Artist Profile for Biddy Long Nungurrayi < Back Biddy Long Nungurrayi Biddy Long Nungurrayi ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE BIDDY LONG NUNGURRAYI - SUGAR BAG SOLD AU$250.00 BIDDY LONG NUNGURRAYI - BUSH VINE DREAMING Sold AU$150.00 top Anchor 1 PROFILE Biddy Long Nungurrayi ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

Artist Profile for Jean Baptiste Apuatimi < Back Jean Baptiste Apuatimi Jean Baptiste Apuatimi ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Jean Baptiste Apuatimi 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 Eleazer Nangukwirrk < Back Eleazer Nangukwirrk Eleazer Nangukwirrk ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE ELEAZER NANGUKWIRRK - WAK WAK SOLD AU$1,600.00 ELEAZER NANGUKWIRRK - MIMIH SPIRIT SOLD AU$925.00 top Anchor 1 PROFILE Eleazer Nangukwirrk 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 Timothy Cook < Back Timothy Cook Timothy Cook 1958 Region: Bathurst & Melville Islands Community: Milikapiti Outstation: Goose Creek Language: Tiwi Art Centre: Jilamara Arts & Craft ARTIST PROFILE ARTIST CV MARKET ANALYSIS In his distinctively clear and striking style, Timothy Cook loves to work with the ‘old designs’, transposing the exuberant culture of his Tiwi tradition into the contemporary art-space. READ FULL ARTIST PROFILE TIMOTHY COOK - TRADITIONAL TIWI MOTIF VI Sold AU$0.00 TIMOTHY COOK - UNTITLED (TUTINI AND TUNGA) Sold AU$0.00 top Anchor 1 PROFILE Timothy Cook 1958 Region: Bathurst & Melville Islands Community: Milikapiti Outstation: Goose Creek Language: Tiwi Art Centre: Jilamara Arts & Craft In his distinctively clear and striking style, Timothy Cook loves to work with the ‘old designs’, transposing the exuberant culture of his Tiwi tradition into the contemporary art-space. He works at Milikapiti on Melville island, north of Darwin and has been exhibiting his paintings and prints since the late 1990’s. During this time and with other artists from the Jilamara Arts and Crafts Association, he visited the ‘Mountford Barks’ in the Adelaide Museum. This historic collection was instrumental in Cook’s revisioning of the past, creating an artistic response in keeping with both ancient traditions and modern practises. In 2012, after being included as a finalist for many years, Cook won the prestigious NATSI Art Award and since then has gone on to receive much acclaim. Cook’s early career collaboration with professional printmakers who ran workshops on Melville Island, encouraged his eye for bold design. His experimentation with composition fed into larger painting works which always have an engaging clarity. Many of Cook’s painting refer to Kulama, the Tiwi ceremony of the wild yam harvest. Kulama also is a time of initiation. Three days of body painting, singing and dancing, welcome the boys into manhood and gives them their adult name. The whole community joins in and because it is the end of the wet season (March/April), the Tiwi Islands are burgeoning with new life. During this time, a ring appears around the moon (Japarra). This circle often features centrally in Cook’s paintings and reflects the circular dances of ceremony as well as corresponding body painting designs. Cross motifs signify a spirit place of significance, while smaller dots and circles are yams and or stars (japalinga). With crushed charcoal providing dark base areas, vivid natural ochres of red, white and yellow stand out in a vibrant symmetry of dots. While his design is precise, Cook’s painting method is gestural and unhesitatingly, reflecting the power behind an ancient but still living tradition. The Pukumani (funeral) ceremony and the myths of Purukapali, the Tiwi ancestral figure who first brought death into the world, are also central Tiwi themes. The valuing of aesthetic ingenuity and innovation has long been a part of their object making around mourning rituals. The rich artistic legacy of the Tiwi Islands has played a key role in the recognition and ongoing evolving of Aboriginal Art. Timothy Cook’s place in this story is attested to by his inclusion in Australia’s national galleries and increasingly, international collections. Isaacs, Jennifer, Tiwi: Art, History, Culture, Melbourne University Press, 2012 Rey, Una, MCA Collection Handbook, mca.com.au/artists " ARTIST CV Selected Collections : Aboriginal Art Museum, The Netherlands. Artbank Collection, Sydney. Art Gallery of NSW. Laverty Collection, Sydney. Museum and Art Gallery of the Northern Territory, Canberra. National Gallery of Australia. The National Gallery of Victoria. Queensland Art Gallery, Brisbane. Selected Solo Exhibition: 2019 - Vivien Anderson Gallery, Melbourne VIC 2018 - Yingarti Japarra (All the moons), Aboriginal and Pacific Art Gallery, Sydney, NSW 2016 - Full Moon, Luc Nerthier Galerie, Paris 2015 - Dancing With the Moon, Seva Frangos Art, Perth 2014 - Timothy Cook, Aboriginal & Pacific Art Gallery, Sydney 2013 - Timothy Cook, Seva Frangos Art, Perth 2012 - Timothy Cook , New Works, Aboriginal & Pacific Art Gallery, Sydney 2011 - Timothy Cook, Seva Frangos Art, Perth 2010 - New works by Timothy Cook, Aboriginal and Pacific Art Gallery, Sydney 2008 - Timothy Cook New Paintings, Aboriginal & Pacific Art Gallery, Sydney 2005 - Tartuwali apapirraya (the shark goes south), Aboriginal & Pacific Art Gallery, Sydney 2008 - Timothy Cook, Seva Frangos Gallery, Perth 2004 - Tarduwuli come to George Street, Aboriginal & Pacific Art Gallery, Sydney 2003 - Aboriginal & Pacific Art Gallery, Sydney. 2002 - Aboriginal & Pacific Art Gallery, Sydney. Selected Group Exhibitions: 2023 - Sir John Sulman Prize, Art Gallery of New South Wales, Sydney, finalists exhibition 2023 - Bayside Acquisitive Art Prize, Bayside Arts & Cultural Centre, Melbourne, finalists exhibition 2022 - National Works on Paper, Mornington Peninsula Regional Art Gallery, Mornington, VIC, finalists exhibition 2022 - The Blake Prize, Casula Powerhouse Arts Centre, Sydney, finalists exhibition 2021 - Telstra National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery Northern Territory, Darwin, finalists exhibition 2020 - TIWI, Ian Potter Centre National Gallery of Victoria, Melbourne. 2020 - Wynne Prize, Art Gallery of NSW, Sydney, finalists exhibition 2020 - National Works on Paper, Mornington Peninsula Regional Art Gallery, Mornington, VIC, finalists exhibition 2019 - Hadley's Art Prize - finalists' exhibition, Hadely's Orient Hotel, Tasmania 2019 - turnuwa amintiya kirijipuni, Short Street Gallery, Broome, WA 2018 - Yati Ratuwati Yatuwati (One Island, One Side), Munupi and Jilamara working Together. 2018 - Tim, Tom E., Harry, Rusty, Tiger & Pussycat Recent works on Paper with Basil Hall, Nancy Severs Gallery, Canberra, ACT 2018 - Tarnanthi Art Fair, Tandanya, Adelaide, SA 2018 - Tanz Im Mondenschein, AboriginalArt Austellung, Art Karlsruhe, Freiburg and Schorndorf, Germany 2018 - Print & Paper, Tunbridge Gallery, Cottesloe, WA 2018 - Palaneri - Aboriginal Art Der Tiwi, Art Kelch, Freiburg, Germany 2018 - Nginingawula Awirankiniwaki, Tiwi Exhibition, Doubletree Hilton, Darwin, NT 2018 - Jilamara and Munupi Arts group exhibition, Chapman & Bailey,Melbourne, VIC 2018 - Jane McKenzie In the service of poetry & Jilamara Arts, Koskela Gallery, Sydney, NSW 2018 - Fig Bilbao Art Fair, in conjunction with Print Council of Australia, Bilbao, Spain 2017 - Yirringinkiri Pwoja, Double Tree Hilton, Darwin, NT 2017 - Tiwi Time, Art Mob, Hobart, TAS 2017 - Tarnanthi Art Fair, Tandanya, Adelaide, SA 2017 - Ngini Parlingarri Amintiya Ningani (past, present, future), Nomad Art Gallery, Darwin, NT 2017 - NATSIAA, MAGNT, Darwin, NT 2017 - Being Tiwi, Morree Plains Gallery, Morree, NSW 2017 - Being Tiwi, Lawrence Wilson Art Gallery, WA 2017 - Being Tiwi, Glasshouse Port Macquarie, NSW 2016 - Being Tiwi, featuring Pedro Wonaeamirri, Timothy Cook, Raelene Kerinauia, Maria Josette Orsto, Eddie Puruntatameri, Giovanni Tipungwuti, Cornelia Tipuamantumirri, Nina Puruntatameri,Bede Tungutalum, Australian travelling exhibition. 2016 - Cooee Art at Australian Galleries, featuring Albert Namatjira, Alma Webou, Bill Whisky Tjapaltjarri, Daniel Walbidi, Djirrirra Wunungmurra, Dorothy Napangardi, Elizabeth Nyumi, Emily Kame Kngwarreye, Emily Kngwarreye, Freddie Timms, George Hairbrush Tjungurrayi, Gloria Petyarre, Jan Billycan, John Mawurndjul , Johnny Warangkula, Kathleen Petyarre, Makinti Napanangka, Milliga Napaltjarri, Minnie Pwerle, Naata Nungurrayi, Nyurapayia Nampitjinpa (Mrs Bennett), Owen Yalandja, Prince of Wales , Queenie Nakarra McKenzie , Rover Thomas, Sally Gabori , Suzie Bootja Bootja, Timothy Cook , Tjapartji Bates, Tommy Watson, Trevor Nickolls , Yirawala, at Australian Galleries, Sydney. 2015 - Indigenous Art: Moving Backwards into the Future, National Gallery of Victoria, Melbourne. 2015 - Kuripapuranjuwi Ngini Ngawila Jilamara Kapi Ngawa Tiwi: Tiwi Show, Darwin 2015 - Dancing With the Moon, Seva Frangos Art, Perth 2013 - My Country, I Still Call Australia Home: Contemporary Art from Black Australia, Gallery of Modern Art, Brisbane. 2012 - 29th Telstra NATSIAA Awards, Museum and Art Gallery of the Northern Territory, Darwin. 