TjampitjinpaAnatj Anatjari No. I Tjampitjinpa Anatjari No. I Tjampitjinpa 1927 - 1999 Anatjari No. 1, Anitjari, Minjina, Minyina, Jampijinpa, Tjampitjimpa Anatjari Tjampitjinpa was born and grew up at Ilyipi in Pintupi country west of Kiwirrkura and east of Jupiter Well in Western Australia. In 1964 he moved to Papunya with his three wives and their children as well as his brothers, Old Walter and Yarakula. Other members of his immediate family, including Milliga Napaljarri and Dinny Campbell, moved north to Balgo Hills. His son, Ray James Jangala, recalls that when he was about five years old they were found at Mukala by the Welfare Patrol, led by Jeremy Long, with Nosepeg Tjupurrula and a Tjampitjinpa from Papunya. Although he was an athletic warrior, Anatjari and his family had been surviving only on seed damper as there was nothing to eat or drink, the waters having dried up and the grasses having died. Though the Pintupi were the last group of Aboriginal people to be encountered by Europeans, the impact of settlement was more devastating than that experienced by other areas such as Arnhem Land. The government policy up to 1966 saw desert people from different tribal groups brought into designated Government settlements, thus ‘bringing them together in the most inappropriate social circumstances with detrimental effects on their cultural practice' (Caruana 1993: 98). This negative portrayal of migration does not fully depict Anatjari’s experience however. Having moved to Balgo during the early 1970’s to spend time with other members of his family, he returned only occasionally to Papunya, by which time the painting movement was well underway. He created only a few pencil and watercolour drawings for Geoffrey Bardon before moving between Balgo and Docker River and did not join the Papunya artists until the mid 1970’s, when he was lured by the collective identity of painters, joining together and influencing each other. This cross influence led to experimentation with the properties of paint and the development of distinct personal styles, increasingly distanced from their ceremonial origins. The basic elements of Western Desert art are ‘limited in number but broad in meaning‘ (Caruana 1993: 98) with the ceremonies and stories associated with the travels of the Tingari ancestors remaining a constant feature of Pintupi iconography. Anatjari favoured the most literal imagery, which featured dismembered circles floating above an unorganised plane of dotted colour. These ‘not only radiate centrifugally, beyond the apparent confines of the canvas, to encompass or imply a seemingly infinite sense of environmental space, but they also resonate with the mythic basis of social organization and tribal morality‘ (Clark: 2005: 62). Anatjari Tjampitjinpa’s paintings embody Clark’s description, with their minimal use of iconography, and include Bardon’s two main archetypes; those depicting travelling lines or journeys of the ancestors across the country, and those designating a specific place or locality. While there was a sameness about the imagery in all but a few works throughout his entire oeuvre, Anatjari’s masterpiece Snake Dreaming at Yunkurraya 1983, is a less conventional work, depicting the water site of Yunkurraya, the home of a large snake, set amongst sand hills. The painterly effect of the canvas brings to mind Bardon’s comment on the Aboriginal temperament as having a 'predilection to the sensitivity of touch'. He went on to say that ‘this is a haptic sensation, a physical quality and tactile, different entirely from the visual sensation in eyesight‘ (cited in Clark 2005: 59). In contrast to the visual preoccupation of ‘Western Perspectivism’ in landscape painting, this alternative way of seeing in Aboriginal art provides a window into the alien, unknown regions of Australia, ‘it is as if, to be acclimatised to the great Spinifex country at the heart of our continent, we had to be shown it through the eyes of the people who know the country most intimately‘ (Clark 2005: 61). Anatjari Tjampitjinpa was not a prolific artist. Having begun to paint in earnest in the mid 1970’s, he continued when, along with many Pintupi, he returned to his ancestral lands in the 1980’s following a change of federal government policy. He painted for Papunya Tula Artists throughout the 1980’s and remained a consistent and dedicated painter into the mid 1990’s by which time he had become frail. Because he moved throughout his life between the various Pintupi settlements as far north as Balgo Hills, he was instrumental in spreading information about the new acrylic painting amongst artists in places distant from Papunya, where it all began. His work appeared regularly in the National Aboriginal Art Award throughout the mid 1980’s and early 1990’s and was presented in the ‘Face of the Centre’ at the National Gallery of Victoria in 1985. His painting that toured the USA between 1988 and 1990 in the exhibition Dreamings: Art of Aboriginal was purchased by the National Gallery of Australia and his magnum opus, Travels of the Tingari Men created in the late 1970’s is in the collection of the Kelton Foundation. He died at the age of 70 after making an invaluable contribution to Western Desert arts ‘golden age’ through being a consistent and dedicated painter for more than 30 years. It has always been assumed that Anatjari Tjampitjinpa, or Anatjari No.1 as he is more familiarly known, was a member of the founding artist’s at Papunya. This is due to the fact that he left the nomadic desert life in the early 1960’s and, as he was so closely related to many of the major Western Desert artists, he must have joined them painting with Bardon in the early 1970’s. However this was not the case. He drew only a few pencil sketches for Geoffrey Bardon because he spent the first half of the 1970’s living at Balgo Hills. His earliest recorded paintings are two works that date from 1976, one of which is in his top ten highest sales. It depicts the Soakage Water Site of Nuluntja (Lunjuna) on a canvas board measuring 71 x 53.5 cm and was sold at Sotheby’s in November 2007 for $13,200 (Lot 52). Nuluntja is a site where the Wati Djuta (literally 'man many') gathered for ceremonies. The other 1976 work sold for $6,325 at Sotheby’s in June 2000 (Lot 167). Painted on the same sized canvas board this work was originally acquired by the Aboriginal Arts Board and catalogued by them in 1978 as a work by Anatjari III Tjakamarra, however this was later corrected after consultation with Papunya Tula Artists. What distinguishes these two works from other paintings created later is the crudity of their execution, as well as the uniform field of monochrome dotted in-fill indicating the artist was new to painting. Both works are distinctive and the former is especially