AmagulaThoma Thomas Nandjiwarra Amagula Thomas Nandjiwarra Amagula 1926 - 1989 Nandjiwarra Amagula was a man of extraordinary skills and integrity. Not only an artist of renown in the bark tradition of Groote Eylandt, he was also a community leader and political negotiator and received an MBE at the age of 45 for service to his community. Amagula acted alongside David Gulpillil in the 1970s classic ‘The Last Wave’ (Peter Weir), was a friend of celebrities and politicians and was known as “the barefoot executive”. His life and work spanned a time of fundamental social change, throughout which the tradition of bark painting provided both a crucial support and a necessary reflection of the shifting histories and fortunes of his remote island situated in the Gulf of Carpentaria. The high profile of Groote Eylandt bark painting has its roots in the past. Like other traditions that developed from rock art, it traditionally had a magical or ceremonial purpose. However a strong aesthetic quality also made an impression on collectors from the earliest times of European involvement on the island. Groote Islanders painted and decorated the inside walls of their bark huts, and because of trade and exchange with Macassan fishermen from Indonesia also had an interest in more secular and self expressive forms of painting. Groote Eylandt is renowned for its several rock painting sites where the imagery relates directly to that found on sheets of bark. The use of a characteristically monochrome black background, with figurative elements described in areas of dots, dashes and hatching, outlined with contrasting red, white or yellow, became known as the old or classic style (emerging in the 1920s).The black ground is obtained from manganese. Groote Eylandt has some of the world's largest deposits of the mineral. Though there are cultural connections and stylistic affinities between western Anindilyakwa people and the Nunggubuyu and Yolngu tribesmen in Arnhem Land, the painting style is markedly distinct from those practiced on the mainland. The first collections of bark paintings from Groote Eylandt were made by the anthropologist Norman Tindale who assembled the first collection in 1921-1922 (now in the collection of the South Australian Museum). Tindale was followed by Frederick Rose from 1938, with the assistance of a white resident of the island and later superintendent of the Umbakumba settlement, Fred Gray. Gray was an entrepreneurial type who sought to encourage local Groote Islanders in bark painting as a means of financial independence from the often restrictive church and government obligations. As a young man, Nandjiwarra visited his father Damandu who was working within the Umbakumba community. Charles Mountford collected his work in 1948 during the American Australian Scientific Expedition to Arnhem Land and in the 1950s, the Rev. L.M. Howell commissioned eight sets of narrative paintings from Thomas Nanjiwarra and Bill Namiayangwa (1923-68). Later, Helen Groger-Wurm collected Nandjiwarra's barks in 1969.(these became the National. Gallery of Australia's first major acquisition of Aboriginal art in 1972: comprising four sets of paintings by each artist, seven of which depict narratives in sequential frames). Nandjiwarra's on-going friendship with academics and enthusiasts in the southern cities meant that an appreciative audience began to collect the barks of what became a prolific and sophisticated painting school of which Nandjiwarra was one of its most sought after artists. He went on to produce exquisite and detailed works that combine narrative elements with patterning from the different clan groups to which he was connected through family relations. His animated imagery, and spatially complex pictorial scenes combined totemic animals, Macassan boats, wind spirits and creation beings. During the 1960s and 70s, when this distinctive and celebrated style reached a peak, the advent of manganese mining operations brought a demanding and disruptive influence to the island. Inheriting a leadership role, Nandjiwarra became chief negotiator with the mining companies (BHP, GEMCO). He was intent on protecting his community and environment but was also aware of the need to spend mining royalties in order to move into the new times facing his people. Community meetings were held under the Banyan trees and soon Groote Eylandt became known as a model for other indigenous communities facing incursions from developers. School attendance was at 90% and thriving health centres and housing improvements were put in place. Meanwhile in 1978, Nandjiwarra was voted chairman of the Aboriginal Cultural Foundation and well-informed and serious collectors from around the world would visit his island to study and buy artworks. Since 2005, an art center and gallery have encouraged Groote artists to rekindle elements of the ‘classic style’, recognising the importance of maintaining the island’s unique cultural identity in the face of modern distractions. The barks of Nandjiwarra remain one of its most distinguished exemplars, featuring centrally in landmark exhibitions such as ‘Creation Tracks and Trade Winds: Groote Eylandt bark paintings from the University of Melbourne Collection’, held in Melbourne in 2007. Author: Sophie Pierce Edited: Adrian Newstead Collections: Musee des Arts Africans et Oceaniens, Paris, France.; Museum and Art Gallery of the Northern Territory, Darwin.; Museum of Contemporary Art, Arnotts Collection, Sydney.; National Gallery of Australia, Canberra.; Ruhe Collection of Australian Aboriginal Art, U.S.A.; Group Exhibitions: 2002 - Exposition collective, La Loire-Atlantique donne rendez-vous à l’Australie, Art et Culture des Antipodes, Arts d’Australie • Stéphane Jacob / Conseil Général de Loire-Atlantique, Nantes. 1991 - Aboriginal Art and Spirituality, High Court, Canberra. 1989 - Aboriginal Art: The Continuing Tradition, National Gallery of Australia, Canberra. Bibliography: Caruana, W., 1993, Aboriginal Art, Thames and Hudson, London. (C); Bush, C.,1990, Explorers to Groote Eylandt, in Pascoe, B., (ed.), 1990, Aboriginal Short Stories, No. 32, Pascoe Publishing, Apollo Bay, Victoria. ; Crumlin, R., (ed.), 1991, Aboriginal Art and Spirituality, Collins Dove, North Blackburn, Victoria. (C) ; Dussart, F., 1993, La Peinture des Aborigines D'Australie, Editions Parentheses, Marseille, France. ; Kupka, K., 1972, Peintres Aborigines d' Australie, Societe des Oceanistes, Musee de l'Homme, Paris. ; Tweedie, P., 1985, This My Country, A View of Arnhem Land, William Collins Pty Ltd, Sydney. For an artist whose bark paintings first appeared (unsuccessfully) at public auction in 1999 Thomas Amagula's market performance since 2009 has been quite remarkable. In that year he forged his way into the top 200 artists of the movement for the first time leapfrogging more than 200 artists on the back of the sale at Sotheby's of a collection of small barks which netted $132,000 including the buyer's premium. These 17 small barks from the collection of William McE. Miller, Jr, in the USA., thematically explored what happens to a man after he dies on Groote Eylandt. On the back of this one sale alone he became the 83rd most successful artists of all time. By the end of the following year he had reached 80th his highest raking to date. He is now 95th. Prior to this his record price was the $7440 paid at Sotheby's in 2008 for two untitled barks depicting a Pelican story that were originally purchased through the Church Missionary Society. In one, a small boy gets his brother to climb up to collect little pelicans for him. In the next, a man becomes a bird and flies away. This same pair of barks reappeared in Deutscher and Hackett's, Important Aboriginal and Oceanic Art, sale in Melbourne, in March 2010 (Lot No. 99) , this time selling for $15,600, the artist's second highest auction result. Overall, 20 lots have appeared thus far at auction of which 14 have sold for a success rate of 70%. The strong market performance of early bark paintings from Groote Eylandt during the past decade is mirrored in the sales of several formative artists who created works in this style. Paintings by these artists have become highly desirable and average prices paid for fine examples by Nandjwarra and others are likely to continue to rise into the future. 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

