Artist Profile for Elizabeth Nungarrayi Ross < Back Elizabeth Nungarrayi Ross Elizabeth Nungarrayi Ross ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE ELIZABETH NUNGARRAYI ROSS - BUDGERIGAR DREAMING - NGATIJIRRI JUKURRPA SOLD AU$450.00 ELIZABETH NUNGARRAYI ROSS - BUDGERIGAR DREAMING - NGATIJIRRI JUKURRPA SOLD AU$450.00 ELIZABETH NUNGARRAYI ROSS - BUDGERIGAR DREAMING - NGATIJIRRI JUKURRPA SOLD AU$450.00 top Anchor 1 PROFILE Elizabeth Nungarrayi Ross 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 Emily Cullinan < Back Emily Cullinan Emily Cullinan ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE EMILY CULLINAN - ANANYI NGURA (TRAVELLING COUNTRY) SOLD AU$3,300.00 top Anchor 1 PROFILE Emily Cullinan 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 .

NaparrulaLorna Lorna Fencer Naparrula Lorna Fencer Naparrula 1920 - 2006 Yulyulu, Napurrurla, Pinja Born c.1925, at Yarturlu Yarturlu, a Yam Dreaming site, Lorna Fencer was the custodian of inherited land Yumurrpa situated near Chilla Well, south of the Granites Mine in the Tanami Desert. Her father’s country was Wapurtali. She spent her early years living a traditional life, until in 1949 she, along with many of her Warlpiri countrymen, were forcibly transported to the government settlement of Lajamanu at Hooker Creek, situated in the country of the Gurindji people. Lajamanu lay 380 km north of the traditional Warlpiri homelands and it became a disconsolate community, as its governance during the 1950’s was militant and suppressive. Many Walrpiri walked the 800 km back to Yuendumu only to be forcibly returned once more, thereby creating a deep sense of disempowerment and loss. Despite this, the Warlpiri elders kept their customs and ceremonies alive with a fierce determination. Lorna Napurrula in particular maintained and strengthened her cultural identity through ceremonial activity, thereby asserting her position as a prominent elder and teacher in the community. Aware of the growing popularity of painting amongst the Pintupi and other groups in the Western Desert, the Warlpiri men of Lajamanu were deeply concerned and determined to safeguard secret and sacred knowledge. In 1983, 12 Warlpiri men from Lajamanu and Yuendumu traveled to Paris to create a traditional sand-painting and dance at the Musee d’Art Moderne. Nevertheless, they remained strongly opposed to committing these designs to any permanent medium. However, three years later the Warlpiri position changed as a result of an adult education course run by John Quinn, during which western art materials were introduced at the local school. As this artistic activity strengthened, the women in particular were encouraged by the much-needed income that painting could provide and the role art could play as a means of preserving and maintaining their culture. Due perhaps to their dislocation from their own country to the south, the way that income from art had enabled the Pintupi, who initially lived at Papunya to re-establish their links to country closer to Lake MacKay, resonated strongly with their own hopes and desires for a better future. The women of Lajamanu were anxious to see their children provided with some source of spiritual grounding in the face of so many modern influences and distractions. However, Lajamanu's isolation, due to its great distance from the urban art centres and the difficulty of communication with the outside world, slowed the public emergence of Lajamanu art significantly. As late as 1989, there were still no telephones to connect the inhabitants of the community with the outside world. However, the arrival of a satellite dish from Yuendumu resulted in a teleconference link up with the director of Coo-ee Gallery, Curator Christine Watson and Allan Warrie of the Aboriginal Arts Board, during which Abie Jangala, Lorna Fencer and other Lajamanu artists presented their work and arranged to participate in an exhibition the following year. Soon after the women started painting in 1986, they began to outnumber their male counterparts. The ‘hitherto sleeping giants of the Aboriginal Art world' ( Ryan 2004: 104), produced works that were astoundingly inventive and bold. Amongst them, Lorna Fencer stood out. Her powerful, gestural brushstrokes and uninhibited, bold, and intuitive application of colour produced haptic effects in works characterized by fluidity and movement. The classical dotted infill never suited her whimsical nature and unique vision of Warlpiri culture. She adored colour and would sit solidly on the ground, painting with urgency until her pot of paint was depleted. Then, in the middle of this storm of creativity, she would pick up the empty