Artist Profile for Yuyuya Nampitjin < Back Yuyuya Nampitjin Yuyuya Nampitjin ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE YUYUYA NAMPITJIN - ROCKHOLE AT UMARI Sold AU$2,200.00 top Anchor 1 PROFILE Yuyuya Nampitjin 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 .

TjapaltjarriPaddy Paddy Sims Tjapaltjarri Paddy Sims Tjapaltjarri 1916 - 2010 Paddy Tjapaltjarri Sims (1916-2010) was born south-west of Yuendumu prior to contact with Europeans. He began painting in the early 1980’s while passing on his knowledge to many of the young men at the Yuendumu school. There was concern among the Warlpiri elders at the time, that the young people were loosing touch with their cultural identity. In 1984, the school principle asked the senior men to paint ancestral designs on the school doors. In all, thirty doors were painted by Paddy Sims, Paddy Stewart, and three other countrymen. The five artists let loose with loud pinks, purples and blues in a confident gestural style, revolutionary and raw but also determinedly political. This ‘eruption of painting’ was characterized by large brushstrokes and a ‘messy’ finish, clearly distinguishing it from the earthy ochres and hard edge precision of Papunya works. After the doors were completed, thirteen huge collaborative canvases were painted by the men and brought south for the world to see. Their recognition and legitimization by the educational authorities at Yuendumu, helped to fuel the confident, flamboyant Warlpiri style that took the art world by surprise during the mid 1980’s. Over time Paddy Sims played a seminal role in refining this trademark style. By 1986, Warlukurlangu Artists had been established and Paddy became one of its principle male artists. He was selected by The Power Gallery, Sydney University, to travel to Paris with five other Warlpiri men from Yuendumu to create a ground painting installation at the exhibition 'Magiciens de la Terre' at the Centre Georges Pompidou. The trip took place in May 1989 and the painting was received with world-wide acclaim. Twelve years after their creation, having survived the harsh desert elements and school children’s graffiti, the ‘Yuendumu Doors’ were purchased by the South Australian Museum . They were taken away for a long period of restoration and subsequently toured nationally. In 2000 Paddy Sims and Paddy Stewart, the two principle participants, undertook to produce 30 etchings of the original Yuendumu Doors. Under the guidance of Basil Hall, Northern Editions Printmaker (Northern Territory University) they created a folio of prints that was received with great acclaim. It won the 16th National Aboriginal and Torres Strait Islander Art Award, for works on paper. From the moment he began painting Paddy Sims’ was revered as one of the greatest of all Warlpiri male artists. His paintings were included in numerous landmark exhibitions. Amongst them was Dreaming: The Art of Aboriginal Australia, The Asia Society Galleries, New York, 1988; The Continuing Tradition, Australian National Gallery, Canberra, 1989; and Mythscapes: Aboriginal Art of the Desert, National Gallery of Victoria, Melbourne, 1989. A Market Analysis will be available soon. 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 Barney Ellaga < Back Barney Ellaga Barney Ellaga 1939 Region: Southern Arnhem Land Community: Hodgson Downs Language: Alawa ARTIST PROFILE ARTIST CV MARKET ANALYSIS Barney Ellaga is a senior custodian and law-man of the Alawa community, located on the upper reaches of the Cox and Arnold rivers, south of the Roper River and west of the Gulf of Carpentaria. The area, known as Minyerri in Southern Arnhem Land, is rich with cultural heritage. READ FULL ARTIST PROFILE top Anchor 1 PROFILE Barney Ellaga 1939 Region: Southern Arnhem Land Community: Hodgson Downs Language: Alawa Barney Ellaga is a senior custodian and law-man of the Alawa community, located on the upper reaches of the Cox and Arnold rivers, south of the Roper River and west of the Gulf of Carpentaria. The area, known as Minyerri in Southern Arnhem Land, is rich with cultural heritage. Barney's artworks have a profound connection with the Dreamings associated with his region. As the Jungai (guardian) of several sacred sites, he has full authority over access by non-countrymen, ensuring the preservation of the traditions and heritage of these locations. His artistic style is unique and recognisable, characterised by vibrant colour combinations and a distinctive brushstroke technique. The artists from his area, particularly the Ngukurr