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 .

BennettGordo Gordon Bennett Gordon Bennett 1955 - 2014 Born on the 9th of October 1955, Gordon Bennett attended the Nambour High School in Queensland. On the 3rd of June 2014, Mabo Day (22 years after the High Court of Australia overturned the legal fiction of terra nullius which had characterised Australian law with regards to land and title since the voyage of James Cook in 1770) Bennett passed away in his home from an unexpected heart attack. Bennett’s prolific art career began after graduating from the Queensland College of Art, Brisbane, in 1988 at the age of 33. During his childhood, Bennet's Aboriginal heritage was kept from him in an effort to protect him from racist taunts from within his working class community and society in general. This led increasingly to Bennett’s dissatisfaction with the received histories of Australia and stereotypical castings of identity. Always an avid reader, Bennett found that the postmodernist intellectual and artistic circles of the late eighties opened for him new perspectives on the narratives upon which our culture is built. He began to fragment and juxtapose his visual references. In his early works, events, icons, and texts were thrown together amid the drips and splatters of Pollockian paint. This confrontational meshing of imagery was driven by a strongly felt sense of injustice at the ‘homogenizing impulse’ of the colonizing white culture; a culture that promoted and maintained itself at the expense of Aboriginal suffering and displacement. Bennett sought to retrieve a history of discarded memories and moments and install them alongside the heroic ideal. In Myth of the Western Man (White Man’s burden) 1993, the explorer, a familiar figure in primary school textbooks, staunchly holds a blue pole against a number of engulfing elements. The swirling paint is interrupted by dates that flag significant events in Aboriginal history. The pole pays homage to the reforms of the Whitlam era, including the purchase of Pollock’s controversial Blue Poles for the National Gallery of Australia as well as the end of the white Australia policy and the beginning of land rights and self-determination for Aboriginal people. Bennett’s early fascination with Pollock furthered his investigation of the structures that assign and reinforce identity. Like other artists (Basquiat, Mondrian) whom he has ‘quoted’ in order to explore certain modes of thought, Pollock usurped the established principles of Western art and prompted his audience towards new ways of seeing. Fluid, interlacing and dripping lines dissolve perspectival space, dismantling the structured grid system with its central, controlling gaze. This colonising view upon the world has served to invalidate the Dreaming journeys and sites of Aboriginal culture, deeply fracturing land-based spiritual beliefs that traditionally constituted their culture and sense of identity. During his career Bennett has sought to draw attention to the problematic core notions that underwrite our sense of subjectivity generating global problems, most especially in the context of race relations. Rather than removing himself from the real world of things, actions, and events in his study of history and its sustaining ideology, Gordon Bennett surveys the scene for signs, staging a theatre of images drawn from other images that twist back on themselves in Shakespearian-like irony and figurative turns. Apparent meanings are undone in the search for deeper meanings. Yet these are not necessarily more meaningful in this emotionally charged layering of narratives. In his 9/11 series (2001), New York becomes the symbolic site where the long and explosive history of white imperialism once again rises to the surface, flashing around the world on television screens, over and over. In 2003 he began works concerned with terrorism and the war in Iraq. Opposing relationships become a continuous subterfuge of dissolving appearances; now the ‘other’ can never be safely known or controlled. Gordon Bennett rapidly established himself in the Australian art world. He lived and worked in Brisbane. His polemic works are well represented in major galleries and private collections. In 1991 he won the prestigious Moet & Chandon Australian Art Fellowship. For many years he also painted under the pseudonym of John Citizen preferring not to disclose his alias until these works reached the same level of prices as those created under his real name. His paintings are both complex and provocative having often been described as ‘in your face’. Like the improvising, sampling and remixing of modern jazz or rap music, with its startling, syncopated rhythms, Bennett’s compositions cause one to step back and, only from the safety of distance, re-enter his cacophony of images, words and gestural paint which stakes out a new expressive space. Here the stories left out of our schoolbook