Artist Profile for Ian Waldron < Back Ian Waldron Ian Waldron 1950 - ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE IAN WALDRON - BLOODWOOD TOTEM ORANGE SOLD AU$1,400.00 IAN WALDRON - BLOODWOOD TOTEM BLUE SOLD AU$950.00 IAN WALDRON - BLOODWOOD TOTEM BROWN SOLD AU$1,400.00 top Anchor 1 PROFILE Ian Waldron 1950 - 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 Dundiwuy Wanambi < Back Dundiwuy Wanambi Dundiwuy Wanambi ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE DUNDIWUY WANAMBI - GOANNA ASSOCIATED WITH WUYAL MYTH SOLD AU$1,950.00 top Anchor 1 PROFILE Dundiwuy Wanambi ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

Artist Profile for Walangkura Napanangka < Back Walangkura Napanangka Walangkura Napanangka 1946 - 2014 ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE WALANGKURA NAPANANGKA - WIRRULNGA (TWO ROCKHOLES) Sold AU$0.00 WALANGKURA NAPANANGKA - UNTITLED Sold AU$0.00 top Anchor 1 PROFILE Walangkura Napanangka 1946 - 2014 As one of the last generation to remember a childhood lived in the desert hunting and gathering with her family, Walangkura Napanangka’s paintings recall the stories of country and the location of specific sites in her traditional homeland west of the salt lake of Karrkurutinjinya (Lake Macdonald). Born in 1946, at Tjitururrnga west of Kintore, in the remote and arid country between the Northern Territory and Western Australia, she lived with her father Rantji Tjapangati and mother Inyuwa Nampitjinpa and later, while still a teenager, travelled by foot with her family over the hundreds of kilometres from their remote desert home eventually joining Uta Uta Tjangala’s group as they walked into the settlements of Haasts Bluff and then Papunya. The lure of settlement life with its promise of plentiful food and water belied the harsh conversion they would make to an alien lifestyle with its many problems and unfamiliar demands. The upheaval however, was ameliorated to some degree by the proximity of her immediate family including her mother Inyuwa, adoptive father Tutuma Tjapangati, and sister Pirrmangka Napanangka all of whom became artists. Relocated to the community of Kintore in 1981 when the outstation movement began, Walangkura participated in the historic women’s collaborative painting project (1994) that was initiated by the older women as a means of re-affirming their own spiritual and ancestral roots. It was a time of specifically female singing, ceremony and painting, away from the gaze of outsiders and men folk. The huge and colourful canvases that emerged from the women’s camp were 'alive with the ritual excitement and narrative intensity of the occasion' (Johnson 2000: 197). Within a year, Papunya Tula Artists, now established at Kintore, had taken on many of these women as full-time artists, revitalising the company after the deaths of many of the original ‘painting men’. While individual women forged their own stylistic trajectory, these paintings were immediately distinguishable from the men’s more cerebral and symmetrical style. They radiated an exuberant and vibrant energy, the felt heart-beat of women’s affinity to country and spirit. Walangkura’s early works, created from 1996 onward, are characterized by masses of small markings and motifs covering large areas of canvas. Her favorite colour, a deep sandy orange predominates, accentuated against more somber blacks and reds and dusky greens or yellows. More recent works show a gestural quality though still tightly packed with an intensity of geometric line work representing sandhills. In a sense this provides a strong visual and contextual link to the men’s linear style as exemplified by the works of George Tjungurayi, Turkey Tolson and Willy Tjungurayi. They are rich with a sense of rhythm and unimpeded movement: they show sandhills, rockholes, journeys and gatherings of ancestral women, the flow of colours in subtle shifts of light. Many of these are monumental works that transmit the confidence of an assured and dynamic creativity. Walangkura transmits the power of the desert, soaked up during her childhood years, and imbues her works with the mystery of a sacred perception. In time Walagkura became one of Papunya Tula’s most senior women artists. After the death of her mother Inyuwa and the tragic death of her half sister Pirrmangka in 2001, she moved for a time to Kiwirrkura where she lived with her husband and fellow artist Johnny Yungut Tjupurrula and their six children. Her first solo exhibition was held at Gallery Gabrielle Pizzi in 2003, and this was followed by another at Utopia Art Sydney in 2004. As her fame spread from this time onward she began painting increasingly for a number of private independent dealers outside of the Papunya Tula company. As a result her works could be seen in a great many galleries and retail shops throughout the country. At her best, Walangkura Napanangka was a formidable artist capable of creating masterpieces on canvases up to three metres in size and many of these are likely to become emblematic examples of Pintupi women’s art. ARTIST CV Market Analysis MARKET ANALYSIS Walagkura’s earliest paintings created from 1996 onward became popular for their exploration of aspects of principally Tingari stories. She was quick to develop an identifiable style in which sparsely dotted circles in a variety of colours became more densely painted in a more restricted pallete over