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

Artist Profile for Lamangirra #2 Gumana < Back Lamangirra #2 Gumana Lamangirra #2 Gumana ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE LAMANGIRRA #2 GUMANA - LHOSA (HOLLOW LOG) Sold AU$0.00 top Anchor 1 PROFILE Lamangirra #2 Gumana 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 Rover Julama Thomas Also know as: Roba, Joolama < Back Rover Julama Thomas Also know as: Roba, Joolama Rover Julama Thomas 1926 - 1998 Also know as: Roba, Joolama Region: Kimberley Community: Warmun [Turkey Creek] Outstation: Emu Station Language: Kukatja,Wangkajunga Art Centre: Waringarri Aboriginal Arts ARTIST PROFILE ARTIST CV MARKET ANALYSIS Acclaimed as a cultural leader and a pivotal figure in the establishment of the East Kimberley School, Rover Julama Thomas is one of the most influential First Nations artists. As many other Indigenous artists, Thomas began painting in his fifties, after spending forty years as a stockman. "I been all over, me," he said, when describing his intimate knowledge and involvement with the vast expanses of sparse desert and Kimberley terrain. READ FULL ARTIST PROFILE ROVER THOMAS JOOLAMA - KILLAGURRA (DURBA GORGE) SOLD AU$3,500.00 ROVER JOOLAMA THOMAS - CROSS ROADS Sold AU$0.00 ROVER JOOLAMA THOMAS - FLAT TOP MOUNTAINS Sold AU$0.00 ROVER JOOLAMA THOMAS - JUNBA (CORROBOREE) PLACE Sold AU$0.00 ROVER JULAMA THOMAS - 41 TO 42 WELL Sold AU$0.00 ROVER JOOLAMA THOMAS - LAKE TOBIN SOLD AU$1,850.00 ROVER JOOLAMA THOMAS - WATI KUTJARA (TWO MEN DREAMING) Sold AU$0.00 ROVER JOOLAMA THOMAS - CYCLONE TRACY Sold AU$0.00 ROVER JOOLAMA THOMAS - Ā€�BUBBAĀ€™ DOG DREAMING Sold AU$0.00 ROVER JOOLAMA THOMAS - RED ROCK STOCKYARDS (FRAMED) 1/50 Sold AU$0.00 top Anchor 1 PROFILE Rover Julama Thomas 1926 - 1998 Region: Kimberley Community: Warmun [Turkey Creek] Outstation: Emu Station Language: Kukatja,Wangkajunga Art Centre: Waringarri Aboriginal Arts Acclaimed as a cultural leader and a pivotal figure in the establishment of the East Kimberley School, Rover Julama Thomas is one of the most influential First Nations artists. As many other Indigenous artists, Thomas began painting in his fifties, after spending forty years as a stockman. "I been all over, me," he said, when describing his intimate knowledge and involvement with the vast expanses of sparse desert and Kimberley terrain. He was born in the remote Walmatjarri-Kukaja traditional country, near Well 33 on the Canning Stock Route. At the age of ten, he moved with his family to Kimberley, where he began work as a stockman, a common path at the time. In the 1940s, he was initiated into traditional law. By 1975, following political changes that led to the displacement of many Indigenous stockmen from pastoral leases, he settled at Warmun in Gija tribal country at Turkey Creek. The catastrophic impact of Cyclone Tracy on Darwin the previous Christmas was seen by many First Nations people as a sign that their culture and traditions needed revitalization. Although Rover Thomas shared cultural connections with the Kukaja artists of Balgo Hills known for their use of representational symbols like circles, U-shapes, and dotting inspired by low-relief ceremonial ground sculptures—his work is more strongly influenced by the traditions of Gija Country, where rock art and ceremonial body painting designs dominate. While he occasionally incorporated figurative elements and topographical profiles, Thomas’s work is more distinctly recognized for its aerial perspective, a hallmark of Central and Western Desert art. His most contemplative and sombre works pull the viewer into expansive planes of richly textured ochre. White or black dots are used sparingly, guiding the eye along pathways that trace time and movement, following the contours of a landscape imbued with significant events. The predominant use of black in many of these pieces evokes a startling emotional intensity, adding depth to the compositions. The warm, earthy tones and a palpable spirituality invite contemplation of these unfolding events while simultaneously anchoring us in an ancient, timeless landscape. A vivid dream involving the spirit of Rover Thomas's deceased aunt inspired him to create the Krill Krill ceremony, a powerful song and dance cycle. In this dream, the spirit recounted the details of a journey she had undertaken after her death, accompanied by other spirit beings. When revisiting the dream, Rover Thomas also envisioned the places and characters involved in this saga. At the conclusion of the song cycle, the traveling spirit gazes from Wyndham across the waters to the northeast, witnessing the Rainbow Serpent's vengeful destruction of the Territory's capital. The ceremonial reenactment of this dreaming first took place in 1977 and was subsequently performed at various locations across the East Kimberley region, Arnhem Land, and beyond, throughout the late 1970s and early 1980s. During these ceremonies, participants carried painted boards on their shoulders, each depicting significant sites and spirit beings central to the narrative. The boards used in the early Krill Krill ceremonies were created by Thomas's uncle and mentor, Paddy Jaminji, with assistance from Jacko Dolmyn, Paddy Mosquito, Rover Thomas, and others. At that time, in 1980, the Warmun community remained small, comprised primarily of older Gija people. It wasn't until 1981 that Rover Thomas began painting as a solo artist. Exhibitions organized by the Art Gallery