MunkaraEnrae Enraeld Djulabinyanna Munkara Enraeld Djulabinyanna Munkara 1895 - 1970 The practice of Tiwi figure carving stems from Pukumani funeral carving: spectacular carved and painted poles that are placed around the grave during ceremonies for the dead. This figurative element is in keeping with the longstanding innovative and evolving nature of the Tiwi artistic tradition, even though it developed at the time of European arrival and influence. Enraeld Munkara was one of the most pre-eminent early sculptors, recognisable by the distinct expressiveness of his work as well as the characteristic stance of his hunched, mourning figures, their arms extending down from a bulbous head. They portray the characters of myth and are often double sided, or Janus-like, with negative spaces similar to they way they would be sculpted as part of Pukumani poles. Enraeld’s carvings capture the movement of the ritual dance. They seem alive and mobile, with delicately painted faces and the geometric body designs that are seen in Pukumani ceremony. Their haunting, human quality has made them highly regarded by collectors and major collecting institutions. Besides being a gifted artist, he was a ceremonial leader and a man of high ritual authority. Pukumani denotes a taboo and is a period of time in which certain tasks are forbidden, including the speaking of the deceased’s name. This accounts somewhat for the plethora of names that Tiwi often have or use and which have often confused outsiders. The dramatic rituals of Pukumani are mythic in origin. The enacting of the story of how death came into the world is performed over days. It is a story of human desire and misdemeanour that brought to a close an Eden-like creation period, similar to the Dreamtime. Artistic talent has always been greatly admired and rewarded in Tiwi culture, encouraging a committed professionalism amongst individuals and whole families. This in turn has allowed for a fascinating degree of creative control and experimentation within it. This explains the verve and vigour of these funerary carvings, even in the face of human mortality. Enraeld’s carvings were grave markers that were placed upon the grave after burial. They appeased the parting spirit who would stop to talk to them upon rising for its journey to the spirit world. The carvings evoke the powerful grief of the Pukumani period. This attention and sensitivity to the spirit world perhaps explains why Dorothy Bennett, a prolific collector of Tiwi art during the 1950s and 60s, would always find Enraeld waiting for her when she arrived to buy some of his work. At the time there was no phone available at Milikapiti on Melville Island where Enraeld was living. It was the preferred place for acquiring works due to its relative independence from missionary control. In 1957, the Art Gallery of NSW commissioned a large installation of Pukumani poles. It heralded a dramatic entry for the Tiwi into the mainstream art world. Many items from Dorothy Bennett’s private collection are now housed in the National Museum of Australia and other institutions. The electrifying geometric designs of Tiwi art reverberate with an energy and meaning that has been condensed and abstracted from the lived experience of generations. The dances that accompany the installation of Pukamani poles are no less riveting. Besides his enigmatic figures, Enraeld less frequently carved birds, usually ducks and owls. As an elder, he became the leader of the Tikalaru people in south-west Bathurst Island and is seen in archival photographs with a distinctive cloth covering his lower face. This is because he suffered the disfiguring effects of the tropical disease yaws. In the museums that now provide inspirational resources for present and future generations, Enraeld stands as a master. He was a gentle man whose dedication and dexterity are felt in the evocative character of his carvings Profile author: Sophie Baka Group Exhibitions: 2003 – Tactility: two centuries of Indigenous objects, textiles and fibre, National Gallery of Australia, Canberra. 1990 - Keepers of the Secrets, Aboriginal Art from Arnhemland, Art Gallery of Western Australia, Perth. 1989 - Aboriginal Art: The Continuing Tradition, National Gallery of Australia, Canberra. 