community on the Roper River, have gained international acclaim. This recognition has been led by figures such as the late Ginger Riley Munduwalawala, as well as renowned painters Gertie Huddleston and her sister Angelina George. Their artworks, featuring fabulous modern colours and abstract representations of their landscapes, are highly prized and collectable. A central theme in many of Barney’s creations is the traditional men's body paint designs, used during ceremonial occasions, alongside the King Brown (snake) Dreaming. This narrative, which tells the story of earth creation, is vital to Barney's cultural heritage and connection to his land. ARTIST CV Individual Exhibitions: 2010: "New Paintings from Alawa Country," Alcaston Gallery, Melbourne. 2009: "Bush Honey - New Paintings," Alcaston Gallery, Melbourne. 2004: "All Alawa Country," Alcaston Gallery, Melbourne. 2002: "Painting Mambali Country," Alcaston Gallery, Melbourne. 2000: "All Alawa," Alcaston Gallery, Melbourne. 1999: "Alawa Country," Alcaston Gallery, Melbourne. Group Exhibitions: 2020: "Spirit Journeys: The Ngukurr School of Art – An Archival Exhibition," featuring Ginger Riley Munduwalawala, Willie Gudubi, Djambu Barra Barra, Wilfred Ngalandarra, and Barney Ellaga, Alcaston Gallery, Melbourne. 2020: 2011: "Ngukurr - The Place of Stones," featuring Gertie Huddleston, Angelina George, and Barney Ellaga, Muk Muk Fine Art, Alice Springs, NT. 2008: "Paintings from Remote Communities: Indigenous Australian Art from the Laverty Collection," Newcastle Regional Gallery, Newcastle, NSW. 2005: "Recent Work by Barney and Tibby Ellaga," Raft Artspace, Darwin. 2004: "All About Art," Alcaston Gallery, Melbourne; "Colour Power - Aboriginal Art Post 1984," The Ian Potter Centre, NGV Australia, Melbourne. 2003: "Art Miami," January, represented by Alcaston Gallery, Melbourne; "Bush Gardens of Roper River," Japingka Gallery, Fremantle, Western Australia. 2002: "Spirituality and Australian Aboriginal Art," touring exhibition, Alcaston Gallery, Melbourne; "All About Art," Alcaston Gallery, Melbourne; "Melbourne Art Fair," represented by Alcaston Gallery, Melbourne; "Water Country," Kluge-Ruhe Collection, October 11, 2002 – January 18, 2003, University of Virginia, USA; "Inaugural Exhibition at The Ian Potter Centre: NGV Australia at Federation Square," October 2002. 2001: "Spirituality and Australian Aboriginal Art," touring exhibition, Department of Culture, Regional Government of Madrid, Spain; "A Private View: 1971 – 2001, Thirty Years of Contemporary Aboriginal Art," McClelland Gallery, Melbourne, May 10 – June 23; "Space," Artists for Kids Culture Trust fundraiser exhibition & auction, Mira Fine Art Gallery, Melbourne; "All About Art," Alcaston Gallery, Melbourne. 2000: "Artfair 2000," represented by Alcaston Gallery, Melbourne; "All About Art," Alcaston Gallery, Melbourne. 1999: "All About Art," Alcaston Gallery, Melbourne. 1998: "Recent Acquisitions," National Gallery of Victoria, Melbourne. 1997: "Ngundungunya: Art for Everyone," National Gallery of Victoria, Melbourne; "Beat Strit – Art of South East Arnhem Land," Alcaston Gallery, Melbourne. 1996/97: "Café Alcaston," in conjunction with Alcaston Gallery, Melbourne. 1996: "All About Art," Alcaston House Gallery, Melbourne. 1995: Hogarth Galleries, Sydney in conjunction with Alcaston House Gallery, Melbourne; "The Twelfth National Aboriginal Art Award," Museum and Art Gallery of the Northern Territory. 1994: Gallerie Australis, Adelaide in conjunction with Alcaston House Gallery, Melbourne; "Australian Heritage Commission Art Award & Exhibition," Canberra. 1993: Alcaston House Gallery, Melbourne. 1992: "Gulf Country," Christine Abrahams Gallery, in conjunction with Alcaston House Gallery, Melbourne; "Ngundungunya Artists," Hogarth Gallery, Sydney in conjunction with Alcaston House Gallery, Melbourne. 1991: Alcaston House Gallery, Melbourne; "Tandanya Aboriginal River Calendar," SA. 1989: "Utopia & Ngukurr," Alcaston House Gallery, Melbourne. Awards: Bibliography: "Australian Heritage Commission, Second National Aboriginal and Torres Strait Islander Heritage Art Award and Exhibition Catalogue," Canberra, 1994. "Cries from the back of the truck echo down the years," Robin Usher, Arts Correspondent, The Age, April 5, 2000. "NGV Foundation Annual Report 2000," Image reproduction and acquisition details, National Gallery of Victoria, Melbourne, 2000. "Spirituality and Australian Aboriginal Art," exhibition catalogue, Al 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 .

