MilpurrurruGeorg George Milpurrurru George Milpurrurru 1934 - 1998 Nulumba, Milburru, Milparurr George Milpurrurru was raised in his father’s country Ngalyindi, the Ganalbingu outstation, which straddles a ridge to the east side of the Arafura swamp. The swamp, in the middle section of the Glyde River, is home to flocks of water birds, fresh water plants, snakes, and a rich array of other flora and fauna. This Eden became the wellspring from which Milpurrurru’s drew his artistic inspiration. He began to paint under the guidance of his father, Nhulmarmar and, as Judith Ryan observed, 'Nhulmarmar’s art prefigures that of his son, Milpurrurru, in its capricious reversals of tone and patterning and its graphic power'. Indeed, Milpurrurru’s mastery over the play between foreground and background characterizes his paintings in which blocks of flat colour and intricate rarrk cross-hatching create a strong graphic effect. His style traversed stylistic conventions across Arnhem Land and sythesised these into highly designed compositions. In doing so, he drew on the aesthetic traditions of Western Arnhem Land artists, who applied cross-hatching solely within the figurative or schematic motifs of the work, while at the same time borrowing on the Eastern Arnhem Land convention of leaving figures unadorned, depicted in black against a heavily patterned background. Yet even in this variation, Milpurrurru stood outside Eastern Arnhem Land conventions in preferring to create complex arrangements of intersecting patterns. He first began selling his work in the 1970's for just ten pounds, most notably to the mission superintendent at Milingimbi, Alan Fidock, and art dealer Dorothy Bennett. However with the establishment of Bula Bula Arts at Ramingining in the late 1970’s, Milpurrurru and others were enabled to establish successful artistic careers. Djon Mundine became the art adviser in the community and by 1979 one of Milpurrurru’s paintings, of men hunting in their canoes, was commissioned for the 1979 Biennale of Sydney. The fact that Milpurrurru cannot be easily distinguished by a set of simple stylistic conventions is testament to his individual innovation. It is also, however, an indication of the lack of homogeneity amongst Central Arnhem Land artists, specifically during the 1980's at Ramingining. Milpurrurru led pioneering leaps in redefining the structural parameters inherited by previous generations of artists, creating barks of grand scale, painted with piercing clarity, compared to the more organic and rudimentary works produced by artists of the previous generation. One of Milpurrurru’s central narratives is that of the Magpie Geese; a Dreaming that lies at the heart of Ganalbingu ceremonial life. At the end of the monsoon period the Gumang (geese) lay their eggs. The Ganalbingu then venture out in stringy bark canoes to hunt the eggs. A ceremony called Gurrumbumbungu is held in conjunction with the hunting to ensure the geese will lay again. During the ceremony men perform the Goose dance with cooked eggs, which are later given to the women to rub over their newborn babies. Milpurrurru performed this dance as a ceremonial leader of his people for the opening of the 1986 Biennale of Sydney. The performance demonstrated the diversity of his creative output, as well as the intimate relationships between different aspects of Ganalbingu culture. Milpurrurru mastered not only painting and dance, but could also fashion his own canoes, woven fish traps, tools, and even his own house, each separate skill part of a holistic tradition. George Milpurrurru and his contemporaries were attributed with placing Central Arnhem Land firmly on the art map during the 1980's and 1990's. Along with other Ramingining artists such as David Malangi, Jimmy Wululu, Jack Wunuwun, and Djardi Ashley, Milpurrurru was increasingly included in major exhibitions. Their zest to experiment by combining a diverse array of artistic traditions beyond those that were culturally prescribed gained them the public recognition that enabled Milpurrurru to take advantage of a blossoming gallery scene. He held his first solo exhibition in 1985 at the