Artist Profile for Danny Possum < Back Danny Possum Danny Possum ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Danny Possum 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 Nungarrayi Myra Herbert < Back Nungarrayi Myra Herbert Nungarrayi Myra Herbert ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE NUNGARRAYI MYRA HERBERT - YINIPINKA SOLD AU$950.00 NUNGARRAYI MYRA HERBERT - YINAPAKA DREAMING Sold AU$550.00 NUNGARRAYI MYRA HERBERT - BUDGERIGAR DREAMING Sold AU$0.00 NUNGARRAYI MYRA HERBERT - YINAPAKA DREAMING SOLD AU$900.00 NUNGARRAYI MYRA HERBERT - EAGLE DREAMING SOLD AU$400.00 top Anchor 1 PROFILE Nungarrayi Myra Herbert 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 Freda Warlipini < Back Freda Warlipini Freda Warlipini ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE FREDA WARLIPINI - PWOJA-PUKUMANI BODY PAINT DESIGN SOLD AU$3,000.00 FREDA WARLIPINI - TRADITIONAL TIWI MOTIF II (STATE IV) SOLD AU$500.00 FREDA WARLIPINI - TIWI MOTIF II SOLD AU$460.00 FREDA WARLIPINI - TIWI MOTIF IIO SOLD AU$500.00 FREDA WARLIPINI - TIWI MOTIF XIV Sold AU$500.00 top Anchor 1 PROFILE Freda Warlipini 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 Ross Dhaparuway < Back Ross Dhaparuway Ross Dhaparuway ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Ross Dhaparuway 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 Paddy Wainburranga Fordham < Back Paddy Wainburranga Fordham Paddy Wainburranga Fordham ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE PADDY WAINBURRANGA FORDHAM - MIMIH MAN WITH BUSH BEEF SOLD AU$2,500.00 top Anchor 1 PROFILE Paddy Wainburranga Fordham 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 Charlene Napanangka Marshall < Back Charlene Napanangka Marshall Charlene Napanangka Marshall ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Charlene Napanangka Marshall 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 .

Hermannsberg Potters Hermannsberg Potters Hermannsberg Potters During a career that spanned almost three decades Mick Namarari became a towering presence, whose variety of subjects and diversity of stylistic approaches kept him at the forefront of Western Desert painting. Geoff Bardon noted his ability as a painter from the earliest days of the movement when he 'could often unexpectedly be found late at night working away at his meticulous and marvellous paintings' (Johnson 2000: 191). Much later, he was to play a quiet but decisive role in instigating the Papunya Tula art movement’s increasing ethereal minimalism of the late 1980’s and 1990's and in doing so significantly fueled the international reputation of Australian Aboriginal art, thereby earning himself an ‘incomparable place’ in Australian art history. During his childhood, Namarari traveled with his parents to many of the key sites through Pintupi country until a tribal raiding party speared and killed his father and his mother threw herself into a fire in grief. After recovering his mother, Maiyenu, and her two children were cared for by other family members who set up camp at Putati Spring south west of Mount Leibig. Namarari later attended school in the mission at Hermannsburg. He worked in the cattle industry at Tempe Downs, near Areyonga, and at Haasts Bluff, where he married his first wife. During this time he would often ‘go bush’ for extended periods, taking just a spear and a womera to hunt for food. Older Pintupi men taught him the songs and ceremonies associated with his childhood journeying and, after initiation into manhood, he was given the responsibility for maintaining the knowledge and ceremony of many ancestral sites. Resettled at Papunya, and serving on the community council with Johnny Warangkula and Nosepeg Tjupurrula in its early tumultuous days, Namarari’s ability as a painter was noted by Geoff Bardon’s from the outset of the modern desert art movement. Driven to paint, regardless of the materials at hand, his early paintings were closely tied to narrative. Symbolic designs were painted, often on a rich, earthy background, with a sharpness of line that imbued them with a remarkable clarity. The key formal elements provided the basis for his later works as he constantly explored and expanded upon their aesthetic potential. He would unravel endless variations on one Dreaming story by focusing on different aspects of its telling. His inventive array of techniques demonstrated a singular and personally felt perspective that always managed to take his audience by surprise. In 1978 he played the leading role in Bardon’s film Mick and The Moon. The film told of an Aboriginal man who believed he owned the moon, but had a duty to paint ceremonial pictures in order to make this belief become true. His moon paintings of this period have an omniscient perspective, revealing a cosmology where the human world and the landscape are continuous with each other rather