PADDINGTON ART PRIZE Art Leven - 17 Thurlow St, Redfern, Gadigal, NSW 2016 October 10 - October 20 2024 Viewing Room PADDINGTON ART PRIZE October 10 - October 20 2024 Art Leven - 17 Thurlow St, Redfern, Gadigal, NSW 2016

Artist Profile for Emily Pwerle < Back Emily Pwerle Emily Pwerle 1922 ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE EMILY PWERLE - AWELYE-ATNWENGERRP SOLD AU$6,600.00 EMILY PWERLE - AWELYE-ATNWENGERRP Sold AU$0.00 top Anchor 1 PROFILE Emily Pwerle 1922 Born c1922, Emily Pwerle is the younger sister of the famous late Minnie Pwerle. Now in her late 80's, she lives in the small settlement of Irrultja in Utopia. She began painting as late as 2004 when Barbara Weir, her older sister Minnie's daughter, organised a workshop for the women of the settlement. Exhibitions: 2019 - Landscape Colours, Japingka Gallery, Perth 2007 - "New Works from Utopia", Space Gallery, Pittsburgh, PA, USA 2007 - Annual group exhibition, APS Bendi Lango Art Exhibition with Rio Tinto, Fireworks Gallery, Brisbane, QLD 2007 - 'Treasures of the Spirit - Investing in Aboriginal Art', Tandanya Cultural Institute, Adelaide, SA 2007 - Group Exhibition, Australian Embassy, Washington, USA 2007 - 'Desert Diversity', Flinders Lane Gallery, Melbourne, VIC 2007 - Annual Group Exhibition 'Shalom', University of NSW, Shalom Department, Kensington, NSW 2007 - 'Utopia in New York' Robert Steele Gallery, New York. USA 2007 - 'Standing on Ceremony', Tandanya Cultural Institute, Adelaide, SA 2007 - Permanent exhibition, Dacou Adelaide, Port Adelaide, SA 2006/07 - Group exhibition, Fireworks Gallery, Brisbane, QLD 2006 - Group Exihibition, "The Pwerle Sisters', Artmob Gallery, Hobart, TAS 2006 - Group exhibition, APS Bendi Lango Art Exhibition, Rio Tinto Offices, Melbourne, VIC 2006 - Group Exhibition, 'The Pwerle Sisters,' Flinders Lane Gallery, Melbourne, VIC 2005 - Group exhibition, Gallery Savah, Sydney, NSW 2005 - Group exhibition, Mbantua Gallery, Alice Springs, NT 2005 - Permanent exhibition and collection, Dacou Australia, Rosewater, SA Collections: Mbantua Gallery Permanent Collection, Alice Springs Dacou Australia, Rosewater, SA. 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 Janet Nakamarra Long < Back Janet Nakamarra Long Janet Nakamarra Long ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Janet Nakamarra Long 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 Laurie Gowanulli < Back Laurie Gowanulli Laurie Gowanulli ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Laurie Gowanulli 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 .

