The Collectors Room: Highlights from the Secondary Market Booth J09 | Carriageworks, Everleigh The Collectors Room: Highlights from the Secondary Market The Collectors Room: Highlights from the Secondary Market Booth J09 | Carriageworks, Everleigh THE COLLECTORS ROOM Highlights from the Secondary Market Alongside our exhibition Ngarukuruwala Kapi Murrakupuni Art Leven is proud to present a focused selection of secondary market works, led by Emily Kame Kngwarreye’s Alalgura Country , 1993. Placing these works in dialogue highlights the continuity of First Nations art, from community-driven practice alive today, to the landmark paintings that shaped international recognition of Frist Nations voices in global contemporary art. The timing resonates strongly with the Tate Modern’s forthcoming retrospective Emily Kam Kngwarray (10 July 2025 – 11 January 2026), underscoring the worldwide momentum surrounding her practice and the broader field. This presentation speaks directly to Art Leven’s dual identity. Our exhibitions celebrate the innovation of living artists and their art centres, while our Collectors Room and auctions provide a platform for historically significant works to be rediscovered, contextualised, and placed into the hands of new custodians. Together, these complementary strands reflect our long-standing mission: to honour the strength and diversity of First Nations art while deepening its resonance in Australia and internationally. VIEW PDF CATALOGUE KUTUWULUMI PURAWARRUMPATU (KITTY KANTILLA) - PUMPUNI JILAMARA price AU$35,500.00 DANIE MELLOR - PERPETUAL (NGARAY) price AU$30,000.00 ANGELINA PWERLE NGAL - UNTITLED ( BUSH RAISIN MAN) price AU$3,000.00 TJULYATA KULYURU - TJUKULA (WATERHOLES) price AU$1,300.00 PRINCE OF WALES - BODY MARKS price AU$35,500.00 OWEN YALANDJA - YAWK YAWK Sold AU$19,000.00 ELAINE NAMATJIRA - ULPATJA - PARROT Sold AU$3,000.00 FIONA WELLS - NGAYUKU WALKA (MY DESIGN) price AU$1,200.00 JOHN TJAKAMARRA KIPARA - WALINNGI (WOMEN CATCHING SNAKE) price AU$35,000.00 DANIE MELLOR - TRUNK SHIELD price AU$5,000.00 LANGALIKI LEWIS - NGAYUKU WALKA (MY DESIGN) price AU$1,600.00 SCAF_Collectors

Artist Profile for Wipana Jimmy < Back Wipana Jimmy Wipana Jimmy ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE WIPANA JIMMY - MINMA KUTJARA Sold AU$0.00 top Anchor 1 PROFILE Wipana Jimmy 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 .

BennettGordo Gordon Bennett Gordon Bennett 1955 - 2014 Born on the 9th of October 1955, Gordon Bennett attended the Nambour High School in Queensland. On the 3rd of June 2014, Mabo Day (22 years after the High Court of Australia overturned the legal fiction of terra nullius which had characterised Australian law with regards to land and title since the voyage of James Cook in 1770) Bennett passed away in his home from an unexpected heart attack. Bennett’s prolific art career began after graduating from the Queensland College of Art, Brisbane, in 1988 at the age of 33. During his childhood, Bennet's Aboriginal heritage was kept from him in an effort to protect him from racist taunts from within his working class community and society in general. This led increasingly to Bennett’s dissatisfaction with the received histories of Australia and stereotypical castings of identity. Always an avid reader, Bennett found that the postmodernist intellectual and artistic circles of the late eighties opened for him new perspectives on the narratives upon which our culture is built. He began to fragment and juxtapose his visual references. In his early works, events, icons, and texts were thrown together amid the drips and splatters of Pollockian paint. This confrontational meshing of imagery was driven by a strongly felt sense of injustice at the ‘homogenizing impulse’ of the colonizing white culture; a culture that promoted and maintained itself at the expense of Aboriginal suffering and displacement. Bennett sought to retrieve a history of discarded memories and moments and install them alongside the heroic ideal. In Myth of the Western Man (White Man’s burden) 1993, the explorer, a familiar figure in primary school textbooks, staunchly holds a blue pole against a number of engulfing elements. The swirling paint is interrupted by dates that flag significant events in Aboriginal history. The pole pays homage to the reforms of the Whitlam era, including the purchase of Pollock’s controversial Blue Poles for the National Gallery of Australia as well as the end of the white Australia policy and the beginning of land rights and self-determination for Aboriginal people. Bennett’s early fascination with Pollock furthered his investigation of the structures that assign and reinforce identity. Like other artists (Basquiat, Mondrian) whom he has ‘quoted’ in order to explore certain modes of thought, Pollock usurped the established principles of Western art and prompted his audience towards new ways of seeing. Fluid, interlacing and dripping