Artist Profile for Maggie Watson Napangardi Also know as: Maggie Napangardi Ross < Back Maggie Watson Napangardi Also know as: Maggie Napangardi Ross Maggie Watson Napangardi 1921 - 2004 Also know as: Maggie Napangardi Ross Region: Tanami Desert Community: Yuendumu Language: Warlpiri Art Centre: Warlukurlangu ARTIST PROFILE ARTIST CV MARKET ANALYSIS Maggie Watson Napangardi’s journey into painting began late in life, at the age of 60, but by the time of her death in 2004, she had firmly established herself as the leading female artist of Yuendumu, a remote Warlpiri settlement 300 kilometres northwest of Alice Springs. Yuendumu, located at the southern edge of Warlpiri land, became the heart of this desert community after the forced resettlement of its people in the 1950s. It was here that emerged as a formidable figure, challenging the longstanding male dominance of the Central Desert painting movement. READ FULL ARTIST PROFILE MAGGIE WATSON NAPANGARDI - WOMEN'S STORY Sold AU$0.00 MAGGIE WATSON NAPANGARDI - HAIR STRING AND SNAKE VINE DREAMING Sold AU$0.00 MAGGIE WATSON NAPANGARDI - NGALYAPI VINE (SNAKE VINE) Sold AU$0.00 MAGGIE WATSON NAPANGARDI - MINA MINA Sold AU$0.00 MAGGIE WATSON NAPANGARDI - KANA, DIGGING STICKS Sold AU$0.00 top Anchor 1 PROFILE Maggie Watson Napangardi 1921 - 2004 Region: Tanami Desert Community: Yuendumu Language: Warlpiri Art Centre: Warlukurlangu Maggie Watson Napangardi’s journey into painting began late in life, at the age of 60, but by the time of her death in 2004, she had firmly established herself as the leading female artist of Yuendumu, a remote Warlpiri settlement 300 kilometres northwest of Alice Springs. Yuendumu, located at the southern edge of Warlpiri land, became the heart of this desert community after the forced resettlement of its people in the 1950s. It was here that emerged as a formidable figure, challenging the longstanding male dominance of the Central Desert painting movement. From the mid-1980s, Maggie Watson was a central figure in a group of women artists whose work not only rivalled but reshaped the cultural and artistic landscape. Their emergence in Yuendumu, and simultaneously in Utopia, where the Anmatyerr and Alyawarre peoples were forging their own path, marked a pivotal shift. The notion that men alone were the custodians of the visual traditions of these communities was decisively overturned. These women, including Maggie, moved from painting ritual objects to producing works on canvas, aided by the introduction of acrylic paints. This transition was not just a stylistic shift but one that allowed their art to reach broader audiences beyond the desert. Maggie Watson quickly became a leader within the Warlukurlangu Artists cooperative, which was established in the mid-1980s. Her work was part of Yuendumu’s first public exhibition at the Araluen Arts Centre in Alice Springs in 1985, with her first commercial show following two years later at Sydney’s Hogarth Galleries. Her reputation grew with the 1988 exhibition Yuendumu: Paintings of the Desert at the South Australian Museum, a show that toured nationally and internationally. At the heart of Maggie Watson’s oeuvre lies the Warlpiri women’s Dreaming of the Karntakurlangu, a rich, ancient narrative that follows the travels of ancestral women across the desert. This Dreaming, shared by fellow artists like Dorothy Napangardi Robertson, tells of women equipped with digging sticks that magically emerged from the earth to aid their journey, gathering food and creating sacred sites along the way. As they danced across the desert, these women, their movements and chants, left an indelible mark on the landscape, which remains central to Warlpiri ceremony. Watson Napangardi’s paintings are instantly recognisable for their rhythmic, linear precision, achieved through intricate dotting. Bands of alternating colour give her works a hypnotic quality, mimicking the movements of Warlpiri women as they dance in ceremony. Her embrace of acrylic paints, with their glossy finish, reflected the Warlpiri’s cultural reverence for shimmering surfaces, seen as symbols of ancestral beauty. Maggie’s confident use of colour—vivid yet never garish—became a defining feature of her work. She favoured soft pastels, with yellows, turquoise, and a clear sky blue adding to the allure of her carefully rendered compositions. Most of her major works were produced in collaboration with her son-in-law Peter van Groessen, with whom she worked in studios in Adelaide and Alice Springs in the 1990s. These