TIWI CREATION Cooee Art Redfern - 17 Thurlow St, Redern, NSW 2016 From 14 May to 04 June 2022 TIWI CREATION Artists: Artists from Munupi Arts, Melville Island NT From 14 May to 04 June 2022 TIWI CREATION Artists: Artists from Munupi Arts, Melville Island NT From 14 May to 04 June 2022 Cooee Art Redfern - 17 Thurlow St, Redern, NSW 2016 Flowing arcs of dot-mark lines portray the world in patterns and rhythms on every canvas. The sun’s glare, the moon’s glow, the black of night, all depicted in ochre, the country’s own pigment lifted from the earth. Such is the art of the Tiwi Islands, north of Darwin — the longest-known and most thoroughly recorded Indigenous creative tradition in Australia. The works in this exhibition showcase the artists’ individual styles in depicting shared stories. Some artists adhere closely to traditional tools, employing a wooden comb (Pwoja) to apply dots to their canvas or sculpture. Others may use sticks or western paint brushes in their mark-making. The commonality comes from the deep heritage and tradition each artist is influenced and inspired by. In an introductory statement in the book Tiwi, Art/Histroy/Culture, Pedro Wonaemirri opens with ‘We are the Tiwi. Tiwi is we the people. […] We Tiwi people have to keep our culture alive. The art from long time ago and today – we are still seeing it as Tiwi art.” Tiwi society is quite different to that of mainland communities. The Kulama and the Pukumani ceremonies lie at the heart of Tiwi culture. The Kulama is the ceremony associated with fertility and abundance, during which poisonous yams are made edible. The Pukumani is a funeral ceremony in which elaborate poles are carved, decorated, and erected to become the focus of dancing and singing. Intricate designs adorn the face and body of the performers, matching the designs of the poles. “The knowledge is when you listen, then look — the knowledge is by words, singing, talking, and also the dance, meanings of dance, and the song that goes with the dance and also art as well. And now I am creating my own art, my own style, totally different. My art is my art” Pedro Wonaeamirri Jennifer Isaacs explains in her comprehensive book Tiwi, Art/History/Culture. “Distinct in style and form, the art of the Tiwi may be rooted in tradition and ceremony but not all can, or should be explained. “The Tiwi artists feel the interior meaning of paintings is changeable and is theirs to know or think about at a given time. Recording a story tightens the meaning of a work in a restrictive manner. The real feeling in the work is primarily only in the artist’s own mind and not necessarily something the purchasers of the painting, whether galleries or collectors, should need or want to know. As meaning probably only occurs subconsciously during the making process, expanding on it for others would seem, to Tiwi, somewhat irrelevant.” VIEW CATALOGUE EX 232