TjungurrayiWilli Willie Ryder Tjungurrayi Willie Ryder Tjungurrayi 1930 Willie, Willie Gibson, Willie Ryder, Ngitjita Despite his reputation as a major figure in the Central Desert art movement, Willy Tjungurrayi did not move to Papunya from his birthplace, Patjanta, until his late 30’s, several years after Geoff Bardon had departed the community. He came in from the desert as part of a large group led by Charlie Tarawa and his camels, and was trucked across to Papunya with most of the other residents of Haasts Bluff when that community was disbanded. Willy Tjungurrayi only began painting for Papunya Tula in 1976 after returning from a trip to the Western Desert sponsored by the Australian Institute of Aboriginal studies. He moved during the 1970’s between a number of Western Desert communities including Yayayi, Waruwiya and Ilyilingi finally settling in Kintore where he lived from the early 1980’s until 2003. One of three brothers born of the same father of whom Yala Yala Gibbs is the eldest and George Ward is the youngest, Willy raised Joseph Jurra Tjapaltjarri while living at Kintore within this close family group. Here he continued painting the delicate classic Pintupi grids of interconnecting rondels and Dreaming tracks that dominated his works throughout much of the 1980’s and 1990’s. These early to mid career paintings are more cartographically detailed and ethnographically specific than those he produced from 2000 onward and have been noted to embody a vibrancy that makes the 'eye dance over glowing surfaces that appear to be in perpetual motion' (Neale 1994: 70). One such work with intricate interconnecting webs of Dreaming tacks is one of his earliest, Pulpayella, created in 1976. This and other early paintings depict the sites where large groups of men gathered in the formative period establishing the song cycles, ritual procedures and ceremonies that are considered secret and sacred amongst Pintupi men to this day. During the mid 1990’s, after having been exposed to Western culture for some time, Tjungurrayi began creating paintings that married individual artistic expression with ceremonial visual traditions. He, along with George Tjungurrayi, is often cited as an artist whose more recent works are ‘distinct poetic abstractions’ in which the meanings can differ or simply do not count (Petitjean 2000: 599). This is especially so of the seemingly abstracted visceral lines of works in which duo-chrome images on a black background exhibiting delicate colour transitions and thereby creating an hypnotic wavering rhythm across the canvas. Though these works still make reference to the Tingari ancestor’s travelling over vast stretches of country, the symbolism is far less tangible than in his earlier works. Hail Storm at Kaakurantintja 2002 tells of a large group of Tingari Men who travelled to this site in mythical times only to be killed by a fierce hailstorm. The painting, of oscillating linear white dots on a subdued ochre brown background, creates a textured surface evidencing a 'highly individual visual language used to convey his vision of the landscape through which the Tingari travelled' (Petitjean 2000: 599). Willy Tjungurrayi’s paintings have been exhibited and collected widely in Australia and overseas. While his 1980’s works have fallen out of favour along with those of many of his male counterparts in the Central and Eastern Deserts, his more individually distinct works of the last decade have played an important part in fuelling the growing market aesthetic for more abstracted contemporary Aboriginal painting. In 2000 he had his first solo exhibition at William Mora Galleries in Melbourne and in 2002 a second solo show with Gabrielle Pizzi. Since that time he has acted independently of Papunya Tula, painting only for the company when living in Kintore. On his frequent visits to Alice Springs he paints for a number of dealers most notably Tony Mason for whom his brother George Ward also works regularly. His recent success has been intimately connected to the spotlight placed on the output from the Papunya Tula artists following the exhibition and catalogue Papunya Tula: Genesis and Genius at the Art Gallery of New South Wales, as well as the number of galleries that currently access his work through a variety of other sources. Despite a career spanning 30 years, Willy Tjungurrayi’s works have not faired well on the secondary market. He has been a prolific painter during the last decade and the availability of his works in the primary market has definitely adversely affected his auction prices and clearance rate. Despite his towering presence in the primary market during the last