Artist Profile for Lindsay Bird Mpetyane < Back Lindsay Bird Mpetyane Lindsay Bird Mpetyane ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Lindsay Bird Mpetyane 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 Ursula Napangardi Marks < Back Ursula Napangardi Marks Ursula Napangardi Marks ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE URSULA NAPANGARDI MARKS - BUSH POTATO DREAMING SOLD AU$5,400.00 URSULA NAPANGARDI MARKS - BUSH POTATO DREAMING SOLD AU$5,400.00 URSULA NAPANGARDI MARKS - DANCING STICK DREAMING Sold AU$1,100.00 URSULA NAPANGARDI MARKS - BUSH POTATO DREAMING - YARLA JUKURRPA Sold AU$370.00 URSULA NAPANGARDI MARKS - BUSH POTATO DREAMING Sold AU$0.00 URSULA NAPANGARDI MARKS - BUSH POTATO DREAMING Sold AU$0.00 URSULA NAPANGARDI MARKS - BUSH POTATO DREAMING SOLD AU$5,400.00 URSULA NAPANGARDI MARKS - BUSH POTATO DREAMING SOLD AU$1,600.00 URSULA NAPANGARDI MARKS - BUSH POTATO DREAMING - YARLA JUKURRPA Sold AU$550.00 URSULA NAPANGARDI MARKS - BUSH POTATO DREAMING Sold AU$0.00 URSULA NAPANGARDI MARKS - BUSH POTATO DREAMING Sold AU$0.00 URSULA NAPANGARDI MARKS - BUSH POTATO DREAMING - YARLA JUKURRPA Sold AU$0.00 top Anchor 1 PROFILE Ursula Napangardi Marks 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 Queenie McKenzie (Nakarra) Formerly Oakes, or Mingmarriya < Back Queenie McKenzie (Nakarra) Formerly Oakes, or Mingmarriya Queenie McKenzie (Nakarra) 1915 – 16 November 1998 Formerly Oakes, or Mingmarriya ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE QUEENIE MCKENZIE - IDINDJIY SOLD AU$10,500.00 QUEENIE MCKENZIE - GOOWARA WARRA - MY CORROBORREE Sold AU$0.00 QUEENIE MCKENZIE - YIRRAGI COUNTRY Sold AU$0.00 QUEENIE NAKARRA MCKENZIE - THE THREE WISE MEN VISIT JESUS NEAR WARMUN Sold AU$0.00 QUEENIE MCKENZIE - IRAKI COUNTRY Sold AU$0.00 QUEENIE MCKENZIE - JESUS OVER TEXAS SOLD AU$7,500.00 QUEENIE MCKENZIE - GALYAH - TEXAS DOWNS Sold AU$0.00 QUEENIE NAKARRA MCKENZIE - DREAMING PLACES Ā€“ GIDJA COUNTRY Sold AU$0.00 QUEENIE MCKENZIE - TWO MOOK MOOK OWLS Sold AU$0.00 top Anchor 1 PROFILE Queenie McKenzie (Nakarra) 1915 – 16 November 1998 Queenie McKenzie was born c.1930 at the Old Texas station on the Ord River in the north west of Western Australia. As a child, her Aboriginal mother protected her from removal to an orphanage under the prevailing government policy that took Aboriginal children such as Queenie, who’s absent father was white. As a young girl she began her life of cooking for the stockmen, tending and riding horses, and journeying as they drove cattle across the vast pastoral region of the north. During these years Queenie befriended Rover Thomas who arrived at Old Texas looking for work when 14 years of age. Later, she liked to tell and paint the story of how she saved his life after a riding accident by washing his wounds and sewing him up with a darning needle. When distant political decisions forced Aboriginal workers to leave outback cattle stations, the Gidja people faced a difficult time of unemployment, dislocation, and impoverishment. During the seventies, the establishment of the Warmun community drew her tribe together once more and it became a cultural focal point within the Kimberley area, with Queenie playing a leading role in restoring her people’s culture and working toward a secure future. Involvement in community affairs led Queenie, by this time in her fifties, to experiment with representational art as an educational tool in the local school where she taught Gidja language and cultural traditions. The two-way education given at the school (Aboriginal and European style) contributed to a resurgence of cultural identity that strengthened the community. Besides helping to maintain ancient knowledge of sacred sites and the Dreaming mythology, it provided the young with a spiritual awareness and involvement in community ceremonies. Rover Thomas, who was receiving recognition and income from his painting by this time, encouraged Queenie’s first artistic experiments. The distinctive Kimberley style developed by Paddy Jaminji, Rover Thomas, and others spatially condensed the landscape into a profile view that draws relevant sites and events together into one visual field, with rivers or journeys often inserted from an overview. Queenie’s style embraced these elements and added figurative imagery to relate the stories of her life, her Dreaming and the historical events that constituted the living memory of the Gidja people. Mixing the traditional ochres herself, Queenie liked to create different colours, particularly soft pinks and purples, which became the recognizable hallmark of her style. Binding the ochres with bush gum provided a translucent and textured surface to her canvases. She became the first woman to gain prominence in the East Kimberley painting movement, inspiring other women to become involved and to embrace their 'women’s law business' of which she was a respected custodian. Queenie often related that she would lie in bed each night thinking of the story that she would paint the following day. 