NAIDOC WEEK AT WORK INC Work Inc. | North Sydney 30 June to 14 July 2023 Viewing Room NAIDOC WEEK AT WORK INC 30 June to 14 July 2023 Work Inc. | North Sydney RITA BEASLEY - WUTUNUGURRA LANDSCAPE price AU$1,990.00 WALTER JANGALA BROWN - TINGARI CYCLE Sold AU$840.00 ATHENA NANGALA GRANITES - YANJIRLPIRRI | NAPALJARRI-WARNU JUKURRPA Sold AU$0.00 RITA BEASLEY - WATER AROUND EPENARRA Sold AU$0.00 MARISSA NAPANANGKA ANDERSON - NGAPA JUKURRPA (WATER DREAMING) - PUYURRU Sold AU$0.00 CECILY NAPANANGKA MARSHALL - JANGANPA JUKURRA (BRUSH-TAIL POSSUM DREAMING)- ... price AU$1,260.00 MARGARET NANGALA GALLAGHER - YANKIRRI JUKURRPA (EMU DREAMING) price AU$460.00 JULIE NANGALA ROBERTSON - NGAPA JUKURRPA (WATER DREAMING) - PIRLINYARNU Sold AU$0.00 LORNA CORBETT - DRY GRASSES - LORNA CORBETT Sold AU$0.00 JULIE NANGALA ROBERTSON - NGAPA JUKURRPA (WATER DREAMING) - PIRLINYARNU price AU$850.00 ADA PULA BEASLEY - MY COUNTRY Sold AU$0.00 JESSIE BEASLEY - BUSH FLOWERS Sold AU$0.00 MARY PETERSON - BUSH FLOWER Sold AU$0.00 EX NAIDOC

GuruwiwiMithi Mithinari Guruwiwi Mithinari Guruwiwi 1929 - 1976 As a young man, Mithinari Guruwiwi learned to paint from famous Arnhem Land bark painter Mawalan Marika. Mithinari’s works have appeared in many significant overseas exhibitions including ‘Australian Aboriginal Art’ in Chicago, 1972, and ‘Aratjara – Art of the First Australians’ in Düsseldorf, London and Humlebaek, 1993–94. Mithinari Gurruwiwi is represented in all Australian state galleries and in the Kluge-Ruhe Aboriginal Art Collection in the United States. In 1976, he passed away at the young age of 45. Group Exhibitions: 2009 - Yirrkala artists Everywhen: bark paintings from the State Art Collection, featuring the following artists: Gungyuma Dhamurrandji, Larrtjanga Ganambarr, Birrikitji Gumana, Gawirrin Gumana, Malinyin Gumana, Mithinari Gurruwiwi, Djambawa Marawili, Wakuthi Marawili, Mathaman Marika, Mawalan Marika, Milirrpum Marika, Wandjuk Marika, Bokara Maymuru, Nanyin Maymuru, Narritjin Maymuru, Djutjatjuta Mununggurr, Mau Mununggurr, Watjung Munungirritj, Dula Ngurruwuthun, Dundiwuy Wanambi, Mithili Wanambi, Mungurrawuy Yunupingu at the Art Gallery of WA, Perth. 1995 - Miny'tji Buku Larrnggay, Paintings from the East, National Gallery of Victoria, Melbourne. 1994 - Yiribana, Art Gallery of New South Wales, Sydney.; Art of the Rainbow Snake, National Gallery of Victoria, Melbourne. 1993/4, ARATJARA, Art of the First Australians, Touring: Kunstammlung Nordrhein-Westfalen, Dusseldorf; Hayward Gallery, London; Louisiana Museum, Humlebaek, Denmark. 1989 - A Myriad of Dreaming: Twentieth Century Aboriginal Art, Westpac Gallery, Melbourne; Design Warehouse Sydney [through Lauraine Diggins Fine Art] ; Aboriginal Art: The Continuing Tradition, National Gallery of Australia, Canberra; Spirit in Land, Bark Paintings from Arnhem Land, National Gallery of Victoria.; Keepers of the Secrets, Aboriginal Art from Arnhemland, Art Gallery of Western Australia, Perth; Arnhem Land Dreaming, Bark Paintings from Tasmanian Collections, Tasmanian Museum and Art Gallery. 1988 - Yolngu, Aboriginal cultures of north Australia, The Royal Pavillion, Art Gallery & Museums, Brighton, United Kingdom.; The Inspired Dream, Life as art in Aboriginal Australia, Museum and Art Gallery of the Northern Territory and touring internationally. 1987 - Ancestors and Spirits, National Gallery of Australia, Canberra. 1984 - Aboriginal Bark Paintings from Arnhem Land, Newcastle Regional Gallery; Aboriginal Art, an Exhibition Presented by the Australian Institute of Aboriginal and Torres Strait Islander Studies, Canberra. 1975 - Australian Bark Painting, from the collection of Dr. Edward L. Ruhe, Meadow Brook Art Gallery, Oakland University, Rochester, Michigan, USA. 1974 to 1976 - Art of Aboriginal Australia, touring Canada, Rothmans of Pall Mall Canada Ltd. 1972 - Australian Aboriginal Art, Field Museum of Natural History, Chicago. 