2011 - Western Australian Indigenous Art Award – finalists, featuring Jan Billycan, Michael Cook, Timothy Cook, Angkaliya Curtis, Gunybi Ganambarr, Angelina George, Gary Lee, Danie Mellor, Patrick Mung Mung, Trevor Nickolls, Lena Nyadbi, Tiger Palpatja, Kuruwarriyingathi Bijarrb Paula Paul, Reko Gwaybilla Rennie, Nyilyari Tjapangati, Nyapanyapa Yunupingu, Art Gallery of Western Australia, Perth. 2011 - 28th Telstra National Aboriginal Art Award, Museum and Art Gallery of the Northern Territory, Darwin. 2010 - Emerging Elders, National Gallery of Australia, Canberra. 2009 - Floating Life - Contemporary Aboriginal Fibre Art, Queensland Art Gallery, Brisbane. 2009 - Mukumuwu - To be Together including Pedro Wonaeamirri, Timothy Cook, Conrad Tipungwuti, Raelene Kerinauia, Jean Baptiste Apuatimi, Maria Josette Orsto, Ita Tipungwuti, Susan Wanji Wanji, Nina Puruntatameri and Robert Puruntatameri, organised by the Tiwi Art Network, at the Holiday Inn, Darwin, NT. 2006 - Xstrata Coal Emerging Indigenous Art Award Artists, Queensland Art Gallery. 2005 - Yirrarra - Kulama amintiya Pukumani, Alcaston Gallery, Melbourne; Recent work by Conrad Tipungwuti and Timothy Cook, Raft, Darwin; 22nd Telstra National Aboriginal and Torres Strait Islander Art Award, Museum and Art Gallery of the Northern Territory, Darwin. 2004 - 21st Telstra National Aborigainal and Torres Strait Islander Art Award, Museum and Art Gallery of the Northern Territory, Darwin. 2003 - One Voice, Two Islands, Three Communities, Chapman Gallery, Canberra ; Let’s Keep Our Art Strong: Recent works from the Jilamara Artists, Raft Artspace, Darwin; Kuturkuni Amintiya Tapulunni, RAFT Artspace, Darwin; Exhibition aboard the luxury liner The World, Melbourne to Tokyo; Big Country, Gallery Gondwana, Alice Springs; Alliance Française Gallery, Canberra 24 – 29 October in association with Chapman Gallery. 2002 - Summer Collector’s Exhibition, Alison Kelly Gallery, Melbourne; Pwoja Jilamara Raft Artspace Darwin; Awuna Mantawi Hello My Friends, Tandanya, Adelaide; 27th Annual Shell Fremantle Print Award Fremantle Art Centre; 19th NATSIAA, Museum and Art Gallery of the Northern Territory, Darwin; Pwoja Jilamara, Raft Artspace Darwin. 2001 - Taykwapi Tiwi RAFT Artspace, Darwin; Ochre Short Street Gallery Broome; Jilamara, Jilamara Framed Gallery Darwin; Jilamara- New Work, Redback Art Gallery Brisbane; Island Images Australian Print Workshop Melbourne. 2000 - This Earth for Us, Commonwealth Institute, London; Heritage Art Award, Canberra; From Mythology to the Present, Wuerzburg , Germany. 1999 - New Paintings from Milikapiti, Redback Gallery, Brisbane; Art of the Tiwi, Framed Gallery Darwin; Tiwi on Wood, Alcaston Gallery, Melbourne; New Paintings from Milikapiti, Redback Gallery, Brisbane; Art of the Tiwi, Framed Gallery Darwin. 1998 - The Old and the New, Gallery Gondwana Alice Springs NT; Ngawa Mantawi Mossenson Gallery Subiaco Perth; Jilamara, Mossenson Gallery, Subiaco WA; Group Exhibition, Alcaston House Gallery, Melbourne Victoria. 1998- 2000 - One Thousand Journeys, Tin Sheds Gallery, Sydney & touring exhibition 1997 - Old Tiwi, Alcaston House Gallery Melbourne Vic.; Old Designs Framed Gallery Darwin NT; Kartukuni Amintiya Jurra (Ironwood and Paper) Hogarth Gallery Paddington NSW. Bibliography: Bennett, J. Ngingingawula Jilamara kapi purunguparri (Our Paintings on Bark) Gallery Monthly Magazine of the National Gallery Society of Victoria, September. 1992 The Body Tiwi Aboriginal Art from Melville and Bathurst Islands, catalogue, The University Gallery, University of Tasmania at Launceston, 1993. Art of the Tiwi from the Collection of the National Gallery of Victoria, catalogue, NGV Melbourne, 1994. Market Analysis MARKET ANALYSIS Timothy Cook's secondary art market is notably scarce. The fluctuations in sales, clearance rates, and overall market engagement are heavily influenced by the limited availability of his works, which impacts both demand and pricing. Years like 2005, 2007, 2008, 2013, and 2014, which recorded clearance rates of 100%, indicate a strong correlation between limited supply and high demand. In these years, the availability of Cook’s works prompted immediate interest from buyers. 2008 stands out with five works sold and total revenue of A$17,812. In 2016 his works achieved the highest revenue with only one work Kulama (2013) , sold by Deutscher and Hackett for A$24,400, indicating strong price performance. The recent years (2020-2023) indicate a potential resurgence in interest, particularly with the successful sales in 2023 (five works sold with 71% clearance rate). This suggests a renewed appreciation for Cook's work or improved market conditions. 