'Every night I sleep,' she once told me, ‘I think what I want to tell em'. She never hesitated when faced with a new canvas. Often she would recreate the country of her youth. Her birthplace and its geographical location in relation to Blackfella's Creek; the large termite mound that was small when she was a child but grew bigger and bigger throughout her life; the hills of Rosewood Station where she had worked as a cook for the Aboriginal stockmen; Old Texas Station where men would collect white quartz used for spear heads; Corella, Echidna, and Bowerbird Dreaming sites and many more. Her manner was always decisive and vigorous, reflecting her belief in the importance of maintaining her culture and recording its history. This included the brutal massacres of her people, long remembered in their oral history. In 1997, Germaine Greer’s (1997) public denunciation of the contemporary Aboriginal art movement was published just as Queenie’s exhibition opened in Sydney. Unexpectedly thrown into the limelight and called upon to respond, 84 year old Queenie did so with an air of genuine authority. Greer’s article and Queenie’s affronted response demanded attention from art critics, academics and collectors. The growing interest in and respect for the real-life artists of this emerging industry, like Queenie, forced these critics to reconcile their nostalgia for an untainted past with the ways in which Aboriginal art had changed as it interacted with the dominant culture and the global economy. While these paintings on canvas demonstrate a break from traditions they affirm an inevitable basis within those traditions and have fundamentally rekindled the heart and soul of fractured communities. At the same time, in the words of a leading critic, it has 'produced some of the most outstanding and original works in this country' (McDonald 1997). Throughout the mature phase of her career Queenie painted for a variety of people and galleries. Besides Waringarri Arts she painted for anyone who commissioned her works at the Pensioner Unit in the community until, in 1997, the council appointed Maxine Taylor to run the self-funded Warmun Traditional Artists. Tragically Queenie passed away just as the Warmun Art Centre was in its establishment phase in 1998. During this period the majority of her major works were commissioned by entrepreneurs who visited the community from time to time. In the last two years of her life she sat each day at her table beneath the art centre building, the only woman, and equal, amongst a group of old men who included Rover Thomas, Jack Britten, Hector Jandanay, Beerbee Mungnari, and Henry Wambini. Her best period as an artist was in the mid 1990’s while she was still strong. During the last two years of her life she painted less well as the sight from her tiny eyes began to fail. Her paintings became less controlled, yet even at this stage in her career she produced some wonderful paintings such as Three Sisters 1997 and Woolwoolji Springs 1997. One of Queenie’s best-known themes was the massacre at Mistake Creek. Three years after her death the National Museum of Australia purchased a particularly fine example from a Lawson~Menzies auction. The acquisition came shortly after Sir William Deane, then Governor General and former Chief Justice, had traveled to the site of the massacre and offered a public apology to the Aboriginal people for the incident and others like it, so re-igniting Australia’s ‘history wars’. The purchase generated further controversy, which resulted in the announcement that the painting would be stored indefinitely in the basement rather than be put on display as had been planned. Queenie earned worldwide acclaim with her distinct and influential artworks. In an interview towards the end of her life she reminded us that the only word she had ever learnt to read and write was her own name, as it was required to sign her paintings. Yet she was, in her lifetime and is still to this day, recognized as a spiritual and cultural icon, whose commitment to art has left an indelible impact on