SYDNEY CONTEMPORARY 2023 Booth H09 Carriageworks Sydney 7 - 10th September Viewing Room SYDNEY CONTEMPORARY 2023 Emily Kngwarreye, Rover Joolama Thomas, Bill Whiskey Tjapaltjarri and Konstantina 7 - 10th September Booth H09 Carriageworks Sydney Cooee Art was established in 1981. From 2023, Australia’s oldest exhibiting Indigenous-focused gallery is solely owned by Mirri Leven. In its new era, the gallery will be run as a space of collaboration, working directly with First Nations curators, art centres, and represented artists. “Guarding for Change - Looking to the past and seeing ahead .” Our booth will symbolise the passing of torches between generations. One side will represent the primary market gallery; the other will showcase the secondary market wing, with artworks consigned to our specialists from important collections across the globe. Starting now, Leven will begin exhibiting non-Indigenous alongside our First Nations artists, exclusively through specially curated projects. These focus on technique and transparent dialogue, offering an opportunity beyond the ordinary commercial relationship between artist and gallery, fostering an environment of openness and direct exchanges between artists. The result of the first such project will be presented here alongside paintings by Konstantina, the only exhibiting Gadigal artist of the Eora Nation, whose land is host to the fair and reflected in her work. Across the booth, the secondary market is represented by the finest works of the movement’s figureheads, including Emily Kngwarreye, Rover Joolama Thomas, and Bill Whiskey Tjapaltjarri. VIEW CATALOGUE SYDNEY CONTEMPORARY WEBSITE BILLY PERRURLE BENN - ARTETYERRE price AU$10,000.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES NEAR THE OLGAS price AU$5,500.00 BILLY PERRURLE BENN - ARTETYERRE price AU$4,500.00 BILLY PERRURLE BENN - ARTETYERRE price AU$4,400.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES NEAR THE OLGAS price AU$3,000.00 KITTY NAPANANGKA SIMON - MINA MINA JUKURRPA (MINA MINA DREAMING) Sold AU$0.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLE NEAR THE OLGAS Sold AU$0.00 MICK TJAPALTJARRI NAMARARI - MOUSE DREAMING Sold AU$0.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLE NEAR THE OLGAS Sold AU$0.00 KONSTANTINA (KATE CONSTANTINE) - Gadigal Weave Sold AU$0.00 NEIL ERNEST TOMKINS - BURN THERE, DON'T BURN THERE price AU$7,000.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES NEAR THE OLGAS (DIPTYCH) price AU$5,000.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES NEAR THE OLGAS price AU$4,500.00 KITTY NAPANANGKA SIMON - MINA MINA JUKURRPA (MINA MINA DREAMING) price AU$3,500.00 EMILY KAME KNGWARREYE - UNTITLED (ANOORALYA YAM DREAMING) Sold AU$0.00 KITTY NAPANANGKA SIMON - MINA MINA JUKURRPA (MINA MINA DREAMING) Sold AU$0.00 REX E. BATTARBEE - GHOST GUM Sold AU$0.00 EMILY KAME KNGWARREYE - OF MY COUNTRY, ALALGURA Sold AU$0.00 NEIL ERNEST TOMKINS - WATER TOWER II Sold AU$0.00 KONSTANTINA (KATE CONSTANTINE) - Gadigal Weave price AU$6,200.00 BILLY PERRURLE BENN - ARTETYERRE price AU$4,800.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES NEAR THE OLGAS price AU$4,500.00 KITTY NAPANANGKA SIMON - KANAKURLANGU (WOMEN BELONGING - DIGGING STICKS) price AU$3,500.00 KONSTANTINA (KATE CONSTANTINE) - RAINING SERIES: GARANGAL Sold AU$0.00 KONSTANTINA (KATE CONSTANTINE) - TARRA Sold AU$0.00 EMILY KAME KNGWARREYE - DESERT PASTORAL Sold AU$0.00 KONSTANTINA (KATE CONSTANTINE) - GARANGALJAM Sold AU$0.00 NEIL ERNEST TOMKINS - LAJAMANU AFTERNOON Sold AU$0.00 SC23

DjangharaIgnat Ignatia Djanghara Ignatia Djanghara 1930 It has been suggested that Wandjina paintings on bark were first produced for trade and exchange with missionaries travelling by lugger along the Kimberley coastline as early as the 1930s. The Worrorra, Ngarinyin and Woonambal custodians did not possess the technical know how commonly found in Arnhem Land, and for this reason their own barks were usually poorly prepared. The often knotty surfaces were irregular, and the pigments were applied without fixatives. Few pre-1970s examples survive. Of those artists that gained recognition for these images prior to the mid 1980’s the most revered are Charlie Numbulmoore, who