Artist Profile for John B Fisher < Back John B Fisher John B Fisher ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE JOHN B FISHER - FISH SOLD AU$300.00 top Anchor 1 PROFILE John B Fisher 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 Theo (Faye) Nangala Hudson < Back Theo (Faye) Nangala Hudson Theo (Faye) Nangala Hudson ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Theo (Faye) Nangala Hudson 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 Judith Nungarrayi Martin < Back Judith Nungarrayi Martin Judith Nungarrayi Martin ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE JUDITH NUNGARRAYI MARTIN - JANGANPA JUKURRPA (BUSH-TAIL POSSUM DREAMING) - ... SOLD AU$1,500.00 JUDITH NUNGARRAYI MARTIN - JANGANPA JUKURRPA (BRUSH-TAIL POSSUM DREAMING)- ... Sold AU$0.00 JUDITH NUNGARRAYI MARTIN - JANGANPA JUKURRPA (BRUSH-TAIL POSSUM DREAMING) Sold AU$0.00 JANGANPA JUKURRPA (BUSH-TAIL POSSUM DREAMING) - MAWURRJI Sold AU$0.00 top Anchor 1 PROFILE Judith Nungarrayi 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 .

TjangalaUta U Uta Uta Tjangala Uta Uta Tjangala 1926 - 1990 Djangala, Wuta Wuta, Uata Uata, Oata Oata, Yuta Yuta, Tjangala 2, Tjungala, Kumbabi Uta Uta’s painting career and reputation is closely aligned to the artistic renaissance that began at Papunya in 1971. He was a founding member of the men's painting group, inspired other Pintupi tribesmen, and becoming one of the most senior and influential painters amongst the group. Born in Western Australia in Drovers Hills, he made the epic journey to Haasts Bluff with his family during the severe drought of the mid to late 1950’s in the company of Charlie Tarawa. Two years later, after returning to his homelands, he made the journey once more with Timmy Payungka, Pinta Pinta and their families. Employed as a gardener at the Papunya school Uta Uta, then in his 40’s, became one of the original group drawing and painting on composition board with encouragement from art teacher Geoff Bardon. When supplying paints to Uta Uta and his gathering group of enthusiastic friends, Bardon suggested the men use their existing cultural symbols to depict their Dreamings and links to the land. The Pintupi men, having been pushed from their traditional homelands by government policy and European development, painted under a bough shelter behind the camp 'pouring into their work their acute longing for the places depicted … and chanting the song cycles that told the stories of the designs as they worked' (Johnson in Perkins 2000: 190). These early works aroused strong protest within Aboriginal communities when first exhibited in Alice Springs in 1974 because of the disclosure of secret and sacred knowledge. A period of experimentation followed, resulting in the development of a symbolic language of classic ideograms and the characteristic dot covered areas that veil sacred elements from the uninitiated. The large, tribally mixed population of Papunya intensified the interaction, but under the influence of artists like Uta Uta, the painting group was able to break through the political and cultural constraints toward a safer stylistic conformity, and prepare the way for personal and distinctive styles to emerge. Uta Uta in particular, with his exciting and charismatic personality as well as his bold and dynamic style, played a vital role in these developments. Bardon recalled many years later, 'everything that came from him was genuine' (2004: 70). Uta Uta’s 1971 and 1972 paintings generally featured major story elements with only the barest dotted in-fill within the iconography and small sections of the background. The aesthetic balance and harmony of these works is derived through colour and weight rather than by a geometric division of the painted surface. The rather crude dotting and line work of these early paintings on board embues them with an energy and power that is less apparent in his later more technically proficient works. His paintings are far stronger and more powerful when the clean unadorned background remains, unlike paintings by his contemporary Kaapa, whose early works became more aesthetically appealing as he began to in-fill the background. In developing a style that censored the more secret and sacred content in his painting, Uta Uta added more dot-work as the years went by. He painted more Tingari sites completely surrounded by neat dots that became less and less detailed. Despite his advancing age during the late 1970’s he continued to paint as he spent increasing time at outstations west of Papunya and, at the beginning of the 1980’s, he completed what was to become one of the most important and revered works of the entire Western Desert art movement. Yumari 1981, possibly his largest and most significant painting, reveals the mythical Tingari ancestors traveling across vast stretches of country as they create sites and institute rituals. Yumari is a rocky outcrop in his home country and the key ceremonial site of the area. Story elements and natural features blend seamlessly into a beautifully balanced geometry of concentric circles and connecting lines that enclose a central, abstracted figure. This body continues rather than interrupts the intense, minutely dotted background configurations, yet still holds the central focus. The work is characterised by the sinuous movement of converging regular and irregular shapes, accentuated by outlining white dots. The predominant use of an earthy red alongside vivid yellow ochre, further emphasizes the assertive quality in this cohesive and powerful statement