pot. ‘Orangy Orangy’ she would insist as if she could wait not a second longer for a refill of that sensuous liquid yellow paint. Her completed paintings executed in vivid yellows, pinks, purples, lime greens and brilliant reds pick up on the bursts of thousands of tiny blooms that fill the desert after rain, emphasising them in an exuberant ‘celebration of pure painting’. Her more expressive, modernist style has an impulsive, organic logic, mirroring the plant or root structures of desert bush tucker. Lorna was the custodian of the sacred country of Yumurrpa and for the Yarla (bush potato), Luju (caterpillar), Bush Tomato, Onion and Plum Dreamings, many different seeds, and, importantly, spring water for the Napurrurla-Jupurrurla and Jakamarra-Nakamarra skin groups. She also had ancestral rights over the Water Snake, which become numerous when the country is in flood and the riverbeds and claypans fill with water. She painted these as sinuous lines upon a watery expanse of liquid colour. Her paintings reflected the traditional stories of Ancestral women journeying through the bush, singing and dancing as they collected food. Sometimes her female ancestors would come upon a caterpillar, ‘that cheeky one’ that bites them while they are picking fruit, making them itchy. In other works, Lorna would paint the digging sticks they used to find the bush potato or yam that spread underground in a meandering complex of roots and bulbs, a primary source of foot in their arid homeland. Apart from brief periods during the early and late 1990’s, the Warnayaka Art Centre at Lajamanu has been extremely poorly served by the Aboriginal arts bureaucracy. After John Quinn’s departure, the art centre was run on a voluntary basis by the wife of the administrator, Lava Watts, with assistance from Valda Dixon and later by Brent Hocking. During intermittent periods between the late 1980’s and the end of the 1990’s artworks were supplied through the art centre for exhibitions with Gabriele Pizzi, William Mora, and Alcaston Galleries in Melbourne, Coo-ee Aboriginal Art in Sydney and Sharon Monty in Perth. However, by the end of the 1990’s the art centre had fallen into decline due to lack of funding and, following meetings with all of the stakeholders, I personally proposed that the Lajamanu Council fund the coordinator's position on a three month trial basis. Vanessa McRae was appointed art adviser. Unfortunately, this move still did not establish the art centre on a secure footing. Lorna Fencer painted throughout this period alongside Lilly Hargeaves, the Rockman sisters, Abie Jangala, and others, working for the art centre when it operated and for private dealers when it did not. As Lorna would paint wherever there was a supply of canvas and paint, she was happy to live in the Walpiri camp in Katherine. While there, she worked for Alex and Petrina Ariston, owners of Katherine Art Gallery, with Mimi Arts and Crafts, with Mike Mitchell and others. She worked in Sydney during the Olympic Games and later, after returning to Katherine, began producing a large body of work with the support and financial encouragement of David Wroth of Japingka Gallery in Fremantle. The quality of her works depended greatly on who she worked with and the materials that were supplied to her. Despite the difficulties she faced as a practicing artist, she was able to produce a large proportion of extremely accomplished and highly original works for more than 30 group exhibitions and ten solo shows over a 15 year period. Beside the galleries mentioned above, solo exhibitions were held at Chapman Gallery in Canberra, Vivien Anderson Gallery in Melbourne and Gow Langsford Gallery in Auckland, New Zealand. Lorna Fencer Napurrula’s lively and brightly coloured paintings injected new energy into the living tradition of desert art. Her sheer joy and vitality when painting was a constant re-affirmation of the restorative spiritual power of traditional desert life. Lorna’s late career works, created in her 80’s, are a revelation. The combination of her unrivalled knowledge of tribal lore and Dreamings along with her intuitive use of colour and free gestural brush strokes in telling her stories, lead to comparisons with the late Emily Kngwarreye, yet Lorna’s work was decidedly and uniquely her own. At her best she mastered colour, carefully considering its impact before laying it down on the canvas. Her large epic canvases created in the eighth decade of her life were final and compelling statements about the power of the great Warlpiri stories that she painted for over twenty years. At the time of her death in 2006, Lorna Fencer was represented in the