was first recorded painting by anthropologist Ian Crawford at Gibb River Station in the mid 1960’s and Alec Mingelmanganu whose work was noticed by anthropologist Kim Ackerman during a visit to Kalumburu in 1974/75. By 1985 Warringarri Aboriginal Arts had been established in Kununurra and the first art coordinator, Joel Smoker, made regular visits to the former mission station at Kalumburru. Here, as in Balgo Hills and several other Kimberley communities, husbands and wives customarily painted together and supported each other making artefacts such as carved and decorated boab nuts, tools and weapons, ceremonial items and the first rudimentary paintings in ochre and resin on bark. Ignatia Djanghara and her husband Waigan worked together as did Rosie and Louis Karedada and Lilly and Jack Karedada. They gathered their ochres from the local creek beds and, like their counterparts in Arnhem Land used charcoal to create black paint. Little if anything is known about Ignatia’s childhood and youth. She first became prominent at Kalumburu in the mid 1980’s where she lived adjacent to the Benedictine mission that had been established 25 kilometres from the northern coast in 1907. Both here and at Mowanjum (the site of a former Presbyterian mission) local authorities had exercised strong control over the Woonambal landowners who were taught that their tribal customs and beliefs were at odds with Christianity. Ignatia, who was born around 1930, was already in her mid 50’s when she first began creating bark paintings related to the Wandjina. She and her husband Waigan were responsible for maintaining the remnants of these spirit ancestors which are said to have lain down in caves and turned into paintings on the cave walls after their time on the earth. The Wandjina are powerful fertility spirits. They are said to keep the spirits of unborn babies in the freshwater pools where women collect fish to eat when they want to become pregnant. They are traditionally characterised by large round black eyes fringed with short lashes. The centre of the chest features a solid black, red or simply outlined oval, said to represent its spiritual essence. The almost circular head is surrounded by a halo or headdress representing hair, clouds and lightning. The inclusion of a mouth is rare. Its absence is most often attributed to a belief that painting a mouth on the Wandjina’s face would bring perpetual rain. Images of the Wandjina created on bark, canvas or slate were viewed by artists such as Ignatia as purely reproductions of the ‘real’ Wandjina’s adorning the cave walls at their most important Dreaming sites. Her primary artistic inspiration and purpose lay in her responsibility to maintain these ancestral beings, by repainting them and ‘keeping them strong’. Ignatia’s images of Wandinas on bark are typically icon-like in shape, with rounded sides, narrower at the top than the base. The spirits are often depicted with bark buckets, unique to the Kimberley region. Gwion, or Bradshaw figures, occasionally accompany her Wandjina. These are seen throughout the region in adjacent rock art sites. Though it is not known when Ignatia and Waigan passed away these two wonderful old Woonambool elders left a priceless legacy. Wandjina images are amongst the most powerful of all Aboriginal art. They are certain to continue to grow in value as they are prized and loved by those fortunate enough to live with them. Through the late 1980’s even the largest Wandjina paintings (up to 2 metres high) created by Ignatia, Waigan, Jack, Louis, Rosie and Lilly could be purchased for no more than $150 each. In 1992 (several years prior to the first specialist Aboriginal art auctions) the last remaining stock of the government marketing company Aboriginal Arts Australia was sold at Lawson’s. I personally purchased 5 large boxes containing more than 100 Wandjina paintings on bark for $300 per box. All were sold through Coo-ee Aboriginal Art Gallery for less than $20 each. Since that time they have increased in value 100 fold. They are now amongst the most highly contested items at auction. This is evidenced by the fact that 25 of 27 paintings by Charlie Numbulmoore; 13 of 17 by Alec Mingelmanganu; and no