works, often large in scale, were primarily sold through Kimberley Art in Melbourne and a gallery in Chicago, contributing to her growing recognition. Today, she is regarded as one of Australia’s most important female Aboriginal artists. Watson’s impact extended beyond her individual works. She played a key role in the creation of a 7 x 3 metre canvas commissioned in 1991 for the Aratjara: Australian Aboriginal Art exhibition, which toured Europe in 1993. Her contribution to the Australian National Gallery’s Warlpiri collection in 1992 further solidified her legacy. Despite Maggie Watson’s passing in 2004, her influence continued to resonate through numerous posthumous exhibitions. In 2012, her vibrant works were featured in The Bright The Bold & The Beautiful at Coo-ee Aboriginal Art Gallery in Sydney, alongside prominent figures like Sally Gabori and Minnie Pwerle, highlighting her lasting impact on the Aboriginal art movement. In 2008, Watson’s pieces were displayed in Paintings from Remote Communities: Indigenous Australian Art from the Laverty Collection at Newcastle Regional Gallery, affirming her position in the canon of Indigenous art. Her inclusion in Colour Power – Aboriginal Art Post 1984 at the National Gallery of Victoria in 2004 celebrated her contributions to the broader narrative of contemporary Aboriginal art, demonstrating how her work continued to captivate audiences well after her passing. Internationally. These exhibitions, held after her death, reflect the enduring fascination with her art and its relevance across different cultural contexts. Even in her absence, Maggie Watson’s work maintained its power, connecting deeply with both national and global audiences. ARTIST CV Selected Collections: Art Gallery of Western Australia, Perth. Flinders University, Adelaide. Musee National des Arts Africains et Oceaniens, Paris, France. National Gallery of Australia, Canberra. National Gallery of Victoria, Melbourne. Private Collections. South Australian Museum, Adelaide. The Kelton Foundation, Santa Monica, U.S.A. Selected Group Exhibitions: 2012 - The Bright The Bold & The Beautiful Coo-ee Aboriginal Art Gallery, Sydney, featuring the work of Sally Gabori, Rosella Namok, Emily Kngwarreye, Gloria Petyarre, Eubena Nampitjin, Lorna Fencer Naparrula, Maggie Napangardi Watson, Christine Yukenbarri and Minnie Pwerle. 2008 - Paintings from remote communities: Indigenous Australian art from the Laverty collection, Newcastle Regional Gallery, Newcastle, NSW. 2004 - Colour Power - Aboriginal Art Post 1984, National Gallery of Victoria Federation Square, Melbourne. 1995 - Cleveland Centre for Contemporary Art, Cleveland, Ohio, U.S.A.; Sutton Gallery, Melbourne; SOFA (Sculpture,Objects and Functional Art), Miami, U.S.A.; SOFA, Chicago, USA; National Aboriginal and Torres Strait Islander Art Award, Museum and Art Gallery of the Northern Territory, Darwin;Mina Mina, Hogarth Galleries, Sydney.. 1994 - Power of the Land, Masterpieces of Aboriginal Art, National Gallery of Victoria; Armstrong Gallery, Florida; The Assembly Hall of the Territorial Parliament, Tahiti, French Polynesia; Palm Beach Community College Art Gallery, West Palm Beach, Florida, U.S.A.; Adelaide Town Hall, Adelaide (in conjunction with The Adelaide Festival); Interamerican Art Gallery, Miami, Florida, U.S.A.; Looking towards the Future: Contemporary Aboriginal Art, Flinders University Art Gallery, Adelaide; Sutton Gallery, Melbourne; Chicago Art Fair, Chicago,U.S.A.; Echoes of the Dreamtime, Osaka, Japan; The Asia Pacific Museum, California, U.S.A. (Kelton Collection); S.O.F.A. (Sculpture, Objects and Functional Art), Chicago, U.S.A.; 1994 - 11th Telstra National Aboriginal & Torres Strait Islander Art Award, Museum and Art Gallery of the Northern Territory, Darwin, NT, finalists exhibition 1993 - Awake To The Dreamtime, Kelton Foundation Collection, The San Diego Museum of Man U.S.A.; Adelaide Town Hall, Adelaide (Pacific Arts Symposium); Aratjara - Art of the First Australians, Kunstsammlung Nordrhein Westfalen, Dusseldorf, West Germany; Musee National des Arts d'African et d'Oceanie, Paris; Chicago Art Fair, Chicago, USA; Artajara, Haywood Gallery, London, UK; Central Australian Aboriginal Art and Craft Exhibition, Araluen Centre, Alice Springs; Bellas Gallery, Brisbane; Sutton Gallery, Melbourne; Tjukurrpa, Desert Dreamings - a survey of central desert art 1971 – 1993, Art Gallery of Western Australia, Perth; Alice Prize Exhibition, Araleun, Alice Springs; CINAFE (Chicago International New Art Forms Exposition), Chicago,U.S.A; Hogarth Gallery of Dreams, Sydney; La Peinture des Aborigenes d'Australie, Musee - des Arts d'Afrique et d'Oceanie, Paris. 