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 Willy Kew < Back Willy Kew Willy Kew ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE WILLY KEW - HILLS AT NYIRLA SOLD AU$2,500.00 top Anchor 1 PROFILE Willy Kew 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 Estelle Munkanome < Back Estelle Munkanome Estelle Munkanome ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE ESTELLE MUNKANOME - JILAMARA SOLD AU$1,200.00 ESTELLE MUNKANOME - JILAMARA SOLD AU$750.00 ESTELLE MUNKANOME - JILAMARA SOLD AU$1,200.00 top Anchor 1 PROFILE Estelle Munkanome 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 Colin Bird < Back Colin Bird Colin Bird ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE COLIN BIRD - ANCESTRAL SNAKE Sold AU$300.00 top Anchor 1 PROFILE Colin Bird 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 Lorna Napurrula Fencer < Back Lorna Napurrula Fencer Lorna Napurrula Fencer ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE LORNA NAPARRULA FENCER - CATERPILLAR SOLD AU$18,000.00 LORNA NAPARRULA FENCER - BUSH POTATO SOLD AU$10,000.00 LORNA NAPARRULA FENCER - BUSH POTATO SOLD AU$5,000.00 LORNA NAPARRULA FENCER - BUSH POTATO SOLD AU$800.00 LORNA NAPARRULA FENCER - KANGAROO TUCKER Sold AU$0.00 LORNA NAPARRULA FENCER - YARLA JUKURRPA - BUSH YAM DREAMING SOLD AU$15,000.00 LORNA NAPARRULA FENCER - BOOMERANG SOLD AU$5,500.00 LORNA NAPARRULA FENCER - BUSH POTATO DREAMING SOLD AU$2,500.00 LORNA NAPARRULA FENCER - BUSH POTATO (YARLA) Sold AU$0.00 LORNA NAPARRULA FENCER - DIGGING STICKS AND BUSH TUCKER Sold AU$0.00 top Anchor 1 PROFILE Lorna Napurrula Fencer 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 .

TjakamarraTommy Tommy Skeen Tjakamarra Tommy Skeen Tjakamarra 1930 - 2001 A Ngardi tribesman, Tommy Skeen was born in his country near Yaka Yaka, c.1930, and grew up in the desert north of Lake McKay before moving to the mission at Balgo Hills and later working in the Kimberley cattle industry. One of the founding painters at Balgo, his early works exhibited marked shifts in palette and an absence of the subdued ochre colours more commonly used by men at the time. While he employed the sacred spectrum of red, black, yellow and white to depict the traces of ancestral beings, these were rendered as vibrant colours juxtaposed with a range of others including lilac, blues and greens. This special colour sense can be seen clearly throughout his work as exampled by Parra Koora near Yakka Yakka in the Great Sandy Desert 1993 and Inargi Dreaming 1992. Parra Koora 1993 depicts a sacred site connected with men’s initiation in which the prominent iconography is depicted in flat colour with boldly defined outlines. The ceremony taking place, and the inter-connected sites, leap from the canvas while the clap sticks, also representing a range of hills, and the U shaped cave where his father, grandfather and great grand father were entombed are visually emphasised by their containment within a blanket of white dotting, which sparkles like stars above the variegated coloured underlay. The interplay between flat colour and field of white dotting heightens the celebratory feel of this and other work by Tommy, in common with those of his wife Millie Skeen and indicates the close collaborative relationship they shared. During their most productive and accomplished artistic period, 1990-1994, they commonly painted together, and alongside one another. At that time many important artistic couples collaborated such as Johnny Mosquito and Muntja, Lucy Yukenbarri and Helicopter Tjunurrayi, and Wimmitji Tjapangarti and Eubena Nampitjin. With the empowerment of these and other important culture women, who associated bright colour with health, well being and allure, Balgo art gained renown for its new found freedom of expression that manifested as a bold and assertive art style. Balgo artists also equated the bright luminosity that the highly charged colours imparted to their paintings with the power of the ancestral beings and the sacred country they created. It is the carnival atmosphere of vibrant colour, errupting upon Tommy Skeen’s canvases as well as their compositional arrangement that define his artistic brilliance. Tommy’s work did not conform to the characteristically formal, linear quality of the predominantly Kukatja men’s art in Balgo Hills at the time. Rather than conceptually composing the formal design elements, his paintings were created organically through a haptic process. As if painted in a reverie they mapped the richly eventful ancestral journeys across the land and the sacred sites in a way that still seems to contain their spiritual essence. Tommy’s Ingari Dreaming 1992, used as the cover