of Western Australia and the National Gallery of Australia in the late 1980s propelled Rover Thomas into the national spotlight, culminating in his selection as one of Australia’s representatives at the Venice Biennale in 1990. His recognition was further solidified by his win of the John McCaughey Prize, attracting a growing number of agents and galleries eager to represent him. In 1995, Rover returned to his roots on the Canning Stock Route with Kevin Kelly, manager of Warringari Arts, alongside his extended family. This journey inspired a remarkable body of work. The following year, Peter Harrison of Kimberley Art Gallery and Neil McLeod took Rover and fellow artist Freddy Timms to Melbourne, where they painted daily in McLeod’s Dandenong studio. McLeod, a close associate of Lin Onus, provided essential support for Thomas and Timms, facilitating the creation of a significant collection of artworks. These pieces found their way to various galleries, including Kimberley Art in Melbourne, Utopia Art in Sydney, and Fireworks Gallery in Brisbane, as well as to numerous dealers and private collectors who flocked to the artists during their studio stay. Upon their return to Turkey Creek, Dave Rock, the Warmun administrator, introduced a fair payment structure for the artists, addressing the exploitative practices of dealers who would commission works from the pensioner unit. In the late 1990s, Coo-ee Aboriginal Art hosted two printmaking workshops in the community. Rover, alongside notable artists like Queenie McKenzie and Jack Britten, created acetates, plaster engravings, and linocut prints, which were editioned by Studio One in Canberra. The workshops also provided mentorship opportunities for the children of the artists, who engaged in printmaking alongside their elders. At that time, the unfunded art centre, managed by Maxine Taylor, served as a vital hub for the Warmun community, operating as Warmun Traditional Artists until 1998, when Kevin Kelly helped incorporate it officially. With a proper constitution and financial oversight, the burgeoning art community of Turkey Creek finally had an official art centre nearly two decades after its first internationally recognized paintings were created. In his later years, Rover collaborated with various organizations, often visiting Maxine Taylor in Wyndham, where their artistic partnership began. He affectionately referred to her as Nyumun (auntie), a term he also used for Macha, with whom he began working two decades earlier. Rover Thomas passed away on April 11, 1998, and was posthumously awarded an honorary doctorate from the University of Western Australia. His artistic influence was undeniable, with a steady demand for his works since he first exhibited in 1987. Today, his paintings are represented in all major galleries across Australia, cementing his status as a leading figure in contemporary Australian Indigenous art. Rover's legacy comprises a significant collection of paintings that offer profound insights into the Kimberley region’s landscape and its intertwined human narratives. ARTIST CV Selected Collections: Art Gallery of New South Wales, Sydney. Art Gallery of South Australia, Adelaide. Art Gallery of Western Australia, Perth. Berndt Museum of Anthropology, University of Western Australia. Canning Stock Route Project Collection, National Museum of Australia, Canberra. The Holmes a Court Collection, Perth. The Kelton Foundation, Santa Monica, U.S.A. Museum and Art Gallery of the Northern Territory, Darwin. National Gallery of Australia, Canberra. National Gallery of Victoria, Melbourne. Queensland Art Gallery, Brisbane. Selected Solo Exhibition: 2004 - Rover Thomas: I want to paint, Art Gallery of New South Wales, Sydney. 2003 - Rover Thomas - I want to paint, The Ian Potter Centre: NGV Australia, Melbourne, Victoria. 2002 - The Paintings of Rover Thomas, Utopia Art Sydney. 1994 -Roads Cross, The Paintings of Rover Thomas, National Gallery of Australia, Canberra. 1994 - Rover Thomas, Utopia Art Sydney, Stanmore. Selected Group Exhibitions: 2016 - Outback to Abstract, featuring: Rover (Julama) Thomas, Thomas (Yannima) Watson, Gloria Tamerre Petyarre, Mitjili Napanangka Gibson, Ronnie Tjampitjinpa, Lorna Fencer Naparrula and Tjurupara Watson, Cooee Art and SOHO Galleries, Chifley Plaza, Sydney. 2016 - Cooee Art at Australian Galleries, featuring Albert Namatjira, Alma Webou, Bill Whisky Tjapaltjarri, Daniel Walbidi, Djirrirra Wunungmurra, Dorothy Napangardi, Elizabeth Nyumi, Emily Kame Kngwarreye, Emily Kngwarreye, Freddie Timms, George Hairbrush Tjungurrayi, Gloria Petyarre, Jan Billycan, John Mawurndjul , Johnny Warangkula, Kathleen Petyarre, Makinti Napanangka, Milliga Napaltjarri, Minnie Pwerle, Naata Nungurrayi, Nyurapayia Nampitjinpa (Mrs Bennett), Owen Yalandja, Prince of Wales , Queenie Nakarra McKenzie , Rover Thomas, Sally Gabori , Suzie Bootja Bootja, Timothy Cook , Tjapartji Bates, Tommy Watson, Trevor Nickolls , Yirawala, at Australian Galleries, Sydney. 2015 - Indigenous Art: Moving Backwards into the Future, National Gallery of Victoria, Melbourne. 2013 - Australia, Royal Academy of Arts, London, UK. 2010 - East Kimberley Painting Revisited: Rover Thomas, Freddie Timms, Rusty Peters and Jack Britten, Michael Reid Gallery, Sydney. 2009 - Abstraction, including the artists Emily Kame Kngwarreye, Gloria Petyarre, Rover Thomas, Ronnie Tjampitjinpa, Joseph Jurra Tjapaltjarri, Mick Namarari Tjapaltjarri, David Aspden, Liz Coats, Peter Maloney, Angus Nivision and Peter Upward at Utopia Art, Sydney. 