decade, his success rate at auction is a lowly 42%. Interestingly, the book Papunya Tula - Genius and Genesis published in 2000, which is held largely responsible for the recent succuss of Papunya Tula art in the market, featured only one work by this artist along with several large men’s works on which he collaborated. His one solo work was a large Tingari image painted in his mid 1980s style that today seems dated in comparison to his later works. The omission of more recent work was clearly due to the fact that by this time the artist was already painting for a number of independent dealers in Alice Springs, most notably Chris Simon (Yanda Art) and Tony Mason, for whom many of his best works of this later period were painted. Despite this there is little doubt that Papunya Tula provenanced works will continue to sell for a premium in the short to medium term, as evidenced by his highest recorded price to date. Hail-Storm at Kaakuratintja 2002, sold in 2005 for $59,250. However this work was large (153 x 183 cm) in comparison to his stylistically similar painting Tingari Cycle, 2002, 122 x 122 cm, which had been created for one of the independent dealers in Alice Springs that sold for $26,400 at Lawson Menzies in 2004. This painting was estimated at just $7,000-$9,000 yet the numerous bidders, in what seems to be an increasing trend, clearly valued the quality of the painting over its inferior provenance. There has been a clear preference for paintings produced since 2000, along with those created prior to 1982. While 12 of the 18 works offered between 2001 and 2004 sold for a clearance rate of 66% his clearance between 2005 and 2008 dropped to 42% with only 22 of 52 works finding new homes. In 2008 alone, with only three works selling of the 10 presented at sale, his career success rate fell by 2% to just 48% despite the fact that his career average price went up slightly. It did so on the back of the sale of two works that both sold for $14,400. Interestingly, the larger measured 122.5 x 182.5 cm and carried Papunya Tula provenance while the smaller 102 x 112 cm work had been originally sold through Hank Ebes’ Aboriginal Gallery of Dreamings in Melbourne who had purchased it from Chris Simon. The tighter, more formulaic work was typical of his paintings for Papunya Tula in the late 1990s while the larger freer work exhibited the more expressive style of his post 2004 paintings. 2009 had some strong sales, though only three of seven sold, all three reached impressive figures, at their highest $48,000 for Tingari Painting. Few major works have been presented since. In 2015 for instance 5 of the 8 works on offer sold , but there was not a major painting amongst them and his highest price recorded for the year was just $2,300. Of the 20 works that went to auction between 2016 and 2017, only 6 sold. The only notable sale in this time was the 181 x 151 cm Kaakuratintja (Lake Macdonald), 2003, which sold for $18,300 in the sale of works from the prominent American Luzco Family Collection through Deutscher and Hackett – the work had PT provenance. During the last five years Willy Tjungurrayi has produced a number of masterpieces both for Papunya Tula and for independent dealers. There is no doubt whatsoever that his works are equally good regardless of the dealers he works with. Non-Papunya Tula paintings sell in the primary market for prices equal to, or better than, his best results so far at auction and it is likely that a number of these will be considered his masterworks in the future. I would expect original source provenance to become less important than the impact and quality of the painting itself, as time progresses. 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 Mary Napangardi Gallagher < Back Mary Napangardi Gallagher Mary Napangardi Gallagher ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE MARY NAPANGARDI GALLAGHER - MINA MINA JUKURRPA (MINA MINA DREAMING) - NG ... Sold AU$0.00 top Anchor 1 PROFILE Mary Napangardi Gallagher 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 Langaliki Lewis < Back Langaliki Lewis Langaliki Lewis ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE LANGALIKI LEWIS - NGAYUKU NGURA SOLD AU$3,200.00 LANGALIKI LEWIS - NGAYUKU NGURA SOLD AU$700.00 top Anchor 1 PROFILE Langaliki Lewis 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 .