lines dissolve perspectival space, dismantling the structured grid system with its central, controlling gaze. This colonising view upon the world has served to invalidate the Dreaming journeys and sites of Aboriginal culture, deeply fracturing land-based spiritual beliefs that traditionally constituted their culture and sense of identity. During his career Bennett has sought to draw attention to the problematic core notions that underwrite our sense of subjectivity generating global problems, most especially in the context of race relations. Rather than removing himself from the real world of things, actions, and events in his study of history and its sustaining ideology, Gordon Bennett surveys the scene for signs, staging a theatre of images drawn from other images that twist back on themselves in Shakespearian-like irony and figurative turns. Apparent meanings are undone in the search for deeper meanings. Yet these are not necessarily more meaningful in this emotionally charged layering of narratives. In his 9/11 series (2001), New York becomes the symbolic site where the long and explosive history of white imperialism once again rises to the surface, flashing around the world on television screens, over and over. In 2003 he began works concerned with terrorism and the war in Iraq. Opposing relationships become a continuous subterfuge of dissolving appearances; now the ‘other’ can never be safely known or controlled. Gordon Bennett rapidly established himself in the Australian art world. He lived and worked in Brisbane. His polemic works are well represented in major galleries and private collections. In 1991 he won the prestigious Moet & Chandon Australian Art Fellowship. For many years he also painted under the pseudonym of John Citizen preferring not to disclose his alias until these works reached the same level of prices as those created under his real name. His paintings are both complex and provocative having often been described as ‘in your face’. Like the improvising, sampling and remixing of modern jazz or rap music, with its startling, syncopated rhythms, Bennett’s compositions cause one to step back and, only from the safety of distance, re-enter his cacophony of images, words and gestural paint which stakes out a new expressive space. Here the stories left out of our schoolbook history strive to unfold and their unsung characters reach into our field of vision. In Bennett’s early works, this is the story of Indigenous Australia and his own personal place within it while later, it is a story that involves all of modern western society as it seeks, often violently, to colonize the globe. Gordon Bennett was a contemporary painter of national renown who also happened to be of Indigenous heritage. Simply labelling his work as ‘urban Aboriginal art’ would underestimate its place in much the same way as it would with Tracy Moffatt, Johnathon Jones or Brooke Andrew. His exhibition history and bibliography are amongst the most extensive of all Aboriginal artists. He was represented by Paul Greenaway in Adelaide, Peter Bellas in Brisbane, and Irene Sutton in Melbourne almost since the beginning of his career. For the last ten years or so of his career he also painted under the pseudonym ‘John Citizen’. At first these works started at a quarter the price of those issued under his real name, however once they attained the same price level he revealed the ruse and these are now ascribed to him personally. While only 65 of the 101 works presented on the secondary market have sold, only a small number of these have been major works. During 2007-2008 his success rate was 90%, way above his career average, with no less than eight works entering his ten highest results. Amongst them were four works which all exceeded the previous record price of $47,500 which Sotheby’s had set for Haptic Painting Explorer (The Inland Sea) 1993 in their June 2002 sale (Lot 165). This very large work was not one of his best and the record was smashed in July 2007 after Sotheby’s offered an absolute beauty, with a whopping presale estimate of $300,000-500,000. Their confidence was rewarded when Possession Island 1991, a triptych in which each panel measured 162 x 130 cm, sold for $384,000. While 2007 was a brilliant year for Bennett’s secondary market results, with eight works sold of which no less than six entered his top ten records, another four works failed to sell. Nevertheless it loosened the grip of seven collectors who put up works the following year and all but two were successful including the owners of Home Décor (Algebra) Boomerang, a 182.5 x 182.5 cm work which became the artist’s second highest result at $52,800 and Notes to Basquiat: Cut the Circle II, 2001, a slightly smaller work, which fell just short of this at $50,400. Somewhat unusually only one work, a print, was offered and sold in 2009 and 2010 brought similar results, despite Home Decor (Algebra) Boomerang being