time. The connecting lines, typical of Pintupi men’s paintings, were removed and small circles rendered in various shades became spaced, as if the wind had blown them into tighter and looser groupings. The first work appeared at auction in 1999 in a Sotheby’s mixed offering. Un-illustrated in the catalogue and measuring just 91 x 46 cm Rockhole Site of Yukatjirri had been created in 1996 and sold for just $747 (Lot 519). It was not until July 2001 when the next work was offered and by this time Walankura had become quite conspicuous in the primary market. The small 91 x 61 cm work, created in 1997, doubled its high estimate selling for $6,000, then the artists 26th highest record. By the end of 2004, roughly corresponding to the time from which she began painting for others outside of Papunya Tula, nine works had sold of 12 offered. Thereafter a flurry of works were offered on the secondary market. No less than 68 paintings appeared for sale in just three years between 2006 and 2008, with only 51% selling. Her most successful work in a conventional Pintupi style was the Tingari image Rockhole at Tjintjin Tjintjin at sold at Elder Fine Art in June 2007 for what was a bargain price. The painting measured 182 x 151 cm and carried a very low presale estimate of just $10,000-15,000. Lucky indeed was the buyer who paid just $7,300 hammer for what is, in my opinion, close to a masterpiece. Her highest result was for a work offered through Lawson~Menzies in May 2006 and later in March 2008. When first offered, the massive Kutungka Napanangka at Papunga 2005 , created for independent dealer Tony Mason sold to a Menzies investment consortium for $45,600 eclipsing the $20,400 record held by the Papunya Tula provenanced Travels of Kutungka Napanangka 2001 , that had stood since 2004. Advised to offer the work again two years later, it realised a 16% increase in value to $52,800, not enough profit to cover the buyers premium even if the owners were given 0% sellers commission. In her works of the 2004-2008 period, Walangkura played with conventional Pintupi icons by moving them around and stretching out the shapes with a mastery over balance and form. Like Naata Nungurayi and several other Pintupi women she embraced grid-like forms and striated bands of alternating colour. Her fourth highest result was for a fine example created at the beginning of this period. When offered at Lawson~Menzies in November 2006 the 154 x 184 cm non-Papunya Tula work sold for $28,800 against a presale estimate of $30,000-40,000 ( Lot 173 ). In 2015 no les than 20 works were offered for sale, of which 13 found new homes. Deutscher & Hackett showed such strong confidence in a 183 x 244 cm major Papunya Tula provenancned work that they sent it to auction carrying a presale estimate of $40,000-60,000. It sold for $48,800 thereby achieving the artist's second highest price to date. While her works performed badly in 2017 and 2018 all eight of the eight paintings on offer in 2019 found new homes. Though none enetered her highest records thse sales were enough to see her become the 22nd most successful artist in that year against her standing in 49th place in the annuls of the movement overall. Interest in Walangkura centres principally on those works she created in her more recent style. During the period 2008-2011 her prodigious talent and independent nature saw her work for a variety of reputable alternative dealers. By 2012 she was no longer able to paint. Still, Papunya Tula works occupy six of her top ten results and the vast majority of her top 20. As time goes by, those works created for independent dealers will become more and more acceptable by a maturing market. Nevertheless, her finest paintings will require excellent provenance if they are to achieve prices that will see them displace works amongst her 10 highest sales to date. 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 Tjukupati James < Back Tjukupati James Tjukupati James ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE TJUKUPATI JAMES - KUNGA KUTJARA SOLD AU$290.00 TJUKUPATI JAMES - KUNGKA KUTJARA Sold AU$0.00 top Anchor 1 PROFILE Tjukupati James 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 Sarah-Jane Nampijinpa Singleton < Back Sarah-Jane Nampijinpa Singleton Sarah-Jane Nampijinpa Singleton ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Sarah-Jane Nampijinpa Singleton 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 Biddy Long < Back Biddy Long Biddy Long ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE BIDDY LONG - MALA SOLD AU$3,000.00 BIDDY LONG - TREE DREAMING SOLD AU$320.00 BIDDY LONG - WOMEN’S DREAMING Sold AU$0.00 BIDDY LONG - BUSH POTATO DREAMING SOLD AU$600.00 BIDDY LONG - BUSH BEAN DREAMING SOLD AU$280.00 top Anchor 1 PROFILE Biddy Long 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 Pauline Napangardi Gallagher < Back Pauline Napangardi Gallagher Pauline Napangardi Gallagher ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Pauline Napangardi Gallagher 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 Chris Japanangka Michaels < Back Chris Japanangka Michaels Chris Japanangka Michaels ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Chris Japanangka Michaels 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 Mitjili Napurrula < Back Mitjili Napurrula Mitjili Napurrula ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE MITJILI NAPURRULA - WATIYA TUTJA (TREE DREAMING) SOLD AU$18,000.00 MITJILI NAPURRULA - WATIYA-TJUTA Sold AU$0.00 top Anchor 1 PROFILE Mitjili Napurrula Viewed during her lifetime as one of the brightest stars of the Haasts Bluff art movement, Mitjili Napurrula was deeply involved in the formative years and ongoing development of modern desert art. Her mother, Tjunkiya Napaltjarri - herself later becoming an artist of public repute - was forced from her drought-stricken Pintupi/Lurjita country. She arrived in the remote community of Haasts Bluff seeking refuge. Along with her extended family, she was settled at Papunya, where Mitjili was born in 1945. Mitjili grew up in Papunya and later married the artist, Long Tom Tjapanangka. The couple returned to Haast’s Bluff as part of the 1980’s outstation movement and both artists, often in conjunction, proceeded to contribute significantly to the emerging art community there. Mitjili began painting in 1992, encouraged by the opening of the Ikuntji Women’s Centre, the social and artistic hub of Haast’s Bluff and nearby desert communities. Under the guidance of art coordinator Marina Strocchi, Ikuntji rapidly developed an exciting style of its own, propelled in part by the older women who had been assistants to Geoffrey Bardon’s first painting men. As a member of a family of distinguished artists, including her brother Turkey Tolson Tjupurrula, Mitjili grew up watching artists paint. Her mother became one of the foundation group of female artists that formed after the Kintore/Haasts Bluff painting project in 1994. Mitjili learned the symbolic language of her tradition from her mother who would relate the mythic stories to her and draw them in the sand. While it took years before she developed her own mature style, Mitjili gained an international following after winning the Alice Springs Art Prize in 1999. By then, she had confidently embraced her own naturalistic approach to painting. Her individualistic style conveys a personal vision, anchored always in the country of her ancestors. By gradually reducing the complexity of her imagery, Mitjili worked towards creating a tapestry of repeated shapes and symbols. Her distinctive iconography is often highlighted by dazzling combinations of strong, complimentary tones. Contrasting colours may also be starkly juxtaposed, jumping from the canvas in vibratory shapes and patterns. The beautiful desert oak, Watiya Tjuta, is one of Mitili’s familiar motifs, originating from her father’s country at Uwalki, where red sand hills, native grasses and wirt trees stretch to the horizon’s edge. Like her famous brother, Turkey Tolson, Mitjili inherited the right to paint her Ilyingaungau, a site in the Gibson desert where the ancestors prepared their spears (kulata). Turkey’s iconic Spear Straightening paintings should be seen as the complimentary balance to his sister’s more flowing rendition of the plants and places associated with the cutting of wood and assembling of spears. ARTIST CV Market Analysis MARKET ANALYSIS Mitjili’s record price at auction was achieved in November 2004, when a large three metre canvas originally commissioned by Mason Gallery in Darwin sold for $26,400. Entitled Uwalki: Watiya Tjuta, 2004 it had justified the $25,000 - 30,000 presale estimate placed on it by Lawson~Menzies specialists. Interestingly, not one single work in the artist’s top ten results has been achieved by market leader Sotheby’s. In fact Sotheby’s have offered only two minor works, which both failed to find a buyer. This is doubtless due to the fact that since the mid 1990’s Mitjili has increasingly painted for dealers outside of art centre patronage. Mitjili’s results at auction are dominated by small and minor works and this has resulted in an average price at auction of just $2,475 for works on canvas and $873 for works on paper. In 2015 for instance, no less than 17 works appeared for sale at public auction and although 13 of these sold, the highest price acheiveed was only $1200. Nevertheless, due principally to the large number of works that have appeared at auction since she began painting, Mitjili’s Aboriginal Art Market Rating ranks her amongst the top 100 living artists. Her works are generally bold, with a strong decorative design appeal. Collectors should seek out good works, with a preference for larger pieces with a strong contemporary aesthetic. These should continue to satisfy and find a ready market when offered for resale in the future. 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 Coffee Carlton < Back Coffee Carlton Coffee Carlton ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE COFFEE CARLTON - DILLY BAG, KUNUNURRA WA SOLD AU$280.00 top Anchor 1 PROFILE Coffee Carlton 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 .