less than 50 of 54 by Ignatia Djanghara have sold at auction. Works by Numbulmoore have sold for as much as $228,000 and Minglemanganu for $244,500. By comparison Ignatia’s highest price to date is the $11,400 paid for a bark measuring 103 x 45 cm at Sotheby's in 2005 (Lot 260) and only 4 barks have sold for more than $5,000. Nevertheless her success rate is an unparalleled 93% at auction after 54 individual results have been recorded. And though her career the average price has been just $2,484 no less than 8 of her 10 highest prices have been set since 2005. Ignatia’s larger barks tend to be divided vertically into two panels with a single Wandjina featured in the top section and either a Wandjina, Boab tree, bark bucket, snake turtle or other creature below. It is these double panel works that feature most prominently amongst her highest sales occupying 1st, 2nd 6th and 7th positions while groups of several smaller paintings sold as single lots occupy 3rd, 7th, 8th and 10th positions. In 2011, Sotheby's sold Untitled (Bark Container) (circa 1970) for $4,800, the first bark container or Coolaman to enter the top 10 results. Both Ignatia and Waigun created these barks prolifically over a 20-year period. They are a regular feature of any Aboriginal art auction and represent fantastic value, and a wonderful entry point, for new collectors with a limited budget. 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 Kitty Napanangka Simon < Back Kitty Napanangka Simon Kitty Napanangka Simon 1948 - 2024 ARTIST PROFILE ARTIST CV MARKET ANALYSIS Kitty Napanangka Simon is a dedicated artist with a distinctive, singular aesthetic. Her paintings – at first denounced by senior men for straying too far from the traditional idiom – have excited discriminating curators and collectors since her first solo exhibition at Cooee Art in 2013, winning admirers both inside and outside her tight knit Warlpiri community. The paintings appear to be grounded in abstraction, yet it would be hard to conceive of more descriptive visual articulations of ‘country’ in Australian Aboriginal desert art. Through the intersection of colour and free-form shapes and dots scattered in strings across the canvas, Simon describes in detail the desert flowers, salt encrustations and natural features of Mina Mina, the home of her sacred Dreaming in the south- western region of the Tanami Desert. READ FULL ARTIST PROFILE KITTY NAPANANGKA SIMON - BUSH ONION DREAMING - JANMARDA JUKURRPA SOLD AU$8,500.00 KITTY NAPANANGKA SIMON - MINA MINA JUKURRPA (MINA MINA DREAMING) SOLD AU$7,500.00 KITTY NAPANANGKA SIMON - KANAKURLANGU (WOMEN BELONGING - DIGGING STICKS) Sold AU$4,800.00 KITTY NAPANANGKA SIMON - KANAKURLANGU (WOMEN BELONGING - DIGGING STICKS) SOLD AU$3,500.00 KITTY NAPANANGKA SIMON - MINA MINA JUKURRPA (MINA MINA DREAMING) SOLD AU$2,000.00 KITTY NAPANANGKA SIMON - MINA MINA JUKURRPA (MINA MINA DREAMING) SOLD AU$600.00 KITTY NAPANANGKA SIMON - MINA MINA JUKURRPA (MINA MINA DREAMING) SOLD AU$600.00 KITTY NAPANANGKA SIMON - BUSH SKIRT DREAMING - MAJARDI JUKURRPA Sold AU$0.00 KITTY NAPANANGKA SIMON - MINAMINA DREAMING Sold AU$0.00 KITTY NAPANANGKA SIMON - MINA MINA DREAMING Sold AU$0.00 KITTY NAPANANGKA SIMON - MINAMINA DREAMING Sold AU$0.00 KITTY NAPANANGKA SIMON - MINAMINA JUKURRPA Sold AU$0.00 KITTY NAPANANGKA SIMON - MINA MINA DREAMING Sold AU$0.00 KITTY NAPANANGKA SIMON - MINAMINA JUKURRPA Sold AU$0.00 KITTY NAPANANGKA SIMON - MINA MINA DREAMING Sold AU$0.00 KITTY NAPANANGKA SIMON - MINA MINA DREAMING Sold AU$0.00 KITTY NAPANANGKA SIMON - BUSH ONION DREAMING - JANMARDA JUKURRPA Sold AU$0.00 KITTY NAPANANGKA SIMON - BUSH ONION DREAMING - JANMARDA JUKURRPA Sold AU$0.00 KITTY NAPANANGKA SIMON - MINAMINA DREAMING - MINAMINA JUKURRPA Sold AU$0.00 KITTY NAPANANGKA SIMON - MINAMINA DREAMING Sold AU$0.00 KITTY NAPANANGKA SIMON - MINA MINA DREAMING Sold AU$0.00 KITTY NAPANANGKA SIMON - MINAMINA JUKURRPA Sold AU$0.00 KITTY NAPANANGKA SIMON - MINA MINA DREAMING Sold AU$0.00 KITTY NAPANANGKA SIMON - MINA MINA DREAMING Sold AU$0.00 KITTY NAPANANGKA SIMON - MINA MINA DREAMING Sold AU$0.00 KITTY NAPANANGKA SIMON - MINA MINA JUKURRPA (MINA MINA DREAMING) SOLD AU$8,000.00 KITTY NAPANANGKA SIMON - MINA MINA JUKURRPA (MINA