1992 - The Haven Gallery, Melbourne; Les Maitres du Reve', Palais Rontaunay, St Denis, Carrefour des Cultures de l'Ocean Indien, Paris, France; The Long Gallery, Hobart; Dreamtime gallery, Gold Coast; Araluen Gallery, Alice Springs; Manyuku, Melbourne; Alliance Francais, Canberra; Hogarth Gallery, Sydney. 1991 - Dreamscapes, Mendelson Gallery, Pittsburgh, Pa, USA; Auckland City Art Gallery, Auckland, New Zealand; Araluen Arts Centre Alice Springs; The Painted Dream: Contemporary Aboriginal Paintings from the Tim and Vivien Johnson Collection, Auckland City Art Gallery and Te Whare Taonga o Aoteroa National Art Gallery, New Zealand; Central Australian Aboriginal Art and Craft Exhibition, Araluen Centre, Alice Springs; Aboriginal Women's Exhibition, Art Gallery of New South Wales, Sydney; Darwin Performing Arts Centre, Darwin; Albert Hall, Canberra; Hogarth Gallery of Dreams, Sydney; The Womens Gallery, Melbourne. 1990 - South Australian Museum Shop Adelaide Festival; Dreamscapes, Rosequist Galleries, Tucson, Arizona, USA.; Darwin Performing Arts Centre Darwin; Dreamtime Gallery Gold Coast Qld.; F.O.E. Community Art Space Melbourne; Hogarth Gallery of Dreams Sydney.; I.U.N.C. (showing at Hilton Hotel) Perth; Women's Exhibition. The Women's Gallery, Melbourne.. 1989 - F.O.E. Community Art Space Melbourne; Chesser Gallery Adelaide; F.O.E. Community Art Space Melbourne; Hogarth Gallery of Dreams Sydney. 1988 - Yuendumu: paintings out of the desert. S.A. Museum; The Inspired Dream, Life as art in Aboriginal Australia, Museum and Art Gallery of the Northern Territory and touring internationally; Bellas Gallery Brisbane; Hilton Hotel (Naidoc Week) Adelaide. 1987 - Blaxland Gallery Sydney; Chapman Gallery Canberra; Karnta Exhibition Hogarth Gallery Sydney. 1986 - Editions Gallery Perth; Araluen Arts Centre Alice Springs. 1985 - Araluen Alice Springs. Bibliography: Dussart, F., 1993, La Peinture des Aborigines D'Australie, Editions Parentheses, Marseille, France. Johnson, V., 1994, The Dictionary of Western Desert Artists, Craftsman House, East Roseville, New South Wales. (C) ; Johnstone, C (Dir) The Painted Dream: Contemporary Aboriginal Paintings From Tim And Vivien Johnson Collection, Auckland City Art Gallery, Auckland New Zealand 1990 Morphy, H. and Boles, M.S. (eds.) Art from the land, University of Virginia Press, Virginia, U.S.A., 1999. Perkins, H. (ed.) Aboriginal Women's Exhibition, Art Gallery of New South Wales, Sydney 1991. Ryan, Judith (editor), Colour Power - Aboriginal Art Post 1984, National Gallery of Victoria, Melbourne, 2004 (C). Sutton, P. (ed.) Dreamings: The Art of Aboriginal Australia, Viking, New York 1988. West, M. (ed.) The Inspired Dream, Queensland Art Gallery, Brisbane 1988 West, M. Les Maitres du Reve, Palais Rontaunay - St Denis, Carrefour des Cultures de l'Ocean Indien, Paris France 1992 Market Analysis MARKET ANALYSIS Maggie Watson Napanagardi has exhibited a varied performance in the auction market over the past decade, characterised by fluctuations in both sales volume and total value. Nevertheless, until 2023, when Sally Gabori overcome her in secondary market sale values, she remained second only to Emily Kngwarreye among female Indigenous artists—a remarkable feat considering the plethora of female artists that have emerged since the early 1990s. This distinction alone warrants attention from potential investors. Among the recent results, an important work, Hair String Dreaming (1997), was sold at Menzies on June 28, 2023, for A$27,000. Her famous Mina Mina Dreaming (1995) was auctioned at Cooee Art Leven on March 5, 2024, achieving a sale price of A$110,455, indicating strong collector interest and reinforcing Watson's position in the contemporary art market. In addition, Digging Stick Dreaming (1995-1996), a large work measuring 201 x 351 cm, was auctioned at Cooee Art Leven on November 8, 2023 and sold for A$122,727. This sale further emphasises Watson's market presence, showcasing a healthy price point and increasing demand for her larger works. The achievement above the estimate suggests growing recognition of her talent and importance within the contemporary Indigenous art scene. Maggie Napanagardi Watson’s work first emerged at auction in 1996, marking the beginning of a journey that would see her become one of the most significant female artists within the Australian Indigenous art market. The