re-offered with a conservative estimate lower than it's previous sale price. More were on offer in 2011, with seven appearing at auction, of the two that found buyers Psychotopographical Landscape 1991 fetched an impressive $21,600, marking a new 8th place auction record. In 2012 Haptic Painting Explorer (The Inland Sea) 1993 was offered for sale following a decade since its last appearance at sale. Bonham's offered the work in its June sale of the Fehily collection of contemporary art (Lot 17). This time around it achieved more than twice its previous price when it sold for $108,000. Another notable success was for Australian Icon 1989, a work originally sold for $36,925 at Sotheby's in July 2003 (Lot 191). Resold by Sothebys in November 2012, it became the artist's 3rd highest result when it achieved $60,000. These two 2012 results ensured that Bennett became the 13th most successful AIAM100 artist for the year lifting his career standing from 36th to 34th. Only two works appeared in both 2014 and 2015 and these were both successful, selling at average prices significantly above his career average. A new 3rd highest result was recorded in 2015 with Home Decor (Preston + De Stijl = Citizen) Men with Weapons 1997 a massive 182.5 x 365 cm (overall) work selling in the sale of the collection of David Clarke AO at Sothebys in April (Lot No. 86). This was toppled by Notes to Basquiat (Ab) Original 1999, which was sold by Deutscher and Hackett's for $87,840 against an estimate $40,000-60,000 in 2016. In 2018, seven works of eight offered found new homes with Home Decor (Algebra) Relache 1998 ( 182.7 x 182.3 cm) selling for $54,900 and slipping into his top 10 results in 6th place. Overall, works by Gordon Bennett fall in to distinct periods, styles and subjects. Those with particularly pleasing layered imagery suggesting multiple interpretations have been far more successful than those in which the political message is too obvious and made at the expense of the image itself. A number of extremely powerful and important paintings lie at the centre of Bennett’s much-admired oeuvre. Lithographs and screen-prints have faired badly at auction, remaining either unsold, or selling in the vicinity of $500. He is amongst the best documented of all Aboriginal artists. Works like Haptic Painting Explorer and Possession Island are cases in point. There are other paintings by Bennett of this quality that are tightly held and very strong in the literature. On those odd occasions when these become available for sale, they will achieve stellar prices up to ten times his current average. 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 Walter Ebatarinja < Back Walter Ebatarinja Walter Ebatarinja 1915 - 1968 ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE WALTER EBATARINJA - UNTITLED Sold AU$0.00 WALTER EBATARINJA - UNTITLED Sold AU$0.00 top Anchor 1 PROFILE Walter Ebatarinja 1915 - 1968 Walter Ebatarinja was among the amazed and delighted local Aboriginal audience who attended the initial exhibition of watercolours by Rex Batterbee and John Gardner at the Lutheran mission in Hermannsburg in 1932. Walter, already an accomplished craftsman, wished also to be taught the new painting method like his uncle Albert Namatjira. He had to wait however until Albert returned from his painting trips with the visiting artists, and then press him into imparting his new skills. Albert taught his sons to paint and a few of his wider relations, including Walter, often including them in his trips into the McDonnell Ranges and the dramatic gorges along the Finke River. In turn, Walter taught his wife Cordelia to paint, and then his sons Joshua and Desmond. This is how the Hermannsburg School of watercolourists began. Despite Namatjira’s popularity, much criticism was levelled at the Arrernte artists because of their adoption of European materials and the introduced Realist style, so foreign to the acceptable Aboriginal cultural experssion at the time. Critics called it a ‘popular craze’ or ‘pretty pictures’ of imitative value only, rather than of artistic merit. Yet their consistent sales proved a strong incentive and public appreciation carried the day. Their luminous watercolours found their way into the hearts and minds of the Australian imagination and finally the art establishment. Contrary to initial perceptions, this new translation of the landscape was actually in keeping with the traditional, spiritual relationship between the artists and their country. The paintings have genuine meaning, tracing as they do the much loved landforms, full of ancient stories and hidden sacred sites, not unlike the forms of other Aboriginal art that depict country from a taditional omnipotent perspective. The paintings are more than landscapes in the conventional sense of scenery. They arise as part of the land and reflect an attentive custodial sensibility towards it. Arrernte landscape painters are part of a continuing