than being defined against each other, as in the European tradition. He depicted landscape by 'invoking a whole cosmology, a religious morality and an ethics of social interaction' (Clark 2005: 62). This broader spiritual meaning shaped the way Namarari perceived relations between the human and non-human world. Visually this consciousness manifested itself in Namarari’s art, most especially in his non-figurative and non-iconographic paintings, exemplified by his Mouse Dreaming paintings, in their representation of space. The hypnotic minimalist fields of dots suggest the 'microscopic life of the desert' (Johnson 2000: 191), and the intimate placement of the artist within his subject, not apart from it. One of the few artists to stay on in Papunya after the Pintupi exodus of the early 1980’s he finally settled at Nyunmanu near Marnpi with his second wife Elizabeth Marks Nakamarra and their three children. However the need to support his young family through his burgeoning art practice saw Namarari move in to Kintore and travel more frequently to Alice Springs from the late 1980’s onward, by which time his paintings were increasingly sought after by galleries. Mick Namarari was credited as having played the decisive role in propelling Papunya Tula art away from the edifice of Tingari cartography towards the ethereal minimalism of the 1990’s. In 1989 he attended the opening of the exhibition Mythscapes at the National Gallery of Victoria and two years later his triumph in winning the 8th National Aboriginal Art Award in 1991 became an important milestone both personally, and for the Papunya Tula Artists company. His stature grew following solo exhibitions at Gallery Gabrielle Pizzi in 1991 and 1992 and with Utopia Art Sydney in 1993 and 1994. These exhibitions demonstrated his capability for ongoing innovation and also proved the viewing audience’s appreciation for the distinct individuality of his signature style. By this time, Namarari had condensed his symbolism into a densely worked abstract code that reflected the microscopic life of the desert amid its shimmering contours and ephemeral shifting light. Dazzling surfaces, often composed of subtle currents of yellow and white fingertip stipple, suggested an emerging form, an invisible ancestor palpably present within the meticulously applied paint. While Namarari remained loyal to Papunya Tula artists he painted a number of major works outside of the company during the mid to late 1990’s most importantly several masterpieces for independent dealer Steve Nibbs, that found their way in to important galleries and collections. During his later years, Namarari helped transmit to a new generation of rising artists, the knowledge and techniques that play a crucial role in the regeneration of Aboriginal culture to this day. He increasingly returned to his outstation at Nyunmanu, close to his original homelands. It had been his 'yearning for return to country' (Kean 2000), that had always informed his work. It was that loss of contact with country that had imparted such a raw power and poignancy to those early Papunya paintings, prompting Bardon to act so courageously in the face of bureaucratic opposition. Namarari lived to see the fruition of that yearning, enabling his Pintupi clansmen to return to their country, supported by art sales and favourable changes in government policies. The exodus was documented in the film Benny and the Dreamers 1993, in which Namarari describes his first encounter with Europeans. Within the framework of that vital tethering to country, Namarari’s career moved through many phases, due in part to his custodianship of many totemic sites, but also largely to his unique and ingenious approach. He was a quiet character, Bardon later recalled, and 'of the briefest conversation' (Bardon, 2004). He much preferred to remain at home with his wife and many adopted children rather than travel the circuit of openings and awards. In his last works, narrative and abstraction had found their perfect synthesis. He was acknowledged as an ever-evolving master, whose consistency and brilliance was confirmed by the presence of his work in galleries and collections in Australia and around the world. Mick Namarari was the first recipient of Aboriginal Australia’s highest cultural accolade, the Australia Council’s Red Ochre Award, presented to him in 1994. 