Australian history and culture. ARTIST CV Market Analysis MARKET ANALYSIS While it is possible that she made artworks earlier, the first recorded painting by Queenie McKenzie that has been offered at sale was a small, 60 x 80 cm untitled work created for Waringarri Arts in 1986, its first year of operation. Few works painted in the 1980s have come up for sale and these would have all been relatively small with simple imagery painted during brief visits to Kununurra or collected on visits to Warmun by Joel Smoker, the art coordinator at the time. Queenie only began painting larger works from the beginning of the 1990s and, as would be expected, the bigger the canvas and the more colourful and complex her works, the higher their prices when offered for sale (regardless of the source provenance). Deserving of her name, Queenie was an impressive, upright, and open person who took care with her preparation and could mix the four basic ochres into an array of up to 12 different colours. Her paintings have generally lasted in good condition over time (other than those in which the lime content of the white ochre has affected the adherence of her characteristic white dotted borders). The majority of her best results, including her eight highest, have been for large works produced between 1993 and 1996 with her record standing at the $102,000, paid for Power Places-Texas Downs Country 1996, a canvas measuring 163 x 202 cm sold at Lawson-Menzies in November 2007 (Lot 49). The most significant failure of a major painting occurred in 2008 when Limestone Hills Near Texas Downs 1994, a 120 x 180 cm work, remained unsold after having been offered by Lawson~Menzies with a presale estimate of $75,000 - 85,000. The work which was originally sold through the same auction house in May 2004, had been purchased for $94,750 (Lot 39). This still stands as the artist’s second highest result to date. Interest in Queenie’s work spiked in 2000 when 24 of the 27 works on offer sold. In fact, by the end of that year her career clearance rate was a phenomenal 92%. The success of these small works continued despite the clearance rate dropping to 75% by the end of 2006.  Between 2000 and 2006 the average price of her 60 x 90 cm works steadily rose from $7,188 to $10,714 while 90 x 120 cm works doubled on average from $13,150 to $25,200. Larger works also grew strongly in value with 120 x 150 cm works rising on average from $18,213 to $33,600. The values of her paintings have been on a slow decline since that time. Since they first appeared at auction in 1996, the total number of paintings presented have been considerable with 147 sold of the 240 offered. In spite of a very poor year in 2012 when only 3 of the 9 works on offer sold, she still has a very healthy 61% clearance rate. However her works on paper have not fared half as well.  Queenie's higher than average success rate of 73% during 2015 belied the fact that prices for her larger works have dropped in recent years and are at least 25% down on their former values. She remains a sought after artist, 2017 bringing a clearance rate of over 70%. Among the 11 works sold that year was Dreaming Places, a wonderful 200 x 160 cm work on canvas that posted the artists 5th highest result at $54,600 (sold through CooeeArt MarketPlace (lot 39)) The majority of Queenie McKenzie’s paintings are, however, small and remain affordable enough to grace the collection of those with limited financial resources who would like to own a work by the most important of all female Kimberley artists. Her larger works are harder to find, and they appear less frequently at auction. In the future they are sure to rise in value once more, as they are increasingly recognised as blue chip investments. 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 Agnes Napanangka Donnelly < Back Agnes Napanangka Donnelly Agnes Napanangka Donnelly ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Agnes Napanangka Donnelly 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 Paddy Japaljarri Sims < Back Paddy Japaljarri Sims Paddy Japaljarri Sims ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE PADDY JAPALJARRI SIMS - MILKY WAY DREAMING Sold AU$0.00 PADDY JAPALJARRI SIMS - MARLA JUKURRPA (ROCK WALLABY DREAMING) Sold AU$0.00 PADDY JAPALJARRI SIMS - YANJIRLPIRRI JUKURRPA (STAR DREAMING) Sold AU$0.00 PADDY JAPALJARRI SIMS - WITI JUKURRPA (CEREMONIAL POLES) - YANJIRLYPIRRI Sold AU$0.00 top Anchor 1 PROFILE Paddy Japaljarri Sims 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 Ngoia Pollard Napaljarri < Back