tradition that today is becoming more important than ever. Walter’s son Desmond Ebatarinja recalls his parents’ artistic activities, which brought much needed money into the family during difficult drought years. The children were sent away to the mission school while Walter and Cordelia lived at the Palm Valley camp, twelve miles out of Hermannsburg and sold art to passing tourists. In those days, the paintings had to be stamped by the Native Affairs Branch to be 'approved' by the authorities and attract good prices. Desmond remembers coming home during holidays and swimming in the Finke River and watching his father paint. Walter developed his own recognisable painterly style, often using clusters of dots and areas of parallel lines as he analysed the land in more broad and geometric terms. Cordelia meanwhile gave more attention to a decorative quality. “When we’re painting country we think about the Dreaming of that country,” Desmond said. “My parents taught me to paint like that.” Arrernte country was centred around Alice Springs and, though the traditional owners were pushed to its outer missions and margins, today’s thriving art centres still rest on the enthusiasm, skill and international reputation of the foundational Hermannsburg painters. Profile author: Sophie Pierce Edited: Adrian Newstead Collections: Artbank, Sydney.; Art Gallery of South Australia, Adelaide.; Flinders University Art Museum, Adelaide.; Museum of Victoria, Melbourne.; National Gallery of Australia, Canberra.; National Gallery of Victoria, Melbourne.; Parliament House Art Collection, Canberra.; Queensland Art Gallery, Brisbane.; The Kelton Foundation, Santa Monica, U.S.A.; Exhibitions: 1963, The Melbourne Moomba Festival, Exhibition of Aboriginal Art, presented by the Aborigines Advancement League, in conjunction with the Myer Emporium, Melbourne, Victoria.; 1991, The Heritage of Namatjira at Flinders, Flinders University Art Museum, Bedford Park, South Australia.; 1992/93, The Heritage of Namatjira, touring exhibition, through Flinders University Art Museum.; 1995, Namatjira Ilakakeye, kinship, creativity and the continuing traditions of the Hermannsburg artists, Tandanya, Adelaide. Bibliography: Battarbee, R., 1951, Modern Australian Aboriginal Art, Angus and Robertson, Sydney. (C) ; Battarbee, R. and Battarbee, B., 1971, Modern Aboriginal Paintings, Rigby, Adelaide. (C) ; Berndt, R. M. and Berndt, C. H. with Stanton, J., 1982, Aboriginal Australian Art, a Visual Perspective, Methuen Australia Pty Ltd, Sydney. ; Hardy, J., Megaw, J.V.S. and Megaw, M.R. (eds), 1992, The Heritage of Namatjira - the Watercolourists of Central Australia, William Heinemann, Australia. (C) ARTIST CV Market Analysis MARKET ANALYSIS Walter Ebaterinja's paintings first appeared at auction in 1969, the year after his death. It was a measure of the affection owners felt toward his paintings that by 1984, 15 years later, only twenty five paintings had appeared for sale on the secodary market with the higheast result being $425, a quite considerable amount at the time. As his works sold from the Hermannsburg mission during his lifetime for $5 to $20 this was a remarkable increase in value. By 1995, when Sotheby's held its first specialist Aboriginal art auction in Australia more than 200 works had been offered for sale with his record price being the $900 set by Lawsons in April 1993. Walter's success at public sale is quite remarkable though the average price of his works is very low at $699. His low average price is acountable to the length of time since his death and his works first appearance in Australian auctions. If his early sales pre-1995 are discarded, the average prices of his sales jumps dramatically. (Walter's AIAM100 rating accounts for this, as the rule that discounts an artist's ranking if their average prices fall below $1500 applies. Were this factor not taken into account, Walter's position amongst the most important artists of the movement would be significantly higher). His current record price was set at Sotheby's in July 2007, when a lovely 39 x 57 cm image of Alice Springs as seen from Anzac Hill sold for $10,800. Another smaller image painted of the same scene from the same location sold in 2012 for $9,600 relegating an image entitled Aranda Landdscape that sold for $4,800 two years earlier to third place. Only 10 works have sold for more than $2,000 and 45 over $1000. That leaves no over 300 paintings which have either failed to sell or have achieved a price under $1000. All of Walter's sales over $1000 have been made post-2003. The reason? In 2002 the National Gallery of Australia staged its major retrospective Hermannsburg painting exhibition, Seeing the Centre , curated by Alison French. At the time of the exhibition Hermannsburg works were considered a rather kitch anomoly in the history of Aboriginal desert art, having been transcended by the sheer volume of traditional desert dot paintings created post-1970. Subsquently, works by Albert Namatjira, and indeed all of the leading Hermannsburg watercolourists underwent a reappraisal and this has resulted in steadily increasing prices. 