MINA DREAMING) SOLD AU$4,800.00 KITTY NAPANANGKA SIMON - MINA MINA JUKURRPA (MINA MINA DREAMING) SOLD AU$3,500.00 KITTY NAPANANGKA SIMON - NGALYIPI JUKURRPA (BUSH VINE DREAMING) SOLD AU$3,500.00 KITTY NAPANANGKA SIMON - MINA MINA JUKURRPA (MINA MINA DREAMING) SOLD AU$1,250.00 KITTY NAPANANGKA SIMON - KANAKURLANGU (WOMEN BELONGING - DIGGING STICKS) SOLD AU$600.00 KITTY NAPANANGKA SIMON - MINA MINA JUKURRPA (MINA MINA DREAMING) Sold AU$0.00 KITTY NAPANANGKA SIMON - MINAMINA DREAMING Sold AU$0.00 KITTY NAPANANGKA SIMON - MINAMINA DREAMING Sold AU$0.00 KITTY NAPANANGKA SIMON - MINAMINA JUKURRPA Sold AU$0.00 KITTY NAPANANGKA SIMON - BUSH SKIRT DREAMING - MAJARDI JUKURRPA Sold AU$0.00 KITTY NAPANANGKA SIMON - MINAMINA DREAMING Sold AU$0.00 KITTY NAPANANGKA SIMON - MINAMINA JUKURRPA Sold AU$0.00 KITTY NAPANANGKA SIMON - MINAMINA DREAMING Sold AU$0.00 KITTY NAPANANGKA SIMON - MINA MINA DREAMING Sold AU$0.00 KITTY NAPANANGKA SIMON - MINAMINA JUKURRPA Sold AU$0.00 KITTY NAPANANGKA SIMON - EAGLE DREAMING Sold AU$0.00 KITTY NAPANANGKA SIMON - MINAMINA JUKURRPA Sold AU$0.00 KITTY NAPANANGKA SIMON - MINAMINA DREAMING Sold AU$0.00 KITTY NAPANANGKA SIMON - MINA MINA DREAMING Sold AU$0.00 KITTY NAPANANGKA SIMON - MINA MINA DREAMING Sold AU$0.00 KITTY NAPANANGKA SIMON - MINAMINA DREAMING Sold AU$0.00 KITTY NAPANANGKA SIMON - MINA MINA DREAMING Sold AU$0.00 KITTY NAPANANGKA SIMON - MINAMINA JUKURRPA Sold AU$0.00 KITTY NAPANANGKA SIMON - MINAMINA DREAMING Sold AU$0.00 top Anchor 1 PROFILE Kitty Napanangka Simon 1948 - 2024 Kitty Napanangka Simon is a dedicated artist with a distinctive, singular aesthetic. Her paintings – at first denounced by senior men for straying too far from the traditional idiom – have excited discriminating curators and collectors since her first solo exhibition at Cooee Art in 2013, winning admirers both inside and outside her tight knit Warlpiri community. The paintings appear to be grounded in abstraction, yet it would be hard to conceive of more descriptive visual articulations of ‘country’ in Australian Aboriginal desert art. Through the intersection of colour and free-form shapes and dots scattered in strings across the canvas, Simon describes in detail the desert flowers, salt encrustations and natural features of Mina Mina, the home of her sacred Dreaming in the south- western region of the Tanami Desert. She is is a keeper of women’s law. Most of her paintings depict Mina Mina, a sacred place for women’s business at Lake Mackay. As Kitty moves her brush across the canvas, she chants rhythmically her ancient song, part of her clan’s story still of profound contemporary relevance. Her vivid paintings are described as “Mina Mina Jukurrpa” or “Mina Mina Dreaming”, but Dreaming is in some ways an inadequate English translation of the word Jukurrpa. Kitty painted her first works in the late 1980s before hanging up her paint brushes to focus on raising a family. She took up painting once more in 2008, by which time she had four grandchildren and five great-grandchildren. Experimenting with various styles, she eventually adopted a loose, immediate approach to painting and embraced a distinctly individual style.The works representing yawulyu (women’s ritual designs) employ optic whites and an array of pastels in large sweeps of tone-on-tone painting to capture the feeling and colour of desert flowers and the natural features of the surrounding salt plains at Mina Mina, 600 kilometres to the south of Lajamanu. In 2020, Napanangka lost her sight due to cataracts and Gallery Director, Leven, through Cooee Art, paid for her surgery. After regaining her sight, Napanangka Simon’s painting practice has dwindled and this will be one of her first major forays back into painting with a renewed confidence in her exceptional talent. Kitty likes to paint among other women, and they talk and laugh as they work. Beginning at the centre, she explains, the black represents an area burned by fire. The three white objects over the black are digging sticks, normally used by women to dig up yams. Blue on either side of the sticks is the lake. The pink strokes are female land, and white is salt. SELECTED SOLO EXHIBTIONS: 2016 Making Memories, Cooee Art, Sydney, Australia 2015 Only