evocative of the floor of the large claypan and the flatness of the bottom of the lake at Lunjuna. The painting which holds his record price at auction is a spectacular work, completely atypical, and in my opinion, as good as any work by a Pintupi artist of the early 1980’s. Snake Dreaming at Yunkurraya 1983, demonstrates the artist’s ability at it’s peak. As Papunya works go, it is extremely innovative with the minor shifts in background tonal quality defined within the meandering white lines that delineate the major features of the soakwater set amidst the sandhills. This work is reminiscent of the finest works by Mick Namarari and other master painters of the Western Desert art movement. Measuring 152 x 92 cm, and carrying an estimate of $18,000-25,000 it sold at Sotheby's as long ago as June 1998 for $21,850 (Lot 42). I have little doubt that were this magnificent work to appear once more for sale the result would be much closer to that achieved for the equally atypical Two Men Dreaming at Kuluntjarranya 1984 painted by Tommy Lowrey Tjapaltjarri which sold for $576,000 at Sotheby’s in July 2007 (Lot 51). Certainly something was happening west of Kintore in 1983-1984 that stimulated the production of better work than that produced both before and after. Anatjarri’s paintings first appeared at auction in 1993 and by the end of 1997 fourteen works had been offered of which only one had failed to sell. However, more recent results paint a vastly different picture. The interest in ethnographic looking works, especially generic Tingari paintings. In 2008 Sotheby's offered the only two works to appear for sale and both failed to justify their estimates of $15,000-18,000 and $15,000-25,000. Between 2009 and the end of 2017, eleven works found homes of the 17 that were offered. While the vast majority of the highest results for works by the early Pintupi men’s paintings are dominated by the stellar results achieved for 1971-1973 boards, Anatjari No.I did not begin painting until later and the majority of his paintings seem pedestrian and formulaic compared to those by a number of his contemporaries. For the most part, throughout the 1980’s and early 1990’s, he produced generic Tingari paintings featuring interconnected concentric circular sites with Tingari ancestors depicted as crescent shaped icons alongside the major roundels. At their best these are well executed if uninspiring and while a number of them occupy places amongst his ten highest results, a most have failed to sell, especially those created late in his career. A good example would be the fate of the 152 x 122 cm Papunya Tula sourced Tingari Story at Ngaarwlada 1990, first offered for sale by Sotheby’s in July 2004 (Lot 277). Having failed to sell when carrying an estimate of $8,000-12,000, it was re-offered by Sotheby’s in July 2007 (Lot 182) this time with a presale estimate of just $5,000-8,000 but nonetheless met with the same disappointing result. Collectors should exercise extreme caution with works by this artist. While he has earned a place as an important artist historically, all but his very finest works fail to inspire. By the mid 1990’s he was at the end of his painting career and too old and frail to make the stylistic leap that carried a number of younger Papunya men to prominence. Those who own his works should not expect to see their values rise on the basis of his name alone. 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

TjampitjinSunfl Sunfly Tjampitjin Sunfly Tjampitjin 1916 - 1996 Sandfly, Murtiyarru Sunfly Tjampitjin, was born in the Alec Ross Ranges north-west of Lake Mackay c. 1920 and began painting in his mid sixties in 1984, several years prior to the establishment of Warlayirti Artists at Balgo Hills. As the senior Kukatja ritual leader he, and other elder men of the community, sought to create a body of work to record, in the most intimate detail, the site maps of the desert country in which they grew up prior to outside contact. Sunfly’s early endeavors made a significant contribution to the first exhibition of art from the Balgo community held in Perth in 1986. Hosted by the Art Gallery of Western Australia, Art from the Sandy Desert was the first public recognition of the nascent art movement at Balgo Hills and gave the lead to their subsequent establishment and commercial success. Despite hearing about the genesis of the painting movement at Papunya when a group of Pintupi people traveled to Balgo for the ceremonial season in 1971, the Balgo elders were cautious in following their initiative because of the dangers of representing imagery connected to sacred ceremonies in permanent media, which would later enter the public domain. The starkness and simplicity of Sunfly’s compositions is indeed reminiscent of sacred ground paintings – 'the style is stripped of subsidiary detail and is startling in its economy' (Ryan 1993: 93). The bold use of flat blocks of red, yellow, white and black have spiritual significance for, as ochres, they embody the transformed substances of the ancestral beings. These same pigments are applied as body paint during ceremonies to reunite the participants with the land. Tjampitjin employed these sacred pigments to depict an element of the Tingari ritual, of which he was a senior custodian. However, the strong linear elements and interconnected circles that represent paths and places denote more than landscape in the traditional sense. They depict an area of ancestral travel, and are representational only in so far as the mythical landscape of the Dreaming and the actual landscape coincide. It is this metaphysical concept of a sign invoking a transcendent reality that underlies the visual language inherent in the art at Balgo. Apart from Sunfly’s representational motifs of Luurnpa, the ancestral kingfisher, beings are often only shown by the mark or trace they leave. This tradition is upheld throughout many parts of the Kimberley, amongst artists such as Rover Thomas despite the distance between his and Sunfly’s aesthetic. Following his participation in group exhibitions at Coo-ee Aboriginal Art Gallery in Sydney and Gallerie Gabriele Pizzi in Melbourne, from the late 1980’s onward, Sunfly Tjampitjin’s works were included in the most important landmark exhibitions during the final years of his life. Amongst these were Mythscapes, Aboriginal Art of the Desert, at the National Gallery of Victoria and Aboriginal Art: The Continuing Tradition at the National Gallery of Australia in 1989; Aboriginal Paintings from the Desert, shown at the Union of Soviet Artists Gallery, Moscow and Museum of Ethnographic Art in St. Petersburg, Russia in 1991; Crossroads-Towards a New Reality, at the, National Museums of Modern Art, Kyoto and Tokyo in 1992 and Aratjara, Art of the First Australians, at the