Australian National Gallery and National Gallery of Victoria, in state galleries and major private collections including Gantner Myer, Holmes a Court, Margaret Carnegie, Leewin Estate, Laverty and Kerry Stokes. She had won the Conrad Jupiter’s Casino Gold Coast City Art Award and been a finalist in the John McCaughey Memorial Art Prize. A year later she was named in the list of top 50 most collectible artists in Australia in Art Collector magazine. Her major three meter paintings were selling in retail galleries for $18,000-22,000, while smaller two meter works attracted prices of $12,000-15,000. Yet her highest price as late as 2009 was the $11,352 paid for Traveling Napurulla and Nakamarra, painted for the Warnayaka Art Centre and exhibited originally at Alcaston House Gallery, which sold through Christies in August 2005 (Lot 152). In June 2009, however, this record was marginally superceded with the sale of Warputi 2003 for $14,400 by Lawson-Menzies. Sotheby’s have offered only three works by Lorna. Auction houses that have championed this artist have been Lawson~Menzies, Christies, Shapiro and Elder Fine Art. The fact that Sotheby’s have demonstrated such indifference is worthy of note. As with Minnie Pwerle, Paddy Fordham Wainburranga and many others, including Emily Kngwarreye and Rover Thomas who either preferred, or were forced to paint for independent dealers, Sotheby’s have eschewed all but those works created for an official art centre or for those few sources that they have been prepared to link their brand with. Nevertheless, buyers and sellers should not be put off by this. Sotheby’s no longer offer Aboriginal art in stand alone sales and there have been no shortage of others prepared to take their place. The earliest sales amongst Lorna’s top ten results were recorded in 2002 and 2004 while eight of the ten have sold since 2005. Only three works have sold at auction for more than $10,000 while 13 have achieved prices between $5,000-10,000. This is extremely disappointing in the light of the number of highly esteemed works that have failed to attract buyers. Her career success rate is very poor, with less than half of the offered works finding buyers. The most highly valued of these was Murkari (Little Bush Plum) 2003 created for Japingka Gallery and sold through Vivien Anderson Gallery in Melbourne. This beautifully coloured virtuoso work measured 144 x 255 cm and carried a presale estimate of $20,000-24,000, though it failed to justify Lawson~Menzies faith when offered in their May 2005 sale (Lot 35). 2016 however was a very good year for this artist with 3 sales achiving top 10 results. A very unusual piece which was offered at Deutscher & hackett in its Laverty Collection sale topped the list that year. The work entitled Grief, was extremely atypical and was said to have prestaged the death of a child in 1997. It equaled her highest result ever at public sale when sold for $14,400. Another distinctive work in the Laverty sale achieved her 5th highest result when sold for $8,400. But arguably the best work to be offered for sale in many years, Owl Hunting Catapillar 2001, achieved her tenth highest result ever when offered in the Alan Boxer sale at Mossgreen. Carrying a presale estimate of just $1,000-1,500, it incited spirited bidding but eventually sold for just $6,710, less than half its real value. FOur works were offered in 2017 and all sold, most notably a 182 x 183 cm painting entitled Warna (Snake) 1997, which sold for $7,930 and placed in her top ten highest results. It is possible that in time Lorna Fencer’s work may resonate more closely with prevailing aesthetics and taste and should that be the case, there are a large number of very fine examples that will be available at far more reasonable prices than say works by Emily Kngwarreye or even Minnie Pwerle. Both spring to mind as equally gestural artists who were renowned as great colourists. That Lorna Fencer’s work should languish by comparison has always seemed to me an utter mystery. All those institutions and major collectors who have added her works to their holdings can’t be wrong. One of her stunning works is the first thing I see each morning as I open my eyes in bed. It is so full of joy, freedom, and energy that I am unable to look at it without recalling the irrepressible spirit of one of the most delightfully funny, irreverent Aboriginal women I have ever known. 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 Margaret Ngilan Dodd < Back Margaret Ngilan Dodd Margaret Ngilan Dodd ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Margaret Ngilan Dodd 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 .