Aboriginal Arts Australia Gallery in Sydney a year before he exhibited in the Biennale of Sydney for the second time. Most importantly he was a major contributor to the 200-pole Aboriginal Memorial housed in the National Gallery of Canberra, the most significant Indigenous contribution to the 1988 celebration of the U.N. Year of Indigenous Peoples. In 1993 he became the first Aboriginal artist to be honoured with a solo retrospective exhibition at the National Gallery of Australia. George Milpurrurru’s prestigious achievements as a practicing artist are, unfortunately, largely mismatched with the rather dismal history of his paintings on the secondary market. His highest price was achieved as long ago as 2000, two years after his death, and stands at just $9,775. It was recorded for a bark painting entitled Gumang - The Goose Dancing Ceremony c.1983, a characteristically large bark, measuring 120 x 95 cm, depicting one of Milpurrurru’s central Dreaming stories, the Magpie Goose. However anyone familiar with his oeuvre would be the first to point out that this is far from his finest work. By tracing the sales for works with similar subject matter and size over the preceding years, it is clear that there has been a gradual ascent in value albeit from a low initial base. In 1994 a Magpie Goose related bark sold for $3,120 and in 1999 a similar work went for $4,600. In 2000 $5,750 was paid for a particularly large work measuring 200 x 110 cm, and in the same year his record sale was recorded at $9,775. This trajectory largely holds true across all of Milpurrurru’s work, regardless of their iconography. Nevertheless, primary market prices for art by important painters in 1994 were significantly different than they are today. At that time $3,000 would have been a very good price for a bark painting exhibited in a significant artist’s solo exhibition while today one might expect up to four times this amount. His best years at auction were 2000, when four of six works sold for a total of $24,337, and 2003, when five of six sold for $21,760. However, since then results have been nothing short of disappointing. In 2005 Mudukuntja Hollow Log Ceremony 1986 was offered with a presale estimate of $5,000-7,000, but failed to sell. The following year his highest result remained under $4,000. In 2008, while four paintings sold of five offered, the highest price amongst them was just $2,394 recorded at Dunbar Sloane in Wellington, New Zealand. It is difficult to determine Milpurrurru’s most preferred style from his results at auction. The two highest recorded sales are marked by their particular difference in style and temperament. Pythons and Waterlilies c.1988, which sold for $7,200 in 2004, is a work in which the figurative elements are incorporated in the overall graphic design executed predominantly in green and yellow pigment. By contrast, Gumang - The Goose Dancing Ceremony c.1983, tells an epic narrative in traditional black, red, yellow and white ochres. Even to ascertain the period of his work of greatest acclaim is difficult from his auction results. Works that have appeared on the secondary market were created between 1960 and 1993, yet no golden age is apparent over this long artistic outpouring. A rare early work Long Grass at Maningrida 1967 sold for just $2,400 in 2004 (though diminutive in size at just 46 x 27.5 cm). The work has a beautiful fragility in tune with the rustic, raw quality of older central Arnhem Land barks. The price is more indicative of Milpurrurru’s dire under-appreciation than of a rejection of his early works. This could also be said of his results in other media. Works on paper, prints, and sculpture have all suffered the same fate at auction. Fortunately, one can still appreciate Milpurrurru’s genius through his extensive representation in major institutional galleries and museums. While we are yet to see George Milpurrurru’s finest works appear in the sale rooms, for the time being at least, it seems that he is more likely to receive his due acclaim on the walls of Australia’s top art institutions than in private collections or at auction. 