1970 - Australian Aboriginal Art, The Art Galleries, University of California at Santa Barbara, Santa Barbara. 1969 - Australian Aboriginal Art - The Louis A. Allen Collection, R. H. Lowie Museum of Anthropology, University of California, Berkeley; Australie, Osobnost Primitivni'ho Malire, Naprstkovo Muzeum, African and American Culture, Prague. 1963 - The Melbourne Moomba Festival, Exhibition of Aboriginal Art, presented by the Aborigines Advancement League, in conjunction with the Myer Emporium, Melbourne, Victoria.; Art of Arnhem Land, David Jones, Sydney. Bibliography: Allen, L., 1975, Time Before Morning: Art and Myth of the Australian Aborigines, Thomas Crowell Company, New York. ; Beresford, A., 1993, Arnhem Land Dreaming, Bark Paintings from Tasmanian Collections, exhib. cat. Tasmanian Museum and Art Gallery. ; Berndt, R. M. and Berndt, C. H. with Stanton, J., 1982, Aboriginal Australian Art, a Visual Perspective, Methuen Australia Pty Ltd, Sydney. ; Caruana, W. (ed.), 1989, Windows on the Dreaming, Ellsyd Press, Sydney. (C) ; Diggins, L. (ed.), 1989, A Myriad of Dreaming: Twentieth Century Aboriginal Art, exhib. cat., Malakoff Fine Art Press, North Caulfield, Victoria. ; Dussart, F., 1993, La Peinture des Aborigines D'Australie, Editions Parentheses, Marseille, France. ; Garside, S., 1984, Aboriginal Bark Paintings from Arnhem Land, Newcastle Regional Gallery, exhib. cat., Newcastle Regional Gallery, NSW. ; Groger-Wurm, H., 1973, Australian Aboriginal Paintings and their Mythological Interpretation, Australian Institute of Aboriginal Studies, Canberra. (C) ; Isaacs, J., 1987, 'Waiting for the mob from Balgo', Art Monthly Australia, June 1987, No.1 p.20-22. ; Kupka, K., 1972, Peintres Aborigines d'Australie, Societe des Oceanistes, Musee de l'Homme, Paris. ; 1993, Aratjara, Art of the First Australians: Traditional and Contemporary Works by Aboriginal and Torres Strait Islander Artists, exhib. cat. (conceived and designed by Bernard Luthi in collaboration with Gary Lee), Dumont, Buchverlag, Koln. (C) ; Neale, M., 1994, Yiribana, exhib. cat., Art Gallery of New South Wales, Sydney. (C) ; O'Ferrall, M., 1990, Keepers of the Secrets, Aboriginal Art from Arnhemland in the Collection of the Art Gallery of Western Australia, Art Gallery of Western Australia, Perth. (C) ; Ruhe, E. L., 1975, Australian bark painting, from the collection of Dr. Edward L. Ruhe, exhib. cat. Meadow Brook Art Gallery, Michigan, USA. ; Ryan, J., 1990, Spirit in Land, exhib. cat., National Gallery of Victoria, Melbourne. ; West, M.K.C., (ed.), 1988, The Inspired Dream, Life as art in Aboriginal Australia, exhib. cat., Queensland Art Gallery, Brisbane. ; 1974, Art of Aboriginal Australia, exhib. cat., Rothmans of Pall Mall Canada Limited. (C) See marke performance. Explore our artworks See some of our featured artworks below ANGELINA PWERLE NGAL - UNTITLED ( BUSH RAISIN MAN) Price AU$3,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Out of stock LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Price From AU$13,500.00 BRONWYN BANCROFT - UNTITLED Out of stock JOSHUA BONSON - SKIN: A CELEBRATION OF CULTURE Price AU$8,500.00 BOOK - KONSTANTINA - GADIGAL NGURA Price From AU$99.00 FREDDIE TIMMS - MOONLIGHT VALLEY Price AU$35,000.00 NEIL ERNEST TOMKINS - BURN THERE, DON'T BURN THERE Price AU$7,000.00 SHOP NOW

Artist Profile for Betty Carrington < Back Betty Carrington Betty Carrington ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Betty Carrington 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 Sharlene Nakamarra Nelson < Back Sharlene Nakamarra Nelson Sharlene Nakamarra Nelson ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Sharlene Nakamarra Nelson 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 .