TjungurrayiG. Wa George Ward Tjungurrayi George Ward Tjungurrayi 1940 George Ward Tjungurrayi encountered welfare patrols while living in the desert near Tjukurla W.A. southeast of Kiwirrkurra, and west of Kintore. Although they were born of different mothers George Ward shared the same father with Yala Yala Gibbs and Willy Tjunurrayai. He arrived in Papunya in the early 1960’s while still in his teenage years and worked as a fencer and butcher in the community kitchen. Beginning to paint in 1976, he initially assisted senior artists who worked within the tightly knit group of established Pintupi painters. The creation of large works during these early years of the Western Desert art movement involved many men at various levels of responsibility. For the younger ones, like George, it was an apprenticeship in the skills, knowledge and cultural obligations required for the artistic vocation and for eventual ceremonial leadership within his tribal area. He left Papunya with his young family during the late 1970’s and lived for a time in Warburton, Wiluna and Jigalong before working as an assistant on Uta Uta’s monumental Yumari canvas in 1981. Spurred on after listening intently to the discussions amongst the Pintupi elders about returning to their traditional lands, George moved to Kintore later that same year and, in 1984, moved even deeper into Pintupi territory and finally settled at Warakurna from where he frequently travels between the Western Desert and Alice Springs. During the early eighties, George was reputed to have painted the mythical journeys of the Tingari ancestors through his country. He followed the traditional manner of concentric circles and dotted infill using earth colours. He did not begin painting in earnest however until after the death of his brother Yala Yala Gibbs in 1998. It was from this period that his career as a painter could be said to have started in earnest. He rapidly developed his own style based on men’s designs used to adorn ceremonial artefacts including dance regalia with their mesmeric interlocking geometric and parallel linear patterning. In the groundbreaking exhibition at the Art Gallery of NSW (Papunya Tula Genesis and Genius, 2000), that chartered the emergence of the contemporary Aboriginal art movement, George Ward was one of the lesser-known artists, yet he already stood out with his tendency towards a ‘stripped down’ iconography (Rex Butler). His own style was emerging and it leaned heavily towards abstraction. It emphasized the bold linear qualities of the Pintupi painters but moved away from the distinctive Western Desert dots and lexicon of iconographs that were developed during the first five years of the movement. George would start with simple designs that marked the features of his country such as sand hills, waterholes or dreaming sites but then take flight within his own artistic process. His work came to less represent a particular Dreaming and more, like abstract art of the European tradition, while exploring the concept of Dreaming itself (or even more so, the sense of Dreaming and the energy or awareness it aroused). George would experiment with mixing a limited colour combination to produce different optical effects, sometimes bold contrasting stripes and at other times gentle undulating harmonies. His connection to country is felt in the powerful sense of vibrancy that emanates from his paintings. The canvas seems to pulsate or shimmer. The reworked surfaces at times change colour on one brush to effect silvery shadows that flicker alongside his long, fluid, painterly strokes. The imperative of his Dreaming springs from his artistic expressiveness, breaking through the constraints of tradition and its culturally specific focus. Sometimes in the history of an art movement, such breaks with tradition can seem at first to be transgressive but in George’s case his creative trajectory chimed perfectly with public sensibility. The great success of Emily Kngwarreye’s work during the mid 1990’s confirmed the market’s demand for painterliness and Georges Ward's imagery showed both the sought after degree of abstraction as well as an individuality of expression. The earlier phase of direct articulation of symbols and designs based on ceremony had provided the foundational starting point, but the booming national and international interest was hungry for the leading edge. The reputation of artists such as George Ward rose to prominence and was reflected in the continuing refinement and sophistication of their particular trademark styles. He was awarded the prestigious Wynne Prize at the Art Gallery of NSW in 2004 and since that time his work has appeared in many important collections and exhibitions both in Australia and overseas. He subsequently worked for a time in Alice Springs, producing works of high quality for a number of private dealers, most importantly Tony Mason, for whom he painted a number of major works. While several entered good collections and have achieved high prices at auction, the controversy following articles on the Alice Springs art trade during 2004 and 2005 have unfairly hardened the attitude of a section of the market toward these and other works created outside of the ‘Papunya Tula’ company. This is unjustified, given their quality. Nevertheless, despite the politics of the contemporary Aboriginal art market and the burgeoning interest in his work, George himself has continued to paint since that time in his air-conditioned garage at Kintore or on canvases carried with him to Warakurna, deep in the Australian desert. He remains the quintessential desert nomad who has been described as a modernist who ‘redeems the past’ by revealing to his audience the wonder of its true potential. (Butler, 2002). George Ward appears to