history strive to unfold and their unsung characters reach into our field of vision. In Bennett’s early works, this is the story of Indigenous Australia and his own personal place within it while later, it is a story that involves all of modern western society as it seeks, often violently, to colonize the globe. Gordon Bennett was a contemporary painter of national renown who also happened to be of Indigenous heritage. Simply labelling his work as ‘urban Aboriginal art’ would underestimate its place in much the same way as it would with Tracy Moffatt, Johnathon Jones or Brooke Andrew. His exhibition history and bibliography are amongst the most extensive of all Aboriginal artists. He was represented by Paul Greenaway in Adelaide, Peter Bellas in Brisbane, and Irene Sutton in Melbourne almost since the beginning of his career. For the last ten years or so of his career he also painted under the pseudonym ‘John Citizen’. At first these works started at a quarter the price of those issued under his real name, however once they attained the same price level he revealed the ruse and these are now ascribed to him personally. While only 65 of the 101 works presented on the secondary market have sold, only a small number of these have been major works. During 2007-2008 his success rate was 90%, way above his career average, with no less than eight works entering his ten highest results. Amongst them were four works which all exceeded the previous record price of $47,500 which Sotheby’s had set for Haptic Painting Explorer (The Inland Sea) 1993 in their June 2002 sale (Lot 165). This very large work was not one of his best and the record was smashed in July 2007 after Sotheby’s offered an absolute beauty, with a whopping presale estimate of $300,000-500,000. Their confidence was rewarded when Possession Island 1991, a triptych in which each panel measured 162 x 130 cm, sold for $384,000. While 2007 was a brilliant year for Bennett’s secondary market results, with eight works sold of which no less than six entered his top ten records, another four works failed to sell. Nevertheless it loosened the grip of seven collectors who put up works the following year and all but two were successful including the owners of Home Décor (Algebra) Boomerang, a 182.5 x 182.5 cm work which became the artist’s second highest result at $52,800 and Notes to Basquiat: Cut the Circle II, 2001, a slightly smaller work, which fell just short of this at $50,400. Somewhat unusually only one work, a print, was offered and sold in 2009 and 2010 brought similar results, despite Home Decor (Algebra) Boomerang being re-offered with a conservative estimate lower than it's previous sale price. More were on offer in 2011, with seven appearing at auction, of the two that found buyers Psychotopographical Landscape 1991 fetched an impressive $21,600, marking a new 8th place auction record. In 2012 Haptic Painting Explorer (The Inland Sea) 1993 was offered for sale following a decade since its last appearance at sale. Bonham's offered the work in its June sale of the Fehily collection of contemporary art (Lot 17). This time around it achieved more than twice its previous price when it sold for $108,000. Another notable success was for Australian Icon 1989, a work originally sold for $36,925 at Sotheby's in July 2003 (Lot 191). Resold by Sothebys in November 2012, it became the artist's 3rd highest result when it achieved $60,000. These two 2012 results ensured that Bennett became the 13th most successful AIAM100 artist for the year lifting his career standing from 36th to 34th. Only two works appeared in both 2014 and 2015 and these were both successful, selling at average prices significantly above his career average. A new 3rd highest result was recorded in 2015 with Home Decor (Preston + De Stijl = Citizen) Men with Weapons 1997 a massive 182.5 x 365 cm (overall) work selling in the sale of the collection of David Clarke AO at Sothebys in April (Lot No. 86). This was toppled by Notes to Basquiat (Ab) Original 1999, which was sold by Deutscher and Hackett's for $87,840 against an estimate $40,000-60,000 in 2016. In 2018, seven works of eight offered found new homes with Home Decor (Algebra) Relache 1998 ( 182.7 x 182.3 cm) selling for $54,900 and slipping into his top 10 results in 6th place. Overall, works by Gordon Bennett fall in to distinct periods, styles and subjects. Those with particularly pleasing layered imagery suggesting multiple interpretations have been far more successful than those in which the political message is too obvious and made at the expense of the image itself. A number of extremely powerful and important paintings lie at the centre of Bennett’s much-admired oeuvre. Lithographs and screen-prints have faired badly at auction, remaining either unsold, or selling in the vicinity of $500. He is amongst the best documented of all Aboriginal artists. Works like Haptic Painting Explorer and