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 Katie Curley < Back Katie Curley Katie Curley ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE KATIE CURLEY - MY COUNTRY SOLD AU$2,100.00 top Anchor 1 PROFILE Katie Curley 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 Sabrina Nungarrayi Gibson < Back Sabrina Nungarrayi Gibson Sabrina Nungarrayi Gibson ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Sabrina Nungarrayi Gibson 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 Wenton Rubuntja < Back Wenton Rubuntja Wenton Rubuntja ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE WENTON RUBUNTJA - MT ZEIL SOLD AU$2,800.00 top Anchor 1 PROFILE Wenton Rubuntja 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 .

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KaredadaJack Jack Karedada Jack Karedada 1920 - 2003 Despite mission life once severely curtailing their traditional beliefs and practices, the artists of Kalumburu today are the financial mainstay of their small remote township found at the tip of the Western Australian coast. The Karedada family (named after their totem, the butcherbird or karadada) have been instrumental in this regard. Jack and his wife Lily, as well as other family members, provided artworks for the first exhibition of Wanjina paintings in Perth during the 1970’s. In those days, a small bark Wanjina painting could sell for 20 dollars, unlike recently when a bark by Jack Karedada sold for in London for 100,000 pounds. That particular image, Namarali – The First One, shows the great Wanjina who brought the first man and woman to the earth. When Namarali died from a spear wound to his side during a great battle that is said to have shaped the rugged, western Kimberley coastline, he was buried on a raised platform and his image painted in the caves. His spiritual essence resides there and still teaches humans how to live by the sacred Law and perform the rituals of life and death. Jack Karedada’s Wanjina figures characteristically have their eyes joined or touching in the middle with a thin stroke of a nose or sometimes none at all, and no mouth. Their heads are surrounded by an impressive halo of rays. The rain making power of the ancestral Wanjinas once brought a great flood that swept away the previous landscape and society. (A myth possibly rooted in archaeological evidence from the ending of the last Ice Age). Such a catastrophe could easily occur again, we are told, if mouths are included in the image. The soft rain-like pattern inside and around Jack’s Wanjina figures brings life and fertility to the land. In the spectacular caves and rock shelves that house the original images, where young boys were taken for initiation and instruction in the responsibilities of manhood, the Wanjina are still re-touched with fingers and ground ochres by tribal elders. Their preservation has been facilitated by the transference to bark painting and the appreciation by a wider audience of these mysterious and enigmatic figures. In Michael Edols film series, Lalai Dreamtime (1972), the traditional hunter-gatherer lifestyle of this region is respectfully recorded, followed by the growing and destructive impact of the dominating European culture. The films were lauded by German director Werner Herzog (among other European directors) and inspired Herzog’s own filmmaking excursions to Australia. Present during the making of these films, Jack Karedada brought paintings to show Edols and the image of Namarali, complete with a human dangling from each hand, crossed intact the treacherous cultural divide. It was this painting that recently sold in at Sotheby’s London, attesting to the lasting and magnetic power of the Wanjina. A detailed market analysis will be available shortly. Explore our artworks See some of our featured artworks below ANGELINA PWERLE NGAL - UNTITLED ( BUSH RAISIN MAN) Price AU$3,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Out of stock LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Price From AU$13,500.00 BRONWYN BANCROFT - UNTITLED Out of stock JOSHUA BONSON - SKIN: A CELEBRATION OF CULTURE Price AU$8,500.00 BOOK - KONSTANTINA - GADIGAL NGURA Price From AU$99.00 FREDDIE TIMMS - MOONLIGHT VALLEY Price AU$35,000.00 NEIL ERNEST TOMKINS - BURN THERE, DON'T BURN THERE Price AU$7,000.00 SHOP NOW