Kunstammlung Nordrhein-Westfalen in Dusseldorf and other touring venues throughout Europe in 1994. Sunfly was already around 70 years old when the Walayirti art centre opened in Balgo and only lived for another ten years. In those early days the volume of art produced at the art centre was no more than 300 works by a wide array of artists, far fewer than the 1500 or more paintings per annum that are created today. It is estimated that in Sunfly’s entire career he produced little more than a total of 50 paintings. Yet so powerful are his works that his renown was unparalleled amongst the burgeoning art community at Balgo Hills during his lifetime. The visually dominant traveling paths in Sunfly's paintings connote the intimate connection he retained with the hunter-gatherer way of life.Sunfly only painted a few works before the art centre at Balgo Hills opened. After its establishment, it took the early art coordinators visiting him at his camp in Yaga Yaga, 120 kilometers into the sand dunes south of Balgo, for him to start painting for the art centre. Painting in collaboration with his wife Bai Bai Napangarti meant his bold aesthetic developed independently of other Balgo artists, who relied more on dotting and parallel currents of lines. The effect was to create work of an almost primeval quality. The emotive potency of his work comes from being, 'like Miro, another artist steeped in his land and culture, whose small stylized paintings, made up of simple black lines and coloured patterns, contain all the knowledge and experience of a lifetime' (Snell cited in Bardon 1989: 58). This knowledge has impregnated Sunfly’s modest output with far greater value than its weight would suggest, transforming him into a central figure of, and formative contributor to, the priceless legacy left by the older generation of painters who left the desert nomadic life in their maturity and settled to the north of their homelands. Only a handful of collectors have a painting by Sunfly Tjampitjin and it is a lucky one indeed that possesses one of his finer works. Little wonder they rarely appear in the salerooms with works being offered for sale on only 20 occasions. His record price of $200,250 was achieved for the cover work in Sotheby’s July 2004 catalogue. Measuring 118 x 84.5 cm and painted in 1991, Yapinti-Pinki Dreaming sold for more than double the estimated $70,000-100,000. The painting was well known and anticipated with great interest having been illustrated many times over the years in books featuring art from Balgo. Sotheby's did not make the mistake of underestimating the next major work they managed to secure. Their huge expectation of $120,000-180,000 for Wanayarra the Rainbow Snake in The Artist's Country 1990 was thoroughly justified when it sold in their July 2007 sale (Lot 57) for $144,000. His third highest result was for a work of similar size to his record holder which sold at Lawson-Menzies’ May 2005 sale for $87,000, $7,000 above the top estimate. Only a small number of knowledgeable collectors would have been aware that in June 2000 a similar sized work Two Women at Yataru had been purchased at Sotheby's for just $9,200 . When sold four years later in May 2004 at Lawson~Menzies however, it made a tidy profit of more than $30,000 (Lot 32). However, another work purchased for $22,800 from Sotheby's in 2005 by Dutch uber-collector Thomas Vroom was re-sold during Vrooms de-accession sale with Bonham's in 2015 for $9,600. Only five works by this artist have failed to sell at auction and two occured in 2012. Surprisingly Sotheby’s did not manage to find a buyer for the untitled 1992 work that carried a low estimate of $20,000 in their July 2006 sale. Yet two other works that did not sell when first presented, both found new homes when presented at subsequent offerings. Litjin 1989 was passed in at Sotheby’s in July 2001 with an estimate of $12,000-18,000 and later fetched $26,400 at Lawson-Menzies in Nov 2004. The other work that failed to sell when first up for auction was an atypical work measuring 60 x 120 cm, which sold six months later at Lawson-Menzies in July 2005 for only $3,600. It was the artist’s worst result replacing the $7,475 paid for a small work on a canvas board created in 1985, one year before the art centre opened. This small board was one of the six that were in the very first Balgo exhibition organized by the Catholic Mission and held at the Art Gallery of WA. In 2013 Bonhams achieved the artists 3rd highest result of $79,300 with the sale of a work from the 'The Laverty Collection: Contemporary Australian Art'. Proving that although rare, these works still continue to fetch well-deserved high prices. As time goes by, expect these early works from Balgo that were painted by old men of high degree to carry a similar mystique to those from the early Papunya period and sell for escalating prices. Sunfly Tjampitjin never had the opportunity to paint anything larger than 120 x 80 cm canvases of which there are no more than 30 in existence. They are tightly held and will attract ever-increasing estimates on those rare occasions when they appear for sale. 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

TjungurrayiShort Shorty Lungkarda Tjungurrayi Shorty Lungkarda Tjungurrayi 1914 - 1987 Djungarai, Maantja, Lungkarta, Lungkada, Lungkata As one of the ‘new Pintupi’, arriving amongst the last of the nomadic groups to the enforced resettlement community of Papunya, Shorty Lungkarda, a senior hunter, dancer, and respected tribal leader, only joined the painting movement in 1972. Although he arrived toward the end of Geoffrey Bardon’s time there, moving out to Yayayi with other Pintupi just a year later, so palpable was his authority that, more than five years later in 1977, art advisor John Kean recalled being ‘overwhelmed’ in his presence. ‘I had never met anyone like this before …he (Shorty) spoke softly but insistently in Pintupi, always maintaining direct eye contact’ (Kean 2000: 221). Lungkarda’s previous experiences with white people had been limited to groups of documentary makers whom he had met and guided through his homelands in the Western Desert. Speaking little English, he relied on others to translate for him. He was in a kirda/kirdungurlu relationship with Nosepeg Tjupurrula, who was of the same age and communicated with Bardon through him and his friend Johnny Warangkula. From the very outset, the bold visual simplicity of his artistic compositions conveyed an elemental power, and he became one of the select group granted a government allowance that enabled them to paint full time. Geoff Bardon (1991) recalls how the painting room that was established at Papunya resounded with laughter and animated discussion or at times became intensely concentrated in a sea of silence as the men