TjampitjinpaKaapa Kaapa Mbitjana Tjampitjinpa Kaapa Mbitjana Tjampitjinpa 1926 - 1989 Karpa, Jampijinpa, Djambidjimpa, Tjambitjimba; Mbijani, Mbijana, Mbitjana Although born west of Napperby at the Emu Dreaming site of Altijira, Kaapa’s father’s country lay to the west at Warlurkulangu, the ancestral bushfire site in Warlpiri country, while his mother was Anmatjerre/Arrernte from further east. After a year of seclusion during initiation at Napperby he became a stockman at the adjacent Mount Allan station and subsequently worked cattle in what was a physically demanding and often-dangerous life. He then spent a period droving cattle between the Tanami desert and Mount Isa in North Queensland after which he settled for a time in Haasts Bluff along with his younger ‘brother’ Dinny Nolan Tjampitjinpa and their cousins Tim Leura, Clifford Possum and Billy Stockman with whom he had grown up. After the entire community was moved to Papunya in the late 1950’s, due in part to the lack of potable water, Kaapa became renowned, at least by the white authorities, as a disruptive influence and was said to have been involved in a number of activities involving grog running and antisocial behaviour. By the time of Geoffrey Bardon’s arrival at Papunya in 1970, the police officers at Papunya considered him to be an 'incorrigible drunk and unsettling influence'. Even Bardon described him in 1970 as a 'two legged human swag' (Johnson 2008), however it wasn’t long before he came to consider Kaapa a highly intelligent and gifted man who, like many of his kin, had been intimidated by whites and set adrift from his cultural roots when his traditional lands were divided up for European cattle stations. Yet even before the contemporary art movement began in 1971, Aboriginal community members already respected Kaapa as an important artist, who was often called upon to paint ceremonial objects for Anmatjerre and Arrernte tribal purposes. He had been painting watercolour landscapes in a ‘Hermannsburg School’ style before Bardon arrived and was amongst the first to begin working with him. It was not surprising therefore that, when the older men came together to paint the Honey Ant mural on the school wall, Kaapa was immediately appointed their leader and the enthusiasm of the group painting the mural became focused through Kaapa’s already accomplished skills and his singular creative commitment. Bardon had been unsuccessfully trying to encourage the school children to paint the traditional patterns he had seen them drawing in the playground sand. The idea of the mural soon attracted the attention of the older men and Bardon quickly realized that, in keeping with cultural values, he had to be ‘given’ a design by the tribal law givers. The subject matter had to be agreed upon as acceptable for general viewing and not trespass upon the secret, sacred imagery that in Aboriginal society provides the vehicle for social and spiritual initiation. The Honey Ant is a mythical ancestor who emerges from the ground and moves across it, creating the landforms which young children are taught to recognize as part of their familiar terrain. Bardon questioned Kaapa’s first honey ant, as it appeared on the wall in what seemed to follow a Europe style depiction: 'Not ours,' Kaapa told him, 'yours.' 'Well paint yours!' Bardon replied, 'Aboriginal honey ants!' It was after this brief exchange and following a whispered consultation with the other men, Bardon recalled, that the authentic Honey Ant ‘hieroglyph’ appeared with its true traveling marks around it, painted lovingly by Kaapa with his deft and sinuous hand. There was cheering and rejoicing from the gathering crowd and, as Bardon later wrote 'this was the beginning of the Western Desert painting movement…Something strange and marvelous was set in motion' (1991: 21). Kaapa was a charismatic figure, yet he needed encouragement at first to reveal his true self. He did not trust white people. They had mocked his artistic endeavors in the past and he was initially hesitant to become a member of the new painting group. His extraverted bravado had facilitated his survival in often harsh and unfriendly conditions but sometimes it fell aside to reveal a miserable discontent. Over and above this dilemma however, Kaapa nurtured a unique sense of vocation as an artist in his own right, seeking out the best materials, ascertaining his own position, and unlike the others, signing his works from the very start. His natural talent and skilled technical ability was recognized when he surprised the Northern Territory art world by becoming the first Aboriginal to win the Alice Springs Caltex Golden Jubilee Art Award in 1971. A spate of sales followed and the jubilant painting group elected him founding chairman of Papunya Tula Artists in 1972. It was he who held the key to the painting room, arriving early to keep a check on supplies and setting himself up at his regular spot facing the door, ready to talk to visitors or working with immense concentration at the only table and chair. He was a central figure during the company’s first decade and despite failing to maintain the same level of intimate intensity and detail in his works post 1975, he remained influential amongst Papunya-based painters throughout the rest of his life (Bardon 2000: 201). Kaapa’s early paintings show designs and motifs painted on a plain black or orange ochre background, including realistic figures finely decorated with body paint as well as ceremonial objects such as shields, spears, and ceremonial boards. Early collectors were keen on Kaapa’s graphic clarity and symmetry of design. His ability to paint intimate details with the brush and to build an ordered sense of story appealed to European sensibilities. Yet over the years following Bardon’s departure, the confluence of artists, advisors, and widening public reaction propelled developments in painting at Papunya towards a less representational, evolving modern style. Ancient Dreaming myths that had traditionally