staggering A$348,000 for her record-breaking work, Mina Mina Dreaming (1995) set a new benchmark for her career in 2008 amid an overall market downturn. Despite her rising stature as an artist of considerable interest, Maggie Watson's sales results have been somewhat impacted by the frequent reappearance of Digging Stick Dreaming, often lauded as her magnum opus. Initially sold at Lawson~Menzies in November 2005 for A$216,000, including buyer's premium, this piece marked her highest recorded price at the time. Two years later, it sold again, this time for A$336,000, and it has been resold multiple times since, accounting for her second, third, fourth, fifth, and sixth highest recorded auction prices. Watson's reputation as one of the foremost female artists from the Central Desert has largely been built on works that are not directly linked to art centres, instead gaining prominence through the galleries that first sold them and through inclusion in various thematic exhibitions. The valuation of her paintings has surged dramatically since 2000, when larger canvases created in the mid-1990s—centered around her Bush Mushroom stories—commanded prices around A$20,000. A notable instance occurred in March 2014, when a significant rendition of Mushroom Dreaming (1995), with art centre provenance, sold for A$66,000 at Deutscher and Hackett's auction of the Ainsworth Collection. While this was noted as her 14th highest result, it stood as the top price for a work associated with Warlurkurlangu Artists, her community art centre. Despite an excellent success rate of 68% without experiencing a decline in auction appreciation, Watson’s fortunes took a downturn in 2012, with four works offered but none selling. The following year, only two of four works found buyers. In 2014, Watson only had one work offered, which sold for A$66,000. This initial success established a positive foundation for her future sales. The following year, 2015, marked a significant upswing as five works were offered, all selling for a remarkable total of A$434,527. This surge indicated a strong demand for her art and an expanding collector base. However, 2016 saw a downturn, indicating a challenging period for her market, suggesting potential fluctuations in buyer interest. The market began to recover in 2017, with two works sold for A$195,071, despite three remaining unsold. This demonstrated renewed engagement from collectors and highlighted the desirability of her pieces. In 2018, the total value dropped significantly to A$15,720 from two works offered, with three remaining unsold. This dip may reflect varying collector interest or pricing strategies that did not meet market expectations. The year 2019 continued the trend of limited activity, with only one work sold for A$6,000, underscoring ongoing volatility and potentially lower buyer engagement. The year of 2020 was a turning point, as four works were offered and sold for a robust total of A$174,032. This revival illustrated a renewed confidence in Watson’s work among collectors. One of her notable pieces, Digging Stick Story (1995), was auctioned at Sotheby's New York on December 4, 2020, and sold for USD 88,200 (A$118,708), demonstrating significant market confidence and falling within the upper range of its estimate. This strong performance reflects the increasing desirability of Watson's works, particularly those from her early career. In 2021, only one piece was sold for A$22,091, indicating a drop in volume. The following year, 2022, saw two works offered, either of which sold, resulting in a total of A$20,010. Maggie Watson's works have shown considerable promise in the auction market, with recent sales highlighting both the strength and volatility of her portfolio. 2023 marked a resurgence with three works sold, generating a total of A$166,947. This significant uptick indicates a strong recovery in market interest and collector engagement. In 2024, two works were offered, with one sold for A$112,909. This shows that while overall market activity may have contracted, select pieces still commanded strong prices. Overall, Maggie Watson's recent auction results reflect a robust market for her works, particularly notable pieces from the mid-1990s that continue to capture collector interest. As her recognition within the art community continues to grow, the potential for further appreciation in her artworks may increase, suggesting a promising outlook for her market position in the coming years. Despite the ups and downs, her work has demonstrated an ability