poured their love of their distant homelands into their work. Lungkarda worked ‘impervious to disturbance’, the seriousness of his intention animating each dot. Money earned from painting circulated through the community, adding to its overall resources and returning status to these venerated leaders. Lungkarda’s ceremonial knowledge and tribal seniority played an instrumental role in consolidating the ‘classic’ Pintupi style. It later provided the bedrock for future and less formal developments. The main subject was Tingari, the central creation myth shared across the distances and differences of Western Desert tribal groups. Tingari is the most important teaching myth, used to initiate the younger generations through revealing their social identity and spiritual inheritance. This knowledge is objectified and elucidated through a deep relationship to the land. After a period of artistic experimentation, including important decisions about which subjects could be revealed to a wider and uninitiated audience, a consistent and recognizable style emerged. A non-rigid grid of circles symbolise sites that are drawn together and connected by meandering lines of ancestral travel. Areas of background dotting accentuate landscape contours and are also used to conceal aspects of a story that are too sacred to reveal. The basic earth colours of the ‘Papunya palette’ were adopted as the general rule, with an amazing variety of hues being mixed and produced. Fred Myers sensed the authority of Lungkarda and other elders during an incident in which a young man was held responsible for a car accident. The young man sat outside the circle of conferring elders, downcast and ostracised by his community; the gravity of the situation played out through time and distance. Slowly, he was drawn in and allowed to participate in the group’s painting activities that continued all the while alongside the discussions. 'A passage had occurred,' writes Myers, 'he now knows who will look after him when he is in trouble' (2002: 71). The restoration of the social and spiritual fabric of the dislocated Pintupi people became enmeshed with the new forms of art-making. Painting allowed them to affirm their identity and pass on their Dreamings to the next generation even hundreds of miles away from their traditional sacred sites. Eventually, money earned from painting allowed them to return west to their homelands and set up the outstations of Kintore and then Kiwirrkura. Lungkarda was an assertive leader in the ‘outstation movement’ and continued painting from Kintore, where he settled with his family in the early 1980s. For various reasons during the early years, painting was restricted to men only. However, Lungkarda’s adopted daughter, Lynda Syddick Napaltjarri, gained valuable experience and skills assisting him. Women’s painting was soon to emerge as a significant creative force and, under Lugkarda’s guidance, Lynda Syddick emerged, according to Myer, to become the ‘first Pintupi modernist painter’. By the time she was established as an artist of renown in the early 1980s her work was the first to give voice to the changing influences that fed into the younger generation 'less driven by the protocols of the elders’ (Myers 2002: 304). Shorty Lungkarda’s work remains one of the foundation stones of the entire Western Desert art movement. Without the deep connection to the ancestral powers, reformulated and consolidated through his knowledge, determination, and intrinsic talent, contemporary Australian art would be very much the poorer. Shorty Lungkarda did not begin painting until late in 1971. While he was an important and respected tribal leader he was not one of Bardon’s close confidants, unable to speak english and having arrived some time after the first artists began painting. His works were first exhibited in Alice Springs and while they bear Stuart Art Centre catalogue numbers they are not accompanied by handwritten notes or schematic outlines prepared by Bardon specifically for each painting. Only two of his 1971 works have come up for auction and, being his very first attempts in an unfamiliar medium, they do not bear comparison to those created in 1972 and later. No lots appeared for offer at auction in 2010. Two appeared in 2011 but both failed to sell. In 2012 the artwork Big Cave Story, 1972 achieved the artists sale record price of $216,000. Sotheby's had offered the work at a pre-sale estimate of $180,000-220,000 in its June Important Aboriginal Art sale. Since 2012 only one important work has been offered and it had appeared at auction on two previous occasions.The untitled 1972 work first appeared at Sotheby's in 1996 and sold for $36,800. It appeared again in 2000 and sold for $68,500. Sotheby's handled it for a third time breaking into the artist's top 5 results at $107,213. Lungkarda died in 1987 before a number of his contemporaries rejected traditional iconography in favour of a more abstracted spare picture plane, thereby turning away from the style developed with Bardon in the early 1970s. Shorty’s own works, therefore, are valued principally on the strength of their iconic imagery, which emulated his tribal authority and status. In common with the majority of artists of his generation, most of his top-selling works were created during 1972. However, significantly, a 1974 work is among his highest results at $123,500. Tingari Ceremony at Ilyingaugau 1974 sold in Sotheby’s June 2000 auction (Lot 36) equalling a record that was established at Sotheby’s as early as 1997, for an untitled 46.5 x 53 cm board. This 1972 work, while quite minimal in style, is so unique and striking that once seen it is not easily forgotten. It is one of the rare occasions where a record price stood unchallenged throughout almost an entire decade, eclipsed only in 2009. The 1974 painting is a large work on canvas measuring 169 x 102 cm featuring a complex overlay of dotted concentric circles that emanate a powerful and mesmeric three-dimensional effect. In cases where a work has be re-presented at auction and failed to reach its generally increased reserves, the reason seems to lie with the imagery or poor execution. One particular case is a work entitled Children’s Story 1972. While the image is interesting, it is not the artist’s best, failing to reflect the tremendous growth in the market during the period between 2000 and 2005. It originally failed with a pre-sale estimate of $30,000-50,000 in 2000, and when Sotheby’s auctioned it again in October 2005 with the increased estimate of $80,000-120,000 it was once more passed on. Once more offered in 2009 at the pre-sale estimate of $50,000-70,000 it failed yet again (Lot 55). It found its way, however, into the superannuation fund of Melbourne uber-dealer Bill Nutall who offered it for a fourth time (this time through Bonham's reinvigorated Aboriginal art department) in May 2012 carrying an estimate of $40,000-60,000. Finally it sold for $45,600. Regardless of this, Shorty's best works will continue to rise in value. due to the fact that there are so few of them. More satisfying results for the owners were the $32,300 increase in value over the purchase price in 1995 for a very pleasing and unique 40 x 33 cm 1972 board sold in Sotheby’s June 2000 auction (Lot 35), as well as the increase in value from $8,050 in 1999, to $21,600 for a 1980 work when sold at Sotheby’s in July 2006 (Lot 89). Untitled 1972 fetched $168,000 and held the artist's record between 2009 and 2012. It had an impressive pedigree, previously belonging to Margaret Carnegie and having been included in a number of prestigious exhibitions including Lauraine Diggins' A Myriad of Dreaming in 1989, as well as the important Australiana Moderna e Contemporanea e Arte Aborigena in Milan in 2002. The work displayed the same fragile veiling of white dots against an ochre dark background as is seen in the other stellar pieces of this period. Notably, it had been offered by Sotheby’s in 2004 with a higher estimate of $100,000-150,000, but had failed to attract a buyer. Perhaps its request for inclusion in a forthcoming show Origins at the National Gallery of Victoria to celebrate their 50th anniversary added to the work's allure. Clearly Shorty’s results in the secondary market are dominated by his 1972 works; 18 of the 27 offered have sold. Only one of the four 1973 paintings has found a new home with poor clearance rates also recorded for paintings produced in 1976 and 1977. Few, if any, paintings created after 1980 have appeared on the secondary market despite the artist's passing. Sotheby’s have achieved all ten of the artists highest results Shorty Lungkada was one of the foundation artists of the Aboriginal art movement. His most emblematic early images with their powerful iconic content will continue to be both highly desirable works of art and Blue Chip investments which should grow in value over time. 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

TiernanHelen Helen S Tiernan Helen S Tiernan Born in Gippsland, Victoria of Aboriginal and Irish descent. Tiernan worked in graphic arts, fashion design and as an art tutor before moving to Canberra in 1997. She completed her under graduate studies at the ANU, Canberra School of Art in 2001. Tiernan has exhibited work in solo and group exhibitions in the ACT, VIC, and NSW. Her work is held in private and public collections in Australia, the UK, New York and parts of Europe. Solo Exhibitions 2020. Memory Space, Cooee Art, Sydney, NSW 2017 Colonial wallpapers, Cooee Gallery, Sydney, NSW 2016 If only the walls could talk, Yatley home stead Braidwood, NSW 2014/15 Farming without fences, Coo-ee Aboriginal Art Gallery, Sydney, NSW 2014 Farming without fences-How Aborigines made Australia, Belconnen Art Centre, Canberra, ACT 2007 Shared Histories, Tuggeranong Regional Gallery, ACT 2005 Songlines-Journeys through country, ANU School of Art Foyer Gallery, Canberra 2004 Songlines-Journeys through country, Gippsland Regional Art Gallery, Sale, VIC 2002 Silent Generations, Alliance Francaise, Canberra, ACT 2002 Species, The Hive Gallery, Canberra, ACT Selected Group Exhibitions 2015 Twin fires festival, Altenburg Galley Braidwood NSW 2014 Deck art, TAC Canberra ACT 2014 Capitol Arts Patrons Organisation (CAPO) Fundraiser, CMAG Canberra 2013 Capitol Arts Patrons Organisation (CAPO) Fundraiser, CMAG Canberra 2012 Florieart, TAC Canberra 2012 Different stories, NAIDOC Week, TAC Canberra 2008 Unearthed, Coo-ee Aboriginal Art Gallery, Sydney, NSW 2007 The Perfect Alibi, Coo-ee Aboriginal Art Gallery, Sydney, NSW 2006 picture this; alumni 2000-6, ANU, School of Art Gallery, Canberra , ACT 2005 Vinyl, M16 Art Space, Canberra ACT 2005 Community Tracks NAIDOC Week Exhibition, ATSI Cultural Centre, Canberra Canberra Art Prize, Italo Australia Club, Canberra 2005 Capitol Arts Patrons Organisation (CAPO) Fundraiser, National Portrait Gallery, Canberra 2004 TRAP, Tuggeranong Arts Centre, Canberra 2004 Studio 54 Capitol Arts Patrons Organisation (CAPO) Fundraiser, Canberra Convention Centre Canberra, ACT 2004 Winter 2004, M16 Gallery, Canberra 2003 Temporal Fold, M16 Gallery, Canberra 2003 Kamberri Dreaming, National Museum of Australia, Canberra 2002 Casablanca, Capitol Arts Patrons Organisation (CAPO) Fundraiser, National Gallery of Australia, Canberra 2001 ANU School of Art Drawing Prize, ANU School of Art Foyer Gallery, Canberra 2001 Dark Side of the Moon Capitol Arts Patrons Organisation (CAPO) Fundraiser, National Museum of Australia Canberra. 2001 Lift Off, Graduation Exhibition, ANU School of Art Gallery, Canberra, ACT 2000 A Thousand Colours, ANU School of Art Gallery, Canberra, ACT Awards/Grants/Prizes 2005 Tuggeranong Regional Art Prize, Canberra 2004 Aboriginal Artist of the Year, Canberra & District NAIDOC Award 2003 artsACT - Project grant for a community research project culminating in a solo exhibition of works based on information gathered from the Gunai-Kurnai people of Gippsland, Songlines-journeys through country, 2001 ANU Emerging Artist Support Scheme Acquisitive Award sponsored by Chamberlain Law Firm Collections Parliament House ACT National Museum of Australia, Canberra Legislative assembly Canberra ACT ANU School of Art Emerging Artist Support Scheme (EASS) Loans Collection Gary Shead private collection Private Collections; Australia, New York, USA, UK. Finland, Sweden Fieldwork 2003/4 Community research with Gunai/Kurnai people for Songlines – journeys through country, East Gippsland Victoria Media / Reviews 2014 ABC radio Sydney 2014 Koori Radio Sydney 2014 TV Feature :WIN TV 2014 2005 Songlines - Journeys through Country - TV Feature: WIN TV 2005 2000 Silent Generations - Review: The Canberra Times, ACT - Review: Indigenous Times, ACT - Review: East Gippsland Times, VIC - Radio Interview: 3GL VIC 2004 - Radio Interview: 2XX ACT 2002 - Television: WIN Television, 19/7/02 Articles/ advertisements 2015 Look magazine-art gallery society NSW P27. 2007 March issue No 69. P 63. - Craft Arts international 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 Elizabeth Nyumi Nungurrayi < Back Elizabeth Nyumi Nungurrayi Elizabeth Nyumi Nungurrayi ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE ELIZABETH NYUMI NUNGURRAYI - UNTITLED Sold AU$6,000.00 ELIZABETH NYUMI NUNGURRAYI - BUDGERIGAR DREAMING - NGATIJIRRI JUKURRPA SOLD AU$1,150.00 ELIZABETH NYUMI NUNGURRAYI - PARWALLA Sold AU$0.00 ELIZABETH NYUMI NUNGURRAYI - UNTITLED Sold AU$6,000.00 ELIZABETH NYUMI NUNGURRAYI - PARWALLA Sold AU$0.00 top Anchor 1 PROFILE Elizabeth Nyumi Nungurrayi 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 .