TjampitjinpaMaxie Maxie Tjampitjinpa Maxie Tjampitjinpa 1947 - 1997 Maxi, Jampijinpa, Tjampitjimpa Maxie Tjampitjinpa grew up in Hassts Bluff and attended the school in Papunya during the late 1960’s, prior to the establishment of the Western Desert art movement. By the time Geoff Bardon began teaching at the school, Maxie had been to High School at Nightcliff in Darwin and was working in the Territory capital. On returning to Papunya in his early 20’s he worked as a tractor driver and Police tracker before starting to paint in 1980, just when many of the early painters were moving west in order to return to their homelands near the newly established community of Kintore. As one of the second generation Papunya Tula artists, Maxie began painting during a period when Desert art was moving towards a more individual form of expressiveness as artists moved beyond the limited iconographic lexicon formulated by the older artists in consultation with Geoff Bardon and Peter Fannin. He was instructed by Old Mick Wallankarri Tjakamarra, a man highly revered for his traditional knowledge and one of the senior custodians of the Honey Ant Dreaming centrally located at Papunya. Being Warlpiri, and having observed from afar the unfolding of the painting movement, Maxie was acutely aware of the polemic that had developed around the early paintings by the Pintupi elders and the dissenting attitude of his own Warlpiri elders to the use of ceremonial symbols and secret knowledge. When, he started to paint during the 1980’s, he was in his early 30’s and became one of the youngest to paint for Papunya Tula Artists. His own contemporaries were more acquainted with their mythological heritage through art and story rather than through the rigors of journey and ceremony, and thus brought a different emphasis to their practice. Maxie was a forerunner in moving away from recognizable design elements and symbols strictly tied to specific place and narrative, as he leaned more towards the qualities of atmosphere and movement. He invented and perfected the flicked dotting technique that became the mark of his own personal style thereby influencing many other Desert artists. From the outset, Maxie displayed a bold approach, both in his incorporation of basic, though increasingly pared-back, geometrical motifs and in his use of paint to create different effects. His manner of working was always precise and deliberate. A rapid stippling effect across the canvas could convey aspects of the land and its plant and animal life that lay submerged within the fixed iconography. The swarming of flying ants, the haze of heat or dust, and the movement of fire and drifting smoke, were all subjects that inspired Maxie’s prolific output. His love of painting was evident in the patient building of layer upon layer of vibrant contrasting colours to provide a sense of depth and complexity. In 1984 he won the National Territory Art Award amongst some controversy concerning the acceptance of Aboriginal acrylic painting as a bona fide contemporary art form as opposed to folk art. However the judge, Nancy Underhill, and other art professionals were adamant as to its high quality and creative genius. During the 1990’s Maxie relinquished the solid forms that provided focus to his works in favour of mesmerizing, shimmering surfaces. His bush fire series, first exhibited in Sydney in 1992, depicted the ancestral bushfire that raged across Warlpiri country leaving the earth blackened and waiting for rain and renewal. He, began to spend more time in Alice Springs where ‘boom conditions’ in the Aboriginal art market attracted a plethora of artists, dealers and buyers. He no longer worked for Papunya Tula preferring to paint for Warumpi Arts, set up by the Papunya Community Council, as well as for a number of independent dealers that were supportive of his art practice. While his works were shown in galleries throughout Australia, it was the period prior to any solo exhibitions by prominent Indigneous