Women Dance Till Dawn, New York, Cooee Art and Pollon Art 2013 Mina Mina, Cooee Art, Sydney, Australia SELECTED GROUP EXHIBITIONS 2023 country x Country, Cooee Art Leven, NSW Embrace Equity, Cooee Art, NSW 2022 Painting Words, Cooee Art, NSW Women In Colour, Manning Regional Gallery, NSW 2021 Sydney Contemporary Art Fair, NSW Cooee: Come Here, Cooee Art, NSW 2020 20|20 Artists from Over Australia, Cooee Art, NSW Sydney Contemporary Art Fair, NSW 2019 Kitty Simon and the Ladies of Lajamanu, Cooee Art, NSW Sydney Contemporary Art Fair, Carriageworks NSW 2015 June Tunbridge Gallery, Cottesloe, WA 2014 Masterpiece Art Fair, Chelsea, England 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 Kuntjil Cooper < Back Kuntjil Cooper Kuntjil Cooper ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE KUNTJIL COOPER - IRRUNYTJU (ROCKHOLE) Sold AU$3,500.00 top Anchor 1 PROFILE Kuntjil Cooper 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 .

SYDNEY CONTEMPORARY | DOROTHY NAPANGARDI From 07 September to 11 September 2022 SYDNEY CONTEMPORARY | DOROTHY NAPANGARDI From 07 September to 11 September 2022 SYDNEY CONTEMPORARY | DOROTHY NAPANGARDI From 07 September to 11 September 2022

Artist Profile for Oscar Namatjira < Back Oscar Namatjira Oscar Namatjira 1922 - 1991 ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE OSCAR NAMATJIRA - UNTITLED SOLD AU$1,950.00 OSCAR NAMATJIRA - UNTITLED Sold AU$0.00 top Anchor 1 PROFILE Oscar Namatjira 1922 - 1991 Oscar Namatjira, second son of Albert Namatjira, grew up with his family in Hermannsburg west of Alice Springs. Albert, a fully initiated member of the Arrernte people, had eloped with Rubina of the neighbouring Luritja tribe. They returned to mission life in 1923 with the first three children of what was to become a large family. The mission and the Lutheran religion remained central to their lives, though this did not overshadow the traditional beliefs and tribal responsibilities that Albert still took very seriously. Ultimately it was the anomalies between these two value systems that brought trouble to the family and Oscar’s famous father to a tragic end. His legacy lives on however, through his children and other Arrernte artists who have become known and loved worldwide as the Hermannsburg School. Though the mission is long closed (1982) and the community has reverted to its traditional name of Ntaria, Hermannsburg has been largely responsible for bringing the visual image of ‘the interior’ into the Australian psyche. Oscar’s early years were not easy, as there was a severe drought throughout the region and several of his younger siblings died of malnutrition. The production of arts and crafts brought in extra income, however, and Albert’s skill was recognised and fostered by two visiting artists. Famously, Rex Batterbee and John A. Gardener took Albert on their watercolour painting expeditions into the McDonnell Ranges, first as camel handler, then as apprentice artist and then as an artist himself of unique talent and escalating fame. As his sons grew, Albert would take them on painting trips too and often the whole family would travel his country during the dry months, living off the land in the traditional manner and observing and painting their beloved country. They would spend days in front of a chosen subject, capturing its elusive qualities through the key elements of light and colour. This was a response to the landscape born out of a deep affinity with it, an understanding of its transformations over time and the all-encompassing patience of a spiritual belief. Oscar absorbed this sensibility, alongside the watercolour techniques that allowed for its expression. When World War Two broke out, Oscar was called away for three years to work in the land army. He returned to become Albert’s driver and resumed once more his own commitment to painting. Oscar married and began a large family of his own, many of whom would also take up the artistic mantle. But difficulties were increasing as Albert’s fame began to burden him with a whole host of contradictory claims from both the reigning European society and from his own Aboriginal people who were suffering under many outdated, racist rules and confusing