Nakamarra BrownFlora Flora Nakamarra Brown Flora Nakamarra Brown Thecla Puruntatameri was born at Nguiu, Bathurst Island (Wurrumyianga) in 1971, and grew up on Melville Island at Garden Point (Pirlangimpi). Thecla went to primary school at Pularumpi School and to St Johns College in Darwin for high school. She completed year 10 in 1989 and then came back to Pirlangimpi and became an artist. In 2002, after completing a Certificate II in Arts and Crafts at Batchelor College, Thecla started to work as an assistant teacher at the Pirlangimpi School, until she retired from her teaching assistant position in 2017. Thecla participated in print making workshops in Canberra(1998), the Pacific Arts Festival Raratonga, Cook Islands(1992), and cultural exchanges with indigenous artists from Tasmania and Victoria. Thecla’s artworks are included in many private collections in Australia and overseas as well as in the collection of the Ar t Gallery of South Australia. 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

NgaleKathl Kathleen Ngale Kathleen Ngale 1930 Kathleen began her art career in the late 1970's in the medium of batik with over eighty other women from the Utopia Region in Central Australia. Her work in batik was featured in Utopia: A Picture Story, at the S.H. Ervine Gallery. When the acrylics on canvas movement swept Utopia in the late 1980s, Kathleen, like many of the other artists, swiftly changed mediums. Kathleen's popularity as an artist grew in the early '00s for her simplistic "Bush Plum" paintings. Her work has been exhibited around the globe and is featured frequently in auctions. Kathleen loves to paint and talk about her work. Though she does not speak much English, she continues to try and teach the wider world about her paintings and the Anwekety that features in them. Kathleen refers to the Anwekety as Bush Plum, which in fact are small black conkerberries that grow on the plant after a good rain. Living with her sisters and extended family in the Utopia Region, Kathleen is encouraged by them and readily passes on her enthusiasm. Artists Polly Ngale, Ally and Glady Kemarre and Angelina Pwerle are just a few family members to name. 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 Naata Nungurrayi Also know as: Ngata < Back Naata Nungurrayi Also know as: Ngata Naata Nungurrayi 1932 Also know as: Ngata ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE NAATA NUNGURRAYI - MARRAPINTI SOLD AU$180,000.00 NAATA NUNGURRAYI - WOMENS CEREMONY AT MARRAPINTI Sold AU$0.00 NAATA NUNGURRAYI - UNTITLED Sold AU$0.00 NAATA NUNGURRAYI - THE ROCKHOLE AND SOAKAGE WATER SITE OF MARRAPINTI Sold AU$0.00 NAATA NUNGURRAYI - MARRAPINTI Sold AU$0.00 NAATA NUNGURRAYI - MARRAPINTI Sold AU$0.00 NAATA NUNGURRAYI - WOMEN'S CEREMONY, MARRAPINTI Sold AU$0.00 top Anchor 1 PROFILE Naata Nungurrayi 1932 Born at Kumilnga, west of the Pollock Hills in Western Australia, Naata Nungurrayi was about 30 years of age when she encountered the welfare patrol in 1963 and was brought with her family to Papunya the flowing year. Forced to leave behind her beloved desert homelands, the memory of these places and the life she led there continues to provide the wellspring of her inspiration and the subject matter for her highly sought after paintings. After initially moving to Docker River with family members in the late 1970’s she finally settled in the KIntore region in the early 1980’s. Naata began painting for Papunya Tula Artists in 1996, encouraged by the arts coordinator at Haasts Bluff, Marina Strochi who was immediately impressed by her particular style. She participated in Papunya group exhibitions for the first time during the following year including exhibitions during the Desert Mob weekend and at Chapman Gallery in Canberra. Naata’s paintings combine the carefully composed geometric style that developed at Papunya amongst the Pintupi painting men, with the looser technique and more painterly organic style introduced by the women after the paintings camps of the early and mid 1990’s. She was included in the exhibition Twenty-Five Years and Beyond at Flinders University Art Museum in 2000 and Papunya Tula: Genesis and Genius at the At Gallery of NSW during the same year. Traditional initiation into the sacred knowledge of Women’s Law has given Naata the authority to paint designs depicting women’s sites and journeys and the sacred ceremonies they performed. The designs women painted on their bodies during these ceremonies are carried over onto the picture surface and project the same rhythmic quality felt in a live performance. These ceremonies enact and celebrate the ancestral Tingari women who, like the Tingari men, also travel the vast stretches of country, creating and shaping the features and creatures of the landscape and teaching the ways of survival within this often physically demanding terrain. Naata included visual references to the food collected, the waterholes they visited and the encampments where they came together in large groups to share their wisdom and teach the young. Her preference for pale creamy ochres imparts a calming softness to her paintings while her unhurried compositions seem to bring all elements together with a spacious sense of harmony and inclusiveness. Like other women artists of her painting group, Naata liked to apply paint thickly, as though molding a rich and textured surface, reflecting her feel for the earth, which underscores her own spiritual and cultural foundations and that of her people. Much like her contemporary Walangkura Napanangka, she was able to paint in a number of quite different yet consistent styles and could be quite adventurous with colour given the opportunity. Her most successful works at auction, however, have been created in relatively conventional ochre tones, while those that contain bright pinks, reds, or laden with orange and yellow ochres have tended to be less popular. Her imagery varies from strikingly bold compositions created gesturally, to tight grids with contrasting in-filled dotting. Most recognisable are her paintings in which scallop shaped sites, denoting women, sweep in from the borders of the painted surface enclosing a combination of scattered roundels and striated bands and works consisting of an irregular grid, most effective when the colouring is subtle and the shading results in a clever balance. Naata was the sister of George Tjungurrayi and Nancy Nungurrayi who are also highly sought after artists. In recent years, Naata along with George, Nancy, and her son, Kenny Williams Tjampitjinpa, painted principally for Chris Simon of Yanda Art in Alice Springs, as well as a small number of others. The fact that artists of this calibre have been producing high quality works for others outside of their ‘official’ art centre has resulted in a great deal of tension between Papunya Tula and a number of independent dealers operating in Alice Springs. Much of the contemporary politics surrounding industry ethics has stemmed from such disputes. Yet Naata seemed oblivious to this as she consistently produced works of the highest calibre while moving freely between Alice Springs and her country, deep in Central Australia. While her paintings have travelled the world, appearing in important exhibitions and have become amongst the most collectable of all Aboriginal art, Naata herself appeared unaffected by it all, preferring to remain close to her family and her beloved country and eschewing the debate over ‘provenance’ that spread like a brush fire around her. Should anyone doubt that she was being remunerated and cared for in an exemplary fashion, they need only look to the quality of her output for reassurance. Her works consistently bordered on the sublime. ARTIST CV Market Analysis MARKET ANALYSIS For an artist who has never had a solo exhibition or a book published about her work, Naata Nungerayi’s success is nothing short of staggering. Prior to 2007 her sales statistics were already impressive with her total sales at auction standing at $476,890 and a success rate of 62%. By 2007, her average price was $10,920, and her record price stood at $153,250, the fourth highest price ever paid for an Aboriginal woman’s work at the time. However, in a remarkable developement, her