artists. As he gained renown and became a rising star, his art was included in important group exhibitions, and toured Europe in 1995 with the Robert Holmes a Court collection. Maxie Tjampitjinpa’s prodigious contribution to the burgeoning Aboriginal Art world was cut short by his early and untimely death from renal failure in 1997. He is remembered for his unique contribution as an innovative influence on Desert painting during the period when women were making a greater impression in the market and a number of male artists had embraced the modernist abstracted aesthetic that would propel Aboriginal art into the new millennium. Maxie Tjampitjinpa painted for Papunya Tula from 1981 until his death in 1997, yet, increasingly during the last five years of his life, he created works for Warumpi Arts and a number of independent dealers. They included Chris Simon, from whom the artist’s record holding work was originally sourced. Maxie’s growing ‘independence’ was due entirely to the fact that, suffering from the renal failure that eventually took his life, he underwent regular dialysis in Alice Springs. Having moved into town, he was no longer serviced by Papunya Tula, that would only supply art materials to artists living ‘out bush’. This is evidenced by the fact that only seven of the Papunya Tula works that have been offered for sale at auction were produced during the five years between 1993 and the year of his death. Interestingly no paintings created prior to 1987 have appeared for sale, other than a couple created for community contractors. When Bush Fire Dreaming sold for $16,730 at Bonham’s and Goodman in March 2006, it transcended a record that had stood for almost a decade during a period in which the Aboriginal art market had experienced a boom. The 180 x 180 cm work had carried an estimated of just $4,000-8,000 (Lot 1294). The previous record had been set for a whopping 256 x 184 cm canvas at Christie's in August 1998 (Lot 1106). Entitled Bushfire 1996, it had achieved only $13,800 against a presale estimate of $12,000-15,000, despite it’s Utopia Art Sydney provenance. Another work sold in 1998 occupies his seventh highest result and two more sold in 1998 and 1999 remain in his top 20. The best result achieved for a work with Papunya Tula provenance has been the $9,600 paid for Untitled 1996 a 183 x 122 cm painting that had been estimated at $8,000-12,000 by Sotheby's in July 2004 (Lot 302). The image depicted a bushfire at the site of Warlurkulanga, north-west of Papunya adjacent to sand dunes. While Sotheby’s have in fact been the most successful of all auction houses with works by this artist, having sold 13 for a total of $35,389, it is Lawson~Menzies with just eight sales to their credit that have generated $40,920. Works by Maxie Tjampitjinpa have suffered mixed results when offered for sale. They first appeared as early as 1989 when only one of the three offered sold for just $500. By far and away his best year at sale was 2004 when nine of 13 works sold for $55,200 or an average of $6,133 and five of his current top ten results were established. Nevertheless, only four works are recorded as having sold for more than $10,000 and only nine have sold for between $5,000 and $10,000. His most spectacular failures at auction have been for the beautifully rendered and unusual Spirit Women's Dreaming 1989, estimated at $12,000-15,000 by Lawson~Menzies in May 2004 (Lot 7) and the Papunya Tula provenanced 121.5 x 121.5 cm Fire Dreaming 1991 offered by Deutscher~Menzies in June 1999 (Lot 19) with an estimate of $15,000-20,000. Maxie Tjampitjinpa’s works are singularly distinctive, but his fortunes at auction have definitely been mixed as indicated by his low clearance rate. His career should be seen in the light of his special place in the development of the emerging Papunya men’s style of the 1990’s. Paintings by Maxie Tjampitjinpa should be judged more on their aesthetic value than their source provenance. They are still eminently affordable and are more than worthy of any fine contemporary collection. Having fallen out of favour in recent years, the work is overdue for a reassessment, as Maxie was an extremely talented artist with barely any unworthy works on the market – even his less accomplished works are still things of great beauty. 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