have painted very little between his brief years living at Papunya in the mid to late 1970s and the late 1990s, when he took up painting once more in earnest. Not one single work has appeared at auction that was painted between 1978 and 1998, and it would seem he was not at all active as a painter during this period. Every one of his 10 highest results was painted from 2003 onward, and it is these highly abstracted Tingari Dreamings that his reputation is founded on. They fall into two categories; those few created for Papunya Tula, and the majority that were created for independent dealers. In fact only three works, including his 2nd highest record, carry Papunya Tula provenance amongst his top ten results. Soakage Water at Kirrimalunya 2004 set a record for the artist, and a powerful precedent when this 182 x 305 cm non-art centre work sold at Lawson~Menzies in May 2006 for $42,000 (Lot 144). Despite high demand in the primary market during 2000-2005, most especially after he won the Wynne Prize for landscape art at the Art Gallery of New South Wales in 2004, only 5 works have sold for more than $20,000. However few major works have been offered. Interestingly, though many paintings have failed to sell at auction, there are very few indeed that could have been considered to be major paintings. Only 3 carried presale estimates as high as $15,000-25,000. This leads to speculation that his major works are hard to come by and should do well whenever they appear for sale. Only 10 have ever been offered at auction with a low estimate at or above $12,000 and 7 of these have sold. The dominance of minor works that have gone through sales has skewed George Ward's results downward and taken some shine off his success during the last decade. He is now in his mid seventies and has been painting prodigiously only since 2000, and prolificly since 2004. Due to fact that he now paints for a number of independent dealers, his work can be found in many good galleries and is regularly promoted through ads in art magazines and this has certainly fueled what has been an extremely buoyant market for his work. Provided the current preference for aesthetic abstraction continues, and works of quality are accompanied with excellent documentation, there is every reason to expect George Ward Tjungurrayi’s best paintings will continue their growth in value. He is a fine artist who still has the dexterity that many of his older peers have now lost. In time collectors will come to understand more clearly the social and economic parameters at work amongst the artists and dealers of Alice Springs. As they do, prejudice against works created for independent dealers by artists of the caliber of George Ward Tjunurayai should lessen considerably. 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 Margaret Wallace < Back Margaret Wallace Margaret Wallace ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Margaret Wallace 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 .

WalesPrinc Prince Of Wales Prince Of Wales 1938 - 2002 Born c.1938 at Belyuen (Dellisaville), a small community on the far side of Darwin Harbour, Midpul, more familiarly known as Prince of Wales, was a custodian and leader of Larakia ceremonies and dances, a leading didgeridoo player, and practiced art as ceremonial body painting for much of his life. His father, Imabul, was also known as King George and this, perhaps as much as the fact that Midpul danced for Queen Elizabeth during a royal trip to Australia in the 1960's, resulted in his familiar ‘English’ name. ‘Prince’ grew up with his mother’s people, the Wadgigiyn, on the Cox Peninsula across the harbour from Darwin, and spent much of his adult life living with other Dangalaba clan members at the beach camp at Cullen (Kahlin) Bay, now an expensive marina development. Despite suffering a stroke prior to gaining great recognition as an artist, he continued his lifelong practice and passion for painting and became recognized as the first contemporary Aboriginal artist from the Larakia region. His work is a unique rendering on to canvas of the traditional body designs used in Danggalaba ceremonies. The respect afforded to Midpul by younger members of the Danggalaba tribe was such that, despite the specific sacred cultural content of his art, no challenge was mounted when he began to produce his canvasses. As the last ‘full’ elder of the tribe, he spoke about his responsibility to reveal this sacred visual element of his culture to the mainstream. Given the hesitation from the earliest days of the contemporary Aboriginal art movement to disclose sacred symbols to the public, his authority may have derived from the fact that there were simply no remaining elders alive to challenge him. Regardless, when his paintings - mostly entitled ‘Body Marks’ – came to public prominence in 2001, his work gained an immediate reputation as the up and coming art de jour of modern minimalism. It was the second year that ‘Prince’ had won the Telstra Aboriginal Art award in the General Painting Category (his previous success, in 1996, came and went with far less attention). Prince of Wales, had works included in the National Aboriginal and Torres Strait Islander Art Award five times, held his first solo exhibition at Gallery Gabrielle Pizzi in 1997, and went on to stage another four at the Karen Brown Gallery in Darwin and the Hogarth Gallery in Sydney. His death came at a time when his artistic career was only really beginning to flourish and commercial interest had begun translating into real sales. It is not difficult to see why his paintings were so quickly taken up by the art buying public, once they did come into prominence. The bold colours, broad dots and domino-like lines fit a very contemporary aesthetic. Unfortunately, this