image for Wirrimanu, the first major book on Balgo Hills art, written by James Cowan, reflects the country of his conception. There are a number of representational motifs in the work. The U shapes at the bottom symbolize women sitting. The large circle at the top of the painting represents a lake. The trace of his father is seen in a few footprints on the top right. However, this is the minimal literal translation, a shallow skin atop a transcendent reality that the work alludes to. Tommy’s feat of composition is driven by the complexity of all he portrays. Alongside the representational motifs is the cosmological significance of the place of conception. Conception is said to occur where the mother first feels the symptoms of pregnancy and it is here that the unborn foetus is animated by the spirit of a totemic ancestor, whether water, possum, goanna, digging stick, old man. Tommy Skeen was never a prolific artist. At the time he painted, the art centre at Balgo Hills had never assembled solo exhibitions for any of their artists. However, his works were exhibited in good galleries including Gallery Gabrielle Pizzi in Melbourne, Coo-ee Aboriginal Art and the Hogarth Galleries in Sydney and, the now defunct, Dreamtime Gallery on the Gold Coast, all of which represented Warlayirti artists and placed Tommy’s work in good collections in Australia and overseas. His peek period was extremely brief with his very finest works produced between 1990 and 1994. By the time James Cowan encouraged men and women to paint on their own, Tommy’s dexterity was failing. His late career works, while being powerfully distinctive, do not have the finesse of those he created when in the peak of health in collaboration with Millie. Tommy Skeen’s finest works manage to capture, better than almost any other, the mysterious essence and beauty of the numinous landscape that had completely possessed him throughout his life. Although his painting career was brief, his works continue to appeal on a number of aesthetic and sensory levels and who could ever ask for more than that. While very few paintings by Tommy Skeen Tjakamarra have been presented on the secondary market, his average price is very healthy indeed at $16,392. Of the 14 works that have been offered to date, 12 have sold for a total of $196,704. Only two works have failed and both of these were created in 1995, by which time he was becoming more and more infirm and not producing his best work. Old Man Dying at Walgulli and Barrakurra were offered as lots 259 and 260 in Sotheby’s July 2005 sale. Even with their relative crude execution these two small works, measuring just 99 x 50 cm and 75 x 50 cm respectively, were both appealing, but their estimates may have been a little over ambitious at $10,000-12,000 and $8,000-12,000 respectively. Nevertheless, despite this small blemish, Tommy’s results at auction are impressive for an artist who never had a solo show and whose career went largely unheralded during his lifetime. His highest price was achieved in 2007 when two works appeared at sale. Sotheby’s established the new record in July following the modest result of $8,050 at Lawson~Menzies’ May sale, for Grandfather’s Story 1996, a small late career canvas measuring 89 x 60 cm (Lot 187). In what should be a very good indicator of market sentiment, Yabanu Ngula 1994, which, while a good work, was not one of his very finest, sold for $48,000 carrying an estimate of $15,000-20,000 (Lot 55). The painting depicted a boy’s initiation ceremony replete with visual references to the activities taking place at Parra Koora, the artist’s sacred site north of Lake McKay. This result pushed Tommy’s far superior painting Inargi Dreaming 1992 into second place, after it had achieved $33,460 more than three years earlier at Christie's. Having featured on the cover of James Cowan’s book Wirimanu, and graced the back cover of the Christie's catalogue, its result at the time was a little disappointing given that it sold for just above the low estimate of $30,000. The Christie's sale was held just a few months after Sotheby’s had offered a large selection of works from the Sam Barry collection, the finest concentration of works from Balgo Hills at the time. Sotheby’s catalogue cover featured the most iconic Balgo Hills image ever created; Sunfly Tjampitjin’s magnificent Yapinti-Pinki Dreaming 1991 which set the room alight when sold for $200,250 toward the start of the evening. However the catalogue featured a further 50 Sam Barry works amongst which was Undularra 1993, which set the record for Skeen at the time when sold for $26,350. Its estimate