Opened on the 11 May, 2023 by Gadigal Elder Uncle Ray Davison & Professor Jakelin Troy along with a special musical performance by Indigenous singer Robbie Miller. < Back Exhibition Opening BLACK AND WHITE by KONSTANTINA Mirri Leven May 20, 2023 Opened on the 11 May, 2023 by Gadigal Elder Uncle Ray Davison & Professor Jakelin Troy along with a special musical performance by Indigenous singer Robbie Miller. Opened on the 11 May, 2023 by Gadigal Elder Uncle Ray Davison & Professor Jakelin Troy along with a special musical performance by Indigenous singer Robbie Miller. “In this year of reflection and reform, 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 away from my Gadigal people. We’ve been colonised not once, but twice” “Using only black AND white acrylic paint, with the timeless practice of ochre milling and incorporating my own natural pigment paints, I explore this very” Gadigal Elder Uncle Ray Davison Giving The Welcome To Country. Konstantina’s Works On The Gallery Walls – Dyin Bangada: Gawulgung Dara, Dyin Bangada: Ngunyul, Mula Magalyinyara #2 And Mula Magalyinyara #1 . Spectator Admiring Konstantina’s Work – Titled Bugi Yarra (Bathe In Eucalyptus). Konstantina (Kate Constantine) is a proud Gadigal woman of the Eora nation and a contemporary Indigenous artist. She reimagines the artistic traditions of her people and provides a modern narrative for all Australians to better understand First Nations People as the fabric of Australia. Councillor (Waskam) Emelda Davis, Konstantina And Professor Jakelin Troy. Cooee Art, Director, Mirri Leven, Giving Opening Night Speech. Spectators Admiring Konstantina’s Work – Titled Raining Series: Ngia Ni Waran. Konstantina Giving Her Speech On Opening Night. As a descendant of the Gadigal people, Konstantina is passionate about her language, culture and history, much of which has been lost, misplaced, or manipulated since the dawn of Colonisation.Through her extensive research, Kate relays the truthful histories of her people and is actively involved in revitalising the Gadigal language through her relationship with Professor Jaky Troy at Sydney University to breathe life into the sleeping native tongue of the Eora Nation. Kate is a board member of the Aboriginal Art Association of Australia (AAAA), which represents the interests and amplifies the voices of all Aboriginal artists and galleries. View Konstantina's artworks here 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

Artist Profile for Goodie Barratt < Back Goodie Barratt Goodie Barratt ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE GOODIE BARRATT - UNTITLED SOLD AU$480.00 top Anchor 1 PROFILE Goodie Barratt 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 George Tjungarrayi Ward < Back George Tjungarrayi Ward George Tjungarrayi Ward ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE GEORGE TJUNGARRAYI WARD - CLAYPAN AND SOAKAGE SITE, PINKARRU SOLD AU$6,500.00 GEORGE TJUNGARRAYI WARD - TINGARRI SOLD AU$1,000.00 GEORGE TJUNGARRAYI WARD - TINGARI SOLD AU$2,900.00 top Anchor 1 PROFILE George Tjungarrayi Ward ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

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

Artist Profile for Jeffrey Jangala Gallagher < Back Jeffrey Jangala Gallagher Jeffrey Jangala Gallagher ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE JEFFREY JANGALA GALLAGHER - YANKIRRI JUKURRPA (EMU DREAMING) - NGARLIKUR ... SOLD AU$5,200.00 JEFFREY JANGALA GALLAGHER - YANKIRRI JUKURRPA (EMU DREAMING) - NGARLIKUR ... SOLD AU$1,600.00 top Anchor 1 PROFILE Jeffrey Jangala 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 .