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 Margot Gurawiliwili < Back Margot Gurawiliwili Margot Gurawiliwili ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE JULIE DJULIBING MALIBIRR - MINDIRR(Pandanus Bag) SOLD AU$1,000.00 MARGOT GURAWILIWILI - COIL BASKET SOLD AU$600.00 top Anchor 1 PROFILE Margot Gurawiliwili 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 Goowoomji Nyunkuny Bedford Also known as Kuwumji Bedford < Back Paddy Goowoomji Nyunkuny Bedford Also known as Kuwumji Bedford Paddy Goowoomji Nyunkuny Bedford 1922 - 2007 Also known as Kuwumji Bedford Region: East Kimberley Community: Kununurra Language: Gija ARTIST PROFILE ARTIST CV MARKET ANALYSIS Born at Bedford Downs Station in the East Kimberley around 1922, Paddy Goowoomji Bedford spent many years as a stockman, trading his labour for basic provisions. Though he had been involved with ceremonial painting all his life, it was by chance that a gallery dealer happened upon some of his boards in a rubbish tip in the mid 1990’s. From such humble beginnings Paddy Bedford started painting formally in 1997, with the formation of Jirrawun Aboriginal Arts. READ FULL ARTIST PROFILE PADDY BEDFORD - THOONBI Sold AU$0.00 top Anchor 1 PROFILE Paddy Goowoomji Nyunkuny Bedford 1922 - 2007 Region: East Kimberley Community: Kununurra Language: Gija Born at Bedford Downs Station in the East Kimberley around 1922, Paddy Goowoomji Bedford spent many years as a stockman, trading his labour for basic provisions. Though he had been involved with ceremonial painting all his life, it was by chance that a gallery dealer happened upon some of his boards in a rubbish tip in the mid 1990’s. From such humble beginnings Paddy Bedford started painting formally in 1997, with the formation of Jirrawun Aboriginal Arts. Initiated by Freddy Timms with help from artist Tony Oliver, the group which includes Timms, Peggy Patrick, Rammy Ramsay and others, has gained exponential notoriety. In tangible terms Jirrawun Arts has been able to provide the kind of individual support and promotion of its artists that art centres have difficulty emulating. Numerous shows were organised through the group, in which Bedford starred during his lifetime, including “Blood on the Spinifex” at the National Gallery of Victoria and “True Stories” at the Art Gallery of New South Wales. “I’m a millionaire,” Bedford shouted when he received his first cheque as an artist. Over the following decade his painting style developed from simple expanses of flat ochre to masterful luminous textured surfaces. Painting in a recognisable East Kimberley style in which plains of ochre are disrupted only by sparsely planted shapes, Bedford masterfully combined important ancestral Dreamings with depictions of his environment and contemporary historical events. His health and dexterity at various times dictated the medium in which he worked. Introduced to gouache and paper after 2000, he created intimate works that were equally successful as those depicted in ochres. In both mediums his paintings are imbued with authority and an absolutely distinctive individual language within the east Kimberley conventions. Characteristic of Bedford’s style are richly ochred surfaces with minimal arrangements of circular shapes, often centered upon a band, and delineated by white dots. Though important Dreamings such as the Emu, Turkey, and Cockatoo are present in many of his works, like the narratives of his family history they are not depicted in any figurative form. This is evidenced in the self-published book, Walk the Line, produced during 2004, in which Bedford depicted important sites and explored the culture of his people. Bedford's exceptional talent garnered significant attention. He was amongst the few selected to contribute to the permanent installation at the Musee du Quai Branly in Paris and was honoured, during his lifetime, with the unprecedented recognition of a retrospective exhibition and a major catalogue by the Museum of Contemporary Art in Sydney during 2007, which toured nationally and coincided with the year of his passing, encapsulating the extraordinary legacy of his late -emerging career. ARTIST CV Selected Collections: Art Gallery of New South Wales, Sydney. Musée du Quai Branly, Paris, France. Selected Solo Exhibition: 2009 - 2010: Paddy Bedford - Crossing Frontiers, AAMU, Netherlands. 