had been just $8,000-12,000 and the result demonstrated clearly the power of provenance in underpinning the value of paintings. Despite the sheer volume of Balgo works offered, collectors were in a frenzy over the ‘Sam Barry Collection’ and spent heavily. All but the most cashed up and die-hard Balgo Hills enthusiasts would have emptied their pockets mid-year, and taken themselves out of the market for the Christie's sale a few months later. Tommy Skeen’s paintings are unlikely to come up at auction all that often, indeed only 4 have appeared since 2007. When they do, however, collectors should sit up and take notice. His best works are extremely good and their rarity should make them highly worthwhile investments. But far and above financial considerations, Tommy was a truly great artist who captured the essence of the remote reaches of the desert and the spiritual depth of its Aboriginal inhabitants. These works are wonderful to live with; take it from someone who knows. 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

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Artist Profile for Simplicia Tipungwuti < Back Simplicia Tipungwuti Simplicia Tipungwuti ARTIST PROFILE ARTIST CV MARKET ANALYSIS Simplicia Tipungwuti was born in 1979 on Bathurst Island. She went to the catholic primary school. Simplicia’s mother moved to Pirlangimpi with her when she was 13 years old. She she has lived there ever since. Simplicia found her partner in Pirlangimpi and they have had 5 children. Her mother in-law, Virginia Galarla paints alongside Simplicia at the Art Centre. She is an emerging artist who prefers working on larger canvases with her intricate and unique stye. READ FULL ARTIST PROFILE SIMPLICIA TIPUNGWUTI - PUPUNI JILAMARA SOLD AU$1,600.00 top Anchor 1 PROFILE Simplicia Tipungwuti Simplicia Tipungwuti was born in 1979 on Bathurst Island. She went to the catholic primary school. Simplicia’s mother moved to Pirlangimpi with her when she was 13 years old. She she has lived there ever since. Simplicia found her partner in Pirlangimpi and they have had 5 children. Her mother in-law, Virginia Galarla paints alongside Simplicia at the Art Centre. She is an emerging artist who prefers working on larger canvases with her intricate and unique stye. 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 Hector Jandany Also know as: Joongoorra, Chunda, Jundjun, Sandaloo, Djandulu, Chundalu < Back Hector Jandany Also know as: Joongoorra, Chunda, Jundjun, Sandaloo, Djandulu, Chundalu Hector Jandany 1929 - 2007 Also know as: Joongoorra, Chunda, Jundjun, Sandaloo, Djandulu, Chundalu ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE HECTOR JANDANY - UNTITLED SOLD AU$6,000.00 HECTOR JANDANY - OWL DREAMING Sold AU$0.00 HECTOR JANDANY - HOW THE RAINBOW SNAKE DROWNED HECTOR'S GRANDFATHER SOLD AU$3,000.00 top Anchor 1 PROFILE Hector Jandany 1929 - 2007 At the time of his death in 2007, Hector Jandany was the oldest member of the Warmun artists, at Turkey Creek. His family history was littered with harrowing tales of persecution. Gadiya (white people) shot his grandfather and harmed his grandmother, who subsequently died in childbirth and, while Hector was still in infancy, his father also died in confrontation with white people. Though his mother remarried a stockman, whom Hector admired, it was his mother’s country, the Bungle Bungles (Purnululu), that became the primary source of his artistic inspiration when he took up painting late in his life. Hector’s decision to become an artist sprang indirectly from his work with the Bough Shed School, which opened in 1979 at Warmun, and of which Hector became the director. It was here that he encouraged two-way learning, maintaining a firm belief in his instinctive knowledge of country whist having adopted a strong Christian belief. 'White people read things, but I can feel what’s right and wrong, in my heart. I have that inside feeling, but the white man - the paper tells him' (cited in Rothwell 2004: 6). Hector began painting with the establishment of the Waringarri Aboriginal Arts in Kununurra in the late 1980’s and continued a decade later after the Warmun Arts Centre began operating out of the old post-office building at Turkey Creek, the community in which he was born. Here he would sit, an inspiration and delight to anyone who found the time to just sit and enjoy his company and humour. He would build the surface of his canvass slowly and carefully by applying soft earth colours, pink, greens, greys and later introducing warm browns, reds and blacks. He gained renown for quirky figurative depictions and irregular hill formations