Possession Island are cases in point. There are other paintings by Bennett of this quality that are tightly held and very strong in the literature. On those odd occasions when these become available for sale, they will achieve stellar prices up to ten times his current average. Explore our artworks See some of our featured artworks below ANGELINA PWERLE NGAL - UNTITLED ( BUSH RAISIN MAN) Price AU$3,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Out of stock LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Price From AU$13,500.00 BRONWYN BANCROFT - UNTITLED Out of stock JOSHUA BONSON - SKIN: A CELEBRATION OF CULTURE Price AU$8,500.00 BOOK - KONSTANTINA - GADIGAL NGURA Price From AU$99.00 FREDDIE TIMMS - MOONLIGHT VALLEY Price AU$35,000.00 NEIL ERNEST TOMKINS - BURN THERE, DON'T BURN THERE Price AU$7,000.00 SHOP NOW

Artist Profile for Walter Ebatarinja < Back Walter Ebatarinja Walter Ebatarinja 1915 - 1968 ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE WALTER EBATARINJA - UNTITLED Sold AU$0.00 WALTER EBATARINJA - UNTITLED Sold AU$0.00 top Anchor 1 PROFILE Walter Ebatarinja 1915 - 1968 Walter Ebatarinja was among the amazed and delighted local Aboriginal audience who attended the initial exhibition of watercolours by Rex Batterbee and John Gardner at the Lutheran mission in Hermannsburg in 1932. Walter, already an accomplished craftsman, wished also to be taught the new painting method like his uncle Albert Namatjira. He had to wait however until Albert returned from his painting trips with the visiting artists, and then press him into imparting his new skills. Albert taught his sons to paint and a few of his wider relations, including Walter, often including them in his trips into the McDonnell Ranges and the dramatic gorges along the Finke River. In turn, Walter taught his wife Cordelia to paint, and then his sons Joshua and Desmond. This is how the Hermannsburg School of watercolourists began. Despite Namatjira’s popularity, much criticism was levelled at the Arrernte artists because of their adoption of European materials and the introduced Realist style, so foreign to the acceptable Aboriginal cultural experssion at the time. Critics called it a ‘popular craze’ or ‘pretty pictures’ of imitative value only, rather than of artistic merit. Yet their consistent sales proved a strong incentive and public appreciation carried the day. Their luminous watercolours found their way into the hearts and minds of the Australian imagination and finally the art establishment. Contrary to initial perceptions, this new translation of the landscape was actually in keeping with the traditional, spiritual relationship between the artists and their country. The paintings have genuine meaning, tracing as they do the much loved landforms, full of ancient stories and hidden sacred sites, not unlike the forms of other Aboriginal art that depict country from a taditional omnipotent perspective. The paintings are more than landscapes in the conventional sense of scenery. They arise as part of the land and reflect an attentive custodial sensibility towards it. Arrernte landscape painters are part of a continuing tradition that today is becoming more important than ever. Walter’s son Desmond Ebatarinja recalls his parents’ artistic activities, which brought much needed money into the family during difficult drought years. The children were sent away to the mission school while Walter and Cordelia lived at the Palm Valley camp, twelve miles out of Hermannsburg and sold art to passing tourists. In those days, the paintings had to be stamped by the Native Affairs Branch to be 'approved' by the authorities and attract good prices. Desmond remembers coming home during holidays and swimming in the Finke River and watching his father paint. Walter developed his own recognisable painterly style, often using clusters of dots and areas of parallel lines as he analysed the land in more broad and geometric terms. Cordelia meanwhile gave more attention to a decorative quality. “When we’re painting country we think about the Dreaming of that country,” Desmond said. “My parents taught me to paint like that.” Arrernte country was centred around Alice Springs and, though the traditional owners were pushed to its outer missions and margins, today’s thriving art centres still rest on the enthusiasm, skill and international reputation of the foundational Hermannsburg painters. Profile author: Sophie Pierce Edited: Adrian Newstead Collections: Artbank, Sydney.; Art Gallery of South Australia, Adelaide.; Flinders University Art Museum, Adelaide.; Museum of Victoria, Melbourne.; National Gallery of Australia, Canberra.; National Gallery of Victoria, Melbourne.; Parliament House Art Collection, Canberra.; Queensland Art Gallery, Brisbane.; The Kelton Foundation, Santa Monica, U.S.A.; Exhibitions: 1963, The Melbourne Moomba Festival, Exhibition of Aboriginal Art, presented by the Aborigines