regulations. While his father travelled intermittently to the cities to attend sell out shows, meet the Queen and be painted in a prizewinning portrait for the Archibald (1956), sometimes taking a son with him, the family watched the father’s failing health and eventual, sad demise. Though the consequences of war had begun to change many things, they came slowly to far flung inland communities such as Hermannsburg. The family had retreated to a camp on the edge of Alice Springs where a steady flow of visitors arrived to buy their watercolours. It seemed an enthusiastic public could never get enough. Albert’s life had spanned a period of political change in Australia but he himself did not benefit from any of its improved outcomes. The watercolours of Oscar Namatjira glow with an inner luminescence. Like his father before him, pictorial realism carries a sense of place that tugs at our heartstrings, just as once it resonated for them as they sat ‘plein air’, painting their ancient home; the vast rock faces, monolithic peaks, dramatic gorges and spacious vistas of tree and sky full of ancient stories. Rex Batterbee described Oscar as a shy, conservative man and a deep thinker. He leaned more toward pastel hues than his brothers and held to a clear structure in his work, with clean lines, clear colours and meticulous attention to detail. While his father paved the way for the many professional Aboriginal artists who have followed in his wake, Oscar Namatjira also upheld Arrernte tradition, remaining faithful to the deep roots of a tremendous past that had etched its place indelibly into Australian history. Collections: Flinders University Art Museum, Adelaide.; Hermannsburg Art Gallery.; Museum of Victoria, Melbourne.; National Gallery of Australia, 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.; 1974 to 1976, Art of Aboriginal Australia, touring Canada, Rothmans of Pall Mall Canada Ltd.; 1989, A Myriad of Dreaming: Twentieth Century Aboriginal Art, Westpac Gallery, Melbourne; Design Warehouse Sydney [through Lauraine Diggins Fine Art] ; 1989, Aboriginal Art: The Continuing Tradition, National Gallery of Australia, Canberra; 1991, The Heritage of Namatjira at Flinders, Flinders University Art Museum, Bedford Park, South Australia.; 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. ; Diggins, L. (ed.), 1989, A Myriad of Dreaming: Twentieth Century Aboriginal Art, exhib. cat., Malakoff Fine Art Press, North Caulfield, Victoria. ; 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) ; 1974, Art of Aboriginal Australia, exhib. cat., Rothmans of Pall Mall Canada Limited. (C) ARTIST CV Market Analysis MARKET ANALYSIS The first time a work by Oscar Namatjira appeared at auction was as early as 1978, when one of his watercolours sold for $75. Since then not a single year has gone by in which not at least two works of his have sold. A mammoth 291 works had been offered by the end of 2017, of which an unbelievable 89% had sold for an avergare price of just $769. The watercolours of Oscar Namatjira, and in fact the entirety of the Hermannsbourg school (most notably Oscar's father Albert Namatjira), have come to represent a romantic view of the Australian outback, one that has crept into the collective mind of almost every Australian. No wonder then, that with the prolific output of an artist that spent over 20 years sitting on the side of the road selling his works to passersby for 5 to 10 dollars apiece, his fathers fame attached to his name, and the relative cheapness of his paintings, Oscar Namatjira has become one of the most widely collected aboriginal artists of all time. His highest price was achieved in 2006, when a painting of Glen Helen Gorge sold for $6,600. With only two works selling for over $5,000, his paintings remain as attainable as they are popular. Oscar Namatjira's watercolours are among the most popular of the Hermannsbourg school. His prices are low and, although the artist passed away in 1991, there are an enormous number of them in circulation. With all this factoring in to a collector's decision making, owning an Oscar Namatjira is essential in any comprehensive Australian art collection. 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 .