2006 - 2007: Paddy Bedford, Museum of Contemporary Art, Sydney. 2001 - Raft Gallery, Darwin. 2000 - Chapman Galleries, Canberra; Martin Browne Gallery Sydney. 1998 - My Country - William Mora Galleries, Melbourne. Selected Group Exhibitions: 2019 - Light, bright and white, featuring Yimula Munungurr, Manini Gumana , Djirrirra Wunungmurra, Ka hleen Ngale, Lamangirra #2 Gumana, Kitty Napanangka Simon, Judith Nungarrayi Martin, Joy Garlbin, Paddy Nyunkuny Bedford at Cooee Art Gallery, Sydney, NSW. 2010 - Passing on tradition - new and old Kimberley, featuring Gordon Barney, Paddy Bedford, Jack Britten, Charlene Carrington, Tommy Carroll, Billy Duncan, Hector Jandanay, Lily Karedada, Rosie Karedada, Queenie McKenzie, Jock Mosquito, Beerbee Mungnari, Mark Nodea *, Nancy Nodea, Nancy Noonju, Peggy Patrick, Rusty Peters, Marcia Purdie, Shirley Purdie, Phyllis Thomas, Freddy Timms, Enry Wambiny @ Coo-ee Aboriginal Art Gallery, Sydney. 2008 - Paintings from remote communities: Indigenous Australian art from the Laverty collection, Newcastle Regional Gallery, Newcastle, NSW. 2006-2007 - Gifted: Contemporary Aboriginal Art: The Mollie Gowing Acquisition Fund, Art Gallery of New South Wales, Sydney. 2004 - Australian Culture Now, National Gallery of Victoria, Federation Square, Melbourne. 2002->2003 - Blood on the Spinifex, Ian Potter Museum of Art NGB, Melbourne. 2002 - Rhapsodies in Country, GrantPirrie at Art Miami, USA. 2001 - Four men, Four Paintings, Raft Gallery Darwin Ochre; Short Street Gallery Broome. 2000 - Land Mark : Mirror Mark: Prints by Aboriginal artists from the collection of the Northern Territory University, Drill Hall Gallery Australian National University; later at Columbia State University USA, Kluge Ruhe Collection of Aboriginal Art University of Virginia; William Mora Galleries, Melbourne; Gaagembi Poor Things, William Mora Galleries Melbourne, Christmas Exhibition; Martin Browne Fine Art, Sydney. 1999 - My Country - Northern Territory University Gallery Darwin NT; Painting Country, William Mora Galleries Melbourne; Chapman Galleries Canberra; Mapping Our Countries, Djamu Gallery, Australian Museum, Sydney. 1998 - Jirrawun Aboriginal Artists- Martin Browne Fine Art; Jirrawun Artist's Exhibition Artists from Crocodile Hole- Perth. Bibliography: Green, Charles., Ed 2004 - Australian Culture Now, National Gallery of Victoria. Ross, H. (ed.) Impact Stories of the East Kimberley, East Kimberley Working Paper No 28 CRES ANU 1989. Flanagan, M. More than a passing knowledge, The Age 30 November 1998. Georgeff, Simon, Drawing the line. The Sunday Age, 23 August 1998, Agenda p 16 Deutsher Menzies auction catalogue Kofod, Frances., Art Collector magazine and interviews with the artist 1998, 1999, 2000. Australia's 50 Most Collectable Artists, Australian Art Collector, Issue 15, Jan-March 2001, p 62. Market Analysis MARKET ANALYSIS Paddy Bedford, like Eastern Anmatjerre artist Emily Kngwarryee, produced paintings for no more than a decade towards the end of his life. However, unlike Kngwarreye, who created over 4,000 works before her passing in 1996, Bedford's output was more restrained, marked by a late-blooming artistic career characterized by a few but powerful pieces. At his best, Bedford's minimal, abstracted ochre works possess a strength comparable to that of Rover Thomas, the pioneer of the East Kimberley style. Bedford's physical capacity to create major paintings was limited, leading him to focus on smaller, more manageable works on linen and artboard, as well as paintings on paper using gouache. Most of his artistic output was produced for Jirrawun Arts, with only a handful of canvas and artboard works created during a workshop in late 2001. This workshop, organized by Neil McLeod for Jack Dale at his home in Derby, allowed Bedford to work alongside an old friend. Despite being well-documented, these works are generally not included in his official catalogue raisonné, resulting in their diminished market value. Between 2000 and 2006, Bedford's