of Aboriginal tradition. The work was exhibited at the XVIII Bienal de Sao Paulo in 1983 and is now in the collection of the National Museum of Australia. While painting Yumari, important discussions were taking place at Papunya concerning the move back to the Pintupi homelands at Kintore. Land rights legislation during the 1970’s returned ownership of the land to its traditional owners and Uta Uta was a strong advocate for resettlement. The community art advisor had given Uta Uta the large stretched canvas and soon noticed, with some anxiety, that he was sitting cross-legged in the middle of it, singing determinedly as he painted. Eleven of his kinfolk including Anatjari Tjampitjinpa, Charlie Tjapangati and Yala Yala Gibbs later joined him to assist with the dotted infill, and all managed to balance on the wooden struts as they worked and talked excitedly about the practicalities and possibilities of the Kintore outstations. As a direct consequence of this and other art sales, income was generated that enabled Uta Uta to be amongst the first to set himself up with his family on a small outstation west of Kintore, thereby inspiring others to follow his example. The painting movement, given impetus through Uta Uta’s outspoken confidence in his people, had re-ignited a growing pride in their ancient heritage and a communicable enthusiasm for their Dreaming stories. It provided a meaningful world-view that could be passed on to the younger generations, giving them both inner spiritual and outer material resources for their own self-determination. The Western Desert art movement burgeoned, spreading along the lines of kinship and family that ultimately connect all desert communities, allowing an important dialogue to occur between past tradition and the demands of the present. Many of his offspring and immediate family became artists that would carry the baton of desert painting in to the next decade and beyond. They included his wife Walangkura Napanangka and their five children including Shorty Jackson who often assisted his father on the dotted backgrounds of his late career works. Although Uta Uta died in 1990, his work continues as a strong voice within the ongoing dialogue of Western Desert art and, unlike many of his contemporaries who began working with Geoff Bardon, many of his late career works are considered of equal or greater importance than his early boards. This was amply demonstrated when in 1985 Uta Uta won the National Aboriginal Art Award at the Museum and Art Gallery of the Northern Territory. Despite the success of many of Uta Uta Tjangala’s late career works nine out of his ten highest results are for paintings created during 1971 and 1972 with the only anomoly was created as early as 1975. This is rare in as much as many of the early Papunya artists painted works in the first year of the movement that have failed to ignite collectors interest and their highest results are for works that were executed during the two years following 1971. His record price was set in 2015 when Women’s Dreaming 1972, a 60 x 45 cm board that sold for $103,312 at Sotheby’s in July 2003 (Lot 108) resold at Deutscher & Hackett for $207,400. This displaced the previous record set in 2013 for a work entitled Special Pintupi Travelling Ceremony (1972) which sold at Sotheby's in May for $183,000. Another work, Testicles Going Walkabout also entered his top ten at number six that year. Works painted in 1971 have been by far the most successful in terms of sales rate , however the average price for these, his earliest works, is well below that of his 1972 works. This is consistent with results for others amongst the founding group of desert painters. Only two in five paintings produced during 1973 to 1974 have sold and two in four for 1975 and 1976 works. Aart from one spectacular major work created in 1975 measurng a whopping 373 x 168 cm which sold at Menzies in 2019 for $147,273, it was not until the artist began producing similarly large works on canvas for Papunya Tula during the early 1980s that the auction prices paid for Uta Uta’s paintings increase dramatically. The highest price paid for a 1980s work was the $30,550 achieved by Christies in August 2001 when they sold Men's and Women's Dreaming at Wilkinkarra, a Papunya Tula provenanced work carrying a presale estimate of $18,000-25,000. This currently sits at the lower end of the artist’s top 20 records. 2019 proved to be a really excellent year for this artst with no less than 3 first rate examples of his work on offer. All three entered his career top ten results, which saw him become the 12th most sucessful artist in that year. Clearly, these very large works, and his 1971-2 paintings are his most collectable, with a premium likely for works with Geoffrey Bardon documentation. Very few eary boards have come up for resale other than those that failed to sell when first offered. The rare exception was an excellent 45.5 x 40.5 cm 1972 board Untitled (Two Boys Dreaming) that was passed in at Sotheby’s in July 2006 with a more than reasonable estimate of $40,000-60,000 given the $27,600 it had achieved at Sotheby’s in 1999. Another work, Medicine Story 1971 doubled in value in just three years when sold for $22,800 by Sotheby’s in July 2003 (Lot 169) and when offered once more in 2005 tripled in value to $66,300 when estimated at $20,000-30,000 becoming the artists sixth highest result to date. This is in line with the increasing fortunes of good paintings by this artist. In 2007-2008, nine of the ten paintings on offer sold, lifting