2008 - Unearthed - Stories Written in the Land, featuring works by Freddie Timms, Jimmy Nerrimah, Kathleen Petyarre, Rover Thomas, Walangkura Napanangka, Jock Mosquito and works by emerging artists Helen S Tiernan, Joanne Currie and Lloyd Kwilla at Coo-ee Aboriginal Art Gallery, Sydney. 2006-2007 - Gifted: Contemporary Aboriginal Art: The Mollie Gowing Acquisition Fund, Art Gallery of New South Wales, Sydney. 2004 - North by North-West: Contemporary Indigenous Art from the Queensland Art Gallery Collection, Queensland Art Gallery, Brisbane; EXPLAINED, A closer look at Aboriginal art, Aboriginal Art Museum, Utrecht, The Netherlands. 1997 L’Art des Aborigènes d’Australie, Arts d'Australie • Stéphane Jacob / Galerie de Stassart, Bruxelles; L’Art des Aborigènes d’Australie, Arts d'Australie • Stéphane Jacob / Espace Paul Riquet, Béziers. 1995, Stories, Eine Reise zu den grossen Dingen, touring, Sprengel Museum Hannover, Museum fur Volkerkunde Leipzig, Haus der Kulteren der Welt Berlin, Ludwig-Forum fur Internationale Kunst Aachen; 1995, The Twelfth National Aboriginal Art Award, Museum and Art Gallery of the Northern Territory, Darwin. 1994, Power of the Land, Masterpieces of Aboriginal Art, National Gallery of Victoria; 1994, Identities: Art from Australia, Taipei Fine Arts Museum, Taiwan, Wollongong City Gallery; 1994, Australian Heritage Commission National Aboriginal and Torres Strait Islander Art Award Exhibition, Old Parliament House, Canberra.; 1994, This Land: A Celebration, Utopia Art Sydney, Stanmore.; 1994, Yiribana, Art Gallery of New South Wales, Sydney. 1993, Trevor Nickolls and Paintings by Emily Kame Kngwarreye, Ginger Riley Manduwalawala and Rover Thomas, Hogarth Galleries, Sydney; 1993, The Tenth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin; 1993, Images of Power, Aboriginal Art of the Kimberley, National Gallery of Victoria, Melbourne; 1993/4, ARATJARA, Art of the First Australians, Touring: Kunstammlung Nordrhein-Westfalen, Dusseldorf; Hayward Gallery, London; Louisiana Museum, Humlebaek, Denmark; 1993, After The Field, Manly Art Gallery & Museum, Sydney 1992, Crossroads-Towards a New Reality, Aboriginal Art from Australia, National Museums of Modern Art, Kyoto and Tokyo. 1990, Contemporary Aboriginal Art 1990: From Australia, Third Eye Centre, Glasgow and touring UK.; 1990, Anatjari Tjampitjinpa, Dini Campbell Tjampitjinpa and Rover Thomas, John Weber Gallery, New York, USA.; 1990, The Seventh National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin; 1990, Venice Biennale: Australian Representative, with Trevor Nickolls ; 1990, Adelaide Biennial of Australian Art, Art Gallery of South Australia; 1990, Balance 1990: views, visions, influences, Queensland Art Gallery, Brisbane; 1990, Contemporary Aboriginal Art from the Robert Holmes a Court Collection, Harvard University, University of Minnesota, Lake Oswego Center for the Arts, United States of America; 1990, L'ete Australian a Montpellier, Musee Fabre, France; 1990, Innovations in Aboriginal Art, Hogarth Galleries, Sydney; 1990, The Singing Earth, Chapman Gallery, Canberra; 1990, Abstraction, Art Gallery of New South Wales. 1991, Aboriginal Art and Spirituality, High Court, Canberra; 1991, Flash Pictures, National Gallery of Australia; 1991, Walkabout in the Dreamtime, Virginia Miller Gallery, Miami, Florida, USA. 1988, ANCAAA and Boomalli, Boomalli Aboriginal Artists Ko-operative, Sydney; 1988, Art from the Kimberley, Aboriginal Artists Gallery, Sydney; 1988, Innovative Aboriginal Art of Western Australia, University of Western Australia, Perth; 1988, Recent Aboriginal Painting, Art Gallery of South Australia, Adelaide.; 1988, Creating Australia: 200 Years of Art 1788-1988, International Cultural Corporation of Australia, Touring; 1988, Australian Art Post-1960, Deutcher Gallery, Brunswick. 1989, On the Edge, five contemporary Aboriginal artists, AGWA, Perth; 1989, Turkey Creek: Recent Work, Deutscher Gertrude Street, Melbourne; 1989, A Myriad of Dreaming: Twentieth Century Aboriginal Art, Westpac Gallery, Melbourne; Design Warehouse Sydney [through Lauraine Diggins Fine Art].; 1989, Masterpiece Fine Art Gallery, Hobart.; 1989, l'ete Australien a' Montpellier, Musee Fabre Gallery, Montpellier, France. 1987, Aboriginal Art from the Kimberley, Goolarabooloo Gallery, Broome.; 1987, Art of the East Kimberley, Birrukmarri Gallery, Perth; 1987, Recent Aboriginal Art from Western Australia, National Gallery of Australia, Canberra. 1986, The Third National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin. Bibliography: Aboriginal Artists of Western Australia, [n.d.] - [folios of works and biographies], Aboriginal Education Resources Unit, Western Australia. Aboriginal Arts Management Association, 1990, Contemporary Aboriginal Art 1990 - from Australia (presented by the Aboriginal Arts Committee, Australia Council and Third Eye Centre, Glasgow), exhib. cat., Redfern, New South Wales. (C) Brody, A., Krempel, U., Bahr, E., (eds.), 1995, Stories, Eine Reise zu den grossen Dingen, exhib. cat., Landeshauptstadt Hannover Der Oberstadtdirektor Sprengel Museum Hannover and Autoren. The Bulletin, May 10, 1994, 'An affirmation of black visual power', review of NGA solo exhibition, p. 92 Caruana, W., 1987, Australian Aboriginal Art, a Souvenir Book of Aboriginal Art in the Australian National Gallery, Australian National Gallery, Parkes, Australian Capital Territory. (C) Caruana, W. (ed.), 1989, Windows on the Dreaming, Ellsyd Press, Sydney. (C) Caruana, W., 1993, Aboriginal Art, Thames and Hudson, London. (C) Crossman, S. and Barou, J-P. (eds), 1990, L'ete Australien a Montpellier: 100 Chefs d'Oevre de la Peinture Australienne, Musee Fabre, Montpellier, France. (C) Crumlin, R., (ed.), 1991, Aboriginal Art and Spirituality, Collins Dove, North Blackburn, Victoria. (C) Diggins, L. (ed.), 1989, A Myriad of Dreaming: Twentieth Century Aboriginal Art, exhib. cat., Malakoff Fine Art Press, North Caulfield, Victoria. 