strong commercial interest only manifested at the end of his life and so much of his creative output was on a small scale, executed on cardboard scraps, paper and found objects. The artistic recognition that came with the Telstra Aboriginal Art award and a realisation of the commercial value of his work saw ‘Prince’ paint large-scale canvases only toward the end of his career. At this time his position as ‘the last ‘full-blooded’ Larakia man’ was a heritage that he strongly identified with, although his relationship to the title was ambivalent and, at times, a heavy burden. He died on the 27th December 2002 having created a significant art legacy and laying the foundations for the emergence of a contemporary Larakia Art Movement. His work was exhibited posthumously in 2003, in the group exhibition ‘Emerge’ at the Museum and Art Gallery of Northern Territory, Darwin. Prince of Wales has proven to be a most successful artist in the secondary market since he first appeared at auction in 2003. Of 72 works offered all but 16 have sold. A far higher percentage of these have sold for amounts above the high estimate compared to average results across all artists at auction. Although he began painting as early as 1994, his most successful works were produced from 1998 onward. Fifteen have sold for more than $25,000, of which eight were sold between 2012 and 2015. Nevertheless, his results are skewed by the spectacular $156,000 paid for Body Marks 2001, at Sotheby’s in July 2007 (Lot 94), which was by far and away the artist’s most impressive result to date. All of the paintings that occupy his top ten results were created between 1998 and 2002, the year he passed away. Prince of Wales's paintings rose in value on both the primary and secondary markets immediately following his winning the Telstra general painting award in 2001; his late career works, particularly those painted on a large scale, have commanded escalating prices since that time. The record price more than doubled the high estimate of $70,000 at Sotheby’s July sale (Lot 94) despite this having been the highest presale estimate ever placed on one of his works prior to 2018 when his second highest price was was achieved in Sotheby's March London sale. That major painting measuring 187 x 146 cm was estimated at GBP40,000 - 50,000 and sold at the high estimate (equivalent to $AUD88,615). Prince's third highest record ($61,000) was set at the Laverty auction at Bonham's in 2013. His fourth was far more conservative for a work measuring 223 x 132 cm. Body Marks 1999 sold in 2011 at Deutscher and Hackett's June sale (Lot 28). It was a reversed version of the work that won him the general painting prize in the 2001 Telstra Award. White dots jump out against a dark blue background. The colours are deep, and subtle and it is only by looking closer into the depth of the blue that black dots, layered on the background, become apparent. There is a sense of unity and harmony in both paintings, which is a hallmark of the best of this artist’s works. 2008 was not a good year for the artist at auction, with two works carrying estimates of $20,000-30,000 in Sotheby’s October sale failing to attract buyers (Lots 120 and 121). Of three paintings on offer that year only the small 55 x 55 cm. Body Marks 1999 sold in its estimated mid range at Joel Fine Art (Lot 200). With such small numbers presented at auction, this resulted in his overall clearance rate dropping from 91% to 84%. It resulted in his falling from 42nd to 46th ranked artist in the history of the movement. In 2012 seven of the eight works on offer sold with three paintings entering his top ten results at 3rd 6th and 7th places in his career standings. This saw his career success rate rise to 88% during a year in which he was the 14th most successful artist. 2015 was his best year for some time. Three works entered his top ten results at 7th, 8th and 9th. Nothing notable occured thereafter until 2019 when a work measuring 160 x 120 cm entered his top then results having sold for $AUD32,000 at Sotheby's in New York. There is no doubt that major paintings by this artist, whose career was cut short just as his success had ignited intense interest in his art, will increasingly attract interest from informed collectors, with consequent growing prices. His two highest records are held by works that are by far the largest of his paintings ever presented for sale and this can be seen as part of a trend by serious collectors to pay a premium for important works that are strictly limited in availability. Works by Prince of Wales, despite their deep cultural significance, fit perfectly into the contemporary aesthetic. Expect them to escalate in value steadily thereby rewarding their collectors both visually and financially. 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 David Jarinyanu Downs < Back David Jarinyanu Downs David Jarinyanu Downs ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE David Jarinyanu Downs 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 Leon Russell Black < Back Leon Russell Black Leon Russell Black ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE LEON RUSSELL BLACK - PUPUNI JILAMARA SOLD AU$2,000.00 top Anchor 1 PROFILE Leon Russell Black 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 Lee Nangala Gallagher < Back Lee Nangala Gallagher Lee Nangala Gallagher ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Lee Nangala Gallagher ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

Artist Profile for Joshua Ebatarinja < Back Joshua Ebatarinja Joshua Ebatarinja ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE JOSHUA EBATARINJA - PALM VALLEY Sold AU$0.00 top Anchor 1 PROFILE Joshua Ebatarinja 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 .