1974 - Australian Aboriginal Art from the Louis A. Allen Collection, M. H. de Young Memorial Museum, California Palace of the Legion of Honor. 1972 - Australian Aboriginal Art, Field Museum of Natural History, Chicago. 1969 - Australian Aboriginal Art - The Louis A. Allen Collection, R. H. Lowie Museum of Anthropology, University of California, Berkeley 1966 - Art of the Dreamtime, the Dorothy Bennett Collection of Aboriginal Art, touring exhibition, Tokyo, Japan. 1963 - Art of Arnhem Land, David Jones, Sydney. Bibliography: Allen, L., 1975, Time Before Morning: Art and Myth of the Australian Aborigines, Thomas Crowell Company, New York. 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., 1993, Aboriginal Art, Thames and Hudson, London. (C) O'Ferrall, M., 1990, Keepers of the Secrets, Aboriginal Art from Arnhemland in the Collection of the Art Gallery of Western Australia, Art Gallery of Western Australia, Perth. (C) Enraeld Munkara created carvings from the hardest Eucalyptus ironwood. Before the arrival of Europeans and the development of a market for traditional Aboriginal sculpture, ironwood carvings were sculpted by successive burning over an open fire and scraping away the charcoal with shells. Even later, when metal tools were employed Tiwi sculpture was rough hewn and organic by comparison to the more refined carvings created from softer woods in Central and Eastern Arnhem Land. Enraeld carved during the 1950s and 1960s and died at the start of the 1970s. For this reason his output was very small and those works that do turn up for sale are hotly contested. It is a rare piece indeed that remains in private hands once its presence has been uncovered. It is a remarkable fact that no less than 11 of his auction sales were for a collection of sculptures that all appeared at Sotheby's in 1997. The works were all collected by Dorothy Bennett on her visits to Melville Island in the 1950s and were all catalogued as circa 1955. According to the accompanying documentation, when Dorothy Bennett would visit the island it was a mystery to the missionaries how Enraeld Djulabinyanna would know she was coming. In the early 1950s there was no way he could have heard as there were no phones, yet he was always waiting by the jetty when she arrived on the island. In this 1997 sale at Sotheby's, a rendition of Purukapali established the artist's record price when it sold for $18,400. Another piece sold for $17,250 and two more achieved $13,800. No other sculpture by Enraeld appeared at auction until July 2001 and when it did, Sotheby's sold it for a whopping $30,000. The double sided figure of Bima and Purukapali, created in 1957 bearing the Bennett collection number 67 along with its original label, measured 57 cms in height. Enraeld's record price was set the next time one of his works appeared for sale in 2006. On this occasion Sotheby's re-offered the Purukapali figure which originally sold from the Dorothy Bennett collection in its 1997 sale for $17,250. By this time any work on offer by Enraeld was bound to cause a real stir and the 75 cm high ironwood carving with attached beeswax and feathers sold for $60,000. In 2015 and 2016 no less than 5 works were offered for sale, three of which came from the collection of Dutch uber-collector Thomas Vroom. In 2016, the failire to sell a Pukumani pole marked the artist's first failure at auction, bringing his sale rate down to a still incredible 95%. Less than a month later, a double-sided figure representing Bima and Purukapali sold for $29,280, marking the artist's 3rd highest result at auction. Enraeld Djulabinyanna Munkara is an artist of supreme interest. There are so very few of his works around, and all will eventually be collected into important public and private museums. Lucky is the private collector who owns one. Explore our artworks See some of our featured artworks below ANGELINA PWERLE NGAL - UNTITLED ( BUSH RAISIN MAN) Price AU$3,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Out of stock LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Price From AU$13,500.00 BRONWYN BANCROFT - UNTITLED Out of stock JOSHUA BONSON - SKIN: A CELEBRATION OF CULTURE Price AU$8,500.00 BOOK - KONSTANTINA - GADIGAL NGURA Price From AU$99.00 FREDDIE TIMMS - MOONLIGHT VALLEY Price AU$35,000.00 NEIL ERNEST TOMKINS - BURN THERE, DON'T BURN THERE Price AU$7,000.00 SHOP NOW