TjapangatiWimmi Wimmitji Tjapangati Wimmitji Tjapangati 1924 - 2000 Wimindji, Wimminji, Tjapangarti, Tjapangardi Born in Kutakurtal around 1924, Wimmitji Tjapangarti moved to the old Balgo mission in 1943 as a young initiated man. He began painting alongside his wife Eubena Nampitjin when in his 60’s and together, they created a unique shared aesthetic 'quite different from that of the other Balgo painters' (Watson 1997: 49). Their early works, produced at the Adult Education Centre, were predominantly rendered in a palette of browns with areas of white dotting and lines, which from the outset were identifiably more detailed and refined than works by their contemporaries. As the Warlayirti Art Centre developed during the early 1990’s from a one room ‘donger’ and moved into a former accommodation block, the two artists began to paint more individually and their works exhibited growing differentiation. While the artistic evolution of Balgo art was influenced by the progressive introduction of new acrylic paints, Wimmitji did not employ the floral colours, pastel greens and pinks, which were available from 1989 onwards. He did however add new shades of red and yellow in creating his minutely detailed cartographic renditions of his country and the stories relating to it. Despite speaking little, if any, English, Wimmitji’s intimate knowledge of his country and Dreaming narratives proved extremely helpful in assisting Ronald and Catherine Berndt (1989) with their book The Speaking Land: Myth and Story in Aboriginal Australia. He also worked with Father Anthony Peile to compile the Kukatja dictionary and various articles on medical subjects. Wimmitji’s paintings are visually complex and contain a vast amount of knowledge within each single composition. The intricacy and textural richness were achieved with spontaneous outpourings of dotting, and myriad surface treatments. The disciplining force was the spiritual dimension of the story, related by a cultural custodian of the highest degree. Wimmitji was a mapan (traditional healer) of unsurpassed knowledge and ceremonial importance amongst the members of the Wangkajunga society. His painting style and earthy palette gave the best of his works a look of great age and this, no doubt, added to perceptions of their authenticity, 'though from his own perspective it would have been drawn from his deep involvement with the law' (Johnson 1994: 209). Wimmitji continued painting until his death in 2000 despite his frailty and almost total blindness from the mid 1990’s onwards. In this later period of his life he seemed to live entirely lost to the everyday world, thoroughly immersed in his Dreaming. On approach you would find him muttering chants, as he painted completely oblivious to the world around him. He gave the impression that he existed unseparated from the earth; that he traveled through an interior space where physical dimension is non-existent. With eyes closed to barely visible slits and tiny hands shaking as he applied dots to the canvas, he seemed far away in the land of his Dreaming as he sang up the ancestors and joined with the spirits of the land. During a ten-year period between 1986, the year in which the art centre in Balgo Hills was established, and the mid 1990s, by which time he was almost totally blind, Wimmitji Tjapangarti produced no more than 200 works of which none exceed 120 x 90 cm in size. Only 61 have appeared on the secondary market, of which 38 have sold. His record price is $78,000 for an untitled 1990 work measuring 120 x 85 cm sold at Lawson-Menzies in June 2006 (Lot 58), which fell within the estimated $70,000-$90,000 price range. This was more than twice the price achieved for his next highest result at the time. Kutu 1989 measuring just 120 x 60 cm sold for $35,750 in Sotheby’s July 2004 sale. His most spectacular success at auction was for Artists Country 1990 estimated by Sotheby’s to sell for $8,000-12,000 in its June 1998 sale (Lot 209). This complex 120 x 85 cm work that had featured in the artists exhibition with his wife Eubena Nampijin at Gallerie Gabrielle Pizzi eight years earlier sold for $32,200 and still occupies the artists seventh highest record. 