At Art Leven (formerly Cooee Art), we value your privacy and are committed to protecting your personal information. Our privacy policy outlines how we collect, use, and safeguard your data. Rest assured, any information you provide is handled securely and only used for the intended purposes. NEW IN STOCK Quick View ADRIAN JANGALA ROBERTSON- FAMILY PORTRAITS Price AU$1,300.00 Quick View BETTY CAMPBELL - MINYMAKU TJUKURPA (WOMAN'S STORY) Out of stock Quick View LORNA KANTILLA - JUKWARRINGA Price From AU$500.00 Quick View LORNA KANTILLA - JUKWARRINGA Price From AU$500.00 Quick View GEORGE TJUNGARRAYI WARD - TINGARI Price AU$2,900.00 Quick View CARISSA GURWALWAL - MIMIH SPIRIT Out of stock Quick View JULIE NANGALA ROBERTSON - MINA MINA JUKURRPA (MINA MINA DREAMING) Price AU$1,350.00 Quick View URSULA NAPANGARDI HUDSON - PIKILYI JUKURRPA (VAUGHAN SPRINGS DREAMING) Price AU$260.00 Quick View GINGER RILEY MUNDUWALAWALA - UNTITLED (WURRU AND MARAWULU) Price AU$11,000.00 Quick View ADRIAN JANGALA ROBERTSON-YALPIRAKINU Price AU$5,200.00 Quick View NGARGA THELMA JUDSON - NYUMMA - YUURLPA Price AU$3,000.00 Quick View GEORGE TJUNGARRAYI WARD - TINGARRI Price AU$1,000.00 Quick View NOLA YURNANGURNU CAMPBELL - ALL OF PATJAR Out of stock Quick View LORNA KANTILLA - JUKWARRINGA Price AU$1,000.00 Quick View YURPIYA LIONEL - ANUMARA (CATERPILLAR) Price AU$3,400.00 Quick View BOB GIBSON - PATJANTJA Price AU$5,600.00 Quick View EILEEN YARITJA STEVENS - PILATI OR NYAPARI Price AU$5,000.00

Artist Profile for Tiger Palpatja < Back Tiger Palpatja Tiger Palpatja 1920 - 2012 ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE TIGER PALPATJA - MAI TJUTA SOLD AU$29,000.00 TIGER PALPATJA - WANAMPI STORY Sold AU$0.00 TIGER PALPATJA - WANAMPI (TIGER'S CREATION STORY RED) SOLD AU$3,000.00 TIGER PALPATJA - WATERSNAKE DREAMIN Sold AU$0.00 top Anchor 1 PROFILE Tiger Palpatja 1920 - 2012 Though he began painting at the late age of 85, Tiger Palpatja had much energy and experience to convey to the world. His colourful, lively compositions immediately attracted acclaim from the art world and saw him included as a finalist in national art awards and in exhibitions across the country, as well as overseas. His blood reds, delicate pinks, lilacs and molten yellows give his work a lovely gentleness but encircled and held within the strong lines of his writhing serpentine forms. It reflects the austere power of his red desert country that is threaded through with sudden oases of breathtaking beauty. The Wanampi water snake (the main focus of his work,) created this country and is believed to be the ancestor of the Pitjantjatjara people. The non-poisonous snake lives in the Piltati waterholes, found in the lower hills of the Mann Ranges, South Australia, close to where Tiger was born and where he spent his early years, living a traditional nomadic life with his family. With the advent of European settlement of the area, when Tiger was in his mid-teens, the family settled at the Presbyterian mission and large sheep station at Ernabella. Tiger learnt basic English, began working on the station (becoming a top shearer), married his wife Nyalapanytja and started a family. Unusual for the time, the mission allowed the traditional beliefs and ceremonial rituals of the area’s Indigenous inhabitants to continue alongside church and work duties. Tiger gained a reputation as a traditional healer (ngangkari) and ceremonial leader as well as a carver of objects and spears. When, during the 1970’s, the mission closed and small communities were established, he moved to the township of Amata closer to his own Country. A small Art Centre was established there, at first encouraging and supporting women artists only. Over time, the Pitjantjatjara men, initially resistant and disapproving of the endeavour, were included and the name changed from Minymaku Arts (meaning belonging to women) to Tjala Arts (meaning Honey Ant). Tiger was one of the first to begin. In later years Tiger moved further towards his home country, to Nyapari, where Tjungu Palya Arts also became agents for his work. This saw a further freeing up of his style. His painterly flair revelled in the physicality of paint texture and the vibrant effects of colour against colour. He was a senior custodian for the Wanampi creation story, which has been central to his identity and still instructs people in the reciprocal relationship between men and women. The story tells of the frustration between two brothers and their wives. The men were spending too much time on their ceremonial activities so the women stopped providing food for them. The men then tricked the women by turning themselves into snakes and leaving enticing snake trails nearby which prompted the women to start digging vigorously and deeply, after the food. When one sister eventually speared a snake, the injured and angered men swallowed the women whole and retreated forever into the holes, channels and gullies that the women had dug throughout the country. Tiger is considered a leading artist from the Southern Desert area (APY Lands). He offers us a window into the soul of the earth, forged from his own song cycles and feel for the land. His work is held in Australia’s national and state galleries as well as other major collections. Profile author: Sophie Pierce 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 .