to achieve high sale prices, particularly in years of increased engagement. Maggie Watson’s major works are poised to continue commanding premium prices, outpacing those of her contemporaries in the female artist category from the same region and era. Given their rarity, these works could consistently set auction records with each subsequent offering. Furthermore, her medium-sized pieces are likely undervalued in the current market landscape. Their relative scarcity presents a compelling opportunity for collectors looking to build an important collection. Adding Watson’s works would significantly enhance the representation of female desert artists and provide a counterbalance to the abundance of works by more prolific Eastern Anmatjerre and Alyawerre artists, as well as the emerging talents from Pintupi and Pitjantjatjara women’s art in the Western Desert and beyond. 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 Peter Marralwanga Also know as: Djakku, Maralwanga, Maralwonga < Back Peter Marralwanga Also know as: Djakku, Maralwanga, Maralwonga Peter Marralwanga 1916 - 1987 Also know as: Djakku, Maralwanga, Maralwonga ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Peter Marralwanga 1916 - 1987 Peter Marralwanga resided for most of his life at the remote outstation of Marrkolidjban, in Western Arnhem Land. Although he moved to the nearby government settlement at Maningrida to lobby for formal recognition of his outstation in the 1960's, he soon returned to country, driven by a dislike of the lifestyle and concerns of foraging mining companies on Kunwinjku lands. Bark painter Yirawala shared Maralwanga’s desire for an outstation at Marrkolidjban as his clan lands lay in the surrounding country. The two forged a close friendship and it was under Yirawala’s tutelage that, around 1970, Maralwanga began to transfer his great ceremonial knowledge onto barks that were sold for an income that proved vital for the economic viability of their outstation. Naturally, Marralwanga was greatly influenced by Yirawala, particularly in the use of cross-hatching or rarrk in-fill, derived from the designs of the Mardayin ceremony. Yirawala has been attributed as the first Kunwinjku artist to adopt these designs into their bark paintings. There was a marked stylistic difference between these and barks created earlier, which imitated the x-ray manner of rock painting without a great deal of decorative in-fill. Maralwanga was innovative with his rarrk techniques and empowered many of the next generation of artists, such as John Mawurndjul and his own sons Ivan Namirrkki and Samuel Namunjdja to continue experimentation and invention in their works. However, Maralwanga differed from these younger artists, particularly Mawurndjul, who allows rarrk designs to drive his work into pure abstraction. In contrast, Marralwanga’s compositions always centered upon the figurative, to which the rarrk designs remained subservient while altering the formal convention of the rarrk’s colour sequencing and orientation in order to illuminate, to its utmost, the flow and movement of the figure. Marralwanga explained the interplay in his work, between stylistic conventions and his own personal interpretation, as being ‘half secret one, half ordinary one' (cited in Taylor 2004: 123); one half being determined by Marralwanga’s own emotional response to every day life on the land and the other half by the more formalised spiritual connotations of that same land. Thus Marralwanga’s work carries layers of meaning. At one level, that of his distinct visual aesthetic and interpretation, but always underneath remains a link to deeper spiritual meaning. In his rendition of the giant creator spirit Luma Luma, complex rarrk designs adorn this central figure of the Mardayin ceremony to evoke its power to transform upon death into the sacred objects, which the ceremony centers upon. While in Mimi Spirit Dancing at Catfish Ceremony 1979 he portrays a large catfish of the type caught in fish-traps during the run-off of the rivers at the end of the wet season. The scale of the fish allowed him to explore the subtleties of rarrk and contrast these with the bold colours and shapes of the fish's tail and backbone. A Mimi spirit dances to the lower right to indicate that it was the Mimi who taught Marralwanga’s ancestors to hunt and fish and who gave this power totem to them. And in his depiction of Yingara, the Rainbow serpent, the weed in the waterholes is the hair of his second born daughter, the mermaid-like