secondary market results were largely influenced by non-Jirrawun pieces, the standout being a 106 x 147 cm work on linen titled Caves at Old Bedford (2001), which fetched AUD 19,200 at the Lawson-Menzies auction in November 2004. The turning point came in 2007, with the sale of Girrganyji the Brown Falcon Dreaming (2000), a magnificent 180 x 150 cm canvas that exceeded expectations, selling for AUD 17,625 at Shapiro's June 2003 auction. This sale marked a significant moment in Bedford's market trajectory, establishing him as a notable figure in the realm of contemporary Indigenous Australian art. As the years progressed, Bedford's works gained recognition, and his legacy continued to resonate within the art community, reflecting a growing appreciation for his unique voice and the cultural narratives embedded in his creations. In 2007, the market for works by Paddy Bedford saw a remarkable surge. Eight of his works sold that year with 100% clearance rate, generating a total of AUD 694,200. This is a dramatic increase compared to prior years, where sales totals typically ranged between AUD 6,600 and AUD 58,200. Several factors that may have contributed to this spike include the posthumous value increase: Bedford passed away in 2007, leading to a sudden rise in demand and prices as collectors anticipate limited future supply. This phenomenon is common in the art market, where an artist's death can elevate the perception of scarcity and value. It was also aided by the Recognition and Institutional Interest. Around this period, Bedford's work was gaining more critical attention, both nationally and internationally. His distinctive style, rooted in the Indigenous Australian experience and landscape, had garnered the attention of collectors, museums, and galleries, which likely boosted demand. In 2006, his selection as one of only eight Australian artists to produce a site-specific work for the prestigious Quai Branly Museum in Paris marked a significant milestone, highlighting his unique cultural and artistic contributions. This project helped to elevate his reputation within the global art scene. The posthumous solo exhibition at the Museum of Contemporary Art (MCA) in 2007 played a significant role in the surge in demand for Paddy Bedford’s work that year. Such an exhibition would have heightened his visibility and appeal in both art circles and the public eye, enhancing his reputation and positioning his work as highly collectible. The exhibition have introduced his art to a wider audience, including international collectors, further fuelling the high sales volume and record-breaking revenues seen in 2007. The 2007 peak in sales represents a milestone in Bedford's market trajectory, with record-breaking revenues that solidified his work's position in the Australian art market. One of the highest results for Paddy Bedford, highlighting significant demand for his work during this period was the sale of Joogoomoondiny - Grawler Gully (2004) offered by Lawson~Menzies (now trading as Menzies) in their Australian Aboriginal Art auction in Sydney on November 14, 2007, as Lot No. 19. Ultimately, it achieved a final sale price of AUD 300,000 (including buyer’s premium). After this spike, the data shows fluctuating sales but a general increase in attention to his work, culminating in 2011, when total sales again reached a high of AUD 1,694,252 with a record 40 work offered for sale and 68% clearance rate, quite possible influenced by the growing international recognition. The "Crossing Frontiers" exhibition at AAMU in the Netherlands (2009-2010) further introduced his work to European audiences, reinforcing his status as an influential contemporary Indigenous artist and expanding the collector base for his paintings. After the peak in 2011, Paddy Bedford’s market experienced some fluctuations as interest adjusted following the initial posthumous demand. Here’s a breakdown of trends by period, including clearance rates: In 2012, Bedford's works garnered AUD 412,116 in sales with a clearance rate of 63.6% In 2013, total sales rose to AUD 624,027, with a clearance rate of 57.9% (11 sold out of 19 offered). In 2014, the sales total decreased to AUD 256,681, with a clearance rate of 53.8% (7 sold out of 13 offered). In 2015, the otal sales increased to AUD 546,800 with a strong clearance rate of 85.7% (12 sold out of 14 offered), likely driven by Bedford’s increasing recognition in Australian and international collections. 