Artist Profile for Sonia Kurrara < Back Sonia Kurrara Sonia Kurrara ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE SONIA KURRARA - MARTUWARRA SOLD AU$2,000.00 top Anchor 1 PROFILE Sonia Kurrara 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 Samantha Napurrurla Wilson < Back Samantha Napurrurla Wilson Samantha Napurrurla Wilson ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE SAMANTHA NAPURRURLA WILSON - YURRAMPI JUKURRPA (HONEY ANT DREAMING) Sold AU$0.00 top Anchor 1 PROFILE Samantha Napurrurla Wilson 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 .

WHO x WHO 17 Thurlow Street, Redfern, Gadigal Art Leven x ANIBOU with Strutt Studios - An exhibition combining art, design & interiors 6 - 28 September 2024 Viewing Room WHO x WHO An exhibition combining art, design & interiors 6 - 28 September 2024 17 Thurlow Street, Redfern, Gadigal Art Leven x ANIBOU with Strutt Studios - An exhibition combining art, design & interiors "Supported by Sydney Contemporary, Art Leven is teaming up with our neighbours, ANIBOU. the destination for designer furniture and interior designers Strutt Studios. The Art Leven galleries will be transformed into seven individual spaces, each juxtaposing one important First Nations artwork and a single piece of design furniture, supplied by ANIBOU. and paired by Strutt Studios." VIEW CATALOGUE MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - DIBIRDIBI - TOPWAY price AU$20,000.00 DANIE MELLOR - TRUNK SHIELD price AU$5,000.00 SHIRLEY BANALANYDJU - PANDANAS MAT price AU$980.00 BLAK DOUGLAS - GONE TO THE DOGS price AU$15,000.00 ADRIAN JANGALA ROBERTSON - YALPIRAKINU price AU$3,300.00 DJIRRIRRA WUNUNGMURRA - YUKUWA (BUSH YAM) Sold AU$0.00 BLAK DOUGLAS - HILL'S WRONG price AU$5,000.00 ATTRIBUTED TO YUWUN YUWUN - UNTITLED price AU$1,500.00 POLY NGAL - ANWEKETY (CONKERBERRY) Sold AU$0.00 WhoxWho

GIVE A GIFT – GET A GIFT < Back A COO-EE CHRISTMAS 2015 Mar 21, 2021 GIVE A GIFT – GET A GIFT These small works are the perfect gift for friends, loved ones or to just spoil yourself. Not only are you getting a gift for someone special, but you are also giving back to the communities and the artists. This year we have included some lovely baskets and sculptures as well stunning paintings from over 6 communities. Come join us for a croissant and a mimosa as we celebrate another year. The entire Coo-ee team will be there after our momentous year with a live music performance. It will be a lovely day down here in Bondi. Previous Next Featured artworks Quick View ANGELINA PWERLE NGAL - UNTITLED ( BUSH RAISIN MAN) Price AU$3,000.00 Quick View ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Out of stock Quick View LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Price From AU$13,500.00 Quick View BRONWYN BANCROFT - UNTITLED Out of stock Quick View JOSHUA BONSON - SKIN: A CELEBRATION OF CULTURE Price AU$8,500.00 Quick View Book BOOK - KONSTANTINA - GADIGAL NGURA Price From AU$99.00 Quick View FREDDIE TIMMS - MOONLIGHT VALLEY Price AU$35,000.00 Quick View NEIL ERNEST TOMKINS - BURN THERE, DON'T BURN THERE Price AU$7,000.00

KUNINJKU AND BEYOND | Works From Maningrida Cooee Art Redfern - 17 Thurlow St, Redern, NSW 2016 Viewing Room KUNINJKU AND BEYOND | Works From Maningrida Cooee Art Redfern - 17 Thurlow St, Redern, NSW 2016 KUNINJKU AND BEYOND Works From Maningrida Exhibition | 7 - 28 February 2026 REGISTER YOUR INTEREST EXManingrida26

MICHAEL JALARU TORRES | TETHER Location: Cooee Art Paddington & Online From 21 April to 16 May 2020 MICHAEL JALARU TORRES | TETHER Artist: Michael Jalaru Torres From 21 April to 16 May 2020 MICHAEL JALARU TORRES | TETHER Artist: Michael Jalaru Torres From 21 April to 16 May 2020 Location: Cooee Art Paddington & Online Muluymuluy was the young wife of Wakuthi Marawili, one of the oldest and most revered elders in Arnhem land. Known as Banbay, ”blind one”, because of his poor eyesight, Wakuthi passed away on 2005. Today his sons Djambawa (winner of the 2019 Testra Art Award) and Nuwandjall play a large role in the day to day management of the large Madarrpa clan homeland, Yilpara and Muluyumuluy works with them producing important Madarrpa clan paintings. Her sister Mulkun Wirrpanda is also a senior artist. Muluymuluy holds extensive knowledge of native plants of North East Arnhem Land and her artwork embodies this knowledge. Amongst the plant species represented in her works, are berries, yams and other edible species including Buwakul (native grape), Dilminyin (scaly ash), and Ganguri/Manmuna (long yam). Her bark paintings depict Bulwutja, which grows in and around the billabongs and swampy areas on Madarrpa land. The plants grow in clumps after the rains and are pulled out in clumps, cooked underground or on coals, then mashed into a blackish grey paste that is tasty and nutritious. This paste can also be baked into a bread. VIEW CATALOGUE EX 199