MurrumurruDick Dick Ngulei-Ngulei Murrumurru Dick Ngulei-Ngulei Murrumurru 1920 - 1988 Dick Nguleingulei Murrumurru lived most of his life on the Liverpool River plateau in West Arnhem Land, where he was born around 1920. His country was Yayminjdji, a Yirridjdja moiety clan estate in the stone country west of the Liverpool river. He briefly attended school at Gunbalanya (Oenpelli) in the 1930s and later worked as a crocodile shooter and at a timber camp in the Jim Jim area (present day Kakadu National Park). He also spent a short time at Pine Creek and Goodparla station. From 1965 he spent more time at the Gunbalanya township, dedicating himself to painting. Here he married a woman from the Naborlhborlh family but did not have any children. Nevertheless, a number of later Gunbalanya artists (such as Reuben Manakgu) have direct lineage to his family and regard him as an artistic forebear. Murrumurru was a versatile, inventive and eclectic bark painter. Stylistically his works range from finely detailed, naturalistic animals to more simply painted quirky figures, though there is much work in-between. Employing a range of Kunwinjku painting techniques, he often combined them in single works. For instance, the graceful parallel red and yellow rarrk (cross-hatching) of the classic rock art style, was often combined with the cross-hatching originally associated with painting for the Mardayin ceremony. He experimented with large blocks of infill in single colours and other patterns. He often used curved rarrk in his cross-hatched patterns, and combined blocks of rarrk with hatching at many different and arhythmic angles. His compositions often exhibit natural framing techniques, with figures and landscape features aligning to the rectangular shape of the bark. His works are capable of both refined grace and imaginative, discordant style. Nguleingulei's subject matter is often focused on the Arnhem Plateau stone country of his home. Stone country animals such as kumoken (freshwater crocodile) and ngarrbek (echidna) are painted with a hunter’s attuned sense of proportion, anatomy and personality. He also painted stories and spirits from the stone country, such as the Wardbukarra-wardbukarra from nearby Manmoyi and the Mimih spirits that inhabit the escarpment. From the 1980s he worked primarily at Marlkawo outstation, nearby his own country, often painting alongside Bardayal (Lofty) Nadjamerrek. He died there in 1988 in tragic circumstances. His works have been included in many major exhibitions, including Keepers of the Secrets at the Art Gallery of Western Australia in 1990, Dreamings in 1988 in New York, Art of the First Australians in Kobe in 1986, Kunwinjku Bim at the National Gallery of Victoria in 1984 and The Art of Aboriginal Australia which toured North America in 1974-76. Profile author: Dan Kennedy Collections: Aboriginal Arts Board of the Australia Council, held by the National Museum of Canberra.; Artbank, Sydney.; Art Gallery of Western Australia, Perth.; Australian Museum, Sydney.; Berndt Museum of Anthropology, University of Western Australia.; Museum and Art Gallery of the Northern Territory, Darwin.; Museum of Contemporary Art, Arnotts Collection, Sydney.; National Gallery of Australia, Canberra.; National Gallery of Victoria, Melbourne.; Queensland Art Gallery, Brisbane.; The Holmes a Court Collection, Perth.; The Kelton Foundation, Santa Monica, U.S.A.; Group Exhibitions: 2008 - Form and Function - A Collection of fine 18th and 19th century Ethnographic Objects and Bark Paintings , featuring works by: David Daymirringu Malangi, Dick Ngulungulei, George Milpurrurru, Jacky Kalakala, January Nongyarri, Jimmy Njiminjuma, Mickey Ganambarr, Daypurryun, Nandabitta, Narritjin, Paddy Compass Namatbarra, Peter Bandjurljurl, Peter Maralalwanga, Philip Gudthaykudthay, Tom Djimpurrpurr, Wally Mandarrk, Wattie Karuwaram, Yama, at Coo-ee Aborignal Art, Sydney. 