total sales almost doubled to $915,462 just a year later. By the end of 2008 she had joined the $1 million club, the exclusive preserve of less than 50 Aboriginal artists. Importantly by the end of 2016 her total sales had reached $1,889,619 and her clearance rate had jumped to 70%. Her average price has increased by $6,000 per work over the past decade to reach $15,455, a quite remarkable result given the large number of smaller works which dominate her sales results. Although Naata began painting as early as 1994, only works painted from 1999 onward have appeared on the secondary market. A new record price was set in 2007 and this contributed to the phenomenal increase in her career average after that year. The soakage Water Site of Unkunya , created as recently as 2005, sold for $216,000 and eclipsed her previous record to then install Naata Nungerayi in the top ten most successful Aboriginal female artists of all time. This record was set against an estimate of $70,000-100,000 at Sotheby’s in July (Lot 101). Created originally for Papunya Tula, the painting measured 183 x 153 cm. and featured radiating striated sandhills mimicking the movement of ancestral women at a major site West of the Pollack Hills in Western Australia. Bought by the Luczo Family Collection in the USA, this painting was re-offered for sale in 2016 and achieved just $146,400 representing a decrease in value of 33% even though it became the 4th highest price paid for any work by this artist. Her previous record created an equal but opposite result when re-offered following its original sale for $153,250 at Sotheby's in 2005(Lot 89). Similar in size and provenance to the record holding work, it actually increased in value by 41% when it sold for $216,000 in the Laverty sale at Deutscher & Hackett in 2015 (against a pre-sale estimate of just $60,000-80,000). In 2015 two works entered her top 10 results and the sale of 13 of the 14 works on offer saw her end the year as the 6th most successful artist. She was 7th in 2016 with two top 10 results including the sale of one of her new duotone (black on red) paintings based on ancient iconographic petroglyphs. One hundred and fifty of these late career paintings are the subject of a new book and are on offer in the primary market for $80,000 each. On this first secondary market outing Iconography #66 achieved $98,182 including buyer's premium. 2017 was a decent year for the artist, with 8 of the 9 works on offer selling, all etiher within or slightly above their estimates. The average price for those eight was $10,970 and her success has continued with 6 of 6 selling in 2019. Naata's most successful painting in her tight grid style has been Marapinti 2002 which measured 183 x 122 cm and sold for $60,000 when offered with an estimate of $50,000-70,000 in Sotheby’s July 2006 sale (Lot 126). Importantly, prior to 2007 only four of Naata’s top ten results were painted for Papunya Tula, with two of these being her best results and another two her fourth and seventh. By the end of 2016 however, there were six Papunya Tula works occupying top-ten places including 5 of her 6 highest results. Never-the-less, collectors should be aware that there have been many equally good works produced for independent dealers, which have sold to collectors with a more ‘devil may care’ attitude. Expect these to steadily, if not dramatically increase in value once they can be judged on their own merits, untainted by industry politics. In particular, Naata painted a number of extremely high quality works for Chris Simon of Yanda Art during the period post 2010. Naata is not known for having painted large paintings so these are extremely rare. Her two highest prices have been for works measuring just 153 x 183cm. The largest offered for sale measured 180 x 300 cm, and achieved $44,650 when sold by Bonham’s and Goodman in November 2004 (Lot 49). Undoubtedly these results place Naata Nungerayi amongst the most highly successful Aboriginal artists of all time. Many of her finest works have been painted for Chris Simon’s Yanda Art and are unlikely to appear in any quantity at auction during the next decade. Collectors would be very well advised to seek out her best works currently in galleries and, be unafraid , given contemporary art politics, of paying a premium for those few paintings available through Papunya Tula or its agent galleries. In time provenance is likely to matter less than it does currently, the quality of her works being enough to demonstrate how well she has been looked after and cared for whilst creating them. At their best, Naata’s paintings have great strength and vitality. They emanate the power that can only be associated with an artist whose ceremonial knowledge is as deep as her attachment to the land. These paintings will endure as some of the most satisfying and culturally important works of their time. 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 Dorcas Bennett Tinamayi < Back Dorcas Bennett Tinamayi Dorcas Bennett Tinamayi 1956 REGION: Warakurna COMMUNITY: Warakurna LANGUAGE: Ngaanyatjarra SKIN: Tjarurru ART CENTRE: Warakurna Artists ARTIST PROFILE ARTIST CV MARKET ANALYSIS Dorcas Bennett is the daughter of Nyurupayia Nampitjinpa (Mrs Bennett) a senior artist for Papunya Tula Artissts. Dorcas’s paintings are prefigured by her mother’s Tjukurrpa (dream time), encompassing the country between Tjukurla and Warakurna. As the final heir to these ancestral stories, it is crucial for Dorcas to reenergizes them. She does so with a lot of gusto, creating vibrant connections between the dotted Tali (sand hills), the circler Kapi Warnanpa (water holes), and various designs linked to the journey of a group of women to the rockhole site of Yumarra. READ FULL ARTIST PROFILE top Anchor 1 PROFILE Dorcas Bennett Tinamayi 1956 REGION: Warakurna COMMUNITY: Warakurna LANGUAGE: Ngaanyatjarra SKIN: Tjarurru ART CENTRE: Warakurna Artists Dorcas Benne is the daughter of Nyurupayia Nampitjinpa (Mrs Benne) a senior arst for Papunya Tula Arsts. Dorcas was born at Wurturu rockhole near Kaltukatjarra (Docker River). Aer her birth her mother and father walked with her to Warburton Mission where she was given her English name by the missionary Will Wade. Her parents returned, walking with Dorcas to the Warakurna - Tjukurla area . Soon aer her family came into contact with Bob McAuley and travelled with him in the renowned yellow Nave Patrol Officer’s truck to the Amata selement. From here Dorcas’ family walked to Areyonga where Dorcas began to aend school. Aer some me her family walked back to Amata and then returned to the mission in Warburton where they were reunited with many family members. Dorcas completed her schooling at the Docker River selement. The Benne family along with the Porter, Yates, Reid, Shepherd, Golding, Cooke, Mitchell, Butler, Burke, Newberry, Giles, Richards, Bates, Robinson, Prior and Ward families returned to the Warakurna homeland when it was established in the mid 1970s. Dorcas was married and connues to live in Warakurna with her extended family. Dorcas currently serves as an execuve member of Warakurna Arsts. She has been painng with Warakurna Arsts since 2006. Her involvement with Tjanpi Desert Weavers has yielded her recognion for her grass and fibre sculptures. Dorcas is the current Chairperson for Warakurna Arsts. ARTIST CV SOLO EXHIBITIONS 2024 Dorcas - Solo Show, Mother's Story, Blockproject GROUP EXHIBITIONS 2023 Really One Story - Art from the Ngaanyatjarra Lands 2021 Desert Mob 2021 2020 Rawa Titungarala 2019 Contemporary Desert Art, Frewen Arts 2019 Revealed Emerging Showcase Exhibition 2016 2016 Desert Mob Exhibition, Early Days Collaboration 2012 Warakurna: All the Stories Got into our Minds and Eyes. Focus Gallery, National Museum of Australia. Canberra 2011 History Paintings - All the stories got into our minds and eyes. Outstation Art from Art Centres. Darwin. NT 2011 "Warakurna Artists", Galerie Kungka and IDAIA, Maison des Arts Plastiques Rhône-Alpes, Lyon, France; Maison des Arts Contemporains, Pérouges, France 2006 Rawa-latju Nintirringkulatjaku, Knowing is the Future, Warakurna Artists Group Exhibition, Alcaston Gallery, Melbourne 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 .