PetyarreGreen Greeny Purvis Petyarre Greeny Purvis Petyarre 1930 - 2010 Greenie Purvis Petyarre was the most successful male artist in an artistic dynasty that includes his aunt Emily Kngwarreye, cousin Gloria Petyarre and a number of blood sisters and half sisters. A highly respected tribal elder for Alhalkere country, he was born at Boundary Bore around 1930 where he lived until his death in 2010 with his wife Kathleen and their four daughters, all of whom paint. Greenie began his art practice in the early 1980’s alongside Lindsay Bird, Cowboy Louie Pwerle and several other men, prior to the Utopia ‘summer project’ organized by the Central Australian Aboriginal Media Association CAAMA. While a number of these men began by painting bold linear patterns representing ceremonial grounds and traveling lines, Greenie, from the outset, approached his canvases with far greater intimacy. Over time he revealed himself to be a very spiritual painter with a deep understanding and love for his country. He moved back and forth in his painting between three distinct and easily recognizable styles while rendering his Dreamings, which include Bush Plum, Yam, Emu, Turkey and Kangaroo. In works which most closely resemble those of his countrywoman Kathleen Petyarre, Greenie created fields of minute dots that imitate the subtle shifts of colour and texture, indicating underground water and slight variations in the landform of Alhalkere country. Delicate colour shifts may indicate different stages in the development of the yam seed from germination to maturity, the season and the plant’s eventual decline. A second body of works, though rendered with equal unparalleled delicacy, features regularly scattered roundels with bands of the finest dotting radiating and interconnecting. These more structured and subtly coloured works can be so very delicate as to belie the fact that they were created by a man in his 70’s. His last body of work was painted in a strong linear style of which this particular work is a fine example. These paintings tend to be far more highly colour charged and are said to depict the root system of the bush tucker plant and the colours of the wildflowers that spring forth after rain. In these linear works, Greenie employed only one layer of paint, rarely reworking his line with a resultant variation in the texture of the finished artwork. This particular example is one of his largest and most impressive in this style. Painted in October 2006 it measures 187cm x 204cm. The viewer is at first attracted by the work’s size, and its mesmeric bands of colour. Its format creates a vortex. When viewed over time it creates its own internal space and draws you in without being overwhelmed. Regardless of style, Greenie’s paintings reflected his unpretentious personality - quietly unassuming but with that feeling of endurance and respect. Over the years he painted for a variety of dealers including Delmore, Mbantua Gallery and in more recent days Lauraine Diggins who introduced his works to audiences in the U.K., Russia and France. He was represented in the first ever National Aboriginal Art Award in 1984 and was a finalist in the Telstra Art Awards as recently as 2004. His paintings have also been included in numerous important group exhibitions and two solo exhibitions at Gabrielle Pizzi Gallery in Melbourne in 2000, and the Hogarth Galleries in Sydney in 2003. Important collections that hold his work include the Art Gallery of South Australia, Artbank, The Aboriginal Art Museum in Utrecht, The Museum de Lyon, France, and the Thomas Vroom Collection in Amsterdam. While his clearance rate at auction is poor, his highest price is still the respectable $17,625 paid at Bonham’s and Goodman in November 2004 for a Mbantua Gallery provenanced work that carried a presale estimate of $15,000-25,000 (Lot 13). It was a slightly disappointing result for a work created in 1999, which measured a whopping 120 x 270 cm. Nothing has entered his top ten best results since 2008, which is unusual taking into account the fact that he passed away in 2010 and the market would have reacted. Nonetheless, his results have been respectable. Most recently, 2017 saw 5 works from the Thomas Vroom collection go to auction, all of which sold for an average price of $2,753, making him the 52nd most successful artist of the year against a career rankin of 157th. Greenie continued to paint at Boundary Bore and at Camel Camp until his death in 2010, creating works of which a very high proportion are rendered with the greatest integrity and intimate detail. The best of these are a pleasure to behold, and a privilege to possess. 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