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 Peter Mondjinju < Back Peter Mondjinju Peter Mondjinju ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Peter Mondjinju 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 Barbara Weir < Back Barbara Weir Barbara Weir 1945 - 1989 Language: Anmatyerre/Alyawarre ARTIST PROFILE ARTIST CV MARKET ANALYSIS Barbara Weir, born Florie in 1945 at Bundy River Station in the Eastern Desert, is a notable figure in contemporary Indigenous Australian art, bridging traditional cultural narratives with innovative artistic expressions. Of mixed parentage, her early life was marked by the complexities of her identity and the prevailing policies of the time, which led to her father's imprisonment due to their relationship and her eventual removal from her mother, Minnie Pwerle, a situation that deeply impacted her formative years. READ FULL ARTIST PROFILE BARBARA WEIR - BODY PAINT SOLD AU$38,000.00 BARBARA WEIR - GRASS SEED DREAMING Sold AU$0.00 BARBARA WEIR - MY MOTHER'S COUNTRY SOLD AU$12,000.00 top Anchor 1 PROFILE Barbara Weir 1945 - 1989 Language: Anmatyerre/Alyawarre Barbara Weir, born Florie in 1945 at Bundy River Station in the Eastern Desert, is a notable figure in contemporary Indigenous Australian art, bridging traditional cultural narratives with innovative artistic expressions. Of mixed parentage, her early life was marked by the complexities of her identity and the prevailing policies of the time, which led to her father's imprisonment due to their relationship and her eventual removal from her mother, Minnie Pwerle, a situation that deeply impacted her formative years. After being taken from her family around the age of nine, Barbara lived with various foster families across Alice Springs, Victoria, and Darwin. It wasn't until a chance conversation in 1968, initiated by her husband's meeting with Billy Stockman Tjapaltjarri, that she returned to her birthplace, Utopia. This visit rekindled connections with her roots but also surfaced the painful past of her mother's remarriage and the silence surrounding her existence with her half-siblings. Fortunately, her reunion with her aunt, Emily Kngwarreye, who had cared for her as a child, provided the familial and cultural anchoring necessary for her eventual permanent return to Utopia in 1977. Barbara's artistic journey began in earnest during the late 1980s when she started working in batik, a medium that took her to Indonesia in 1994 to enhance her skills. This experience was pivotal, influencing her subsequent foray into painting, where she began to blend traditional Aboriginal themes with her unique style. Her early works, like My Mother’s Country (1997), exhibit meticulous detail and a connection to her heritage through conventional motifs and subtle tonal variations. Barbara's evolution as an artist saw her develop a signature style characterized by intricate dot work and vibrant, dynamic representations of her mother's country. These works often incorporate submerged symbols relating to specific sites and sacred women's law, marrying profound cultural reverence with aesthetic innovation. Her Grass Seed Dreamings series exemplifies this, showcasing her ability to evoke the essence of native grass through thick, colour-rich brushstrokes that capture both motion and emotion. Her art has been celebrated in major exhibitions across Australia and internationally, including in cities like Singapore, Chicago, Paris, and Auckland, reflecting her status as a globally recognized artist. Barbara splits her time between Adelaide, Alice Springs, and Utopia, where she engages in painting workshops led by her son, Fred Torres, who also manages her career through DACOU Aboriginal Art Gallery. Beyond her artistic achievements, Barbara has been a formidable presence in political and cultural spheres. She played a key role in Utopia’s land rights claim in the 1970s and served as the first female president of the Urapuntja Council in 1985, underscoring her commitment to her community and Indigenous rights. Barbara Weir's work continues to resonate, capturing the dual essence of her gestural painter ancestors like Emily Kngwarreye and Minnie Pwerle, and the detailed, intimate style of artists such as Kathleen Petyarre and Angelina Ngal. Her ongoing contributions to art and culture make her a significant figure in both the history and future of Indigenous Australian art. ARTIST CV Barbara Weir has achieved remarkable recognition in the art world, not only for her distinctive style but also for her active participation in solo and group exhibitions globally. Below is a detailed overview of her selected solo and group exhibitions, along with notable recognitions and collections featuring her work. Selected Solo Exhibitions 2022 : Art Mob, Hobart 2020 : "Culture + Country", Kate Owen Gallery, Sydney 2012 - 2010 : Several exhibitions showcasing her latest works at Kate Owen Gallery, Sydney; Mbantua Gallery, Alice Springs; Central Art, Deloraine; and DACOU Gallery, Melbourne 2007 - 2000 : Various exhibitions including "Blowing in the Wind" at Art Mob, Hobart, and "Gathering the Past" at Redback Art Gallery, Brisbane 1999 - 1996 : Featured in Dreamworks at Gallery Savah, Sydney and "A Fruitful Season" at Fireworks Gallery, Brisbane Selected Group Exhibitions 2023 : A year marked by numerous appearances, including "Emily & Others | Geniuses from Utopia", Art Mob, Hobart and "Utopia in Colours", Musee de l'art aborigene australien, Switzerland 2022 - 2020 : Participated in several thematic exhibitions across various galleries including "Colours of the Desert", Pwerle Aboriginal Art Gallery, Sydney, and "Director's Choice 2020", Kate Owen Gallery, Sydney 2019 - 2010 : Exhibited in diverse venues such as the FireWorks Gallery, Brisbane, and participated in cultural exhibitions like "Quand Fleurit le Desert Australien", Dz Galerie, Noumea, New Caledonia 2009 - 1999 : Showcased her works internationally, including exhibitions in Seoul, Korea, and across major Australian galleries Awards and Recognition 2022 : Featured in "Connection | Songlines from Australia's First Peoples", National Museum of Australia, Canberra 2021 : Finalist in the Grace Cossington Smith Art Award and Ravenswood Australian Women's Art Prize 2020 - 1997 : Recognized in various Australian art prizes, including the Calleen Art Prize and the 14th NATSIAA, Darwin Collections Barbara Weir's works are held in prestigious collections across Australia and internationally, highlighting her influence and legacy in contemporary Indigenous art: Art Gallery of South Australia, Adelaide Queensland College of Art, Griffith University, Brisbane National Gallery of Victoria, Melbourne Artbank, Sydney Fondation Burkhardt-Felder Arts et Culture, Motiers, Switzerland Museo Sa Bassa Blanca, Mallorca, Spain Various corporate collections including Macquarie Bank, Sydney, and Hitachi Collection Barbara Weir's extensive career is marked by her ability to traverse cultural landscapes through her art, influencing and enriching the global appreciation of Indigenous Australian art. Her contributions extend beyond the canvas, involving significant community engagement and cultural advocacy, reflected in her leadership roles and awards. Market Analysis MARKET ANALYSIS Barbara Weir's art career has been marked by significant achievements and disparities in the valuation and appreciation of her work, especially when comparing her batik works with her acrylic paintings. Artistic Transition and Market Performance: Barbara began her journey as a batik artist but truly came into her own in the realm of painting starting in 1997, alongside her mother Minnie Pwerle and her cousin Gloria Petyarre. This shift was crucial, as her earlier batik works, including a 1988 piece, did not perform well at auction, failing to attract buyers even at modest estimates. This contrasts sharply with the success of batik works by Emily Kngwarreye, suggesting a market preference tied more to artist recognition than to the medium itself. Solo Exhibitions and Resale Market Challenges: Despite facing challenges in the secondary market, Barbara's solo exhibitions, both domestically and internationally, have been resounding successes. Her "Grass Seed Dreaming" paintings, for instance, have consistently fetched around $15,000, demonstrating strong primary market value. However, her works' performance at auction has been mixed, with Sotheby’s notably not offering any of her works, a point of contention considering her prominence in the primary market. Record Prices and Market Dynamics: Barbara Weir's auction record stands impressively at $31,200 for a 2003 "Grass Seed Dreaming" piece, significantly surpassing its pre-sale estimate. Yet, the frequency of top-selling works has diminished over time, with a notable gap in high-ranking sales post-2007. This pattern suggests a market that values her more recent, vividly coloured works, which tend to attract higher prices and greater interest. Comparison with Contemporary Artists: Her works, particularly the "My Mother’s Country" series, are perceived as undervalued compared to market prices, which can reach up to $40,000 in galleries. There’s an ongoing comparison between her "Grass Seed Dreamings" and Gloria Petyarre’s "Bush Medicine Leaf" works, which may currently impact her market positioning but could change as she gains further recognition. Prospective Market Evolution: As Barbara Weir's stature continues to grow, driven by her unique contributions to the Australian art scene and her inheritance of the artistic legacy of figures like Emily Kngwarreye and Minnie Pwerle, her market standing is expected to improve. Additionally, a broader re-evaluation of her works, especially those with Dacou Gallery provenance, could enhance their appreciation in the secondary market. Barbara Weir’s trajectory in the art world highlights a journey of evolving recognition and valuation, reflecting both the challenges and potentials inherent in the market for Indigenous Australian art. Her work's increasing collectibility suggests a promising horizon, particularly as broader market dynamics evolve to more fully recognize and value her contributions. 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 .