TjampitjinpaOld W Old Walter Tjampitjinpa Old Walter Tjampitjinpa 1912 - 1981 Jampijinba, Djambidjinba, Old Walter Tulpulpa, Talpulpa, Talpana, Tjeinadjara Walter Tjampitjinpa was already a pensioner at the time Geoff Bardon first visited the Papunya settlement in 1971. He was known to have visited Hermannsburg as early as 1923, in the company of a large group of men and young boys on an exploratory visit from Pintupi country. Respected as an elder statesman of the community, he was one of the first of the Pintupi people to be re-settled at Papunya. He spoke little English yet was always kind and helpful to Bardon, who developed a deep affection for this tall and silent man. Once the Papunya School had shown some support for the men’s painting group and the possibility of earning extra income had been demonstrated by some early art sales in Alice Springs, Old Walter applied himself diligently and with immense concentration to developing his art practice. He had a strong sense of design that enabled him to sidestep controversial sacred material, while still conveying the sense of a deeply felt connection to country. Bardon recalls that, in all the time he knew Walter, he never once managed to raise a smile on that old man’s ‘inscrutable’ face. The comment reflects perhaps the underlying sadness that all of the Pintupi people carried as they attempted to forge a new life, exiled as they were from their traditional life and homelands by the government’s policy of forced assimilation. Old Walter was a senior custodian of Water Dreamings that run through Kalipinypa and most of his paintings were connected with water and the celebration of its life-giving force. He was particularly knowledgeable in regard to local Dreaming sites and it was he who was consulted for permission to use the traditional Honey Ant designs for the school mural that was to become such a potent landmark for the fledging painting movement. Old Walter’s restricted palette of traditional ochre colours gave a cohesive regularity to his compositions, which displayed the distinctive Pintupi leaning towards symmetrical structure. He was amongst the first to use the ‘U’ sign for humans, concentric circles for rockholes, and wavy lines for water flow, in endless variations and renditions of story. It was these archetypal symbols that first became clear to Bardon as a cultural iconography. They hold a physicality that is never fixed but reflects a constant reading of impressions upon the surface of the land. They tell of “a responsiveness in the earth” (Bardon 2004: 45) that prefigures the sacred meanings given to these desert dwellers by their country, signs that were often crucial to their survival in a harsh terrain. It is this interactivity between earth and humans, Bardon felt, that once had provided their raison d’etre and was now revisited through their imagination and memory. Old Water indicated to Bardon that for him the word ‘finished’ was an imposed concept when applied to a work of art. The word is used by Aboriginal people to speak of something ending or even death, whereas these Dreaming stories and their related features in the landscape, were eternal. Old Walter helped to bring the classic desert iconography to the Australian art world, setting in motion the national and international acclaim that followed. Like others of this generation, his paintings are sometimes remarked upon as the land seen from above or from an omniscient viewpoint. Seeing them as ‘Dreaming maps’ gives credence to Bardon’s observation that these artworks elucidate ‘space as an emotional idea’ (Bardon 2004). The human body in this haptic sense is continuous with the earth itself. Humans are ‘of the land’ and feel its being in a way that defies the limits of a visual panorama or an intellectual grasp. Bardon was struck by the artist’s need to use song and dance-like gestures to convey to him some understanding of the meaning held within these works; paintings which appear so 'severely abstract' but are so obviously filled with life and feeling (Bardon 2004: 49). Old Walter died in 1980. His paintings appear in Australia’s state and national galleries, contributing to the bedrock of our cultural identity. Old Walter Tjampajimpa’s paintings are at the most affordable end of the range of works created by the founding members of Bardon’s painting group. Because of his failing eyesight and age, he was unable to paint for many years before he passed away in 1980, before many of these artists entered the second phase of their development as painters. The supply of his works is therefore very limited. His highest selling work is a 52 x 61 cm iconic board titled Rainbow and Water Story 1972. This sold for $58,750 in Sotheby’s July 2001 auction (Lot 88). It eclipsed his previous record of $39,100 set in Sotheby’s June 1998 sale for a smaller, 45 x 46 cm work, Water Dreaming at Kalipinypa 1971 (Lot 31). Like most of the first Papunya painters, works created between 1971 and 1972 - Geoff Bardon's era - are by far the most sought after. In this category, Old Walter's clearance rate at auction has been over 90%, with an average price of over $15,000. Although many of Old Walter’s paintings are sparse in detail and not particularly appealing, a number have powerful imagery that demands attention and are not easily forgotten. Besides the top two selling works, there are several others that fit into this special category. Mysteriously, one of these, Water Story 1972, a 78 x 31.5 cm board, failed to reach its reserve in Deutscher-Menzies June, 1999 auction when estimated at only $25,000-$35,000. The other two works that have wonderful imagery and deserved to fare better when re-sold were Snake and Bush Tucker 1972, which originally attracted $35,750 at Sotheby’s in July 2001 (Lot 93) and dropped to just $21,600 in Sotheby’s July 2005 auction (Lot 266). Perhaps this can be explained by the fact that, in that particular Sotheby’s sale, a large number of 1971-2 Papunya boards were featured, and these two works in particular fared badly being offered right near the end of the sale. This may have given the impression that Sotheby’s were discounting the value of these paintings. It is likely, however, that whoever bought them will do very well when they are eventually offered for sale again, as Old Walter’s early paintings that can match these in quality, imagery, and content are scarce indeed. Old Walter did not live long enough to see the Desert painting movement become the dominant force in Australian Aboriginal painting, nor indeed to develop his career beyond a small number of intimately painted and spiritually charged boards. Due to their rarity, I consider these to be currently undervalued in the market, and with his record price still below $60,000, and only seven works having exceeded $25,000 in value, any of his special boards would seem to represent incredible value. Canny collectors should take note. 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