TjakamarraLong Long Jack Phillipus Tjakamarra Long Jack Phillipus Tjakamarra 1932 - 2020 Phillipus, Longjack Phillipus, Jack Phillipus, Jack Jangangjukrba A tall man, of ‘fine bearing’ as art teacher Geoff Bardon described him, Long Jack Phillipus was one of Bardon’s original group of ‘painting men’. Born at the important Rain Dreaming site of Kalipinypa, north-east of Kintore, he grew up in the bush and ‘came in’ with other family members to Haasts Bluff as a teenager in the late 1950’s after the death of his mother. He worked as a stockman and later, when he settled at Papunya, as a school yardsman and community councilor. He was competent in his dealings with white people and always a productive worker but also knew a lot about Aboriginal law and loved to ‘go bush’ on hunting expeditions at any opportunity. His reflective nature prompted his interest in Christianity and possibly protected him from the ravages of alcohol that beset many of his hard-drinking friends. In 1984, finding Christianity quite compatible with his traditional spiritual beliefs, he became ordained as a Lutheran pastor. He was always alert to the conflicts that swept through the Papunya settlement where four tribal groups from a huge desert area had been re-settled with their resulting difficulties in adjusting to a European lifestyle. Long Jack Phillipus was an instrumental member of the group involved in creating the famous mural that marked the beginning of the contemporary Western Desert art movement. He participated in the secret discussions amongst the senior law men and later told Bardon that the Honey Ant design was a gift, ‘given to the white man’s school’ by ceremonial leaders of the Aboriginal people. As school yardsman, Long Jack Phillipus prepared the walls with cement rendering and coats of white primer and then later assisted Kaapa Tjampitjinpa and Billy Stockman Tjapaltjarri in the mural painting itself. Amongst the enthusiastic group that began to paint regularly at the back of the school art room, Long Jack’s work was some of the first to sell in Alice Springs, spurring the other men on in their efforts and commitment. Long Jack shared close ties over Kalipinypa with ‘Old’ Walter Tjampitjinpa and Johnny Warangkula and was the owner of the principal Possum Dreaming site in the Gibson Desert, Ngamarunya, which featured strongly as a subject of his art. His painting style appealed to the public with its symmetrical balance and stylised figurative elements. While he leaned towards a softer, slightly more decorative approach, by using the traditional earth colours in more harmonious ways than a number of the other men, he still achieved the striking effects that first grabbed the attention of the Australian art world during the early years of the art movement. A change of government in 1972 brought in a new era of interest and funding for cultural activities throughout Australia, resulting in the establishment of the Australia Council for the Arts and its Aboriginal Arts Board. Long Jack, who had lived in Papunya since 1962, was part of a delegation of Papunya artists who went to Sydney to provide advice and support on new policies that encouraged self-determination amongst Aboriginal communities. The participants were conscious of themselves as part of an ‘art movement’, the force of their communal creativity generating a positive influence individually but even more importantly, upon their wider cultural identity. When criticism appeared in the media, the group prepared a reply: “We are not ‘ turning our heritage into cash’ -we want the whole world to know of our culture,’ they claimed. ‘We keep our ‘sacred heritage’ for ourselves, for our ceremonies and for our children’… The paintings show our stories but only non-sacred stories. The designs we use are the designs we have always used’ (Johnson 2000: 188). The process of refining the contemporary style had not proceeded without controversy. Bardon had encouraged the men to paint children’s stories after conflict had arisen between tribal groups regarding secret sacred material being revealed to the art buying public. Because of the discord that often prevailed at Papunya, lives could be put in danger if tribal law was infringed. The simple intelligibility of these introductory stories brought different backgrounds and interests together in a straightforward relationship between mark and message. Sacred references were disguised or abstracted so that an uninitiated viewer could not decipher them. Long Jack helped Bardon to comprehend the important issue of tribal and personal custody of Dreamings. He also took a lead in stepping away from problematic subjects with his paintings of the Kadaitcha Dreaming 1972, the feared and invisible spirit who punishes wayward children, and many Water Dreamings which tell of the wondrous, life-giving effects of rain in the desert. During the early 1970’s Long Jack served on the Aboriginal Arts Board of the Australia Council and created some of