Ngalkunburruyayami, while the vines growing in the nearby trees are the feathered strings she and his son, Ngalod, carried. Marralwanga’s scope of subjects was diverse and revealed a profound and deeply spiritual knowledge. As Luke Taylor lamented during a conversation with Marralwanga about the mermaid-like Yawk Yawk spirits, while ‘we can begin to learn the outside aspects of spirituality in these works, I don’t believe that non-Aboriginal people can progress to feeling this spirituality in exactly the same way as the artist' (1991: 26). Peter Marralwanga was a truly great painter who lived and died before Aboriginal art gained its current national and International prominence. In 1981 and 1983 he had solo exhibitions with Mary Macha at Aboriginal Traditional Arts in Perth and at the time was second only in recognition to his lifelong friend and countryman Yirawala as the most influential Kunwinjku artists of their generation. His works were included in the important landmark exhibitions; A Myriad of Dreaming: Twentieth Century Aboriginal Art in 1989, Aboriginal Art and Spirituality in 1991 and Crossing Country - the Alchemy of Western Arnhem Land Art in 2004 at the Art Gallery of New South Wales. ARTIST CV Market Analysis MARKET ANALYSIS Peter Marralwanga created paintings for close to 20 years and during that time institutions collected many of his finest works. He began painting prior to the formation of any art centres in Arnhem Land and sold works to Dorothy Bennett, Jim Davidson and others, who infrequently visited his outstation on buying trips. Marralwanga became an active member of Maningrida Arts and Culture upon its establishment in the late 1960’s and, in the absence of all but a few private galleries, it was through the Government owned Aboriginal Arts and Crafts marketing company that he gained greater recognition as it opened galleries in each of the State capitals between 1970 and 1987. His work first appeared on the secondary market in 1994 when all three of those offered failed to sell. However, over the next three years his paintings fared much better with all nine of those offered finding willing buyers. Overall his success rate is a very healthy 76% at auction, although his best year was as long go as 1999, the year his record sale was achieved for Untitled (Saltwater Crocodile) c.1972 . This large bark measuring 210 x 90 cm sold for $21,850 at Sotheby's in June of that year against a presale estimate of $15,000-25,000 (Lot 15). The painting is of exquisite beauty and detail, with shades of purple ochre unique to Marralwanga’s country. Though it is characteristic of his style in its diverse arrangement of the clan design that illuminates the rotund crocodile in motion, its age and subject sets it apart from many of his other works. A white figure sits above the figure of the Crocodile lying on a vast plain background, clearly resembling an artifact of some ethnographic importance. In contrast, works such as Mimih Spirit Dancing at Catfish Ceremony 1979 are distinctive for their innovative pattern and intricacy, This work sold for a considerable $13,200 at Sotheby’s in July 2005 when estimated at $10,000-15,000 (Lot 56). And in November 2006, despite an estimate of just $3,000-4,000 a magnificent Lorrkon, Hollow Log Coffin, c.1977 sold for $10,200, and became his highest priced sculpture to date. (Lot 83). Despite his success at auction there have been some notable failures. Luma Luma c. 1980 which had sold for $9,200 in 1999, failed to resell in 2006 at an estimate of $15,000- 25,000 despite being a stunning piece. Though smaller than the work that holds his record, it was still a substantial painting measuring 172.5 x 50.5 cm and certainly looked to have all the ingredients required to break a record that had stood for seven years. In the buoyant mood of the market, its failure to sell seems to indicate that Marralwanga’s works may have reached a plateau. Another minor work, Jati the Frogs, 1975, failed to sell at Sotheby’s in 2003 while carrying an estimate of $4,000-6,000 and when offered a year later with an estimate of just $2,000-3,000 failed once more to find a buyer. Though his best works achieve good prices, only nine have sold for more than $10,000. This is not particularly encouraging when compared to results achieved by many far less important desert painters. His average price for paintings is low at just $5,374 yet both of the sculptures that have appeared to date have sold at an average price of $6,780. While his sale rate is high, there is no doubt