1993, Aratjara, Art of the First Australians: Traditional and Contemporary Works by Aboriginal and Torres Strait Islander Artists, exhib. cat. (conceived and designed by Bernard Luthi in collaboration with Gary Lee), Dumont, Buchverlag, Koln. (C) Isaacs, J., 1987, 'Waiting for the mob from Balgo', Art Monthly Australia, June 1987, No.1 p.20-22. McCulloch, A., & McCulloch, S., 1994, The Encyclopedia of Australian Art, Allen & Unwin Pty Ltd, St Leonards, New South Wales. Neale, M., 1994, Yiribana, exhib. cat., Art Gallery of New South Wales, Sydney. (C) O'Ferrall, M., 1989, On the Edge - Five Contemporary Aboriginal Artists, exhib. cat., Art Gallery of Western Australia, Perth. O'Ferrall, M., 1989, 'Painting the country, Rover Thomas,' Tension 17, 43,45. (C) Ryan, J., 1993, Images of Power, Aboriginal Art of the Kimberley, exhib, cat., National Gallery of Victoria, Melbourne. Smoker, J., 1989, Turkey Creek recent work, exhib. cat., Deutscher Gertrude Street, Melbourne Stanton, J.E., 1988, Innovative Aboriginal Art of Western Australia, Occasional Paper 1, The University of Western Australia Anthropology Research Museum, Nedlands, Western Australia. (C) Stanton, J., 1989, Painting the Country: Contemporary Aboriginal Art from the Kimberley Region, Western Australia, University of Western Australia Press, Nedlands, Western Australia. (C) Thomas, R., with Akerman, K., Macha, M., Christensen, W., and Caruana, W., Roads Cross, the paintings of Rover Thomas, exhib. cat. National Gallery of Australia, The Craftsman Press Pty. Ltd., Victoria Wallace, D., Desmond, M., Caruana, W., 1991, Flash Pictures, exhib. cat., National Gallery of Australia, Canberra. 1988, ANCAAA and Boomalli, exhib. cat., Boomalli Aboriginal Artists Ko-operative, Sydney. (C) 1990, Balance 1990: Views, Visions, Influences, exhib. cat., Queensland Art Gallery, Brisbane. (C) 1990, Contemporary Aboriginal Art from the Robert Holmes a Court Collection, exhib. cat., Heytesbury Holdings Ltd., Perth. 1992, 'Aboriginal Art', National Gallery News, 10th Birthday edition, September/October 1992, p. 5-7. Sylvia Kleinert and Margo Neale, Oxford Companion to Aboriginal Art and Culture, Melbourne, Oxford University Press 2001, ISBN: 0195506499. Market Analysis MARKET ANALYSIS After the 2022 acquisition by the National Museum of Australia (NMA) of Jabanunga aka Goorialla (Rainbow Serpent) (1996), a significant Rover Thomas Julama’s painting valued at A$1.2 million, a positive reaction in the art market is expected, with growing confidence in both the value and prominence of works by the artist. This key acquisition, accepted through the federal government’s Cultural Gifts Program following thorough due diligence, is anticipated to increase public interest in Thomas' work, further strengthening the NMA’s standing as a cultural leader. Over the past decade, the market for works by Thomas has shown mixed results, with fluctuating auction volumes, varying success rates, and inconsistent total values. While his works remain sought-after, recent years indicate a downward trend in overall market activity. In 2015, 24 works were offered, with 63 % clearance rate, generating a strong total of A$1,170,494. However, in 2016, both the number of works offered and total value dropped sharply, with 14 works offered and 58% clearance rate resulting in just A$573,445 in sales. This volatility continued in 2017, where 22 works were offered, 11 of which remained unsold, but the total value still managed to rise to A$802,317. The following year, 2018, saw a further reduction in volume with only 17 works offered and 9 unsold, leading to a significant drop in total sales to just A$258,021. 2019 showed a slight improvement in both the number of works sold and value, with 13 works offered and 70 % clearance rate, totalling A$166,504. In 2020, the market rebounded somewhat, with 16 works offered, with 82% clearance rate and a total of A$785,691—indicating renewed interest in Thomas' works. In 2021, 21 works were offered with 81% clearance, and the total value held steady at $728,738. By 2022, the market appeared to stabilise further with 12 works offered and 100% clearance rate resulting in a strong total of $767,039, reflecting an improvement in demand. 