Papunya Tula’s largest early canvases for the board’s overseas exhibition program. Although he was awarded first prize in the Northern Territory Golden Jubilee Art Award in 1983 and took out first prize in the Alice Art award the following year, Long Jack found it difficult to make the transition during the late 1980’s and 1990’s to an equally appealing esthetic minimalism as a number of his contemporaries. While he continued painting for Papuya Tula for many years, he was instrumental along with Paddy Carroll Tjungurrayi, William Sandy, Dinny Nolan Tjampitjimpa and others in supporting the Papunya Community Council when it established Warumpi Arts as an alternative support organization and retail outlet for artists continuing to live in the Papunya Community. Warumpi Arts operated a gallery in Alice Springs throughout the 1990’s and Long Jack’s works were regularly featured there. It is likely that his defection from Papunya Tula was born of his frustration at seeing the work of a number of his contemporaries as well as that of other, younger and emerging artists sell more regularly and at higher prices than his own. Nevertheless, his paintings produced for Papunya Tula are undoubtedly his best works and it was principally through his association with the company that he regularly participated in important landmark exhibitions throughout the 1980’s and early 1990’s including The Face of the Centre, Mythscapes, and Power of the Land, all curated by the National Gallery of Victoria. His early works are represented in many impressive and important collections and will always demand the greatest attention. While he continued to paint throughout the 1990’s and beyond, Long Jack Phillipus will be remembered principally for his leading role during the emergence of the movement. His late career works have been less popular than those produced during the 1980’s yet they enabled Long Jack to provide a steady source of financial support and encouragement to his large and extended family. As a formative member of the Desert art movement who began painting as early as 1970, you would expect the early boards created by Long Jack Phillipus to be highly prized by collectors. Yet his best results are relatively modest compared to those of many of his contemporaries from the early Papunya period. While two of his best three results for these were set as long ago as 1998, a 1972 board sold in 2018 for $70,760 is his 2nd highest reord and another sold in 2016 is his 4th. Deutscher Menzies began holding specialist Aboriginal art sales in 1999. They were, in part, emboldened by records set for Long Jack in their April and August 1998 Australian painting sales. While the $90,500 record set for Kangaroo Story 1971 in April and the $63,000 for Children's Kadaitcha Dreaming 1972 in August 1998 seem modest by today’s standards, they were very impressive results at the time. They stood in fact as the 11th and 21st highest prices ever achieved for any Aboriginal paintings at the end of 1998. In June of the following year Possum Man and Possum Woman Travelling c.1973 from the collection of Faye and Gordon Nelson was offered for sale, again through Deutscher Menzies (Lot 56). This very large work on board measuring 122.5 x 93 cm only just achieved its low presale estimate of $50,000 when sold for $52,900. The artist's two highest records helped make 1999 the artist’s highest grossing year with total sales of $226,410. It was not until 2006 that his paintings did as well in the secondary market. In the intervening six years his clearance rate was a very poor 50% with 17 works of 34 offered selling for a total during the period of just $185,551. However, while total sales were low at just $67,317 in 2006, nine sold out of ten offered thereby vastly improving his overall success rate at auction. This improvement continued in 2007 when nine works were offered and, though only five sold, Hunting 1971 went for $38,400 achieving his fifth highest result at the time and Water Dreaming at Kalipinypa 1974, a mammoth 197 x 171 cm canvas, achieved his sixth highest at $36,000. Both were offered in Sotheby’s July sale (Lots 43 and 46). However, 2008 was a different story altogether. With only three works on offer, the failure of the only major work, a 60.5 x 51 cm early board with a Stuart Art Centre consignment number, left his sales for the year at just $5,246 thereby resulting in his rank amongst all artists of the movement dropping from 39th to 42nd. 2009 did bring modest improvement, with five of seven offered selling, two with prices about the $20,000 mark. This was not enough to improve his overall ranking as other artists fared better and