his career clearance rate and average price against a downward trend in the market. Uta Uta's eigth highest result was set in 2012 when Mossgreen auctions offered works from the collection of the late USA collector John W Kluge. Big Corroboree with Water Dreaming Sacred Tjuringas, circa 1971/72 carried a presale estimate of $30,000-40,000 and sold for $67,100. Another 1972/73 work from the same collection went for $21,960 while estimated at just $4,000-6,000. As with a number of the early Papunya painters, Uta Uta is remembered for his important place in the genesis of Western Desert painting. Apart from his early works, and the odd larger canvas, his greatest legacy is the movement itself and his many descendants and relatives who have expanded the movement. He, and his small band of male companions, were the nucleus of those who explored horizons during their lifetimes, that expanded far beyond anything they could have imagined after their passing. 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

AbdullaIan W Ian W. Abdulla Ian W. Abdulla 1947 - 2011 Ngarrindjeri artist Ian Abdulla lived all his life at Cobdolga, an early irrigation settlement in the Riverland region of South Australia. The township is located beside the Murray River, it’s name a corruption of Cobdogle, the ‘king’ of the local Aboriginal tribe. Abdulla grew up by the swamp, formed when the system of locks changed the river level, a haven for water birds, especially pelicans. He began painting in the late eighties, a period of cultural renaissance in Cobdolga, due in large to mentorship from art activist and teacher Steve Fox, who had taken an extended break from his role as art adviser at Yirrkala in North East Arnhem Land. Abdulla captured the prevailing mood of his community when he told Steve Fox that he couldn’t draw and that his mob had no culture left. ‘That was just on the surface though’, Fox later recalled, ‘it all changed the more we talked' (Fox 1992: 68). Despite Abdulla’s early misgivings about his creative potential, his work evolved and found an appreciative audience. Through his painting Abdulla came to relate the simple narrative stories that recorded his recollections of times and deeds that illuminated the life of the local Aboriginal people living in rural poverty. Growing up in the 50’s and 60’s, his childhood memories, though simply told, are far from simple and, importantly, are deeply grounded in historical context. It is a perspective that is at once personal and political, though gently so. In time Abdulla became the most successful of the Cobdolga artists. While much of their art was narrative, contemporary and political, Abdulla himself tended away from the overtly political and developed a quieter, more reflective style, which garnered considerable popular attention, and even affection, from the mainstream public. 'I can only paint what I know to be true,' Abdullah said, revealing the sense of authenticity that lends gravitas to his naive painting style. Human figures, tenuous within the painted landscape of mountains, trees, birds and animals, go about their activities integrated within, rather than imposed upon the background. The overall effect is one of continuity between a unique environment and its human inhabitants. Most of his paintings are annotated, and it is the text, centred in the visual forefront of the image, that provides the link between these naive images and the broader historical framework of Aboriginal dispossession and inequity. Although his work has remained stylistically consistent throughout his career, his final paintings departed somewhat from stories of his childhood to address contemporary issues. The vanished river life is replaced by the modern day hardships of life in Cobdolga; alcoholism, unemployment, violence and prison life. The childlike, figurative narrative delivers these stories simply as ‘truth’, recording events with a certain sense of objectivity and largely without judgement. Prominent attention to background surroundings still conveys the sense that human intention is subject to greater forces. In his painting Here is Where the Angels Carried Me to The Front Step When I Was Walking Around the Mission Looking For a Head Strainer 1999, Abdulla left behind the innocence of childhood and tells an adult story of hope and redemption. For an artist who initially maintained that, ‘In the future my paintings won't change much from what they are today‘ (Murphy 1992: 14), this direction is compelling. The lack of artifice always evident in Abdulla’s work reflected his opinion that what ultimately matters more than anything is that these stories are told. The sense that Abdulla was a ‘people’s artist’, and was a storyteller creating works for his own community as much as for a wider audience, has sat relatively comfortably alongside his commercial success and artistic recognition. His representation through Paul Greenaway in Adelaide and the Hogarth Gallery in Sydney was stable and enduring, built upon the same deep personal feelings that he imparted so successfully in his art. Over time he came to occupy a unique position within the broader canon of Aboriginal art as a contemporary voice outside of the ‘urban contemporary’ framework. Ian Abdulla’s work has been recognised in many ways since it gained recognition in the early 1990’s. He was awarded South Australian Aboriginal Artist of the Year in 1991 and an Australia Council Fellowship in the following year. On two occasions he was runner up in the National Indigenous Heritage Art Award and in 