NapangardiPansy Pansy Napangardi Pansy Napangardi 1940 Born in Haasts Bluff c.1940 to a Luritja mother and a Warlpiri father, Pansy Napangardi was for a long time the leading female artist of Papunya Tula. Long before the international art world embraced Emily Kngwarreye, Pansy Napangardi was growing up in Papunya, watching the desert art founders as they painted. A totally unaffected, extremely pretty young woman, she became the first professional female desert painter amongst the Luritja and Warlpiri, much like Linda Syddick Napaltjarri was to the Pintupi. As soon as she was married and about a decade before Papunya started supplying women artists with their own painting supplies, Pansy moved to Alice Springs. She sold her work independently until the mid 1980s, when she returned to Papunya. In 1989, she won the National Aboriginal Art Award and a solo exhibition at the Sydney Opera House followed the same year. Another followed with Gabrielle Pizzi Gallery in Melbourne. Pansy’s reputation flowered at the very moment that the attributes of personal style and expressive ability had become highly prized by collectors. Unfettered by convention, she developed a technique of applying multi-coloured dots by dipping the point of her painting stick directly onto the meniscus of a range of complementary colours. She became the most prominent female artist at Papunya Tula from the late 1980s to the mid 1990s, but later reverted to practising as an independent artist for a range of private dealers. Her sister, Eunice Napangardi, is a renowned Aboriginal artist, her youngest brother Brogas Tjapangati paints for Papunya Tula and her sister, Alice Napangardi, was first married to Kaapa Tjampitjinpa and later his younger brother and fellow artist Dinny Nolan. Pansy Napangardi is a unique artist, whose work deals with her traditional beliefs and cultural heritage in a truly original style. Collection: Artbank, Sydney. Central Collection, Australian National University, Canberra. Donald Kahn collection, Lowe Art Museum, University of Miami. Gabrielle Pizzi Collection, Melbourne. Museum and Art Gallery of the Northern Territory, Darwin. National Gallery of Australia, Canberra. National Gallery of Victoria, Melbourne. The Kelton Foundation, Santa Monica, U.S.A The Queensland Art Gallery, Brisbane. The Robert Holmes a Court Collection, Perth. Subjects: Seven sisters, hail, desert raisin, two women, Wiyanpiri Rockhole. Individual Exhibitions: 1988, Sydney Opera House. 1989, Gallery Gabrielle Pizzi, Melbourne. 1991, Gallery Gabrielle Pizzi, Melbourne Group Exhibitions: 2007 - St-art European Art Fair, Artists displayed:, Lucky Morton Kngwarreye, Walangari Karntawarra Jakamarra, Ningie Nangala, Susie Hunter Petyarre, Andrea Martin Nungarrayi, Josephine Napurrula, Pansy Napangardi, Galuma Maymuru, Julie Robinson Nangala, Milminya Dhamarrandji, Alick Tipoti, Samson Bonson, Eddie Aning-Mirra Kerry, Haleema Djorlom, Bronwyn Kelly, James Iyuna, Stephen Kawurlkku, Arts d'Australie, Stephane Jacob, Strasbourg, France; Papunya Painting - Out of the desert, National Museum of Australia, Canberra. 2004 - Art Aborigine Pour Tous, Galerie DAD, Mantes-la-Jolie, France; Kuniya Pilkarti, Gallery Gabrielle Pizzi, Melbourne; Mythology and Reality - Contemporary Aboriginal Desert Art from the Gabrielle Pizzi Collection, Heidi Museum of Modern Art, Melbourne. 2000 Arts d’Australie, Arts d'Australie , Stéphane Jacob / Galeries Lafayette, Paris; Papunya Tula: Genisus and Genius, Art Gallery of New South Wales, Sydney. 1999 - Salon Grands et jeunes d’Aujourd’hui, Arts d'Australie , Stéphane Jacob / Espace Eiffel Branly, Paris. 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. 1994, Dreamings - Tjukurrpa: Aboriginal Art of the Western Desert; The Donald Kahn collection, Museum Villa Stuck, Munich; 1994, Jukurrpa Artists, Australian Heritage Gallery, Watson, ACT; 1994, Central Australian Aboriginal Art and Craft Exhibition, Araluen Centre, Alice Springs; 1994, The Eleventh National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin; 1994, Power of the Land, Masterpieces of Aboriginal Art, National Gallery of Victoria. 1993/4, ARATJARA, Art of the First Australians, Touring: Kunstammlung Nordrhein-Westfalen, Dusseldorf; Hayward Gallery, London; Louisiana Museum, Humlebaek, Denmark. 