Bininyuwuy Dick Bininyuwuy Dick Bininyuwuy 1928 - 1982 Dick, Djarrankuykuy Born c1928, Dick Binyinyuwuy Djarrankuykuy was among the younger generation of artists working at the small island community of Milingimbi in Arnhem Land during the 1950s. The young Binyinyuwuy was a ‘rebel, only visiting the station to raid the store or make havoc among the young women … After one successful raid he sent a defiant message … that he would return and repeat the performance when he pleased’. (Ann Wells, the wife of the mission superintendent from 1949) Following this act of rebellion, Rev. Edgar Wells spoke to the village elders, who had put Binyinyuwuy through the ‘law’ and trained him in his craft. He’d been ‘taken into the bush for several months and initiated. A front tooth was knocked out and welts were cut into his body, into which clay was rubbed’(Louis Allen). The elders told Wells that the young man displayed unique talent in painting and making sacred objects. In exchange for a painting, they decided, his transgressions would be forgotten. According to Ann Wells, ‘The painting was so good that he was promptly added to the list of artists and the money he earned was so good that he stayed’. In the following years, Binyinyuwuy, now a respected artist in the community, produced a plethora of bark paintings, carvings and sculptures. He is known to have painted birrkulda (honey), wurrpan (emu), wan’kurra (bandicoot) and the Djalumbu (hollow log) ceremony of his mother’s clan, the Ngulmarrk ceremony and wititj (olive python) of his Ganalbingu maternal grandmother, and subject matter belonging to his own clan, the Djambarrpuyngu. His works are included in major collections across Australia and overseas, including the Art Gallery of NSW, the National Museum of Australia, and the Seattle Art Museum. The auction results for Bininyuwuy are dominated by two works in particular. His record selling bark, which achieved $55,200 through Sotheby’s as early as 1998, and another sold by Bonham’s in 2013 for $30,500. Both were created in the early to mid 1960s for Dorothy Bennett, acting on behalf of US collector Louis Allan. The former depicts a Liyagallawumirri Dua Narra ceremony. The bottom of the first panel shows the dance of the sacred wallaby's. The snake at the bottom indicates that this is only for the old men of the tribe. The top of the panel represents the dance of the freshwater turtle, which is performed next. The turtle is making its way to the waterhole, indicated by the dots in the panel. The zig-zag lines in this panel represent the turtle's tracks in the grass. The other two panels are for the fan-palm dance, which is witnessed by all members of the tribe. The white dots in the panel shows the fruit of the palms. The latter of the two highest selling works, was resold to Reg Grundy in 1998. The painting shows the fan palms bursting with colour and life in the open forest, refreshed by rain. A goanna can be seen poised on the ground. The lower panel represents a waterhole belonging to the artist's mother's clan, the Gupapuyngu of the Yirritja moiety. We can see the long-necked freshwater tortoises in the waterhole and the zigzag pattern of weeds that cling to their limbs. The lower right-hand panel shows the plains kangaroo (garrtjambal) and the Yirritja lightning snake. A very unusual feature is that the kangaroos (and also the wallaby) are represented in the style of x-ray art, which is more associated with works from Western Arnhem land than the east. The artist’s 3rd highest price is half that of the former and only 4 others have sold for more than $3,600. In all 43 lots have been offered for sale though a number of these are resales. Bininyuwuy was recognised as a tallented carver and his highest price for a sculptral piece was for a Mokoy Spirit created in 1960 which sold at the Luczo family sale at Deutscher and Hackett in 2016 for $9,760. This transcended the price paid for the second highest record for a three dimensional piece by the artist. Diver Duck created in 1964 sold at Sotheby’s for $9,600 against a presale estimate of just $3,000-5,000. Bininyuwuy’s success rate at auction is 55% at a healthy average price of $7,383. His 1960s works are relatively rare and highly rated amongst those paintings of the period by his contemporaries including many of the older artists of that time. 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 Selina Shepherd < Back Selina Shepherd Selina Shepherd ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Selina Shepherd 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 .

PuruntatameriJacqu Jacqueline Puruntatameri Jacqueline Puruntatameri I, Jacqueline Puruntatameri, was born in Darwin and grew up at Pirlingampi on Melville Island. I went to high school at Kormilda College in Darwin. I had one child a boy called Gareth who lives in Darwin with his partner. I used to work at the Pirlangimpi store for 5 years. I have been painting at Munupi Arts for a long time. I have had artworks used for calendars and I have been in many exhibitions. I love painting and I follow my grandfather who was an artist as well. His name was Black Joe. He is famous and was in the Tiwi Show in 2021 at the National Gallery of Victoria 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