rendered with an innate sense of spacial geometry. He treated the surface of his work as if it were sacred, touching and rubbing his hand gently across it reverently. Watching him use a stone to rub, sand and smooth the thin washes of softly coloured earth pigment that had been mixed from rocks gathered and carefully ground in the surrounding environment, made one feel as if he believed the painting to be the country itself. Hectors preference for traditional ocres was significant. Like the other old men that had been his contemporaries, he believed that 'you can feel that paint, you can feel that country' (cited in O’Riordan 2004: 235). It is this tangible connection that reflected Hector’s commitment to maintaining his spiritual obligations. One aspect of this spirituality is seen in his magical Krill Krill paintings, such as those created for the ceremony that took place at Warmun in 1994. In these stark works on board his depiction of ancestral owl spirits bears comparison to early Christian icons. Hector was a deep spiritual believer whose faith blended his Gidja upbringing and beliefs and his Christianity into a unique interpretation of Catholicism. His religious philosophy is best understood through works such as Mary and Joseph 1993 , consisting of two bird-like carved statues created after Hector had been invited to share Christmas lunch with the residents of the local hostel. He was sensitive to the spiritual meeting point between two vastly different traditions of religious practice and could enliven this cross fertilisation with an animated sense of humour. In life Hector could be profoundly funny in a ways that belied the pain of his early childhood. He was loved for the gentle way in which he could make the driest comments on people’s odd behaviour, the hazards of old age, or ‘those mad bastards in Canberra.' Although his only solo exhibition came in the last 12 months of his life at Raft Gallery in Darwin, he was a regular entrant in the National Aboriginal and Torres Strait Islander Art Award and his art was included in the landmark exhibitions Aboriginal Art and Spirituality held at the High Court in Canberra, and Images of Power at the National Gallery of Victoria as well as the books published under the same titles. Though Hector Jandanay played second fiddle to many of the brightest stars of the Warmun movement, the eccentricity of his compositions, their variety and sensitivity, make his works of art particularly memorable and interesting. Over two decades he produced a steady and consistent body of significant works. He lived to become the last of the grand old pioneers of the painting movement at Warmun. While his fame may never match that of his more successful contemporaries such as Queenie McKenzie and Rover Thomas, once discovered, many collectors are likely to find his works a more than adequate substitute. Indeed, those with an eye for the unique and eccentric may find that, here in Hector, lies something even more appetising. ARTIST CV Market Analysis MARKET ANALYSIS Hector Jandany’s art bears witness to the intimate connection he shared with the artists who founded the East Kimberley style. Although he reputedly assisted Paddy Jaminji in creating early Krill Krill boards used by Rover Thomas, he did not begin painting conspicuously in his own right until the late 1980s. Rover Thomas’s Krill Krill had been integral to the cultural and artistic rejuvenation at Warmun in the late 1970s. A decade later Paddy Jaminji had become completely blind and Rover was joined by others most notably George Mung Mung, Jack Britten and Hector, who were important community leaders in Turkey Creek and the nearby Frog Hollow community, along with Queenie McKenzie and the much younger Freddy Timms. From the outset, Hector’s imagery was noted for its quirky appeal and interesting narrative. His paintings depicted Kimberley history, including station life, as well as Christian themes. His highest priced work is a fine example. Painted for Easter ceremonies at Warmun in 1993, Ascension is an unusually large canvas, measuring 186 x 190 cm that sold for twice its high estimate, achieving $36,925, when sold at Sotheby’s July 2005 auction (Lot 43). In the painting two spirits depicted as shields, make a fire to cook fish while the abstracted owl-like disciples are gathered below. Ascending at the centre is a hill surrounded by smoke from the fire, which carries the obscured Jesus up to Heaven. The painting depicts a Christian theme in a highly original way that inextricably binds the narrative with Gidja lore, a hallmark of many of Hector’s best works. His