2015 was a very good year for this artist with 4 of the 6 works on offer selling. Of these, three entered his top ten results. A new second highest mark was set when Artist's Country (Iirrawilli) 1989 sold for $48,800 at Mossgreen's Alan Boxer Collection sale. Another work in the Laverty sale at Deutscher & Hackett became the new third highest result when sold for $45,600. And the Dr. Peter Elliott sale at Mossgreen saw Artist's Country (Wantjanmurra) 1992 sell for $39.040, Wilmmitji's 5th highest result to date. All of Wimmitji’s highest selling works were created prior to 1992 and all are less than 120 x 90 cms in size. Provenance is not an issue here, as Wimmitji painted his entire oeuvre for Warlayirti artists which sold his works through highly reputable galleries, principally in Sydney and Melbourne. While Wimmitji’s works are exceedingly rare, collectors have just woken to the fact that it is a fortunate person indeed that has one in their collection. They are greatly undervalued in today’s market. He, along with Sunfly Tjampitjin, were the most senior male participants in the earliest days of the Balgo Hills art centre, which was established in 1986. He painted for less than ten years, as he was blind and very frail toward the end of his life. Paintings created between 1989 (by which time he had grasped and become highly accomplished in the medium) and 1993 (when his eyesight began to fail him) number no more than 50 works, all of which will, in time, come to be recognised as masterpieces of the formative period of Kukatja and Wangkajunga art. 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 Lorna Kantilla < Back Lorna Kantilla Lorna Kantilla ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE LORNA KANTILLA - BODY PAINT SOLD AU$1,200.00 LORNA KANTILLA - JUKWARRINGA SOLD AU$500.00 LORNA KANTILLA - JILAMARA Sold AU$0.00 LORNA KANTILLA - JUKWARRINGA SOLD AU$1,000.00 LORNA KANTILLA - JUKWARRINGA SOLD AU$500.00 top Anchor 1 PROFILE Lorna Kantilla 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 Hamish Karrkarrhba < Back Hamish Karrkarrhba Hamish Karrkarrhba ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Hamish Karrkarrhba 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 .

HER MEDITATIONS - BIDDY TIMMS NAPANANGKA Art Leven - 17 Thurlow St, Redfern, Gadigal, NSW 2016 3 - 24 August 2024 HER MEDITATIONS - BIDDY TIMMS NAPANANGKA Biddy Timms Napanangka 3 - 24 August 2024 HER MEDITATIONS - BIDDY TIMMS NAPANANGKA Biddy Timms Napanangka 3 - 24 August 2024 Art Leven - 17 Thurlow St, Redfern, Gadigal, NSW 2016 Biddy Timms Napanangka Her Meditations 3 - 24 August 2024 Biddy Timms Napanangka has been a working artist for almost 20 years, during which her practice has steadily evolved. You would be hard-pressed to recognise the finely detailed brushwork of an early Timms Napanangka if you were only familiar with her later work. Yet, below the surface, you can find traces of the path leading to the artist she is today.* Warlpiri painting practice as a whole is usually presented as a rhythmic, meditative process involving singing and dancing; swift and fine dot-work spreads over the canvas as the artist traces her sacred Songline across stretches of the Tanami Desert. The art from Lajamanu - as opposed to Yuendumu, the larger of the two Warlpiri townships - is known predominantly for featuring loose, gestural paintings. Many of the artists, however, including Biddy Timms Napanangka, began their careers in the finely-dotted and in some ways more rigid traditions of Warlpiri art-making. Napanangka is a quiet, humble woman. She rarely asks for anything [beyond] a quiet, temperate place to paint and think.** Louisa Erglis, former and interim Manager, Warnayaka Arts At this stage in her career, Napanangka has turned to a more inward form of meditation as she paints. After laying down a thick surface of fresh acrylic paint, she holds her brush so that the tip meets the canvas aiming away from her, bristles agains the grain. Observing her at work invokes the meditative raking of sand in a Japanese Zen garden. Loaded with a new colour, her brush drives across the surface, as though unearthing the new colour from underneath the base layer. Introduction In June of 2023, we conducted a weeklong painting project at Warnayaka Arts In Lajamanu for country x Country, a joint exhibition between ——- Simon Napanangka and Sydney-based painter Neil Tomkins. During this time, we slept on wire-framed trundle beds in the art centre studio, surrounded by thousands of paintings, framed, unframed, rolled, strained, stacked, or suspended from clip-on trouser-hangers on clothing racks. It was in this chaotic and beautiful context that we fell in love with the humble minimalist