Advancement League, in conjunction with the Myer Emporium, Melbourne, Victoria.; 1991, The Heritage of Namatjira at Flinders, Flinders University Art Museum, Bedford Park, South Australia.; 1992/93, The Heritage of Namatjira, touring exhibition, through Flinders University Art Museum.; 1995, Namatjira Ilakakeye, kinship, creativity and the continuing traditions of the Hermannsburg artists, Tandanya, Adelaide. Bibliography: Battarbee, R., 1951, Modern Australian Aboriginal Art, Angus and Robertson, Sydney. (C) ; Battarbee, R. and Battarbee, B., 1971, Modern Aboriginal Paintings, Rigby, Adelaide. (C) ; Berndt, R. M. and Berndt, C. H. with Stanton, J., 1982, Aboriginal Australian Art, a Visual Perspective, Methuen Australia Pty Ltd, Sydney. ; Hardy, J., Megaw, J.V.S. and Megaw, M.R. (eds), 1992, The Heritage of Namatjira - the Watercolourists of Central Australia, William Heinemann, Australia. (C) ARTIST CV Market Analysis MARKET ANALYSIS Walter Ebaterinja's paintings first appeared at auction in 1969, the year after his death. It was a measure of the affection owners felt toward his paintings that by 1984, 15 years later, only twenty five paintings had appeared for sale on the secodary market with the higheast result being $425, a quite considerable amount at the time. As his works sold from the Hermannsburg mission during his lifetime for $5 to $20 this was a remarkable increase in value. By 1995, when Sotheby's held its first specialist Aboriginal art auction in Australia more than 200 works had been offered for sale with his record price being the $900 set by Lawsons in April 1993. Walter's success at public sale is quite remarkable though the average price of his works is very low at $699. His low average price is acountable to the length of time since his death and his works first appearance in Australian auctions. If his early sales pre-1995 are discarded, the average prices of his sales jumps dramatically. (Walter's AIAM100 rating accounts for this, as the rule that discounts an artist's ranking if their average prices fall below $1500 applies. Were this factor not taken into account, Walter's position amongst the most important artists of the movement would be significantly higher). His current record price was set at Sotheby's in July 2007, when a lovely 39 x 57 cm image of Alice Springs as seen from Anzac Hill sold for $10,800. Another smaller image painted of the same scene from the same location sold in 2012 for $9,600 relegating an image entitled Aranda Landdscape that sold for $4,800 two years earlier to third place. Only 10 works have sold for more than $2,000 and 45 over $1000. That leaves no over 300 paintings which have either failed to sell or have achieved a price under $1000. All of Walter's sales over $1000 have been made post-2003. The reason? In 2002 the National Gallery of Australia staged its major retrospective Hermannsburg painting exhibition, Seeing the Centre , curated by Alison French. At the time of the exhibition Hermannsburg works were considered a rather kitch anomoly in the history of Aboriginal desert art, having been transcended by the sheer volume of traditional desert dot paintings created post-1970. Subsquently, works by Albert Namatjira, and indeed all of the leading Hermannsburg watercolourists underwent a reappraisal and this has resulted in steadily increasing prices. Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

Artist Profile for Katie Curley < Back Katie Curley Katie Curley ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE KATIE CURLEY - MY COUNTRY SOLD AU$2,100.00 top Anchor 1 PROFILE Katie Curley ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

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NungurrayiEna G Ena Gimme Nungurrayi Ena Gimme Nungurrayi 1955 - 1991 Ena Gimme was born ‘in the bush’, near the Cannning stock route, c.1953 the daughter of Eubena Nampitjin and her first husband, Burugnu Tjakudu Tjapaltjarri Gimme. Her early years were spent tracing the travels of Wally Darly, who paid Burungu Gimme in rations in return for help droving cattle. The family moved north from her traditional country of Kalliyangku to Halls Creek, settling briefly then moving on to Billiluna Cattle Station, 200 km further south. In the 1930's German Pallotine monks had established four missions in the Balgo area in an attempt to help the increasing number of Aboriginal people being forced from their lands to make way for cattle. Eubena and her family moved to these missions, finally staying at the mission station at Balgo Hills. Though the frenetic movement of her early years was difficult, integrating in to the new culture at Balgo presented an even greater challenge. By the time Ena Gimme began painting for Warlayirti Artists in 1989, she was married to David Hall and her art became the medium through which she could re-inhabit her ancestral lands and attempt to straddle the gap between two distinctly different