NapangardiLilly Lilly Kelly Napangardi Lilly Kelly Napangardi 1948 Lily Napangati Born at Dashwood Creek in 1948, Lilly Kelly arrived at Haasts Bluff as a baby in the arms of her mother Narputta and her father Sandy Opal Tjapanangka. The family moved to the newly established settlement of Papunya in 1958 when Lilly was still a young girl and her father became one of the original Papunya Tula shareholders. In the late 1970’s Lilly married Norman Kelly Tjampitjinpa and began assisting him with his paintings while living at Papunya, before the family moved 75 km west to Mt Liebig at the foot of the McDonnell ranges. Lilly Kelly began painting in her own right for Papunya Tula Artists during the mid 1980’s when the company's field officers first began visiting Mt. Liebig regularly, and in 1986, she won the Northern Territory Art Award for a painting entitled Watiyawanu. The win drew attention to the growing number of artists in Mount Leibig and the nascent art centre operated by the shop owners in the community. During the 1990’s Norman Kelly moved to Lajamanu and took a second wife while Lilly remained at Mount Leibig and brought up their three children. In time, while she continued to paint without particular distinction, she became one of the senior Law Women of the community, and the custodian over the Women Dreaming stories associated with Kunajarrayi, in Warlpiri and Luritja country stretching between Mt Liebig, Haasts Bluff, Kintore and Conniston. Here she passed on her knowledge of traditional law and ceremonial dancing and singing to her children, eleven grandchildren, and other young women of her clan. With the success of the Watiyawarnu art centre, Lilly Kelly’s paintings began once more to gain national attention. From 2000 onward Watiyawarnu participated in the annual Desert Mob exhibition in Alice Springs and with the art centre’s patronage she was selected as a finalist in the NATSIA Telstra awards. Her depictions of country during this period and thereafter referred to sand hills, the effect of wind and rain on the desert landscape, and the crucial waterholes found in the area. The best of these works evoke the ephemeral nature of the drifting, changing sandy country in the finest microcosmic detail. Rain streaks the land as it runs off the sand hills while the blowing wind folds them into the undulating waves of an infinite expanse. Beholding each work in is entirety, is to view the landscape in macrocosm as the eye follows the hypnotic fine doting and muted tones that build up into a mysterious, enigmatic topography of her land. Rendered in intricate detail, with subtle colour variations these paintings covey powerful and inspiring visions of her country. Early examples of Lilly Kelly's sandhill paintings were rendered using a dotting technique, which diminished the size of the dots with each row. In later works she diminished the dots within each evolving line. Earlier works therefore have a more meditative settled quality and stronger formal compositional structure, whereas the ebb and flow of the dotting in her later works is evocative, rhythmic and ultimately engaging. Lilly Kelly has been described by those who know her art practice intimately, as an action painter. They suggest that her works are essentially haptic and unplanned and that she engages in painting without any formal schema in mind. If this is the case, then it is likely that it is this informality that evokes such a powerful response from the viewer. The first institutional purchase was of two spectacular major works to the Art Gallery of New South Wales arranged through Neil Murphy Indigenous Art, which organized a solo exhibition for the artist at Span Galleries in Melbourne during the same year. In the wake of her Melbourne success Kelly was reputedly under consideration for inclusion in the 2004 Biennale of Sydney however, although nominally represented by Watiyawanu Artists, she has painted indiscriminately for many dealers in Alice Springs since that time and attempts to present her works at the highest level have, unfortunately failed. Lilly Kelly is a very fine artist who, if handled professionally, is capable of greatness. With this no doubt in mind, Australian Art Collector Magazine selected her as one of Australia's 50 most collectable artists for 2006. Yet in equal measure she produces perfunctory works motivated more by income than the pleasure of creative engagement. A number of her finest paintings have been acquired by major international collectors including Thomas Vroom and Richard Kelton as well as being