consigned Long Jack to 47th by the beginning of the new decade. His reverse trajectory continued in 2010 when all three works offered failed at auction. By 2011 he was consigned to 48th place amongst the most successful artist of the movement. Few works have been offered since and by the start of 2020 he remained at 47th in the annuls of the movement. Looking at all of the works that have been offered for sale since they first appeared in 1994 provides a very salutary lesson for those with a poor grasp of the market. Overall 33 of the 34 paintings that sold for more than $10,000 were works produced between 1971 and 1974, the only exception being an uninspiring untitled work produced in 1983 for Papunya Tula measuring 150.5 x 90 cm. This surprisingly sold for $14,340 against a presale estimate of $8,000-12,000 at Christies in August 2005 (Lot 7). Yet the point is made. The market has shown supreme disinterest in Long Jack’s more stilted and iconographic 1980s and 1990s works and even amongst his early to mid 1970s paintings many have failed to excite serious collectors. Long Jack Phillipus deserves recognition as a formative influence amongst the Desert painters at Papunya. Although relatively prolific throughout a painting career that has lasted well beyond three decades his most desirable works are limited, and only rarely appear for sale. I would expect these to fluctuate in value in line with the market. Unless some really spectacular early paintings are unearthed, as occured in 2012, his record prices are likely to remain unchallenged despite having been set more than a decade ago. That is unless these same works appear once more at auction some time in the future. His later works fail to satisfy and have missed the market aesthetic which has driven sales of Papunya men’s art throughout the 1990s and into the new millennium. These are unlikely to value significantly and are better avoided by collectors more concerned about the value of their investment than their attraction to the work itself. 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

SurpriseWakar Wakartu Cory Surprise Wakartu Cory Surprise 1929 Cory Surprise was born in 1929 in the Fitzroy Crossing region of the Kimberley, NT. 'I first started painting at Karrayili Adult Education Centre in the early eighties. We told our stories through painting and learned to speak to kartiya [European person]. I also did painting at Bayulu community near Fitzroy Crossing. That’s how I told my story to kartiya. We worked on paper then, not canvas or board.' 'When I paint, I think about my country. I paint from here [head] and here [breasts, collarbone and shoulder blades a reference to body painting]. I think about my people, the old people and what they told me and Jumangkarni [Dreamtime]. When I paint I am thinking about law from a long time ago. Nobody taught me how to paint, I put down my own ideas. I saw these places for myself, I went there with the old people. I paint jilji [sandhills], jumu [soak water], jila [permanent waterhole], jiwari [rock hole], pamarr [hills and rock country], I think about mangarri [vegetable food] and kuyu [game] from my country and when I was there." Wakartu Cory Surprise' Collections: Aboriginal Art Museum, The Netherlands. Art Gallery of New South Wales, Sydney. Charles Darwin University Collection, Darwin. HBL Collection, Melbourne. Laverty Collection, Sydney. National Gallery of Australia, Canberra. National Gallery of Victoria, Melbourne. Solo Exhibitions: 2007 - Wakartu Cory Surprise at Silvershot Gallery, Raft Artspace in Melbourne 2006 - New works by Wakartu Cory Surprise, Raft Artspace, Darwin. 2006 - Wakartu Cory Surprise, by Raft Artspace & Mangkaja Arts at Silvershot gallery Melbourne. 2005 - Cory and Friends, Red Dot Gallery, Singapore. 2004 - Wakartu Cory Surprise, Boutwell Draper Gallery, Sydney. Group Exhibitions: 2015 - Indigenous Art: Moving Backwards into the Future, National Gallery of Victoria, Melbourne. 2013 - My Country, I Still Call Australia Home: Contemporary Art from Black Australia, Gallery of Modern Art, Brisbane. 2012 - Mangkaja - works on paper, Short Street Gallery, Broome, WA. 2010 - Yiwarra Kuju, Canning Stock Route Exhibition, National Museum of Australia, Canberra, ACT 2010 - Four Desert Women, Short St Gallery, Broome, WA 2009 - : Mangkaja Artists 60x60 Randell Lane Fine Art, WA. 2009 - : Sharing Difference on Common Ground Holmes a Court Gallery, Perth, WA. 2009 - : 26th Telstra National Aboriginal and Torres Strait Islander Art Award Museum and Art Gallery Northern Territory, Darwin. 2009 - : Wakartu Cory Surprise Alison Kelly Gallery, Melbourne. 