paintings of Biddy Timms Napanangka. The artist herself is the perfect embodiment of the peaceful, calm works she creates. That week, the studio was abuzz with laughter, conversation, frequent family visitors - constant hustle and bustle. Every day of the workshop Biddy was first one in, approaching the art centre with her walker the exact moment the doors swung open to begin the day. Neil Tomkins, the painter accompanying us on this trip, describes part of his process as “pushing paint around”. The phrase applies just as well to Napanangka’s painting practice. Going through the video footage afterwards, Biddy is remarkably still, hardly moving save for her brush-hand, in a seemingly deep state of meditation. All of the paintings in this exhibition were either discovered or painted during our time in Lajamanu. Artist Profile VIEW CATALOGUE BIDDY TIMMS NAPANANGKA - PULUNTARRI (BUSH MUSHROOM DREAMING) price AU$1,200.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) price AU$1,000.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) price AU$700.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) price AU$500.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) price AU$350.00 BIDDY TIMMS NAPANANGKA -NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - BUSH MUSHROOM DREAMING - PULUNTARRI Sold AU$0.00 BIDDY TIMMS NAPANANGKA - PULUNTARRI (BUSH MUSHROOM DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - PULUNTARRI (BUSH MUSHROOM DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - PULUNTARRI (BUSH MUSHROOM DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) price AU$1,000.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) price AU$700.00 BIDDY TIMMS NAPANANGKA - PULUNTARRI (BUSH MUSHROOM DREAMING) price AU$600.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) price AU$500.00 BIDDY BIDDY TIMMS NAPANANGKA - PULUNTARRI (BUSH MUSHROOM DREAMING) Sold AU$350.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - BUSH ONION DREAMING - JANMARDA JUKURRPA Sold AU$0.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - PULUNTARRI (BUSH MUSHROOM DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - MINAMINA JUKURRPA (MINAMINA DREAMING) Sold AU$1,000.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) price AU$700.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) Sold AU$600.00 BIDDY TIMMS NAPANANGKA - PULUNTARRI (BUSH MUSHROOM DREAMING) price AU$500.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - PULUNTARRI (BUSH MUSHROOM DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - MINAMINA JUKURRPU (MINAMINA DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - PULUNTARRI (BUSH MUSHROOM DREAMING) Sold AU$0.00 EX-August1-2024

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

SYDNEY CONTEMPORARY Carriageworks, Everleigh, Booth I07 5 - 8 September 2024 SYDNEY CONTEMPORARY Lily Yirdingali Jurrah Hargraves Nungarrayi 5 - 8 September 2024 SYDNEY CONTEMPORARY Lily Yirdingali Jurrah Hargraves Nungarrayi 5 - 8 September 2024 Carriageworks, Everleigh, Booth I07 REQUEST CATALOGUE REQUEST TICKETS VIEW CATALOGUE LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - NGARLKIRDI JUKURRPA price AU$15,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KARNTA JUKURRPA (WOMEN’S DREAMING) price AU$12,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - WARDIYKA JUKURRPA price AU$12,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- KARNTA JUKURRPA (WOMEN’S DREAMING) price AU$8,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI -NGARLKIRDI JUKURRPA price AU$8,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- NGALYIPI JUKURRPA price AU$5,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI -NGARLKIRDI JUKURRPA price AU$5,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - WARDIYKA JUKURRPA price AU$3,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - YAWAKIYI JUKURRPA price AU$3,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - NGALYIPI JUKURRPA price AU$1,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- KARNTA JUKURRPA (WOMEN’S DREAMING) Sold AU$0.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KARNTA JUKURRPA (WOMEN’S D Sold AU$0.