BLACK AND WHITE 17 Thurlow Street Redfern 11 May - 03 June 2023 BLACK AND WHITE KONSTANTINA (Kate Constantine) 11 May - 03 June 2023 BLACK AND WHITE KONSTANTINA (Kate Constantine) 11 May - 03 June 2023 17 Thurlow Street Redfern In this year of reflection, reform and referendum it’s hard to sit in the grey area. There is just black AND white. In this collection of works I tell truth, reclaim story and share culture that has long been taken from my Gadigal people. We’ve been colonised not once, but twice. Using only black AND white paint with the timeless practise of ochre milling and making my own natural pigment paints I explore this very racially charged theme of being both black AND white in the year of The Voice. – Kate Constantine. 2023. VIEW CATALOGUE EXHIBITION OPENING IMAGES KONSTANTINA - RAINING SERIES: DUBUWAAGULYA price AU$6,800.00 KONSTANTINA (KATE CONSTANTINE) - NARAGAYING II (BLACK) price AU$2,600.00 KONSTANTINA (KATE CONSTANTINE) - NARAGAYING Sold AU$0.00 KONSTANTINA - DALGAL (PIPPIS) (#3) Sold AU$0.00 KONSTANTINA - DYIN BANGADA: NGUNYUL Sold AU$0.00 KONSTANTINA (KATE CONSTANTINE) - GADIGAL WEAVE II (WHITE) price AU$6,200.00 KONSTANTINA - DYIN BANGADA: GAWULGUNG DARA Sold AU$0.00 KONSTANTINA (KATE CONSTANTINE) - RAINING SERIES: WARANJAM (THIS IS SYDNEY) Sold AU$0.00 KONSTANTINA - WARABURRA (FALSE SARSAPARILLA) Sold AU$0.00 KONSTANTINA (KATE CONSTANTINE) - RAINING SERIES: DARALABA (SOUTH HEAD) Sold AU$0.00 KONSTANTINA (KATE CONSTANTINE) - GADIGAL WEAVE II (BLACK) price AU$6,200.00 KONSTANTINA - DALGAL (PIPPIS) (#2) Sold AU$0.00 KONSTANTINA - DALGAL (PIPPIS) (#4) Sold AU$0.00 KONSTANTINA - BUGI YARRA (BATHE IN EUCALYPTUS) Sold AU$0.00 EX 249

OCEANIC ART FAIR 17 Thurlow St, Redern, NSW 2016 From 05 November to 05 November 2022 Viewing Room OCEANIC ART FAIR From 05 November to 05 November 2022 17 Thurlow St, Redern, NSW 2016

Artist Profile for Dennis Nona < Back Dennis Nona Dennis Nona ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE DENNIS NONA - KODALAD ZA (CROCODILE COMB III) Sold AU$0.00 top Anchor 1 PROFILE Dennis Nona 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 Sarrita King < Back Sarrita King Sarrita King ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE SARRITA KING - SANDHILLS Sold AU$0.00 top Anchor 1 PROFILE Sarrita King 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 .