1996 he won the General Painting section of the Telstra National Aboriginal and Torres Strait Islander Art Award. His work has been developed into two popular children’s books that deal with social and environmental issues, As I Grew Older 1993 and Tucker 1994; and attesting to his enduring popularity, his life and art were the subject of the play Riverland directed by Wesley Enoch for the Adelaide Festival in 2007. Ian Abdulla passed away in early 2011 leaving behind this great legacy. Ian Abdulla’s naive narrative paintings have always been popular amongst collectors of contemporary Aboriginal art, as his extremely high success rate implies. It stood at 88% at the end of 2007 and even after several poor years it still stands at 71%. Since his death in 2011, Abdulla’s works are no longer available in the primary market. Paul Greenaway Gallery, Hogarth Galleries and Niagara Galleries held solo shows through the 1990s but since 2003, the secondary market has been the best place to acquire his works and nine of his highest ten results have been achieved since that time. Canvas works average around $9,000 and works on paper $5,000. Three of his highest ten results were achieved in 2003, a year in which no less than 16 works were offered for sale principally at Sotheby’s and Shapiro Auctioneers. That year not a single work failed to find a buyer, however, neither auction house managed to dislodge the $30,550 record set by Christie's in August 2001 for Putting Sprinklers on Tomatoes at Night (Lot 32). This extremely large work measuring 199 x 273 cm, carrying an estimate of $20,000-30,000, is unlikely to be beaten for some time to come. Lawson~Menzies managed to create his second highest result when Out at Night Stealing Pumpkins 1999 sold above the high estimate of $12,000 and achieved $16,800 in May 2007 (Lot 153). And Shapiro Auctioneers hold the record for the highest price achieved for a work on paper at $6,600. The majority of Abdulla’s works have sold through Shapiro Auctioneers and Sotheby’s, which between them have generated nearly half of his sales income. In 2009 Elder Fine Art offered four works at auction, all selling for under the two thousand dollar mark. In part these low prices, well below average, can be attributed to the smallish size of the works, measuring around 60 x 78 cm. However, in May 2003 Untitled (When We Used to Go Camping Down Near Gerard Mission...) measuring just 56 x 76 cm fetched $5,875 for Christie's (Lot 298A). This seeming anomaly is possibly explained by the fact that all were painted during 2008, the year prior to the auction, possibly arriving at auction direct from the artist’s studio. Somewhat tellingly (i) When My Step Brother. Passed Away. . ., 2006. (ii) That Night I Got Pissed 2006, offered by Deutscher and Hackett in 2009, with an estimate of $10,000-15,000 failed to find a buyer. Although no new records entered his top 10 results in 2015, no less than 23 works were offered for sale of which 14 appeared at Shapiro auctions. Though the highest price achieved was just $3,360 and only 15 of these sold, it was enough to make him the 33rd most successful artist that year against his career standing at 75th. While it is unlikely that Ian Abdulla’s paintings will dramatically increase in price they are likely to steadily grow in value due to their charm and general appeal plus his relatively small oeuvre. Very few, if any, have been re-offered for sale and this is testimony to the high regard in which they are held. Collectors who prefer unusual narrative contemporary works should consider this ‘outsider’ artist as one who deserves to be recongized for the special insight that he has given into the life of the marginal and dispossessed Aboriginal ‘fringe dwellers’ who grew up along the Murray and many other rivers in the rural regions from Southern Queensland and the Eastern and Southern states. 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 Jacob Jungarrayi Spencer < Back Jacob Jungarrayi Spencer Jacob Jungarrayi Spencer ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Jacob Jungarrayi 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 Steven Jakamarra Walker < Back Steven Jakamarra Walker Steven Jakamarra Walker ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Steven Jakamarra Walker 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 Tommy May Ngarralja < Back Tommy May Ngarralja Tommy May Ngarralja ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE TOMMY MAY NGARRALJA - JILJI AND BILA SOLD AU$3,000.00 top Anchor 1 PROFILE Tommy May Ngarralja 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 Melissa Nungarrayi Larry < Back Melissa Nungarrayi Larry Melissa Nungarrayi Larry ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Melissa Nungarrayi Larry 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 Walangkura (Uta Uta Tjangala's Widow) Napanangka < Back Walangkura (Uta Uta Tjangala's Widow) Napanangka Walangkura (Uta Uta Tjangala's Widow) Napanangka ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE WALANGKURA (UTA UTA TJANGALA'S WIDOW) - KURRUYULTI SOLD AU$2,400.00 WALANGKURA (UTA UTA TJANGALA'S WIDOW) NAPANANGKA - UNTITLED Sold AU$0.00 top Anchor 1 PROFILE Walangkura (Uta Uta Tjangala's Widow) Napanangka 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 Colleen Carter < Back Colleen Carter Colleen Carter ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE COLLEEN CARTER - SUGARBAG YARD, BOW RIVER SOLD AU$1,800.00 top Anchor 1 PROFILE Colleen Carter 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 .