BADA WARRKU - LATE AFTERNOON SUN Art Leven - 17 Thurlow St, Gadigal, Redfern, NSW, 2016 May 18 - June 8 2024 Viewing Room BADA WARRKU - LATE AFTERNOON SUN Amy Loogatha Rayarriwarrtharrbayingathi Mingungurra (1942 - ) May 18 - June 8 2024 Art Leven - 17 Thurlow St, Gadigal, Redfern, NSW, 2016 Bada Warrku | Late Afternoon Sun is the first of two solo exhibitions awarded as part of the 2023 Cooee Art Leven Gallery Prize. The inaugural prize went to two finalists of the prestigious 2023 Paddington Art Prize, whose finalist exhibition was hosted by Cooee Art Leven. At 82, this will be the first solo exhibition in the long painting career of Amy Loogatha Rayarriwarrtharrbayingathi Mingungurra. "My name is Bereline and Amy Loogatha is my Mother and I would like to share three stories she’s spoken of over the years during my conversations with her." "My mother always sits and watches the sunsets. I would be busy and she’d say to me “Come come look at the sun - look at the sky it’s so pretty,” so off I’d go to see her sunset she stands there as if memorising every color red and oranges her favorite colours. Then she’d say “I’m going to paint that”. If the sky had pink shades she’d say “It’s going to be a cold night.” "My Mother remembers the time she and her family were removed from Country. She laughs a lot when telling this story perhaps to hide her pain. She said “We was all on that boat getting ready to sail to Mornington Island. We (her and her sister) heard Mum Phoebe (his mother) crying and then we realise that our little brother Peter was standing on the shore waving us goodbye - my sister and I we starting crying and yelling with our mothers for the people to stop and go back which they did and the whole family was happy we were together again. For all the trauma my Mother and her people endured her memories of Family Country kept her balanced." Artist Profile AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - MY COUNTRY price AU$5,600.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - SALT PAN AT NYINYILKI price AU$4,250.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - RAMBARAMBA price AU$4,250.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - KABARA - SALT PAN price AU$3,300.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - KABARA - SALT PAN price AU$3,300.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - KABARA - SALT PAN price AU$2,500.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - PLACE WHERE TWO RIVER ... price AU$2,500.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - LATE AFTERNOON SUN - ... price AU$2,000.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - LATE AFTERNOON SUN - ... Sold AU$0.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - RUKUTHI price AU$5,500.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - MY COUNTRY price AU$4,250.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - MY COUNTRY price AU$3,750.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - SALT PAN AT NYINYILKI price AU$3,300.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - KABARA - SALT PAN price AU$3,300.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - SALT PAN WHERE TWO RI ... price AU$2,500.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - BADA WARRKU -LATE AFT ... price AU$2,500.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - MY COUNTRY price AU$2,000.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - LATE AFTERNOON SUN - ... price AU$5,500.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - BADA WARRKU - LATE AF ... price AU$4,250.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - MY COUNTRY price AU$3,300.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - LATE AFTERNOON SUN - ... price AU$3,300.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - LATE AFTERNOON SUN - ... price AU$2,750.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - PLACE WHERE TWO RIVER ... price AU$2,500.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - LATE AFTERNOON SUN - ... price AU$2,000.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - KABARA - SALTPAN Sold AU$0.00 EX-May2024

Artist Profile for Freddie Purla < Back Freddie Purla Freddie Purla ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Freddie Purla 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 .

