIST CV Market Analysis MARKET ANALYSIS Gloria Petyarre has been an extremely prolific painter influenced, no doubt, by her equally prolific aunt Emily Kame Kngwarreye, with whom she lived and worked for many years. Although Gloria remained very much in Emily’s shadow during her aunt’s life, she emerged as an artist of note from 1996 onward. Having watched Emily progress from delicately intimate to more and more gestural works, Gloria’s own paintings became freer naturalistic expressions of landscape as her own career progressed. The women of the Utopia region seem to fall into these distinctly opposite creative camps with very few moving between the two. Paintings are either painstakingly rendered fields of multi-layered coloured dotting with little or no structure, or wildly gestural, unselfconscious and haptic. The latter has suited Gloria’s experimental nature and has seen her able to create large expressive works with a natural ability. Her most popular and successful motif by far has been her Bush Leaf or Bush Medicine Dreamings which work best when the flow in the pattern is most pleasing. These may be executed in relatively small brushstrokes and subtle colourings or bold expressive highly colour charged dabs. Given that Gloria has been so productive it is not surprising that as of 2019, 882 paintings have been offered for sale at auction since 1998 when they first appeared. While these have included many fine large canvases her clearance rate has been just 52%. This low rate is easily attributable to the fact that she still paints vigorously and so many primary market galleries offer her paintings for sale. Notwithstanding her fine reputation, only seven paintings have sold at auction for more than $20,000 with her highest price being the $78,000 recorded at Lawson Menzies in November 2007 for the large, 164 x 350 cm, work Bush Medicine 2004 (Lot 58). With her average auction result at a low $3,125 it is easy to understand why only a small amount of her very large oeuvre will ever be accepted on the secondary market. Gloria's 2007 record price of $78,000 more than doubled her previous record, which stood for more than three years. The purchaser of this work paid Sotheby’s $34,575 in 2004 for a five panel untitled leaf painting measuring 185 x 420 cm at their Melbourne sale in July 2004 (Lot 243 ). In 2006, Bush Leaves , just over half that size and still ‘fresh’ having been painted just two years earlier, fetched $26,000 at Lawson-Menzies November sale (Lot 219). With such a low clearance rate and so many average poorly provenanced works available from tourist shops and e-bay, collectors would be well advised to have more in mind than just her name when buying her work. Results for 2007-2008 were a perfect example with 64 works being offered for sale and just 28 selling for an average price of $7,509. Nothing much has changed since that time. In 2015 a staggering 71 works were offered for sale at recognised reputable public auction houses of which 68% sold. These figures saw her become the 7th most successful artist that year even though the average price achieved for these works was just $1,588. It was a similar story in 2016 with 82 works offered of which 46 sold for an average price of $998 and 2019 when 32 of 65 works solf for an average of $1,614. Even so she was the 11th most successful artist in 2016 and the 7th on 2019. While major works of high quality and ecellent provenance by Gloria Petyarre will no doubt prove over time to be very good investments, the vast majority of her output will not. Like Emily Kngwarreye before her, who has similar clearance rates at auction, auction houses will be offered far more paintings for each sale than they are able to accommodate. Sotheby's, Christies and Bonham's are likely to avoid them altogether other than those painted for Utopia Art Sydney, which submitted her prize winning works into the Wynne Prize for landscape art at the Art Gallery of New South Wales in 1999 ad 2004. Yet despite these reservations, Gloria Petyarre has clearly earned a deserved reputation as one of the most important female artists of the Eastern Desert and her renown is likely to grow over time as more and more of her best works appear in auction catalogues into the future. 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 .

Contact Hayley and Emma in Darwin Cooee Art Leven's Hayley Cotton & Emma Lenyszyn will be traveling to the 2023 Darwin Aboriginal Art Fair & the Telstra National indigenous & Torres Strait Islander Art Awards. We will be answering emails so feel free to reach out, if you want to connect while in Darwin! First Name Last Name Email Message Send Thanks for submitting! We will contact you soon!

INDIGENOUS FINE ART AUCTION Tuesday 17th June 2025 AEST 7:00pm Register and view artworks here

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Artist Profile for Kelly Napanankga Michaels < Back Kelly Napanankga Michaels Kelly Napanankga Michaels ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Kelly Napanankga Michaels 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 .