2009 - : Celebrating Country: Kinship and Culture Seymour College, Glen Osmond, SA. 2009 - : Shalom Gamarada Caspary Conference Centre, University of NSW, Sydney. 2009 - : Western Australian Indigenous Art Award Art Gallery of Western Australia, Perth, WA. 2009 - Sitting Down with Sitting down with Jukuja & Wakartu Raft Art Space, Darwin, NT. 2009 - : Senior Artists from Fitzroy Crossing, Suzanne O’Connell Gallery, Brisbane. 2008 - The Other Thing: a survey show Charles Darwin University Art Collection, NT 2008 - Mangkaja Arts A P Bond Art Dealer, Adelaide, SA 2008 - Marnintu Maparnana, Women Painting , ReDot Gallery, Singapore 2008 - The Canning Stock Route Project Beijing International Olympic Committee Expo, China 2008 - Shalom Gamarad Caspary Conference Centre, University of NSW, Sydney 2008 - Mangkaja Artists WA Randell Lane Fine Art, Perth, WA 2008 - 25th Telstra National Aboriginal and Torres StraitIslander Art Award Museum and Art Gallery Northern Territory, Darwin 2008 - Divas of the Desert Gallery Gondwana, Sydney, NSW 2008 - Waterholes and Bush Tucker Bridget McDonnell Hampton Gallery, Melbourne 2008 - Women On Country Suzanne O’Connell Gallery, Brisbane 2008 - Bendi Lango The Indigenous Scholarship Fund, Sydney and Fireworks Gallery, Brisbane. 2007 - Women Artists of Fitzroy Crossing Raft Artspace Darwin. 2006 - Mona Chugana and Cory Surprise Short St Gallery, Broome; Depth and Divergence, Cullity Gallery, UWA. Perth. 2005 - Cory and Friends Red Dot Gallery, Singapore; Too much good work Raft Artspace, Darwin NT; Mangkaja Group Show Raft Artspace, Darwin NT; Colourfields Gallery Gondwana, Alice Springs, NT; Too much good work, Raft Artspace, Darwin. 2004 - This is Still My Country, Artplace, Perth 10 years on Perth International Arts Festival; Ngurrara Canvas Perth Concert Hall, Perth International Arts Festival; Wakartu Cory Surprise & Widjee Henry Short Street Gallery, Broome; Over the Top, Frementle Art Centre, Perth; 2003 - Mangkaja Women Raft Artspace, Darwin; Jila, Jumu, Jiwari and Wirrkuja University of Western Australia; Fitzroy Fusions Raft Artspace, Darwin. 2002 - Group Show Flinders Lane Gallery, Melbourne. 2001 - Ngurrara Canvas National Gallery of Australia, Canberra, ACT; Mangkaja Arts Ten Years On Mangkaja’s 10 year Anniversary Show Tandanya, Adelaide. 1995 - The Twelfth National Aboriginal Art Award, Museum and Art Gallery of the Northern Territory, Darwin. 1994 - Yiribana Art Gallery of New South Wales, Sydney. 1993 - Mangkaja Artists, Hogarth Galleries, NSW; Australian Heritage Commission National Aboriginal and Torres Strait Islander Art Award Exhibition, Old Parliament House, Canberra.; Images of Power, Aboriginal Art of the Kimberley, National Gallery of Victoria, Melbourne. 1992 - Gallery Gabrielle Pizzi, Melbourne; Broome Fringe Festival, Broome. 1991 - Karrayili: Ten years on, Tandanya SA ; Aboriginal Women's Exhibition, Art Gallery of New South Wales, Sydney; Awards: 2010 - winner of the $50,000 Western Australian Indigenous Art Award. 2009 - winner of the $10,000 Western Australian Indigenous Artist Award. 1997 - winner of the Telstra Work on Paper Award, Telstra Art Award, Museum and Art Gallery of the Northern Territory, NT. Bibliography: Heathcote, Christopher, 'Great tribal masters', The Age, 3 March 1993, p. 14; Ryan, J., 1993, Images of Power, Aboriginal Art of the Kimberley, exhib, cat., National Gallery of Victoria, Melbourne. ; Karrayili exhib. cat. Mangkaja Arts Resource Agency, 1991. ; Neale, M., 1994, Yiribana, exhib. cat., Art Gallery of New South Wales, Sydney. (C) ; 1991, Aboriginal Women's Exhibition, exhib. cat., Art Gallery of New South Wales, Sydney. See market performance. Explore our artworks See some of our featured artworks below ANGELINA PWERLE NGAL - UNTITLED ( BUSH RAISIN MAN) Price AU$3,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Out of stock LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Price From AU$13,500.00 BRONWYN BANCROFT - UNTITLED Out of stock JOSHUA BONSON - SKIN: A CELEBRATION OF CULTURE Price AU$8,500.00 BOOK - KONSTANTINA - GADIGAL NGURA Price From AU$99.00 FREDDIE TIMMS - MOONLIGHT VALLEY Price AU$35,000.00 NEIL ERNEST TOMKINS - BURN THERE, DON'T BURN THERE Price AU$7,000.00 SHOP NOW