been told through song, dance and ground painting could not transfer literally to paintings on board and canvas without revealing restricted ceremonial knowledge. Kaapa was encouraged by Bardon and subsequent art advisors, to concentrate on the essentials of a story, still infusing it with the rhythm of its telling but without revealing secret or specific details. In doing so, much of the power and authority inherent in Kaapa’s subsequent works was dissipated under the veil of dots, which became more prevalent. At first the dots were used to conceal sacred references but more often they were used to emphasize design elements or create a sense of grounding. These subsequent works were popular at the time as Kaapa’s renown grew, but time has revealed these to be far less successful artistically. Kaapa’s greatest artistic legacy was the monumental Budgerigar series 1972, which negotiated a very close line between the secret and the secular. A characteristic dynamic of balance and counterbalance magnifies a powerful sense of presence in these paintings that confirmed his status as a master artist. Detailed brushwork captivates the viewer with a precise visual vocabulary, every stroke vibrating with life and purpose. The much loved tales of the tiny, colourful birds that chirp and flutter around desert waterholes after rain, give full expression in these paintings to Kaapa’s love of spectacle. These works clearly demonstrate that the changing expectations of others, in relation to his painting, never deeply disturbed his own driven and creative trajectory. Kaapa continued to test the boundaries of his art until his death in Alice Springs in 1989. He was one of the first desert artists to be openly assisted by his female relatives in the completion of his works during the 1980’s. While art advisers and observers expressed concern, Kaapa’s status as a highly respected elder, saw him brush these Eurocentric concerns aside as he insisted that this was entirely consistent with Anmatjerre law and cultural practice. However his works of the late 1970’s and early 1980’s with their floral backgrounds and decorative content have not stood the test of time. Kaapa Mbitjana Tjampitjinpa was an artist of the highest importance in the development of Western Desert art. During the early 1970’s he created 'some of the most powerful and emblematic paintings from the Central Desert' (Kean 1990: 567). Yet it is for his early works that his renown endures. The finest examples are held in major collections throughout Australia and overseas, and these remain his greatest and most enduring legacy. While the most valuable of Kaapa’s paintings to date have proven to be those painted when Bardon was in Papanya between 1971 and 1972, boards sold at auction that were painted subsequent to Bardon's departure are generally superior as works of art than his earliest paintings. It is likely that this is the case because his enthusiasm at that time pushed him toward further developing his style. As Kaapa had a tendency to paint the story outline onto the board in a geometrically balanced manner, those with a varied and intricately in-filled background tend to be more appealing. Most of his ‘Budgerigar Dreaming’ story-boards from that 1971-1972 period are complex in design and replete with deeply embedded cultural knowledge. Budgerigar Dreaming (Number 6)1972 is a perfect case in point. The board measuring 65 x 92 cm, achieved the artist’s record price when sold by Sotheby’s in 2006. Its ceremonial context was enhanced by the schematic figure of a dancing participant created by the clever placement of tjuringa boards representing the dancers arms, legs and torso. This magnificent board sold for $216,000 against a presale estimate of $100,000-150,000 (Lot 81). The price was nearly three times the $79,000 that was paid for the same work in the Sotheby’s 1999 auction. In that same sale in 1999, Sotheby’s achieved the artist’s third best price of $145,500 for a larger 95 x 121.5 cm board called Ngalyilpi Dreaming 1972 which, if offered again in the future, should surpass the current record, set in 2008, due to its unusually complex delicate design and ethereal nature, and because of the increasing value of Kaapa’s better works of this period in the market. Sotheby’s set a new record of $276,000 in October 2008, for Goanna Corroboree at Mirkantji (Lot 95), the board that won Kaapa the Caltex Golden Jubilee Art Award in 1971. The 1971 board had previously appeared for sale in Lawsons Aboriginal art sale fourteen years earlier in 1994. On that occasion it had been catalogued as Story of a Journey with no date, and had sold for a mere $9,200 hammer. One interesting offering in 2006 was the beautiful Budgerigar Dreaming c.1991-1992, executed in the style of his magnificent series of ten works which Bardon himself referred to as the artist’s ‘ultimate achievement.' This painting achieved his sixth highest result at the time, despite its less than pristine condition, when it sold for $72,000 at Lawson~Menzies in November 2006 (Lot 40); a more than fair return for the owner who paid just $10 when he found it in a garage sale in Victoria in 1981. A number of Kaapa’s earliest boards painted 1971 have not fared so well at auction. These tend to have rather stiff designs on plain, often black, backgrounds. The highest price achieved for a 1971 board prior to his current record sale