Ngoia Pollard Napaljarri Ngoia Pollard Napaljarri 1948 ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Ngoia Pollard Napaljarri 1948 Born in Haasts Bluff c.1948, Ngoia Pollard went to school in Papunya and moved on to Kintore when she married Jack Tjampitjinpa. She began painting in 1997 and by 2004 had won the prestigous Advocate Central Australian Award, NT, and, two years later in 2006, the Telstra National Aboriginal & Torres Strait Islander Art Award in the painting category. Since then she has been firmly established as an important figure in the Aboroginal art world. Collections: Artbank, Sydney. National Australian Art Gallery, Canberra. Thomas Vroom Collection. Group Exhibitions: 2011 - Papunya Tula artists Community III, featuring the work of Jaqueline Nakamarra, Maureen Nakamarra, Winnie Nakamarra, Kawayi Nampitjinpa, Rosie Nampitjinpa, Yuyuya Nampitjinpa, Edith Namptjinpa, Kaylene Nangala, Nanu Nangala, Brenda Napaltjarri, Eileen Napaltjarri, Joy Napaltjarri, Leonie Napaltjarri, Monica Napaltjarri, Ngoia Napaltjarri, Payu Napaltjarri, Renata Napaltjarri, Takariya Napaltjarri, Kutungka Napanangka, Lorna Napanangka, Lorna Brown Napanangka, Bombatu Napangati, Nanyuma Napangati, Wintjilya Napltjarri, Josephine Napurrula, Lisa Napurrula, Ningura Napurrula, Rubilee Napurrula, Donna Nungurrayi, Pantjiya Nungurrayi, Ronnie Tjampitjinpa, Mervyn Tjangala, Adam Gibbs Tjapaltjarri, George Tjampu Tjapaltjarri, Hilary Tjapaltjarri, Joseph Jurra Tjapaltjarri, Sam Tjapanangka, Charlie Tjapangati, Kanya Tjapangati, Nyilyari Tjapangati, George Tjungurrayi, George Ward Tjungurrayi, Willy TJungurrayi, Johnny Yungut Tjupurrula at Utopia Art Sydney. 2011 - Parcours des Mondes, featuring the work of Abie Loy Kemarre, Crusoe Kurddal, Djambawa Marawili, Ngoia Napaltjarri, Walter Brown Napanangka, Dorothy Napangardi, Dennis Nona, Andrea Martin Nungarrayi, Alick Tipoti, Paddy Stewart Tjapaltjarri, Arts d'Australie, Stephane Jacob, Paris, France. 2010 - Papunya Tula Artists Community, featuring the work of Makinti Napanangka,Ronnie Tjampitjinpa, Kawayi Nampitjinpa, Ray James Tjangala,Jake Tjapaltjarri,Kutungka Napanangka,Patrick Tjungurrayi, Joey West Tjupurrula,Kim Napurrula,Yuyuya Nampitjinpa, Tatali Napurrula,Ningura Napurrula,Pantjiya Nungurrayi,Kayi Kayi Nampitjinpa,Josephine Nangala, Brenda Napaltjarri,Johnny Yungut Tjupurrula, Willy Tjungurrayi,Adam Gibbs Tjapaltjarri,Michael Reid Tjapanangka,Lorna Brown Napanangka,Naata Nungurrayi,Wintjiya Napaltjarra,George Tjungurrayi,Yalti Napangati,Elizabeth Marks Nakamarra,Rosie Nampitjinpa,Joseph Jurra Tjapaltjarri,Joseph Jurra Tjapaltjarri,Debra Nakamarra,Rubilee Napurrula,Valmayi Nampitjinpa,Wyntjiya Napaltjarri,Payu Napaltjarri,Nyilyari Tjapangati,Bombatu Napangati,Ngoia Napaltjarri,Josephine Napurrula,Yukultji Napangati,Takariya Napaltjarri,Eileen Napaltjarri,Lorna Napanangka,Leonie Napaltjarri,Nanyuma Napangati,Hazel Nakamarra, Utopia Art, Sydney. 2010 - Art Elysees, Arts d'Australie, Stephane Jacob, Paris, France. 2010 - Emerging Elders, National Gallery of Australia, Canberra. 2008 - Lineart, Arts d'Australie, Stephane Jacob, Gens, Belgium. 2008 - Parcours des Mondes, Artists displayed:, Ngoia Pollard Napaltjarri, John Wilson, Dorothy Napangardi, Abie Loy Kemarre, Julie Robinson Nangala, Peggy Rockman Napaljarri, Jimmy An.Gunguna, Bob Burrawal, Alice Nampitjinpa, Gloria Tamerre Petyarre, Arthur Tjatitjarra Robertson, Alick Tipoti, Nawurapu Wunungmurra, Dymphna Kerinauia, Immaculata Tipiloura, Pantjiya Nungurrayi, Roy Wiggan, Lena Nyadbi, Michael Boiyool Anning, Ken Thaiday, Dennis Nona, Sam Tjampitjin, Thomas Rice Jangala, Ningie Nangala, Eva Nargoodah, Boliny Wanambi, Milminya Dhamarrandji, Galuma Maymuru, Yuyuya Nampitjinpa, Josephine Napurrula, Judy Mengil, Susie Hunter Petyarre, Sarah Morton, Nandabitta, Paul Nabulumo Namarinjmak, Terry Ngamandara, Marina Mardilanj, Arts d Australie Stephane Jacob, Paris, France. 2006 - 23rd Telstra National Aboriginal & Torres Strait Islander Art Award, Museum and Art Gallery of the Northern Territory, Darwin; New works by Wentja Napaltjarri and Ngoia Pollard Napaltjarri, Neil Murphy Indigenous Art in Association with Watiyawanu Artists, Mt. Liebig present on exhibition at Depot II Gallery, Sydney. Awards: 2006 - Winner 23rd Telstra National Aboriginal & Torres Strait Islander Art Award, Museum and Art Gallery of the Northern Territory, Darwin. 2004 - Winner Advocate Central Australian Award, NT. 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 .

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 .