ThaidaySenio Senior, Ken Thaiday Senior, Ken Thaiday 1950 During the traditional practice of Torres Strait Islander art, ritual objects, and masks in particular, give material reality to the formlessness of the spirit that resides between the eternal and transitory streams of existence. When Christian colonizers preached against traditional spiritual beliefs with the fear of hell’s fire and brimstone, such art practises moved into the secular domain, giving a powerful impetus to cultural expression. The shark headdresses for which Ken Thaiday has become renown, demonstrate the thread of continuity that contemporary art practices carry; visually impressive as manifestations of ancient supernatural forces, but also technologically and artistically inventive as they adapt to cultural and historical shifts. In many ways, Thaiday’s life and work has been spurred on by history’s watershed. From communal traditions that foster a group identity to the individual expressiveness of the modern art ethos, Thaiday has successfully navigated contrary currents, becoming an inspirational figure to his people in the re-invigoration of their cultural identity. As a youngster on his home island of Erub (Darnley Island), Thaiday lived the traditional life, fishing, gardening and participating in ceremonial life. His father was an important dancer in the region and from a young age, Thaiday was involved in the design and use of ceremonial artefacts. The islands are situated off the northern tip of tropical Queensland and midway between other lands and cultures. Thaiday moved to Cairns as a teenager, as part of a general islander shift to the mainland in search of improved educational and work opportunities. Here he became a founding member of the Darnley Island Dance Troupe. The increasingly ingenious methods he employed to construct dance masks and handheld dance machines developed in response to the larger forum of public dance in Cairns, in contrast to the more private islander community. The social status generated by the creation of a new and eye-catching mask has always been a competitive impetus among islander artisans. As his art practice developed Thaiday emloyed new lightweight materials such as plastic piping, plywood, twine and bright enamel paint, skilfully incorporating these in to the design and mechanisms for moving parts that operate in tune with dance choreography, such as the opening jaws of the shark headdress, the flapping wings of a large seabird, the sun moving across a landscape of a handheld dance machine or through a hole pieced through the pages of a bible. In doing so he has encouraged a new generation of artists within the expatriate islander community that has coalesced around Cairns in far north Queensland. As they developed over time, Thaiday’s creations rapidly became more spectacular and sculptural. The shark headdress, rising high above the dancers head and stabilized upon the chest with a wire frame, is an awe-inspiring symbol of law and order. Being the most dangerous and feared creature in the ocean, it is something islanders always have in mind. It is also a source of food. The shark has a pivotal role in dance performances, swaying from side to side, a plume of white feathers around the jaws mimicking the foaming water of its feeding frenzy. The supernatural forces are appeased, their powers aligned with human activity by the rituals that attend this major ancestral totem. Such tradition still strongly informs Thaiday’s work but his emphasis now moves more towards exploring aesthetic qualities and his own artistic trajectory. The cultural resilience of the Torres Strait people has long depended upon their ability to accommodate and work with outside influences and, (after European colonization) with imposed change. The question of adherence to strict tradition always poses a fine line for indigenous artists. They can risk being labeled as inauthentic. The veiled quest for a lost spirituality or a ‘paradise lost’, possibly sensed in the assuredness of traditional indigenous art, can demand conformity. Many issues are stirred when an artist seeks to experiment while still satisfying cultural requirements. Thaiday’s work has contributed greatly to the affirmation of a strong cultural identity of Torres Strait Islanders yet at the same time, in keeping with the sea-faring character, he has remained unfettered by tradition. He inhabits that nebulous territory between the traditional and the urban artist, showing us the excitement of invention as well as the grounding narrative of his cultural history. Both the old and the new provide the framework for his artistic creations that have been internationally appreciated and exhibited. Ken Thaiday Snr. is an artist of rare talent whose works infrequently make their way in to the primary and secondary markets. For many years he has remained unrepresented and, in fact, has lacked the facilities required