was the $94,500 paid for Untitled (Kangaroo Ceremony) sold in Sotheby’s July 2004 auction (Lot 209). Collectors should be aware that, despite the artist’s three highest results having exceeded $100,000, even if painted within the 1971-1972 period, a Kaapa board doesn’t necessarily fetch more than $50,000. In 2015 for instance, two 1971 boards accompanied by extensive notes from Bardon sold for $21,960 and $19, 520. And in 2016, while three of four works on offer found new homes, Kaapa's magnificent Budgerigar Dreaming Number 6 (previously sold to the Lucso Family Collection for $216,000 in 2006 failed to find a buyer while carrying a pre-sale estimate of $150,000 - $200,000 and two nice boards created in 1972 and 1973 achieved just $29,760 andf $21,080. Collectors would be well advised to exersise caution when buying works by Kaapa. It would be best to consider the work carefully before paying too much for any early board, especially when the imagery consists of a stiff geometrically balanced design on a plain background. Even more so if it was not documented by Bardon or by Peter Fannin, his immediate successor at Papunya Tula. A significant number of these ‘un-provenanced’ boards have sold for less than $10,000. Kappa’s less successful works are those produced during the 1980s and prices for his paintings fall from those created during 1974-1975 onwards. The trends of both increasing failure rates and decreasing average prices accelerate dramatically for his works beyond those produced in the early 1970s. Kaapa's results tell a very salutary story for investors. Overall, 156 paintings of the 235 offered since auction records began have sold at an average price of $16,982. The highest price paid for a work created in 1973 is $24,150 and this was for a most unusual and very rare 173 x 204 cm canvas sold at Sotheby’s in 1997. Clearance rates are sightly better for paintings created in 1974 and 1975 BUT, their average prices drop dramatically to just above $5,500 and $3,000. 1976 cannot have been a good year for Kaapa the artist, at all. Of those works that have been submitted for auction only four out of ten works he produced have sold for an average of just over $1,000, with the highest price paid being $1,610 for a 41 x 81.5 cm board sold at Deutscher~Menzies in 1999. Some subsequent results have been better, however Kaapa’s interest in painting during the 1980s obviously waned. Sotheby’s have invariably included most of these un-illustrated in their catalogues with estimates tending to be below $2,000. The average paid for a work from the 1980s is just over $1,800. One or two works have reappeared at auction and done well. For example a 1977 untitled work more than doubled its 1999 sale price at Sotheby’s after originally selling for $9,160 in Shapiro’s October 2003 auction (Lot 166). However, at the other extreme, a 1974 Native Orange board fell in value from its Sotheby’s 1997 result of $14,375 to $9,000 when subsequently offered at Sotheby’s in 2006 (Lot 28). Another, Wild Orange Dreaming 1971, failed to sell at Deutscher~Menzies in 2000, but subsequently achieved $55,300 when offered at the same estimate of $35,000-45,000 at Sotheby’s just a year later. Offered once more by Sotheby’s in October 2008 it failed to sell again while carrying a presale estimate of $60,000-80,000 (Lot 98), but managed to achieve $45,600 when once again reoffered at Sotheby's in 2010 (Lot 59). Taking all in to account, prices of Kaapa’s works produced during 1971 and 1972 (that unique moment in the history of Australian art which marks the beginning of the Western Desert art movement) will remain strong and continue to grow in importance and value. Nevertheless, those collectors who wish to own a work by an important founding artist can do so relatively inexpensively. For the foreseeable future, there is a real opportunity for one or two collectors to build a large holding of the works Kaapa created after 1973 and into the 1980s at little cost, and re-present them in a more enlightened way to great advantage some time in 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

OUT OF THE DREAMING: CONTEMPORARY AUSTRALIAN ABORIGINAL ART Touring exhibition throughout South America From 19 March to 01 March 2020 Viewing Room OUT OF THE DREAMING: CONTEMPORARY AUSTRALIAN ABORIGINAL ART From 19 March to 01 March 2020 Touring exhibition throughout South America "O Tempo Dos Sonhos - OUT OF THE DREAMING: Contemporary Australian Aboriginal Art Touring exhibition throughout South America Curated by Djon Mundine AO and Adrian Newstead OAM CAIXA Cultural presents OUT OF THE DREAMING: Contemporary Australian Aboriginal Art, an international show visiting Latin America for the very first time and bringing artworks from a remote land which still shares common characteristics with Brazil. Organized in association with 2 Levels, Ta ana Flores Produções and Coo-ee Art Gallery, the exhibition features an emblematic selection of contemporary Australian art produced by the Aboriginal artists from that country. Canvases, sculptures and paintings using various materials gracefully decorate the walls of the rooms at CAIXA Cultural Sao Paulo and provide visitors with an opportunity to experience a culture that integrated itself and was integrated into their settlers' culture. It also encourages a reflection on the different colonial models and their impacts on art and