2023, however, the market experienced another downturn, with 21 works offered, less than 50% clearance rate and a total value of $496,759. As of 2024, 13 works were offered, 4 unsold, and the total value fell to $274,744, reflecting further softening. In summary, Rover Thomas' market has seen considerable volatility, with both auction volumes and total values fluctuating sharply. While there were strong years like 2015 and 2022, the trend in recent years has been a decline in both the number of works sold and overall value. This suggests that while interest in Thomas' work remains, the market may be experiencing reduced demand or supply issues, leading to inconsistent performance across the auctions. Historically, demand for Rover Thomas's work has been consistently high, with a major boost after his inclusion in the 1990 Venice Biennale and his solo exhibition at the National Gallery of Victoria in 1994. His art became so sought after that acquiring pieces from the primary market became increasingly difficult. Thomas was widely regarded as a world-class contemporary painter remaining the most expensive Indigenous painter on the secondary market until 2007, with his works being highly collectible. In 1994, there was no formal art centre in the community where Thomas lived. He only produced work for Waringarri Arts when visiting Kununurra, or when the art coordinator, Joel Smoker, was able to visit him. Independent dealers, recognising the escalating demand, often commissioned works from Thomas, frequently spending time with him in Turkey Creek. Some dealers even facilitated trips for the artist to produce larger bodies of work to meet market demand. The first Rover Thomas painting appeared at auction in 1995, and despite high prices at auction compared to the primary market, they remained under A$20,000 at the time. However, the market rapidly accelerated. In 1998, the year of Thomas' death, his auction record surpassed A$100,000 for the first time, and by the following year, two more of his paintings exceeded that threshold. Works from the 1980s, with provenance from Mary Macha or Waringarri Art Centre, continue to be the most sought after by collectors. Between 2000 and 2002, prices for Thomas' work surged, continuing to climb through 2003 before plateauing in 2005. This surge was driven, in part, by the National Gallery of Australia's purchase of All that Big Rain Coming Down Top Side (1991) for A$778,750 in 2001, which set a record for the highest price ever paid for an Aboriginal work of art at the time. This record held until 2007 when it was eclipsed by Emily Kngwarreye’s Earth’s Creation (1995) and later by Clifford Possum Tjapaltjarri’s Warlugulong (1976). Although unseated by Emily Kngwarreye as the market leader in 2008, Thomas remains a dominant force, second only to Kngwarreye. More than a decade later, while the gap between their markets has widened considerably, Rover Thomas continues to hold his place as a blue-chip artist in the Australian market. Despite recent market fluctuations, his significance to the history of Australian art ensures ongoing interest and value. Rover Thomas’ career, shaped by diverse conditions and circumstances, has had a lasting impact on the Australian art landscape. Though overshadowed by Kngwarreye, his legacy endures, and his works continue to attract high levels of interest from collectors, institutions, and investors alike 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 Arone Raymond Meeks < Back Arone Raymond Meeks Arone Raymond Meeks 1957 - 2021 Region: North East Coast Community: Sydney, Townsville, Dunk Island Language: Kuku Midigi ARTIST PROFILE ARTIST CV MARKET ANALYSIS Arone Raymond Meeks was born in Laura, Far North Queensland, within his tribal area, grounding his identity and art in the rich traditions of his heritage. He received a well-rounded education that blended traditional knowledge imparted by his grandfather and other relatives with formal academic training. READ FULL ARTIST PROFILE ARONE RAYMOND MEEKS - SALTWATER PLACE SOLD AU$3,300.00 ARONE RAYMOND MEEKS - FRESHWATER COUNTRY SOLD AU$3,300.00 top Anchor 1 PROFILE Arone Raymond Meeks 1957 - 2021 Region: North East Coast Community: Sydney, Townsville, Dunk Island Language: Kuku Midigi Arone Raymond Meeks was born in Laura, Far North Queensland, within his tribal area, grounding his identity and art in the rich traditions of his heritage. He received a well-rounded education that blended traditional knowledge imparted by his grandfather and other relatives with formal academic training. He studied at the City Art Institute in Sydney and later honed his skills under the guidance of tribal elders from the Lardil people on Mornington Island in Queensland. This diverse educational background greatly influenced Meeks’ artistic approach, allowing him to merge traditional Indigenous images and themes with contemporary issues, particularly those concerning land rights. His work is celebrated for this integration, showcasing both deep respect for his heritage and a dynamic contemporary perspective. Arone Meeks was a founding member of the Boomalli urban Aboriginal artist’s cooperative, which played a crucial role in providing a platform for urban Aboriginal artists to express and preserve their culture through art. His talents and dedication to his craft earned him an Australia Council fellowship in 1989, enabling him to study in Paris. His career included extensive exhibitions across Europe, the Pacific, and the Americas, illustrating his global appeal and the universal resonance of his themes. Beginning his journey in printmaking in 1982 in collaboration with Theo Tremblay, Meeks explored and expanded his artistic expression. His time in Santa Fe, USA, as part of a cultural exchange during the 1990s, further enriched his practice. Meeks appreciated printmaking for its directness and fluidity, which allowed him to introduce a new vibrancy and immediacy to his work. This medium also enabled him to develop a unique language of symbols, enhancing his narrative and symbolic reach. In addition to his visual art, Meeks was a prolific illustrator for children’s books. His notable works include