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA price AU$15,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAY - WARDILYKA JUKURRPA price AU$12,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - PARRAJA JUKKURPA price AU$12,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- KARNTA JUKURRPA (WOMEN’S DR price AU$8,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- NGALYIPI JUKURRPA price AU$8,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KARNTA JUKURRPA (WOMEN’S DREAMING) price AU$5,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAY - KANTA JUKURRPA price AU$5,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - WARDIYKA JUKURRPA price AU$3,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- NGALYIPI JUKURRPA (SNAKE DREAMING) price AU$1,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Sold AU$0.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- NGALYIPI JUKURRPA Sold AU$0.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KARNTA JUKURRPA (WOMEN’S D Sold AU$0.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - WARDIYKA JUKURRPA price AU$15,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- KARNTA JUKURRPA (WOMEN’S DR price AU$12,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - WARDIYKA JUKURRPA price AU$8,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - WARDIYKA JUKURRPA price AU$8,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI -NGARLKIRDI JUKURRPA price AU$5,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - WARDIYKA JUKURRPWARDILYKA JUKURRPA price AU$5,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - WARDIYKA JUKURRPA price AU$3,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- NGALYIPI JUKURRPA price AU$3,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - YAWAKIYI JUKURRPA price AU$1,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - NGALYIPI JUKURRPA Sold AU$0.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Sold AU$0.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KARNTA JUKURRPA (WOMEN’S D Sold AU$0.00 EX 272

Artist Profile for Djirrirra Wunungmurra < Back Djirrirra Wunungmurra Djirrirra Wunungmurra ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE DJIRRIRRA WUNUNGMURRA - YUKUWA (HOLLOW LOG) SOLD AU$9,000.00 DJIRRIRRA WUNUNGMURRA - BUYKU Sold AU$3,200.00 DJIRRIRRA WUNUNGMURRA - YUKUWA Sold AU$0.00 DJIRRIRRA WUNUNGMURRA - YUKUWA (HOLLOW LOG) Sold AU$0.00 DJIRRIRRA WUNUNGMURRA - YUKUWA (HOLLOW LOG) Sold AU$0.00 DJIRRIRRA WUNUNGMURRA - YUKUWA Sold AU$0.00 DJIRRIRRA WUNUNGMURRA - YUKUWA Sold AU$0.00 DJIRRIRRA WUNUNGMURRA - YUKUWA SOLD AU$3,500.00 DJIRRIRRA WUNUNGMURRA - YUKUWA (BUSH YAM) Sold AU$0.00 DJIRRIRRA WUNUNGMURRA - YUKUWA Sold AU$0.00 DJIRRIRRA WUNUNGMURRA - YUKUWA Sold AU$0.00 DJIRRIRRA WUNUNGMURRA - YUKUWA Sold AU$0.00 DJIRRIRRA WUNUNGMURRA - YUKUWA Sold AU$0.00 DJIRRIRRA WUNUNGMURRA - YUKUWA Sold AU$0.00 top Anchor 1 PROFILE Djirrirra Wunungmurra ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

Artist Profile for Otto Pareroultja Also know as: Parachultja, Parawiltja < Back Otto Pareroultja Also know as: Parachultja, Parawiltja Otto Pareroultja 1914 - 1993 Also know as: Parachultja, Parawiltja ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE OTTO PAREROULTJA - MONOLITHS OF PALM PADDOCK Sold AU$0.00 top Anchor 1 PROFILE Otto Pareroultja 1914 - 1993 Otto Pareroultja was the oldest of three brothers that Rex Battarbee referred to as the ‘breakaway group’. They were amongst the new generation to follow Albert Namatjira as the watercolour landscape artists at the Lutheran mission of Hermannsburg. Pareroultja was twelve years younger than Namatjira, and despite Battarbee’s initial preference for works by Otto’s younger brother Edwin, it is the elder brother’s work that has been consistently compared with that of Namatjira. Even in 1947, when he first began painting, there were those who inferred that Otto’s works resonated with that of European modernists such as Vincent van Gogh and Paul Gaugin in that his landscapes were distinguished by brilliant colour, dense patterning and ‘rhythmic pulsation’. While Albert Namatjira’s life has often been characterised by art historians as being ‘lived in two worlds’ - torn between the need for acceptance by his own Aranda people with the pressure of kinship obligations; and compelled by the imperative to act as if he were a white European citizen, Pareroultja’s life was not so marked by conflict. His art, however, does dwell in that space between Indigenous Australian, and European styles. Though Pareroultja never departed from the use of watercolour over the course of his artistic career, his style and subject matter became markedly ‘more Aboriginal’, and, with this gradual transition, much stronger. The sense of movement inherent in his