the culture of the peoples. Hence, by making this project possible, CAIXA contributes to critical thinking and education of the people, thus proving again its commitment to Brazilians. Since its foundation back in 1861, its has been working hard to raise the quality of life of the people. In addition to its role as a government bank and partner in the governmental policies, CAIXA supports and stimulates culture, especially to make the events tour the seven units of CAIXA Cultural. It is not easy to reach so many people and places, but this is a challenge that is worth facing. After all, for CAIXA, life asks for more! CAIXA ECONÔMICA FEDERAL Australian Indigenous art has a most significant place in the history of Australia. Indeed, it can justifiably claim to be the art of the oldest continuous living culture in the world. This exhibition pays tribute to and shows the richness of that culture and the way in which Aboriginal and Torres Strait Islander peoples continue to practice their age-old art traditions, including in new contemporary mediums. The creative arts are means by which artists are able to communicate, to share their stories, histories and unique cultures with peoples from all over the world. This exhibition, which will tour several cities in Brazil during 2016, includes works by many of Australia's finest Aboriginal and Torres Strait Islanders artists. The realisation of this exhibition also demonstrates the vital role galleries, art consultants, and important national institutions can play as brokers in that communication process. This exhibition creates an opportunity for reflection and a meeting of cultures. I hope that the artworks resonate with Brazilian artists and people, who represent such a range of different cultural traditions. I congratulate and express my appreciation to the Caixa Cultural for supporting this wonderful exhibition, the most significant collection of Australian Indigenous art to be exhibited in Brazil. It is an added pleasure that this wonderful exhibition has been arranged as an important part of the Australian now festival. Thanks also to 2 Levels Exhibitions and Coo-ee Art Gallery, Sydney, which have brought this dynamic exhibition to Brazil, and to Kangaroo Tours, Miller Co. and Tatiana Flores Produções and all the curators and arts workers in both countries that have supported this project. I am sure that everyone who visits will be well rewarded and enriched by this magnificent visual presentation of Aboriginal art. - Mr. John Richardson A PERSONAL NOTE FROM ANNE AND ADRIAN NEWSTEAD Anne and I have just returned from a whirlwind trip to South America during which we visited Chile, Brazil, Argentina and Uruguay. Beside sheer enjoyment, our purpose was to attend the opening of our touring exhibition O Tempo Dos Sonhos (Out of the Dreaming) in Recife, participate in two soirée’s/book launches to which journalists, curators and art enthusiasts were invited, and to meet with Australian consular officials and local Museum directors in order to extend the tour beyond 2019. The exhibition O Tempo Dos Sonhos (Out of the Dreaming) was created for presentation during the DEFAT sponsored Australia Now Festival held Sao Paulo in April 2016 as a precursor to the Rio de Janeiro Olympic Games. It was developed by myself (Cooee Art Director Adrian Newstead), and Indigenous Art Curator Djon Mundine, in collaboration with the International Curator Clay D'Paula and sponsored by the Caixa Foundation, the cultural arm of Brazil’s second largest Bank. Following its outstanding success in Sao Paulo (population 12 million), the Caixa Foundation hosted the exhibition during the following two years in Rio de Janiero (6.5 million), Brazilia (2.9 million), Curatiba (1.9 million), Forteleza (2.6 million) and Recife (1.6 million) while the International car manufacturer Fiat sponsored the exhibition in Belo Horizonte (2 million). Additional 2018 venues are located in Salvador (2.9 million) and the picturesque heritage city of Ouro Preto. The exhibition was specifically devised to engage and develop South American audiences by drawing upon the curator's collective experience in that region. Djon Mundine previously organised Aboriginal art exhibitions for the Havana Biennale, and the Pinocoteca do Estado de Sao Paolo in 2002 while Clay de Paula and I presented the Aboriginal exhibition Heroic Narrative which included artworks that had featured at the Metropolitan Museum of Art, New York, in 2010 at venues in Sao Paolo and Rio de Janeiro during 2012. A duel Australian/Brazilian citizen with a Masters Degree in Art Curatorship from the University of Sydney, Clay de Paula has been promoting Aboriginal Art in Latin America since 2013 in collaboration with Cooee Art Gallery. Our curatorial approach was particularly influenced by the ground-breaking exhibition Mestiso Histories, staged at the Tomiotake Museum in Sao Paolo during 2015. This exhibition examined the colonial experience of Brazil as seen through the eyes of artists commenting on the inter-racial history of the Portuguese settlers, former African slaves and Indigenous people of Brazil. The Aboriginal Australian works selected by the curators for the O Tempo Dos Sonhos were thoughtfully selected to draw parallels between the colonial history of Australian Aboriginal communities and that experienced by the first nations peoples of South America through artworks