that the trajectory of Marralwanga’s works on the secondary market has, undeservedly in my opinion, not compared favourably to that of his contemporary Yirawala. Though some of Marralwanga’s works, particularly of crocodile headed rainbow serpents appear a little frightening, perhaps even garish to the Western eye, his works are unique and his figures are animated and full of life. He is an artist who is certainly worthy of far greater recognition by serious collectors. During 2010 two sales entred his top ten results, as well as one in 2011. Though Sotheby's July 2010 sale suffered poor results, Maralwanga’s lively Yawk Yawk bark (Lot 82) become his third highest career result selling for $11,400. Another powerful Namarnkon (Lightning Man) image became his ninth best result. During 2011 he was the 95th best performer, bringing his AIAM ranking to135th amongst all artists of the movement. 2017 saw another work displace previous top ten results, when Borlung the Rainbow Serpent sold for $11,780. There is reason to believe that this success should be sustained over the years ahead. 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 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI Lily Hargraves < Back LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI Lily Hargraves LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI 1930 - 2018 Lily Hargraves REGION: Tanami Desert COMMUNITY: Lajamanu, NT OUTSTATION: Kurlurrngalinypa, from the Granites to Jila LANGUAGE: Warlpiri ART CENTRE: Warnayaka Art Centre ARTIST PROFILE ARTIST CV MARKET ANALYSIS Lily Hargraves Nungarrayi was one of the old desert walkers, born in the Tanami Desert in her country near Jilla Well (Chilla Well). When, in 1950, the Warlpiri population at Yuendemu had outgrown the settlement’s housing capabilities, Nungarrayi moved to the settlement of Lajamanu along with 1000 others. A tiny, very isolated point in the north of the Warlpiri estate, ten hour’s drive south of Darwin and eight hours north-west of Alice Springs. Here, Nungarrayi resided until her death in 2018. READ FULL ARTIST PROFILE LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - Karnta Jukurrpa (Women's Dreaming) SOLD AU$20,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA SOLD AU$15,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAY - WARDILYKA JUKURRPA SOLD AU$12,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAY - WARDILYKA JUKURRPA SOLD AU$12,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - WARDIYKA JUKURRPA SOLD AU$12,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - WARDIYKA JUKURRPA SOLD AU$8,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- KARNTA JUKURRPA (WOMEN’S DREAMING) SOLD AU$8,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - WARDIYKA JUKURRPA SOLD AU$8,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- NGALYIPI JUKURRPA SOLD AU$8,000.00 LILY JURRAH NUNGARRAYI HARGRAVES - WARDILYKA JUKURRPA (TURKEY DREAMING) SOLD AU$7,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI -NGARLKIRDI JUKURRPA SOLD AU$5,500.00 LILY JURRAH NUNGARRAYI HARGRAVES - KARNTA JUKURRPA (WOMEN'S DREAMING) SOLD AU$5,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KARNTA JUKURRPA (WOMEN’S DREAMING) SOLD AU$5,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI -NGARLKIRDI JUKURRPA SOLD AU$5,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - WARDIYKA JUKURRPA SOLD AU$3,500.00 LILY JURRAH NUNGARRAYI HARGRAVES - YAWAKIYI JUKURRPA (BUSH PLUM DREAMING) SOLD AU$3,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- NGALYIPI JUKURRPA SOLD AU$3,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- NGALYIPI JUKURRPA (SNAKE DREAMING) SOLD AU$1,000.00 LILY JURRAH NUNGARRAYI HARGRAVES - KARLI JUKURRPA (SMALL BOOMERANG DREAMING ... SOLD AU$1,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - NGALYIPI JUKURRPA SOLD AU$1,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Sold AU$0.00 LILY NUNGARAYI HARGRAVES - TURKEY DREAMING Sold AU$0.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- KARNTA JUKURRPA (WOMEN’S DREAMING) Sold AU$0.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Sold AU$0.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KARNTA JUKURRPA (WOMEN’S D Sold AU$0.