paintings is reminiscent of Dreaming narratives. Anthropologist T.G.H. Stehlow and Battarbee both pointed out the connections between the swirling parallel lines and concentric circles of Otto’s paintings and the designs found on the sacred ‘tjuringa’ stones associated with men’s ceremonial life. It is this ‘traditional resonance’ in his painting that distinguishes Pareroultja from other artists of the Hermannsburg school. Landscape painting as taught at the Lutheran mission, and practiced by the majority of community painters, was rather a matter of ‘freeze-frame’; the landscape rendered static against the page. By comparison Pareroultja’s desert landscapes exhibit a distinct dynamic originality. The best of his works were painted late in a career which spanned twenty years. His paintings predominantly depict sacred sites - although at the time of Pareroultja’s painting they may not have been recognised as such outside of their community context. Dark areas are set against regions of prolific colour. The effect is that of concentrated working in defined regions of the canvas such as the ridges of a mountain, or the trunk of a tree. Pareroultja was not overly concerned with correct perspective in his landscape. Shade and scale resulted in paintings that can appear all detail and no depth, almost as if they were intended as the backdrop to a play. His forte was not artistic realism. While we have no indication that he aimed for this, the merit of a painting by Otto Pareroultja lies in the visual articulation of certain Indigenous elements, rendered through European technique. While Otto painted from 1947 onwards his work was largely overshadowed by that of Albert Namatjira until the early 1980’s when several of his works were included in important exhibitions. This led to his inclusion in the Great Australian Art Exhibition 1788-1988 at the Art Gallery of South Australia and marked the point at which a reassessment of his artistic legacy began. Over the years there has been some debate as to whether Pareroultja’s depiction of sacred ancestral knowledge was deliberate or unconscious. A more pertinent question might be whether the artist aimed to be political. The answer is probably no. Rex Battarbee, encouraged Pareroultja, like Namatjira and others, to paint things ‘as he saw them’, advice that seems to have been, in Pareroultja’s case, the catalyst for a break with tradition. The native Indigenous forms in the landscape seem simply an intrinsic part of the artist’s vision of his environment. As is often the case, painting truthfully generally makes for good art. ARTIST CV Market Analysis MARKET ANALYSIS The comparison between the paintings of Albert Namatjira and Otto Pareroultja in recent art criticism has raised Pareroultja’s profile as a key figure in ‘transitional’ Aboriginal art (that is art presenting both Indigenous Australian and European influences). The surge of interest since the late 1980s is imbued with certain politics. Both Pareroultja and Namatjira have been the subject of a ‘re-Aboriginalisation’. In 1986 Daniel Thomas, director of the Art Gallery of South Australia, initiated a project to posit Namatjira as an intermediary on the road to the emergence of the Papunya movement rather than the producer of anomalous kitsch, as he had been treated during the previous decade. Interest in this new perception of Namatjira also reflected on Pareroultja, who, in comparison would, more overtly, incorporate Aboriginal elements in his watercolours. The study rekindled an appreciation of the artistic merit in Namatjira’s work and this was reflected in rising market values for his, and concurrently, although not as dramatically, the works of Pareroultja. The average sale price of Otto's work has steadily increased at auction since the mid 1970s and his success rate at auction is now a very respectable 74%. This should considered high for an artist that has had over 517 works offered for sale over a very long period. Prices in the early eighties were generally under $100 but increased gradually to around $300 by the late 80s, and $750 in the late nineties. By 2002 the artist’s career average price was $1,500 and reached $2,800 in 2005 even when omitting the spectacular result achieved for a work in July 2003, which would have skewed the average significantly. In that year Sotheby’s sold Central Australian Landscape c. 1956 for $24,000, against an estimate of $7,000-10,000 at its July Sydney