illustrations for 'When The World Was New', 'This Is Still Rainbow Snake Country', and 'The Pheasant and Kingfisher'. He also wrote and illustrated 'Enora and the Black Crane', which won the 1992 UNICEF-Ezra Jack Keats Award for International Excellence in Children’s Book Illustration, highlighting his ability to engage and inspire young audiences. Arone Raymond Meeks left a significant legacy through his art, which continues to inspire and educate on the richness of Aboriginal culture and the pressing issues of environmental and indigenous rights. His work stands as a poignant blend of traditional lore and modern inquiry, bridging gaps between past, present, and future. ARTIST CV Collections Artbank, Sydney. Art Gallery of Ontario, Canada. Art Gallery of New South Wales, Sydney Art Gallery of South Australia, Adelaide. Art Gallery of Western Australia, Perth. Australian National Gallery, Canberra. Australian National Maritime Museum, Pyrmont NSW Australian Museum, Sydney. Australian National Museum, Canberra. Australian National University, Canberra Australia Post. Biblioteque Nationale, Paris The Bromberg Collection, Cincinnati, USA Cairns Art Gallery, Cairns Central Collection, Australian National University, Canberra. City Gallery, Christchurch, New Zealand Flinders University Art Museum, Adelaide. QAGOMA, Brisbane Queensland Institute of American Indian Art, Santa Fe USA Kelton Foundation, Los Angeles, USA. Kickarts Contemporary Arts, Cairns Massachusetts College of Art, Boston. Nationale Bibliotech de Paris, France National Congress of Australia’s First Peoples, Canberra National Gallery of Australia, Canberra. National Gallery of Japan. National Museum of Australia, Canberra. Oodgeroo Collection Qld. University of Technology. OTC Australia Powerhouse Museum, Sydney. Robert Holmes a Court Collection, Perth. The Simons Foundation, Vancouver, Canada. University of NSW, Sydney University of Qld, Individual Exhibitions 1995 Arone, Le Cake, Cairns, FNQ. 1995 Black Crane, Lizard of Oz, Taos, New Mexico. 1996 What Now – A New Direction, Adrian Newstead Gallery, Sydney. 1997 Common Ground, including collaborative works from Santa Fe, Drill Hall ANU. 1999 Cycad Dreaming, Solo Exhibition, The Tanks, Cairns FNQ. 1999 Fetish – Flinders University Art Museum, Feast Festival, Adelaide. 2000 Towards a New Dreaming, Cooee Aboriginal Art Gallery, Sydney. 2003 Saltwater Story, Cairns Regional Gallery, Cairns 2004 Artist Collection, Tanks Art Centre, Cairns 2005 New Directions, Framed Gallery, Darwin 2006 Now Time Portal to a Dream, Kick Arts, Cairns 2007 Blue Lung Breath, Australian and Oceanic Art, Port Douglas White Coral Spawning, RM Gallery, Brisbane 2009 Cell arts space, Cairns, Canopy Ar t Space, Cairns 2010 Art Mob Tasmania, Cross Currents, Australian and Oceanic Arts, Port Douglas, Mooree Plains Regional Gallery. 2011 Forces of Nature, Australian Art Network/Canopy Artspace, Cairns Group Exhibitions 1978 Travelling exhibition Munich, Dusseldorf, Kline, Germany 1980 Seymour Centre, Sydney. 1981 Artists for Aboriginal Land Rights, Ampira, Sydney. 1982 Aboriginal Week Exhibition, Art Gallery NSW, Sydney. 1983 Contemporary Aboriginal Art, Bondi Community Pavilion, Sydney. 1984 Koori Art ’84, Artspace, Sydney; The First National Aboriginal Art Award Exhibition, Museum and Art Gallery of the NT, Darwin. 1986 Urban Koories, Willoughby Workshop Arts Centre, Sydney. 1987 Cooper Gallery, Sydney; Dalkuna Mnunuway Nhe Rom, Foreign Exchange Gallery, Armadale, Victoria; Art and Aboriginality, Aspex Gallery, Portsmouth, UK; Aboriginal Australian views in print and poster, travelling exhibition, Print Council of Australia; Coo-ee Emporium, Sydney; Australian Geographics. 1988 Craft Council of Australia Exhibition, Sydney; Aboriginal Artists Gallery, Sydney; Perc Tucker Gallery, Townsville; Capricorn Galleries, Port Douglas; Defacto Apartheid, Performance Space, Sydney. ANCAAA and Boomalli, Sydney 1989 A Koori Perspective, Artspace, Sydney; Aboriginal Art: The Continuing Tradition, National Gallery of Australia, Canberra. 1990 Painted Ship, Painted Oceans, S. H. Ervin Gallery, Sydney; Balance 1990: Views, Visions, Influences, QAG, Brisbane; The Pemulwuy Dilemma, The voice of Koorie Art in the Sydney Region. 1992 Redescubrimiento/Rediscovery: Australian Artists in Europe 1982-1992 1993 Commitments, MOCA, Brisbane; Ten Years of Acquisitions, Drill Hall Gallery, Canberra 1994 Malu Urul, Australian National Maritime Museum, Sydney; New Tracks Old Land, Institute of American Indian Arts Museum, Santa Fe, New Mexico USA. 1995 Local Colours, Cairns Regional Gallery; Trade Routes, Moree Regional Gallery, Armidale Aboriginal Keeping Place. 1996 Tribal Metaphysics – a Meeting Place, Grosvenor Place,Sydney; Collaboration with Liz Gallie,Cairns Regional Gallery, Cairns; Cairns International Airport Commission – 8 Panels, 56 metre Sculptural Frieze. 1997 Children’s Art Exhibition touring Italy, Germany, France to 1999, Ashton Scholastic. 1998 Commission, Bulletin Place, Sydney; Selected Work, Blake Prize for Religious Art, Sydney. 1999 Body, Group Show, Tanks Art Centre, Cairns; Meeks and Company, Mardi Gras Exhibition, Cooee Aboriginal Art Gallery, Sydney; Love Magic, SH Ervin Gallery, Sydney; Private Commission, Synergy Telecommunications, Germany; Commission, Cairns Convention Centre, Sculptural Frieze, 8 panels; Respect, Institute of Modern Art, Brisbane; 16th NATSI Art Award, MAGNT, Darwin 2000 Journeying the Same Land, Cairns Regional Gallery; Cook Islands, Festival of Pacific Arts. 2002 Local Colour, Local Lives, Cairns Regional Gallery; Shades of Pink, Manly Art Gallery & Museum; Accommodating Differences, Tanks Art Centre and Centre of Contemporary Arts New Zealand. 