1993, Aboriginal Art Exhibition, Kung Gubunga, Oasis Gallery, Broadbeach,Qld; 1993, Central Australian Aboriginal Art and Craft Exhibition, Araluen Centre, Alice Springs; 1993, The Tenth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin; 1993, Ten years of acquisitions,from ANU collection, Drill Hall Gallery ACT; 1993, Central Australian Aboriginal Art and Craft Exhibition, Araluen Centre, Alice Springs. 1991/92, Friendly Country, Friendly People, Touring Exhibition, through Araluen Centre, Alice Springs. 1991, Australian Aboriginal Art from the Collection of Donald Kahn, Lowe Art Museum, University of Miami, USA; 1991, Aboriginal Art and Spirituality, High Court, Canberra; 1991, Aboriginal Women's Exhibition, Art Gallery of New South Wales, Sydney. 1990, l'ete Australien a' Montpellier, Musee Fabre Gallery, Montpellier, France.; 1990, National Gallery of Modern Art, Rome. 1989, Mythscapes, Aboriginal Art of the Desert, National Gallery of Victoria; 1989, The Sixth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin. 1988, The Inspired Dream, QAG, Brisbane.; 1988, Gallery Gabrielle Pizzi, Melbourne. 1988, ANCAAA and Boomalli, Boomalli Aboriginal Artists Ko-operative, Sydney. 1987, The Fourth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin. 1987, Gallery Gabrielle Pizzi, Melbourne. Awards: 1989 - Winner National Aboriginal and Torres Strait Islander Art Award. Bibliography: Australian Aboriginal Art from the Collection of Donald Kahn, 1991, Lowe Art Museum, University of Miami, USA 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) Isaacs, J., 1989, Australian Aboriginal Paintings, Weldon Publishing, New South Wales. Johnson, V., 1994, The Dictionary of Western Desert Artists, Craftsman House, East Roseville, New South Wales. (C) 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) Ryan, J., 1989, Mythscapes Aboriginal Art of the Desert from the National Gallery of Victoria, exhib. cat., National Gallery of Victoria, Melbourne. (C) West, M. (ed.), 1988, The Inspired Dream, QAG, Brisbane. 1988, ANCAAA and Boomalli, exhib. cat., Boomalli Aboriginal Artists Ko-operative, Sydney. (C) 1991, Aboriginal Women's Exhibition, exhib. cat., Art Gallery of New South Wales, Sydney. Bardon, Geoffrey; Ryan, Judith; Pizzi, Gabrielle; Stanhope, Zara., Mythology and Reality - Contemporary Aboriginal Desert Art from the Gabrielle Pizzi Collection, Heidi Museum of Modern Art, Melbourne. Johnson, Vivien.(Editor), Papunya Painting: Out of the Desert, National Museum of Australia, Canberra, 2007. Paintings by Pansy Napangardi made their earliest appearance at auction in 1989, the year Gabrielle Pizzi staged her first solo exhibition in her eponymous Melbourne gallery. No less than 11 paintings had appeared in the secondary market without distinction before Sotheby’s offered a 122 x 122 cm work entitled Watersnake Dreaming at Pikilli (Vaughan Springs), 1989, in its June 1995 Contemporary and Aboriginal Art Sale. The painting sold for $3680. In June 1997, two works sold at Phillips auctions for $3,740 and $3,630 respectively, and six months later Leonard Joel set a new record with Kunga Kutjara Dreaming, which sold for $7,425 (Still the artist’s 5th highest price on public record). The artist’s current record price was established in 2005 when Lawson~Menzies sold Pililli, c.1995 for $10,800 and a further 12 works have achieved prices greater than $5000. Even so, with a success rate of 63% and 80 works finding new homes out of the 127 offered for sale, so many works have gone for such low prices that her average result at auction is just $2,534. Pansy rarely painted for Papunya Tula after the 1980s and managed her own career thereafter with the help of her European husband. For this reason Sotheby’s, have offered only 6 works by this artist since 1990. Bonhams and Christies have handled even fewer. Though Pansy Napangardi has been an important ‘town’ artist and the winner of the National Aboriginal Art Award in 1989, she is known to have had only 3 solo exhibitions, and these were held at the genesis of her career between 1989 and 1991. Though her works are distinctive and she is strong in the literature, the prices of her works have never hit the stellar heights of several of her contemporaries and are unlikely to do so in the future unless something exceptional is unearthed. 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

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