1990 - Keepers of the Secrets, Aboriginal Art from Arnhemland, Art Gallery of Western Australia, Perth. 1988 - Yolngu, Aboriginal cultures of north Australia, The Royal Pavillion, Art Gallery & Museums, Brighton, United Kingdom; Dreamings, the art of Aboriginal Australia, The Asia Society Galleries, New York; The Inspired Dream, Life as art in Aboriginal Australia, Museum and Art Gallery of the Northern Territory and touring internationally. 1987 - The Fourth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin. 1986 - The Art of the First Australians, Kobe City Museum, Japan. 1985 - The Second National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin. 1984/85 - Kunwinjku Bim, Western Arnhem Land Paintings from the collection of the Aboriginal Arts Board, National Gallery of Victoria. 1984 - The First National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin. 1974 to 1976 - Art of Aboriginal Australia, touring Canada, Rothmans of Pall Mall Canada Ltd. 1974 - Australian Aboriginal Art from the Louis A. Allen Collection, M. H. de Young Memorial Museum, California Palace of the Legion of Honor 1970 - Australian Aboriginal Art, The Art Galleries, University of California at Santa Barbara, Santa Barbara. 1969, - Australian Aboriginal Art - The Louis A. Allen Collection, R. H. Lowie Museum of Anthropology, University of California, Berkeley. Awards: Commissions: 1982, One of Murrumurru's paintings was used on the Australian 75c stamp issued in 1982. 1988, Completed a frieze of paintings on a fibreglass rock wall for the world rock art conference held in Darwin in 1988. Bibliography: Aboriginal Arts Board of the Australia Council,1979, Oenpelli Bark Painting, Ure Smith, Sydney. (C) ; Allen, L., 1975, Time Before Morning: Art and Myth of the Australian Aborigines, Thomas Crowell Company, New York. ; Berndt, R. M. and Berndt, C. H. with Stanton, J., 1982, Aboriginal Australian Art, a Visual Perspective, Methuen Australia Pty Ltd, Sydney. ; Brody, A., 1984, Kunwinjku Bim: Western Arnhem Land Paintings from the Collection of the Aboriginal Arts Board, National Gallery of Victoria, Melbourne.(C) ; Isaacs, J., 1989, Australian Aboriginal Paintings, Weldon Publishing, New South Wales. ; Mc Donald, J., (comp) 1986, Australian Artist Index, Arts Library Society, Australia and New Zealand, Sydney. ; Norton, F., 1975, Aboriginal Art, Western Australian Art Gallery Board with the assistance of the Aboriginal Arts Board of the Australia Council. ; O'Ferrall, M., 1990, Keepers of the Secrets, Aboriginal Art from Arnhemland in the Collection of the Art Gallery of Western Australia, Art Gallery of Western Australia, Perth. (C) ; Taylor, L., 1989, 'Seeing the 'inside': Kunwinjku paintings and the symbol of the divided body.' In Morphy, H. (ed.), 1989, Animals into Art, Unwin Hyman, London. (C) ; Sutton, P. (ed.), 1988, Dreamings: the Art of Aboriginal Australia, Viking, Ringwood, Victoria. (C) ; West, M.K.C., (ed.), 1988, The Inspired Dream, Life as art in Aboriginal Australia, exhib. cat., Queensland Art Gallery, Brisbane. ; 1974, Art of Aboriginal Australia, exhib. cat., Rothmans of Pall Mall Canada Limited. (C) 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