2016–2019 could be characterised by gradual Decline in the number of offered works. In 2016, sales remained steady at AUD 533,298, with a clearance rate of 78.6% (11 sold out of 14 offered). 2017 saw a decline in the offered works, which led to the drop in the total sale value down to AUD 449,430, with the clearance rate remaining steady at 90% (9 sold out of 10 offered). 2018 and 2019 witnessed the further decline in volume with only four works sold for a total of AUD 180,115, resulting in a clearance rate of 50% (4 sold out of 8 offered) in 2018, and only two works sold for AUD 129,320, resulting in a clearance rate of 66.7% in 2019. The 2020–2022 market can be characterised by the renewed Interest. In 2020 only three works were offered and sold for AUD 234,000, with a clearance rate of 100%, indicating strong valuation and selective purchasing by high-end collectors, possibly influenced by a renewed focus on Indigenous art during a challenging global period. 2022 saw a substantial increase in value at AUD 484,159, with a clearance rate of 85.7% (6 sold out of 7 offered) and only one unsold piece, suggesting Bedford’s works were again drawing significant attention. His significant work Mendoowoorrji - Medicine Pocket (2005) sold by Deutscher and Hackett in the "Important Australian + International Fine Art" auction, Melbourne, on 01/12/2022 for the record AUD 319,091. In 2024, sales amounted to AUD 249,136 with a clearance rate of 100% (4 sold out of 4 offered). This indicates a consistent collector base. Post-2011, Paddy Bedford’s market shows a stabilization period with periodic revival, influenced by targeted exhibitions and a steady collector base. The fluctuations indicate that while demand remains strong, it is selective, with buyers focusing on specific high-quality works. The clearance rates throughout the years reflect varying levels of market activity, highlighting both strong interest and periods of adjustment. 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 Ginger Wikilyiri < Back Ginger Wikilyiri Ginger Wikilyiri ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Ginger Wikilyiri 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 .

The Rod Menzies Estate | Indigenous and Oceanic Art Collection | Part I 17 Thurlow Street Redfern NSW Wednesday 8th November 2023 The Rod Menzies Estate | Indigenous and Oceanic Art Collection | Part I Wednesday 8th November 2023 The Rod Menzies Estate | Indigenous and Oceanic Art Collection | Part I Wednesday 8th November 2023 17 Thurlow Street Redfern NSW ROD MENZIES INDIGENOUS ART COLLECTION COMES TO AUCTION THIS NOVEMBER Sale includes Emily Kame Kngwarreye ’s, Earth ’s Creation II – whose sister work was sold by Cooee Art for a record $2.1 million, the highest sale price by an Australian female artist A significant collection of Australian Indigenous artworks owned by the estate of high-profile auctioneer, entrepreneur and art collector Rod Menzies is to be sold across two auctions, part one set for November 8 2023. The impressive collection of works for sale was amassed by Rod Menzies between 1999 and 2008, with many on permanent display in a purpose-built gallery at his historic Italianate Mansion. The Rod Menzies Estate Indigenous and Oceanic Art Collection comprises 214 paintings and artefacts with a combined market value of $3 - 5 million; many of these artworks hold the record price for their respective artists. Among the works for sale is the prodigious Emily Kame Kngwarreye’s Earth’s Creation II, 1995 (LOT #29 EST $400,000 - $600,000), the 318 x 251 cm work comprising nine panels. Kngwarreye’s Earth’s Creation I was previously sold by Cooee Art for $2.1 million, making it the most expensive piece sold by an Australian female artist. Painted during the same workshop, Earth’s Creation II features a cooler, more subdued palette. The grand work