2003 Story Place, Queensland Art Gallery, Brisbane; Weereewa Wood Cuts II, Festival of Lake George, Bungendore, Woodworks Gallery, Bungendore NSW; Beneath the Monsoon: Visions of Capricorn, Artspace Mackay, Cairns Regional Gallery, Perc Tucker Regional Gallery, Townsville. 2004 FNQ Souvenir, Kickarts touring exhibition, Gab Titui, Thursday Island; Gallery Hinchinbrook, Ingham; New Land Gallery, Port Adelaide; Millicent Gallery, South Australia; Hervey Bay Regional Gallery; Recent Work, Bath Street Gallery, Auckland, NZ; Postcard Show, Cairns Regional Gallery; Glare, Kickarts Insider Exhibition, Cairns; NADIOC Regional Exhibition, Tanks, Cairns; Touch of Mandela, collaborative work with Nelson Mandela; World and Cultural Heritage, International Group Exhibition with Global Culture Centre of Japan; Hitting on and Kicking Off, KickArts inaugural exhibition for new Centre of Contemporary Arts, Cairns. 2005 Homefront, Kickarts, Cairns; Post Card Show, Cairns Regional Gallery; The Nelson Mandela Unity Series, Switzerland; Men Under/Manunda, Gallery 53, Cairns; Works on Paper, Bowen Galleries, Wellington NZ. 2006 Black Pink and Delicious, Mardi Gras, Boomalli, Sydney; Beyond the Dreaming, Frances Reilly Gallery, Eumundi. 2007 Hidden Treasures, Cairns Regional Gallery; Edge Kickarts Gallery; Boomalli 20th Anniversary Show, Sydney; Looking Foward Looking Blak, Kickarts, Cairns; New Perspectives, Gallery A, Sydney. 2008 On the Edge, Tanks Art Centre, Cairns (Travelling Exhibition); Northern Stars, Djumbunji/Kickarts, Cairns; The Salon: Postcard Show, Cairns Regional Gallery. 2009 This is Cassowary Country, Cairns Regional Gallery; Vivo Group Show, Palm Cove; Hand in Hand, Boomalli, Sydney; Twelve Degrees of Latitude, Perc Tucker Regional Gallery, Townsville; QUT Art Museum, Brisbane 2010 The Salon: The 2012 Postcard Show, Cairns Regional Gallery; Boomalli Group Show, Sydney. Vivo Group Show, Palm Cove, Black Friar, Sydney; In Two Art, Maitland Regional Gallery; Twelve Degrees of Latitude, Logan Art Gallery, Logan City; Gladstone Regional Art Gallery and Museum; Artspace, Mackay; Twoomba Regional Art Gallery; University of the Sunshine Coast Gallery; Sydney Art Fair, Cicada Gallery. 2011 Familiar Unfamiliar touring show, Sydney; Forces of Nature, Cyclone Series, Boomalli, Sydney; Knock-Knock Art Show; 12 Degrees of Latitude, Stanthorpe Regional Art Gallery, Warwick Art Gallery, Gold Coast City Art Gallery, Cairns Regional Gallery, Outback Regional Gallery, Winton, Bundaberg Regional Art Gallery, Hervey Bay Regional Gallery; Redcliffe City Gallery, Redland Art Gallery, Redland City; 2011 New York Affordable Art Fair, Cicada Gallery; Pride Exhibition, Tanks Art Centre, Cairns. 2012 Pink Sunrise, Boomalli, Sydney; 25th Anniversary Boomalli Show, Sydney; Print Council of Australia, 45th Anniversary Touring Print Show; Big Wet Monoprints, Gabrielle Pizzi Gallery, Melbourne; Melbourne Art Fair; Cairns Indigenous Art Fair; Kickarts; Cairns Casino; Knock-Knock Affordable Art Show, c.1907 Gallery, Cairns; Inkmasters Print Exhibition, Tanks Art Centre, Cairns; Perc Tucker Gallery, Townsville; Author Illustrator, Cairns Regional Gallery; Los Angeles Affordable Art Fair, Cicada Gallery; New York Affordable Art Fair, Cicada Gallery; Houston, My Country, Cicada Gallery; Familiar Unfamiliar Touring Show, Paris, Cicada Gallery; Pride Exhibition, Tanks Art Centre, Cairns. 2013 Members Show, Boomalli, Sydney; Inside/Out (Inkmasters) , c.1907, Cairns; Cairns Indigenous Art Fair; Canopy Artspace, Cairns; Familiar Unfamiliar Touring Show; Knock Knock Exhibition, Cairns. 2014 East Coast Encounters Australian National Maritime Museum Sydney; CAIF, Cairns; Darwin Art Fair. 2015 Agenda, Boomalli, Sydney; Freshwater Saltwater Umi Arts, Cairns;| Boomalli Members Show, Sydney. 2016 Korean Print exhibition, Korea, Japan; Pride, Tanks, Cairns; Mardi Gras Show Boomalli, Sydney, Artnow, Cairns Regional Gallery Films CIAF Bibliography 1986, Urban Koories, exhib. cat., Workshop Arts Centre, Willoughby, New South Wales. 1989, Nothing to Celebrate? Australian Aboriginal Political Art and the Bicentennial, exhib. cat., Flinders University Art Museum. 1989, Australian Perspecta 1989, A Biennial Survey of Contemporary Australian Art, exhib. cat., Art Gallery of New South Wales, Sydney. 1989, A Koori Perspective, exhib. cat., Artspace, Sydney. 1990, Balance 1990: Views, Visions, Influences, exhib. cat., Queensland Art Gallery, Brisbane. (C) Aboriginal Arts Management Association, 1990, Contemporary Aboriginal Art 1990 – from Australia (presented by the Aboriginal Arts Committee, Australia Council and Third Eye Centre, Glasgow), exhib. cat., Redfern, New South Wales. (C) Berndt, C. H., 1987, Pheasant and Kingfisher, illustrated by Ray Meeks, Bookshelf Books, Horwitz Grahame Pty. Ltd., United Kingdom. Boomalli Five Koorie Artists (d: Michael Riley) 1988. (C) Butler, R., 1986, ‘From dreamtime to machine time,’ Imprint 21(3-4), 12,13. (C) Johnson, T. and Johnson, V.,1984, Koori Art ’84, exhib. cat., Art Space, Sydney. (C) Caruana, W., 1993, Aboriginal Art, Thames and Hudson, London. (C) Isaacs, J., 1989, Aboriginality: Contemporary Aboriginal Paintings and Prints, University of Queensland Press, St Lucia, Queensland. (C) Johnson, V., 