EMBRACE EQUITY International Womens Day 2023 From 08 March to 15 March 2023 Viewing Room EMBRACE EQUITY From 08 March to 15 March 2023 International Womens Day 2023 For International Women’s Day and beyond, let’s all fully #EmbraceEquity. Why are equal opportunities not enough? People start from different places, so true inclusion and belonging require equitable action. And it’s critical to understand the difference between equity and equality. So, what’s the difference between equity and equality – and why is it important to understand, acknowledge and value this? Equality means each individual or group of people is given the same resources or opportunities. Equity recognises that each person has different circumstances, and allocates the exact resources and opportunities needed to reach an equal outcome. Equity can be defined as giving everyone what they need to be successful. In other words, it’s not giving everyone the exact same thing. If we give everyone the exact same thing, expecting that will make people equal, it assumes that everyone started out in the same place – and this can be vastly inaccurate because everyone isn’t the same. In political terms, equality is one of the foundations of democracy. Equality is based on the belief that all people should have the same opportunities for a happy life. Equity is linked to the ideal that success is based on personal efforts and not social status. However, ongoing conversation highlights whether equality is enough, and if instead we should look towards equity as a better principle to progress society. Equity acknowledges that people don’t begin life in the same place, and that circumstances can make it more difficult for people to achieve the same goals. The goal of equity is to change systemic and structural barriers that get in the way of people’s ability to thrive. MITJILI NAPURRULA - WATIYA TUTJA (TREE DREAMING) price AU$18,000.00 KITTY NAPANANGKA SIMON - MINA MINA JUKURRPA (MINA MINA DREAMING) price AU$7,500.00 NOLA ROGERS - GOGO STATION price AU$1,500.00 LILY NUNGARAYI HARGRAVES - TURKEY DREAMING Sold AU$0.00 NINGURA GIBSON NAPURRULA - WIRRULNGA price AU$12,000.00 NETTA LOOGATHA BIRRMUYINGATHI MAALI - MY COUNTRY price AU$5,100.00 DOROTHY NAPANGARDI - KARNTAKURLANGU JUKURRPA price AU$1,200.00 MINNIE PWERLE - AWELYE - ATNWENGERRP Sold AU$0.00 ROSELLA NAMOK - STINGING RAIN.... DARK NIGHT price AU$12,000.00 VIRGINIA GALARLA - PINYAMA price AU$1,700.00 ADA PULA BEASLEY - MY COUNTRY Sold AU$0.00 EX EMBRACE

Artist Profile for Joanne Currie Nalingu < Back Joanne Currie Nalingu Joanne Currie Nalingu ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE JOANNE CURRIE NALINGU - UNTITLED SOLD AU$26,000.00 JOANNE CURRIE NALINGU - GUNGARRI TRACES SOLD AU$3,000.00 JOANNE CURRIE NALINGU - OCHRE RIVER Sold AU$0.00 JOANNE CURRIE NALINGU - DARK RIVER LINE VIII Sold AU$0.00 JOANNE CURRIE NALINGU - RIVER LINES II Sold AU$0.00 JOANNE CURRIE NALINGU - WIND ON THE WATER Sold AU$0.00 JOANNE CURRIE NALINGU - HEADING WEST (AUTUMN LIGHT) Sold AU$0.00 JOANNE CURRIE NALINGU - HOVER Sold AU$0.00 JOANNE CURRIE NALINGU - GUNGARRI TRACES SOLD AU$3,300.00 JOANNE CURRIE NALINGU - GUNGARRI TRACES SOLD AU$2,200.00 JOANNE CURRIE NALINGU - DARK RIVER LINE V11 Sold AU$0.00 JOANNE CURRIE NALINGU - HEADING WEST (WINTER LIGHT) Sold AU$0.00 JOANNE CURRIE NALINGU - MARANOA (SPRING) Sold AU$0.00 JOANNE CURRIE NALINGU - RIVER LINES I Sold AU$0.00 JOANNE CURRIE NALINGU - HEADING WEST (SUMMER LIGHT) I Sold AU$0.00 JOANNE CURRIE NALINGU - CALM MORNING Sold AU$0.00 top Anchor 1 PROFILE Joanne Currie Nalingu ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

The 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 .