to make his often delicate and complex dance machines and headdresses. A small number of private collectors, have willingly purchased almost everything that he has produced that has not been commissioned by art institutions. Nevertheless on those rare occasions when major pieces appear at auction they always attract attention and admiration. The first to be offered for public sale appeared as late as 2003 the year his current record was set. Beizam, Shark Dance Mask 1991, a piece made from plywood, metal, plastic, rope, glass and cockatoo feathers sold for $18,000 against a presale estimate of $5,000-7,000 at Sotheby's in July (Lot 185). It was one of three lots offered in the same sale all of which found willing buyers. The other two still hold his second, third and fourth highest results to date. In fact the second and third highest results were actually achieved for the same piece. When first offered in 2003 Beizam (Hammerhead Shark) Headdress 1999, measuring 79 x 92 x 95 cm, sold for $12,000 when estimated at $10,000-15,000 at Sotheby’s (Lot 187). Two years later, it carried an estimate of $12,000-18,000 in Sotheby’s July 2005 sale but only did fractionally better selling for $13,800. Another shark headdress failed to sell at Sotheby’s in November 2005 when offered at $5,000-7,000 (Lot 248) before finding a buyer willing to part with just $3,600 at Sotheby’s which had dropped the estimate to $3,000-5,000 in October the following year ( Lot 263). And a small Seagul headdress with articulated wings sold for $1,140 at Lawson~Menzies in November 2005 (Lot 289) but disappointed the investor who put it up for sale the following year and achieved just $780. Overall, with three repeat appearances amongst just 12 offerings only nine individual works have appeared for sale to date and all but two have appeared at Sotheby’s. These results belie Thaiday’s importance as the master technician, sculptor and visionary of contemporary Torres Strait Islander art. His pieces may be rare but the growing interest in art from far north Queensland should ensure that whenever major pieces do appear for sale discerning collectors will make their presence felt in the salerooms. 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

Bonnie Connelly Nakara | Minyma Kutjara Tjukurrpa Art Leven - 17 Thurlow St, Redfern, Gadigal/Sydney 1 - 22 March 2025 Bonnie Connelly Nakara | Minyma Kutjara Tjukurrpa Bonnie Connelly Nakara 1 - 22 March 2025 Bonnie Connelly Nakara | Minyma Kutjara Tjukurrpa Bonnie Connelly Nakara 1 - 22 March 2025 Art Leven - 17 Thurlow St, Redfern, Gadigal/Sydney Using a delicate dry-brush technique, Nakara brings to life the rich textures of the desert landscape that she has called home for a lifetime. Born near Papulankuja (Blackstone in Western Australia), she has traveled extensively across the remote Ngaanyatjarra lands, drawing inspiration from her deep cultural knowledge, ancestral connections, and the vast familial networks that weave through the desert. At the heart of Nakara’s work is the Minyma Kutjara (Two Women) Tjukurrpa—a significant creation story that maps the land from South Australia through the Central Desert to Kaltukatjara (Docker River) in the Northern Territory. ExBonnieC

PAGES FROM THE ATLAS | THIS PLACE MY COUNTRY Cooee Art Redfern - 17 Thurlow St, Redern, NSW 2016 From 16 April to 07 May 2022 PAGES FROM THE ATLAS | THIS PLACE MY COUNTRY Artists: Artists from all over Australia From 16 April to 07 May 2022 PAGES FROM THE ATLAS | THIS PLACE MY COUNTRY Artists: Artists from all over Australia From 16 April to 07 May 2022 Cooee Art Redfern - 17 Thurlow St, Redern, NSW 2016 Pages from the Atlas – ‘This Place My Country’ weaves together sites and sacred accounts from some of the many countries that form this continent. The paintings in this exhibition can serve as maps to those initiated. They may be guides to survival, leading to the hidden life-giving sources of water and food, as well as sacred histories of these countries’ creation. More often than not, they are one and the same: the ceremonial, the sacred, and the survival of the country’s custodians are woven together underneath the surface of this continent, and these canvases representing it. Paji Honeychild – “This place is called Nurtu. We used to stay here when I was a kid. This was a living water hole and we would move from place to place. We never stayed in one place.” Netta Loogatha – “This is my Country on Bentinck Island at Oak Tree Point. We call it Lookati in our Kayardild language. I was born here at Bilmee, Dog Story Place.” Jimmy Pike – “Japingka is the main living water for the desert people. Six brothers were living at this place. Two women came and the brothers were turned into a snake. A willy-willy sprang up and dragged them down into the waterhole. The ground grew damp and clouds came up from the ground.” Mulyatingki Marney – “I’m born there, soak one.” VIEW CATALOGUE EX 231