INDIGENOUS FINE ART AUCTION 17 Thurlow Street Redfern NSW 2016 8 March 2022 Viewing Room INDIGENOUS FINE ART AUCTION 8 March 2022 17 Thurlow Street Redfern NSW 2016 Welcome to the first Cooee Art Indigenous Fine Art offering for 2022. Our specialists have collected 103 lots with a total value of $1.8-2.4 million for this multi-vendor auction which will be held in our newly appointed auction showroom in Redfern on March 8th starting at 7pm AEDT. Location Description Cooee Art Auction Showroom and Gallery Viewing Information 1st - 8th March 10am till 6pm VIEW CATALOGUE VIEW AUCTION RESULTS WATCH VIDEO

INDIGENOUS FINE ART AUCTION Cooee Art Paddington | 326 Oxford Street Paddington 4 June 2019 INDIGENOUS FINE ART AUCTION 4 June 2019 INDIGENOUS FINE ART AUCTION 4 June 2019 Cooee Art Paddington | 326 Oxford Street Paddington This June 4th 2019 offering includes 105 selected items from Australia and overseas estimated, at $1.4 million. With major Papunya artworks featuring at Gagosian Gallery in New York during the next two months Cooee Art MarketPlace is delighted to offer a 244 x 183 cm masterpiece by the renowned George Ward Tjungurrayi. This major men’s ceremonial painting is one of a number of superb Western Desert works with Papunya Tula provenance in the Mike Chandler Estate. Mike Chandler, who passed away, aged 74 on January 6th this year was a great supporter of Aboriginal artists and galleries here in Australia and with his adored wife Barbie, championed Aboriginal art on the international stage. Mike was great at everything he put his hand to. A great wine and food lover, great cook and host, great lunch partner, great fly fisherman, but most important of all he was a great mate who shared our passion for art and Aboriginal culture. Amongst his colleagues he was widely acknowledged as Australia’s greatest typographer. He helped improve the work of every single great writer and art director in Australian advertising throughout the 70s, 80s and 90s. Cooee Art is Australia’s oldest Indigenous art gallery (Est 1981). “With the depth of our expertise in both the primary and secondary art markets and our progressive outlook, we provide sellers with a vital distinction from the staid, conservative approach of our competitors. We understand that Australian Aboriginal artworks are a vital cultural legacy and believe that they are best promoted and offered for sale by those who are passionately committed to them. VIEW THE CATALOGUE WATCH THE VIDEO

Artist Profile for Conway Ginger < Back Conway Ginger Conway Ginger ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE CONWAY GINGER - BULLDOG AND WEST COAST SOLD AU$330.00 CONWAY GINGER - MOTOR BIKE SOLD AU$260.00 top Anchor 1 PROFILE Conway Ginger 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 OCEANIC ART FAIR Art Leven - 17 Thurlow St, Redfern, Gadigal / Sydney 26 - 27 October 2024 Viewing Room SYDNEY OCEANIC ART FAIR 26 - 27 October 2024 Art Leven - 17 Thurlow St, Redfern, Gadigal / Sydney Art Leven is once again hosting the Sydney Oceanic Art Fair. Ethnographic rarities and collectables from Oceania, Papua New Guinea, the Pacific, Australia, South East Asia, the Americas, New Zealand and many other parts of the world. EVENT DETAILS | OCEANIC ART FAIR