added to several Australian State art galleries. The magnificent paintings held by the Art Gallery of NSW, rated by Murphy as the artist’s finest, were exhibited in the exhibition Gifted: Contemporary Aboriginal Art: The Molly Gowing Acquisition Fund in 2006/2007. Lilly Kelly is one of three Mount Leibig female artists whose careers burgeoned post 2000. While Ngoia Pollard, who won the Telstra National Aboriginal Art Award in 2006, and Wentja Napaltjarri, have arguably established a higher profile than Kelly amongst exhibiting galleries in the primary market, their sales at auction have been too infrequent to have established a secondary market presence as yet. There is little doubt however that, in time, they will join Kelly and Bill Whiskey amongst the top 100 artists. Lilly Kelly’s auction records are completely dominated by works created after 2000 including all of her top 10 results. One of the few exceptions was a work created as early as 1989. It is the only Papunya Tula provenanced painting that has appeared for sale despite the fact that she created works for the company for almost a decade beginning in the mid 1980s. When offered at Christies Auctioneers in October 2004 (Lot 21) the rather generic Untitled work failed to attract a buyer despite its provenance. All of her top four results however were created for Watiyawarnu Art, the semi-official art centre in Mount Leibig and works created for independent dealers litter her best sales. Lilly Kelly’s work first appeared at auction in 2004 more than a decade after the first specialist Aboriginal art sale and nearly two decades after she began painting. Few works of significance had appeared by the end of 2005 however in 2006, her most successful year at sale, 13 works were offered of which nine sold for a total value of $95,805. During the following year eight sold of 13 offered and although her works fared slightly worse during 2008, thereby dropping her average price to slightly below $10,000, her career clearance rate was still a very healthy 63%. However this has changed dramatically since, and the decline in her results reads almost like an object lesson in how painting indiscriminately for the market can adversely affect an artist’s reputation. By January 2009 her success rate at auction dropped to 59% and the decline continued. By 2014 it sat at just 45% with just 46 works sold out of a total offering of 102. This can be attributed to the fact that only nine works of 22 sold in 2009 and five of 17 in 2010. Her results were so bad in 2010 that the total value of these 5 sales was just $7,448. This was nothing however when compared to the utter disrespect paid to her by Lawsons Austioneers during the period 2015-2016. In 2015 Lawsons offered no less than 12 works of the 14 on offer publically that year. Nine of the 12 failed although Bonham's did sell a lovely Neil Murphy provenancned work measuring 90 x 122 cm for $5,124 in its sale of the Thomas Vroom Collection. Lawson's highest p[rice was a measly $1, 227. Early in 2016 Lawson's were at it again. It offered 11 works including many of those that had failed twice during 2015. Nine went unsold once more while two sold for a paltry $736. In my opinion, this sort of behaviour shows the Aboriginal art market utter disrespect and the artist, a lack of duty of care. Kelly's record price at auction was achieved for a work of the highest quality commissioned by Neil Murphy through Watiyawarnu. Sandhills Around Mount Leibig 2004, measuring 176 x 120 cm. sold for $39,600 against a presale estimate of just $12,000-16,000 at Sotheby's in July 2007 (Lot 167). This transcended the previous record set by another very fine work from the same original source which had sold in Lawson~Menzies November 2006 sale for $24,000 (Lot 42). While there do not appear to have been many resales, the number of highly estimated works that have failed however should be of deep concern. Lilly Kelly's best works are highly accomplished and regardless of provenance, many others are very good paintings indeed. In the right setting, their spacious textural feel resonates sympathetically with contemporary aesthetics. These are paintings to be valued more for the pleasure they impart than their cultural content. Due to her fierce independence and prolific nature, her works appear in a range of primary market outlets from retail stores to exhibiting galleries. If you like her work, take your time, and chose wisely. Only the most delicately executed are likely to be good ‘investments’. 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