drawn from Australian collections spanning the period of 60 years. Exposure to Aboriginal Art is relatively new to this audience and the curatorial team included specific references in the catalogue essays and the exhibition itself which compare the separate but parallel histories of indigenous cultures and communities in Australia and South America. They also posed the question: How did indigenous artists in Australia make the transition from producing curio’s and items of purely ethnographic interest into highly valued and internationally recognised ‘contemporary’ art while that of the Indigenous Latin Americans failed to do so? This project promoting the art of 73 Aboriginal artists to South American audiences for the first time, has been specifically targeted to create a new audience in South America for Aboriginal Art and all things Australian. It has created the opportunity for education, cultural exchange and developing artistic and curatorial relationships while building interest in Australian Indigenous art, Australian inbound Tourism, and Australian cultural products in Latin and Central America. Brazil’s middle and upper-income earners are more numerous than the entire population of Australia. The potential for inbound tourism and trade in cultural products is unlimited. This exhibition includes artworks by many of the seminal leaders of the various regional indigenous movements (such as Emily Kame Kngwarreye, Rover Thomas, and Clifford Possum Tjapaltjarri) as well as showcasing artworks by more than 30 currently living and practicing artists. There is a pressing imperative to develop new audiences for Aboriginal art. Investment in production from various levels of government must be matched by market development and promotion. The number of galleries exhibiting Aboriginal art in Australia has halved in the past decade - earnings in remote art centres have fallen by 126% (Ninti One report). Over 500,000 visitors have already seen this powerful and vibrant collection of Aboriginal art in Brazil. It is expected that up to one million people will eventually see and visit the exhibition (this forecast is based on the published number of people that visit exhibitions at the participating venues each year). The exhibition will potentially reach over 40 million people through radio, TV, newspapers, magazines and social media. To date workshops and symposia with South American artists, arts administrators and curators have been held in Belo Horizonte and Curitiba. Presenters have included Ilana Goldstein (Brazilian Anthropologist and specialist in Australian Aboriginal Art), Juliana Podolan Martins (specialist in Indigenous Art), Carolina Lock (respected Brazilian Art Curator), Gustavo Malucelli (Latin American Indigenous artist) , Djon Mundine (Aboriginal Art Curator from Australia) , Clay D’Paula (Art Curator and Cultural Producer), Willurai Kirkbright (Australian Aboriginal artist) and Ricardo Resende (renowned South American Contemporary Art Curator), while I have conducted soiree’s and book events in several of the cities visited by the exhibition. In Belo Horizonte alone, thousands of school children visited the exhibition and many of these took advantage of the education workshop facility provided by the gallery. These workshops for young people and the symposia aim to build a support network for the further development of a market for Aboriginal art in Latin America. In Brazil, the exhibition has been greatly supported by the Australian Ambassador(s) Patrick Lawless and John Richardson, Consular staff, Austrade, and DFAT through it Council of Latin American and Australian Relations (COALA) as well as Australian and Brazilian companies involved in the arts and business and education sectors - such as the Caixa Foundation, Kangaroo Travel and Latino Australia Education. Brazil's population of 210 million people includes 25 million at the top socio-economic level (i.e. as large a potential audience as Australia's total population). Australians and Brazilians share a love of nature, vibrant colour, and rich and divergent cultures. This exhibition includes art by more than 70 indigenous artists that have come from more than 20 community art centres and individual artist's agents. At its first venue in Sao Paulo, the exhibition generated $AUD335,000 in publicity for an investment in media of just $AUD25,000. For a small sample only of the vast publicity and media generated by the exhibition during the past 3 years view the following links: https://www.youtube.com/watch?v=yWeoj2F2ZY0 https://www.youtube.com/watch?v=6ndFIQbwmlU https://www.youtube.com/watch?v=wOUwAZtFMWE https://www.youtube.com/watch?v=8gxpSd14gXI https://www.promoview.com.br/regional/nordeste/caixa-cultural-fortaleza-exibe-obras-de-artistas- aborigenes-da-australia.html http://www20.caixa.gov.br/Paginas/Noticias/Noticia/Default.aspx?newsID=4068 http://divirta-ce.blogspot.com.au/2016/08/exposicao.html http://portal.cativaimagem.com.br/Arquivos/Materias/Radio/18092017-0824-8d1b962a-0fb0-44cc-b75d-bc704de83319.mp3 http://portal.cativaimagem.com.br/Arquivos/Materias/Televisao/20092017-0759-318424bb-375f-49e5-94e7-63c0c8cdbe43.mp4 http://portal.cativaimagem.com.br/Arquivos/Materias/Televisao/26092017-2108-9aa41f08-ca5c-4511-a713-185ac3d78299.mp4 http://portal.cativaimagem.com.br/Arquivos/Materias/Radio/26092017-1502-7e2c0eb8-e186-4e6e-a206-001d6e305fe3.mp3 "