auction. Prior to this no work by Pareroultja had commanded more than $10,000 in the secondary market. However three years later, Central Australian Landscape 1950’s attracted $84,000, well above market estimates of $30,000-50,000 at Sotheby’s July sale in Melbourne (Lot 29). ‘A very similar looking painting’, was the wry remark in The Australian Art Market Report (2006/7:19). The two works are indeed similar. Like so many paintings in Pareroultja’s oeuvre, both of these works depict the white ghost gum. In fact, in the entire body of Pareroultja’s work, very few paintings vary from this theme; a uniformity that might appear obsessive, even farcical, to a non-Indigenous eye, until we realise that what is being painted are not actually trees, but rather spirits; or, should I say, the representational motif of a spirit. It is only in this light that the repetition begins to make more sense. Tim Strehlow observed that the ‘tiger like rings’ looping the trunks of the ghost gums were referential to the practice of painting black and white rings on the trunks of totem poles, an Aranda ritual. Although his top two prices have been for works painted in the 1950s, across his entire oeuvre there is little difference in price according to when the painting was created. Many works are undated and his style varied according to whim, as brightly coloured expressionistic works were painted in the same years as more subdued realistic versions. In general, the market has favoured the former with the subtler pale and the less complex imagery fetching lower prices. In 2007 no less than four of his top ten records were displaced by new results. These included the $48,000 paid for a 1960s Aranda landscape sold by Sotheby’s in July (Lot 68), which carried a presale estimate of $40,000-60,000. An estimate of this magnitude would have been unthinkable just two years earlier, such has been the growth of interest in the artist’s work. Another Central Australian Landscape sold at Joel Fine Art in June for $18,750 (Lot 61) and a lovely rendition of Haast’s Bluff snuck into the artist’s top results at number 11 when sold for $6000 against an estimate of just $1,500-1,800. The overall result of this highly successful year for the artist was that his average price rose from $1,836 to $2,187 per work, surely remarkable for an artist who has had so many works presented over more than three decades. In 2008 however his works were far less successful. Only nine of 17 works offered found a new home and his highest price was a poor $5,400. This lowered his career clearance rate from 81% to 79%. The upward trajectory seen previous to 2008 was regained in 2009 with all but one of the 16 works on offer finding a buyer, whilst setting new third, fifth, ninth and tenth records. The third and fifth record sales eclipsed expectations by a significant amount as exemplified by an image simply entitled Ghost Gums , which fetched $32,400 against a presale estimate of just $15,000-20,000. This gain was consolidated in 2010, amidst intense interest in the Hermannsburg water-colourists. Otto was the 12th most successful artist in 2011, hot on the heals of Albert Namatjira. This saw him become the 28th most successful artist of the movement, a status he continued to hold at the end of 2019. The one notable sale of 2017 was an uncharacteristic watercolour on wood panel, which more than tripled its high presale estimate of 3,000, ultimately selling for $9,660. But sales have flatlined since that time. 2019, for instance, was a disapointingyear. While 21 works sold of 26 offered the highest price achieved was just $3,480 incl BP at Eder Fine Art in Adelaide and his average price was just $1,122. Otto Pareroultja’s works have a strong appeal and his finest works should continue their steady growth in value over the next decade. We are, however, unlikely to see any but the very best achieve the dizzying heights of his two highest results. While his works are expected to steadily grow in value, recent sales are of concern. With records for sales going back to the mid 1970s it is remarkable that his success at auction has been as high as it is. Still, Otto Pareroultja was a most important Australian landscape painter who imbued his works with inherent spiritual presence. Amongst the artist's of the Hermannsburg school, his oeuvre is likely to remain second only to that of Albert Namatjira for a very long time 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 .