RaberabaHerbe Herbert Raberaba Herbert Raberaba 1921 - 1980 Herbert Raberaba’s watercolours drew attention for their subtle colouring and attentive rendering of the changing light across the rocky outcrops and tree-filled gorges around the mission town of Hermannsberg. Albert Namatjira had encouraged both Herbert and his brother Henoch, (who were both his tribal brothers), showing their work to his painting mentor Rex Battarbee. Battarbee was impressed, commenting that the Raberaba brothers had now found now their true work in life. Henoch had only just returned from trying his hand as a stockman, a tough and demanding life, often requiring long periods distant from family and friends. Life for the Arrernte people was cruel and difficult since the coming of European settlers to the Australian centre. Pastoralists and gold seekers had flooded into the region, including the small town of Stuart (that later became Alice Springs). The Aboriginal people were excluded from their traditional lands and were ravaged by sickness and starvation. Often they were reduced to begging beside the newly constructed railway from Adelaide. Miraculously, painting had opened a channel for both survival and wider attention. This was mostly due to the genius of Albert Namatjira, followed soon after by his fellow Arrernte watercolour painters. A gentle and sensitive approach to his subject made Herbert popular with passing tourists who were keen to buy directly from the artist. Herbert divided the regular sized format (30 x 40 inch) into half size. This was popular with bus travellers and Herbert was obligingly prolific as he honed his skills and responded to requests. As word spread however, this arrangement was soon disrupted, though never entirely, by the Hermannsberg Mission’s Art Advisory Council who insisted upon the regularity of saving a wage that could support a family in the European manner. The artists, they complained, spent their money immediately, often siphoned off by relatives who had done none of the work involved. Tension ensued. In 1951, Rex and Bernice Battarbee took over the art management roles and established the Aranda Arts Council. It paid its artists a weekly wage. Herbert Raberaba was amongst this initial group. He was now recognized as a professional artist and though he never achieved the fame and prices that Namatjira was receiving by then, he was included in nation-wide exhibitions that drew national attention to Aboriginal art as well as their living plight. Though disagreements about payment were never fully resolved, other issues came to the fore as mid-century art critics argued publicly over the emerging Hermannsberg watercolourists. Some suggested that the mastery of European style technique was simply a demonstration of the success of assimilationist government policies and not what might be considered authentic. Others (of more modern bent) recognised a skill and sensibility that was unique, challenging popular stereotypes and affirming the taste of discerning art lovers. As Alison French has written in her revision of the genre, these artists created a uniquely Australian alternative to the inherited and largely unsuited pastoral vision of landscape. The artists were crafting in visual form a deeply felt knowledge and love of their own Country, akin to the personal feeling for one’s own body. They had absorbed introduced techniques and materials but imbued them with their own relationship to the land, peeling away the layers of habitual landscape appreciation. They demonstrated a closeness and feeling for the land that many European newcomers responded to with interest and enthusiasm. The Hermannsberg School continues to develop and evolve today, with Herbert Raberaba revered still as one of its originating members. Profile author: Sophie Pierce A detailed market analysis will be available shortly. Explore our artworks See some of our featured artworks below ANGELINA PWERLE NGAL - UNTITLED ( BUSH RAISIN MAN) Price AU$3,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Out of stock LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Price From AU$13,500.00 BRONWYN BANCROFT - UNTITLED Out of stock JOSHUA BONSON - SKIN: A CELEBRATION OF CULTURE Price AU$8,500.00 BOOK - KONSTANTINA - GADIGAL NGURA Price From AU$99.00 FREDDIE TIMMS - MOONLIGHT VALLEY Price AU$35,000.00 NEIL ERNEST TOMKINS - BURN THERE, DON'T BURN THERE Price AU$7,000.00 SHOP NOW

Artist Profile for England Bangala < Back England Bangala England Bangala ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE ENGLAND BANGALA - WANGARRA SOLD AU$800.00 ENGLAND BANGALA - FISH TRAP SOLD AU$480.00 ENGLAND BANGALA - PANDANUS MAT DREAMING SOLD AU$480.00 ENGLAND BANGALA - PANDANUS MAT DREAMING SOLD AU$480.00 top Anchor 1 PROFILE England Bangala 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 Henry Wambiny < Back Henry Wambiny Henry Wambiny ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE HENRY WAMBINY - MAWANJI SPRINGS SOLD AU$12,000.00 HENRY WAMBINY - HILLS OF TICKALARA SOLD AU$2,500.00 top Anchor 1 PROFILE Henry Wambiny 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 .