second highest sale was the $29,875 paid for another large canvas measuring 200 x 95 cm titled Kalumba Spear Hill that sold in Christies August 2005 Melbourne auction (Lot 33). This is a more conventional image of the Bungle Bungle ranges in lateral perspective seen from a distance at the top of the tall thin painting, with the specific site that lies within them depicted in the foreground. The appeal of this work rests more in the unusually large size, the soft palette, and the exquisite way in which the earth pigments have been worked to give a silky patina, rather like the highly burnished surface of ceramic vessels. Hector was not a prolific painter, as he worked slowly and carefully. His sale rate at auction was quite good at 72% with 38 of 53 works sold until 2008 when only two of the nine works offered sold at auction and again in 2009, with only two of ten works selling. Yet in 2008 the fact that the two works both entered his ten highest sales resulted in two seemingly incongruous effects. His career clearance rate dropped dramatically to 65%, however, his average price jumped $600 thereby increasing his Art Market index by 11%. This lifted him seven places in the ratings of most successful artists from 81 to 74 and 49 to 45 amongst deceased artists. However his clearance rate has declined since his passing. Hector's standing, however, is likely to increase along with his career average as major paintings are released over future years for, although he has four works that have sold for more than $21,000, the remaining six in his top ten results achieved less than $12,000. These major works do exist, but are tightly held by collectors. Nevertheless, it is unlikely that any but his very best and largest works will ever reach the prices achieved for those of the more prolific and renowned Warmun artists like Rover Thomas, Paddy Jaminji and Queenie McKenzie. Hector’s oeuvre is dominated by smaller paintings and these have proved to be a fertile ground for collectors who have been able to acquire some very charming pieces under $10,000. In what was perhaps the bargain of the year. one lucky collector picked up the delightful Ngarrgoorroon Area 2003 at Mosgreen Auctions in August 2009 (Lot 124) for just $3,585.These works are beautifully prepared and lovingly rendered thus ensuring many years of pleasure until sold for an expected reasonable profit. While size has not strictly been the determining factor in terms of value, those works painted in the early nineties have tended to fare better on the secondary market than those from the later nineties. Hector painted a number of boards for use in re-enactments of the Krill Krill ceremony and these have sold particularly well. They include three of his top ten highest results at sale to date. Expect Hector’s iconic Krill Krill ceremonial paintings on board to appreciated substantially. One of these, depicting a Magpie Goose , doubled in value from $10,350 to $21,600 in the four years between 1998 and 2002. This made the failure of 17 Dance Boards and Two Masks relating to the Gurirr Gurirr (Krill Krill) Ceremony in 2010 particularly disappointing. Estimated at $120,000-150,000 at the October Deutscher & Hackett sale (Lot 85), the lack of interest from any major collector or institution was in part seen as due to the ill timing of the auction. But it was a wake up call to an industry desperately needing to cultivate new collectors and audiences. Now his 18th highest result, the carvings Mary and Joseph 1993 depicting Jesus’s parents as two quirky birds, reflect Hector’s unique religious philosophy. When offered for sale by Deutscher~Menzies in 2000 (Lot 281) they sold for $5,875 against a presale estimate of just $1,200-1,500. This was Hector’s fourth highest result. At that time the Krill Krill boards, sold in 1998, held his two highest records. In a market that appreciates clear trends in distinct regions, carving is unusual in Warmun and their sale at that time was a testament to Hector’s brilliance as an individual artist. Should these or similar works be offered again in the future, one would expect a sharp increase in price. Works that depict the crossover between two seemingly contrasting religious world-views in three dimensional form, are rare. Hector Jandany passed away in 2007 and left a generous, if not large, body of unique works. Though many are relatively small they are highly desirable and will always be relatively affordable. No Kimberley art collection could ever be considered complete without a good example of this great old artist’s work. 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 .