worlds. Her artistic expression more closely followed the developments of the older Warlyirti painters, because of the strong influence of her mother and her difficulty in acclimatizing to this new environment. The importance of the role her mother played is evident in her early paintings. The circular motifs centered upon two waterholes from her mother country, surrounded by a grove of trees. Her preoccupation with the abundance of food and protection the desert provides was depicted in informal and open compositions with ‘variegated patches of vibrant particles' (Ryan 1993: 86). While her own paintings were immediately identifiable from those of others, they were characteristic of the Balgo female painters in that they contrasted to the more linear, grid-like compositions of the Kukatja men. However, Ena Gimme’s primary focus remained her father’s country, Kalliyangku, where she spent her earliest years. In her very brief painting career she forged a unique artistic style. In her best works the texture resembles impasto, with tessellated sections of canvas featuring unpredictable gestural sweeps and a bold use of raw colour. It is fortunate that Michael Rae, the art coordinator at that time, introduced a wide palette of primary colours just as Ena Gimme was at the peak of her very brief career. She passed away in 1992 at 36 years of age, just three years after she had begun painting. Balgo Hills, as John McDonald wrote at the time, was ‘not a romantic hamlet’. Violence, gambling and ill health were commonplace. While Ena Gimme’s premature death gives a bleak forecast of the immense challenges, emotionally and physically, the younger generation in communities like Balgo face, her own brief artistic explosion gave hope to the brilliant talents of a younger generation of Balgo painters, many of whom have gone on to sustain the precious tradition of their forbearers. Ena Gimme was an immensely talented artist. In just three years she demonstrated her unique visual language at a time when the Kukatja women had just begun to embrace the vibrant colours that were to become their distinct hallmark. Of all the women painting at that time she stood out as an artist who could have had the art world at her feet had she not passed away so prematurely. So traumatised was her mother Eubena and her husband David Hall by her death, that both stopped painting altogether for several years. Eubena left Balgo Hills, settled at Well 33 on the Canning Stock Route and would not have returned but for James Cowan’s constant encouragement almost three years later. David Hall sunk in to depression; never again able to recreate the wonderful works he had painted by her side during her lifetime. A number of her finest works were purchased by Kaye Archer for the Sam Barry Collection and it is two of these that are amongst the records for her highest priced works. They were sold as lots 64 and 65 in Sotheby’s July 2004 sale with estimates of $10,000-15,000 and $20,000-30,000 respectively. The first Talinyu 1991, measuring 100 x 50 cm, sold for $13,200 while the second, LIlpuwu 1991, a smaller work measuring just 90 x 76 cm, set her record at $42,800. Both had been purchased from Coo-ee Aboriginal Art in Sydney, which placed her work in the National gallery of Australia and the National Gallery of Victoria collections during her very brief career. Others were sold through Rebecca Hossack in London and Birukmarri Gallery, which operated during the America’s Cup in Fremantle. Very few works by Ena Gimme are ever likely to come up at auction as so few exist. With at least half in museum collections her rating as a secondary market performer is far lower than the quality of her artistic talent deserves. One work was offered in 2010 through Mossgreen Lot 127. The work, untitled 1990, sold for $4,183 well within the reserve of $4,000 – 6,000. The first to appear on the secondary market after a three year pause was Untitled (Artist's Mother's Country), it collected $20,400 in 2009. The work was among a larger number of works being sold from the Thompson Marecaux Collection of Balgo Paintings. Against a backdrop of the financial downturn and a generally depressed market it more than doubled its estimated value. Evidence that on those odd occasions when fine examples become available in the secondary market, collectors, especially those concentrating on western desert art, should do whatever is required to secure them. They will not be disappointed. 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

SYDNEY CONTEMPTORARY 2019 | BOOTH A11 From 12 September to 15 September 2019 Viewing Room SYDNEY CONTEMPTORARY 2019 | BOOTH A11 From 12 September to 15 September 2019 Staged at Carriageworks, Sydney's striking multi-disciplinary arts precinct, the Fair welcomes over 90 galleries from around the world showcasing the work of over 400 leading and emerging artists from more than 12 countries. VIEW CATALOGUE