Artist Profile for Dawalinjara < Back Dawalinjara Dawalinjara ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE DAWALINJARA - NGARAPIA SOLD AU$900.00 top Anchor 1 PROFILE Dawalinjara 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 Anyupa Stevens < Back Anyupa Stevens Anyupa Stevens 1981 Language: Pitjantjatjara ARTIST PROFILE ARTIST CV MARKET ANALYSIS Anyupa Stevens was born in the bush at Double Tank near Fregon, within a family richly embedded in artistic tradition. Her grandmother, the late Eileen Yaritja Stevens, was a renowned artist associated with Tjungu Palya, and both her parents, Keith Stevens and Tjanpuwa Stevens, are esteemed senior artists from the Anangu Pitjantjatjara Yankunytjatjara (APY) lands. READ FULL ARTIST PROFILE ANYUPA STEVENS - TJALA TJAWANI SOLD AU$3,500.00 ANYUPA STEVENS - TJALA TJAWANI SOLD AU$2,200.00 top Anchor 1 PROFILE Anyupa Stevens 1981 Language: Pitjantjatjara Anyupa Stevens was born in the bush at Double Tank near Fregon, within a family richly embedded in artistic tradition. Her grandmother, the late Eileen Yaritja Stevens, was a renowned artist associated with Tjungu Palya, and both her parents, Keith Stevens and Tjanpuwa Stevens, are esteemed senior artists from the Anangu Pitjantjatjara Yankunytjatjara (APY) lands. Anyupa’s father's connection to the land is deeply rooted in Piltati, an important waterhole close to the Nyapari community, which frequently emerges as a strong theme in her artwork. Her mother's Country is Aeronga in the Northern Territory, adding further depth to her cultural and geographical ties. For many years, Anyupa lived in Nyapari, where she was actively involved with Tjungu Palya, a notable art centre in the region. Recently, she returned to her birthplace of Fregon and continues to express her rich heritage through her painting, now with Kaltjiti Arts. This return to her origins not only marks a full circle in her journey but also reinforces her connection to her cultural roots, which she vividly portrays through her art. 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 Viewing Room SYDNEY CONTEMPORARY | DOROTHY NAPANGARDI From 07 September to 11 September 2022

Artist Profile for Julie Nangala Robinson < Back Julie Nangala Robinson Julie Nangala Robinson 1973 ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Julie Nangala Robinson 1973 Julie is the traditional custodian of her country Pirlinyanu, a land of rocky outcrops and deep water springs. It is a Water Dreaming site (Ngapa Jukurrpa) a couple of hours west from Yuendumu in the Tanami Desert. This is her father’s country. Julie was taught to paint by her mother, the acclaimed Warlpiri artist Dorothy Robinson Napangardi. Julie’s paintings are a unique blend of stylised experimentation and ancient narrative. Her palette most typically consists of red, grey, black and/or white, and is most concerned with Water Dreamings in her Warlpiri country. 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 .

COOEE ART LEVEN HOSTS: PADDINGTON ART PRIZE 2023 Art Leven - 17 Thurlow St, Redfern, NSW 2016 October 12-22 Viewing Room COOEE ART LEVEN HOSTS: PADDINGTON ART PRIZE 2023 October 12-22 Art Leven - 17 Thurlow St, Redfern, NSW 2016 A $30,000 National Acquisitive Painting Prize Inspired by the Australian Landscape. EXHIBITION OF NATIONAL FINALISTS Opening Night and Prize Presentation Join Marlene Antico OAM (Founder/Principal Sponsor), Chris Antico (Co-Sponsor), our 2023 Judges, and Non-Acquisitive Award Sponsors to celebrate. THURSDAY 12th OCTOBER 6PM - 8PM Prize Presentation and Speeches begin at 7pm COOEE ART LEVEN GALLERY 17 Thurlow Street, Redfern NSW, 2016 www.paddingtonartprize.com.au The Paddington Art Prize is a $30,000 National acquisitive prize, awarded annually for a painting inspired by the Australian landscape. Established in 2004 by Arts Patron, Marlene Antico OAM, this National prize takes its place among the country’s most lucrative and highly coveted painting prizes. The prize encourages the interpretation of the landscape as a significant contemporary genre, its long tradition in Australian painting as a key contributor to our national ethos, and is a positive initiative in private patronage of the arts in Australia. Marlene Antico OAM, created the Paddington Art Prize in order to assist with the monetary difficulties that often impede artists from showcasing their works. As an art student, gallery owner and volunteer guide at the AGNSW for over 10 years, she has underscored her commitment to supporting contemporary Australian artists, aware, of the financial concerns that prevent many artists from devoting themselves entirely to their art practice. In 2017, Chris Antico, Marlene’s son joined as Co-sponsor of the prize, enabling its continued growth. Marlene Antico OAM was awarded her Order of Australia in 2017 for her service to the Arts and to the community of Woollahra. The Paddington Art Prize continues to help foster the careers of contemporary Australian artists and remains dedicated to supporting artists to realise their visions and be equipped to forge long-term artistic careers. For more information go to: www.paddingtonartprize.com.au

Artist Profile for Tinpulya Mervin < Back Tinpulya Mervin Tinpulya Mervin ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE TINPULYA MERVIN - WATARRU SOLD AU$3,500.00 top Anchor 1 PROFILE Tinpulya Mervin 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 .