1987, Art and Aboriginality, exhib. cat., Aspex Gallery, Portsmouth, UK. McCulloch, A., & McCulloch, S., 1994, The Encyclopedia of Australian Art, Allen & Unwin Pty Ltd, St Leonards, New South Wales. Lambert, A., 1984, ‘Shattering the myth that Aboriginal art exists only in traditional forms,’ Australian Artist, 1(4), 24-25. (C) Meeks, A.R., 1991, Enora and the Black Crane, Ashton Scholastic, Sydney. (C) Samuels, J. and C. Watson, 1987, Australian Aboriginal Views in Print and Poster, Print Council of Australia, Melbourne. Stamp Bulletin – Australia, Jan 1986, Melbourne, No. 182. Scott-Mundine, D., 1990, ‘Black on Black: an Aboriginal perspective on Koori art,’ Art Monthly Australia Supplement (The land, the city – the emergence of urban Aboriginal art), 7-9. (C) Watson, C., 1987, Dalkuna Mnunuwuy Nhe Rom, exhib. cat., Foreign Exchange, Armadale, Victoria. Watson, C., 1990, ‘The Bicentenary and beyond: recent developments in Aboriginal printmaking,’ Special Double Issue Artlink 10(1&2), 70-73. (C) 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 Andrea Nungarrayi Wilson < Back Andrea Nungarrayi Wilson Andrea Nungarrayi Wilson ARTIST PROFILE ARTIST CV MARKET ANALYSIS Andrea Nungarrayi Wilson is the daughter-in-law of Alice Nampijinpa Henwood, a renowned artist associated with Warlukurlangu Artists. In 2007, Andrea lived in Nyirripi and in 2011, she moved to Billiluna, a community near the Tanami Road in Western Australia, located 147 km south of Halls Creek and 593 km northwest of Yuendumu. READ FULL ARTIST PROFILE top Anchor 1 PROFILE Andrea Nungarrayi Wilson Andrea Nungarrayi Wilson is the daughter-in-law of Alice Nampijinpa Henwood, a renowned artist associated with Warlukurlangu Artists. In 2007, Andrea lived in Nyirripi and in 2011, she moved to Billiluna, a community near the Tanami Road in Western Australia, located 147 km south of Halls Creek and 593 km northwest of Yuendumu. Since 2007, Andrea has been creating art for the Warlukurlangu Artists Aboriginal Corporation. She primarily focuses on her father’s Jukurrpa, specifically Yurrampi Jukurrpa (Honey Ant Dreaming). These Dreamings are deeply connected to the land, its features, and the flora and fauna that inhabit it, having been passed down through generations, from her father's forefathers. This Dreaming is particularly significant to the women of the Nakamarra/Napurrurla subsections and the Jakamarra/Jupurrurla men. It is connected to a place known as Jaralypari, north of Yuendumu. The Dreaming involves the Lukarrara, a desert fringe-rush (species Fimbristylis oxystachya and Fimbristylis eremophila), which produces an edible seed. Traditionally, these seeds are ground using a large stone ('ngatinyanu') and a smaller stone ('ngalikirri') to produce flour. This flour is then mixed with water ('ngapa') to make damper cakes that are cooked and consumed. In traditional Warlpiri paintings, iconography is employed to depict the Jukurrpa, specific sites, and other elements. Large concentric circles often symbolise the site of Jaralypari and the seed-bearing grass Lukurrara. The 'U' shapes typically represent the Karnta (women) collecting Lukarrara, while straight lines often illustrate seeds falling to the ground, also gathered by the women using their 'parrajas' (wooden food carriers) and 'karlangu' (digging sticks). 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 Susie Bootja Bootja < Back Susie Bootja Bootja Susie Bootja Bootja ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE SUSIE BOOTJA BOOTJA - UNTITLED SOLD AU$7,500.00 SUSIE BOOTJA BOOTJA - KANINGARRA SOLD AU$5,500.00 top Anchor 1 PROFILE Susie Bootja Bootja 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 Gordon Barney < Back Gordon Barney Gordon Barney ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE GORDON BARNEY - BIRMO HILLS Sold AU$0.00 top Anchor 1 PROFILE Gordon Barney 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 Patrick Puruntatameri < Back Patrick Puruntatameri Patrick Puruntatameri ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE PATRICK PURUNTATAMERI - TUMARRARINGINI (WILDFLOWER) SOLD AU$1,300.00 PATRICK PURUNTATAMERI - TUMARRARINGINI (WILDFLOWER) SOLD AU$650.00 top Anchor 1 PROFILE Patrick Puruntatameri 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 Tamayina Tjapangati < Back Tamayina Tjapangati Tamayina Tjapangati ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Tamayina Tjapangati 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 Magda Nakamarra Curtis < Back Magda Nakamarra Curtis Magda Nakamarra Curtis ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE MAGDA NAKAMARRA CURTIS - LAPPI LAPPI JUKURRPA (LAPPI LAPPI DREAMING) SOLD AU$2,300.00 MAGDA NAKAMARRA CURTIS - LAPPI LAPPI JUKURRPA (LAPPI LAPPI DREAMING) Sold AU$0.00 MAGDA NAKAMARRA CURTIS - LAPPI LAPPI JUKURRPA (LAPPI LAPPI DREAMING) SOLD AU$1,300.00 top Anchor 1 PROFILE Magda Nakamarra Curtis 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 Helmut Pareroultja < Back Helmut Pareroultja Helmut Pareroultja ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE HELMUT PAREROULTJA - UNTITLED SOLD AU$975.00 top Anchor 1 PROFILE Helmut Pareroultja 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 2022 Location: Carriageworks, Eveleigh NSW 2015 07 September - 11 September 2022 SYDNEY CONTEMPORARY 2022 07 September - 11 September 2022 SYDNEY CONTEMPORARY 2022 07 September - 11 September 2022 Location: Carriageworks, Eveleigh NSW 2015 VIEW CATALOGUE EX-SC2022