exhibits a bold confidence based on Kngwarreye’s deep understanding and inseparable connection to her country. In addition to the Sydney auction viewing, a Melbourne showing of Earth’s Creation II will take place at the Fin Gallery, Prahran. Other notable works in the collection include Rover Thomas’ Bullock Hide Story , 1995 (LOT #35 EST $50,000 - $70,000), Maggie Napangardi Watson’s Digging Stick Dreaming , 1995/1996 (LOT #28 EST $90,000 - $150,000) and Judy Napangardi Watson’s My Dreaming , 2007 (LOT #27 EST $25,000 - $35,000). In 2007, a significant number of works from the collection were toured throughout Australia as part of the Masterworks of the Menzies Collection exhibition. VIEW PDF CATALOGUE VIEW AUCTION ONLINE VIEW AUCTION RESULTS auction13

Artist Profile for Ruth Nungarrayi Spencer < Back Ruth Nungarrayi Spencer Ruth Nungarrayi Spencer ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE RUTH NUNGARRAYI SPENCER - WARDAPI JUKURRPA (GOANNA DREAMING) - YARRIPILANGU Sold AU$0.00 top Anchor 1 PROFILE Ruth Nungarrayi Spencer 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 Mary Teresa Tailor < Back Mary Teresa Tailor Mary Teresa Tailor ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Mary Teresa Tailor 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 Yolanda Rostron < Back Yolanda Rostron Yolanda Rostron ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE YOLANDA ROSTRON - CAMP DOG SOLD AU$800.00 top Anchor 1 PROFILE Yolanda Rostron 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 Clinton Nain < Back Clinton Nain Clinton Nain ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Clinton Nain 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 KIRSTY-ANNE NAPANANGKA MARTIN < Back KIRSTY-ANNE NAPANANGKA MARTIN KIRSTY-ANNE NAPANANGKA MARTIN ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE KIRSTY-ANNE NAPANANGKA MARTIN 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 .

ALPEYT MWERRANGKER | GOOD BLOSSOMS 17 Thurlow St, Redern, NSW 2016 20 October - 10 November 2022 Viewing Room ALPEYT MWERRANGKER | GOOD BLOSSOMS Artists: Artists from Barkly Regional Arts 20 October - 10 November 2022 17 Thurlow St, Redern, NSW 2016 The Barkly Tableland stretches over 320,000 square km of the Northern Territory, surrounding its largest town and cultural centre, Tennant Creek, located approximately 1000km south of Darwin and 500km north of Alice Springs. Here, Barkly Regional Arts is the area’s main hub for visual artists and musicians, each inspired by the Country under the canopy of vivid blue sky and red dust. From their visual arts and music studios in the heart of Tennant Creek, Barkly Regional Arts does outreach with the area’s remote communities, producing ar t and music that tells the stories of the Barkly, fostering access, development, and recognition of arts in the Barkly. Art made in the Barkly is significant not just as a way of preserving culture, but also as a means by which the community can come together, celebrating culture and Country and, not least, earning an income.The work of the Artists of the Barkly reflects the remote, unforgiving desert landscape and harsh conditions, yet also portrays the charm and magical beauty of the region. The Artists of the Barkly collective represents over fifty artists, living in four remote communities across the Barkly region:Tennant Creek,Wutunugurra (Epenarra), Owairtilla (Canteen Creek) and Kulumindini (Elliott). Alpeyt Mwerrangker meaning Good Flowers or Good Blossoms in Alyawarr, features eleven of the regions most well renowned painters, sharing a remote, rugged landscape and an interest in Country, modern history and life in the Barkly.The artists from each community exhibit a distinctive style, demonstrating the profound influence of the art centre setting. VIEW CATALOGUE EX 243

KUNINJKU AND BEYOND | Works From Maningrida Cooee Art Redfern - 17 Thurlow St, Redern, NSW 2016 KUNINJKU AND BEYOND | Works From Maningrida KUNINJKU AND BEYOND | Works From Maningrida Cooee Art Redfern - 17 Thurlow St, Redern, NSW 2016 KUNINJKU AND BEYOND Works From Maningrida Exhibition | 7 - 28 February 2026 REGISTER YOUR INTEREST EXManingrida26