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - NGARLKIRDI JUKURRPA SOLD AU$15,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - WARDIYKA JUKURRPA SOLD AU$15,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KARNTA JUKURRPA (WOMEN’S DREAMING) SOLD AU$12,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- KARNTA JUKURRPA (WOMEN’S DR SOLD AU$12,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - PARRAJA JUKKURPA SOLD AU$12,000.00 LILY JURRAH NUNGARRAYI HARGRAVES - WARDILYKA JUKURRPA (TURKEY DREAMING) SOLD AU$8,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- KARNTA JUKURRPA (WOMEN’S DR SOLD AU$8,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI -NGARLKIRDI JUKURRPA SOLD AU$8,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- NGALYIPI JUKURRPA SOLD AU$7,500.00 LILY JURRAH NUNGARRAYI HARGRAVES - WARDILYKA JUKURRPA (TURKEY DREAMING) SOLD AU$5,500.00 LILY JURRAH NUNGARRAYI HARGRAVES - KARNTA JUKURRPA (WOMEN'S DREAMING) SOLD AU$5,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- NGALYIPI JUKURRPA SOLD AU$5,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - WARDIYKA JUKURRPWARDILYKA JUKURRPA SOLD AU$5,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAY - KANTA JUKURRPA SOLD AU$5,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - WARDIYKA JUKURRPA SOLD AU$3,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - WARDIYKA JUKURRPA SOLD AU$3,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - YAWAKIYI JUKURRPA SOLD AU$3,500.00 LILY JURRAH NUNGARRAYI HARGRAVES - WARDILYKA JUKURRPA (TURKEY DREAMING) SOLD AU$1,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - YAWAKIYI JUKURRPA SOLD AU$1,000.00 LILY JURRAH NUNGARRAYI HARGRAVES - KARNTA JUKURRPA (WOMEN'S DREAMING) SOLD AU$1,000.00 LILY NUNGARAYI HARGRAVES - TURKEY DREAMING Sold AU$0.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - NGALYIPI JUKURRPA Sold AU$0.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- NGALYIPI JUKURRPA Sold AU$0.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KARNTA JUKURRPA (WOMEN’S D Sold AU$0.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KARNTA JUKURRPA (WOMEN’S D Sold AU$0.00 top Anchor 1 PROFILE LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI 1930 - 2018 REGION: Tanami Desert COMMUNITY: Lajamanu, NT OUTSTATION: Kurlurrngalinypa, from the Granites to Jila LANGUAGE: Warlpiri ART CENTRE: Warnayaka Art Centre Lily Hargraves Nungarrayi was one of the old desert walkers, born in the Tanami Desert in her country near Jilla Well (Chilla Well). When, in 1950, the Warlpiri population at Yuendemu had outgrown the settlement’s housing capabilities, Nungarrayi moved to the settlement of Lajamanu along with 1000 others. A tiny, very isolated point in the north of the Warlpiri estate, ten hour’s drive south of Darwin and eight hours north-west of Alice Springs. Here, Nungarrayi resided until her death in 2018. 1986 saw the first painting workshop for female artists in the Lajamanu community. Quickly, she established herself as a central figure of the newly established painting movement. Deeply involved in women’s ceremonial practice and traditional law, Nungarrayi divided her time between hunting bush food and her daily work at the Warnayaka Art Centre, where the senior women chanted sat cross-legged on the canvas chanting their songlines as they painted their Dreaming stories. She painted with a restricted palette during the 1980s, depicting detailed ceremonial activities. As time progressed however, her work evolved into the highly colour charged and gestural style she is known and recognised for today. Nungarrayi became an esteemed senior Law woman, responsible for supervising women’s song and dance ceremonies. She was driven in her fervour to record and preserve her culture. Her love of colour and freedom of expression resulted in a distinctive style, executed with bold, confident brush work and a broad range of colour on minimal ground layers. Her remarkable works, predominantly depicting aspects of Ngalyipi (Medicine/snake Vine) Mala (Wallaby) and Karnta (Women’s dreaming), are included in the collections of important private and museum collections throughout Australia, USA and Europe. Judith Ryan, who was at the time the curator of Aboriginal Art for the National Gallery of Victoria, visited Lajamanu ahead of the exhibition ‘Paint Up Big’ in 1990. For the NGV, Ryan procured a set of pastels by the older women from the walls of the school library. When the paintings were taken down to be packed, Nungarrayi started tearing hers apart – “That one’s rubbish, I’m going to do you another one now.” The other ladies attempted to wrestle it from her. But Lily did not want what she regarded as her weak early work appearing in the National Gallery. ‘She’s a little person with a fiery temperament. She’s called Glurpunta, which means “fighting spirit”’. (personal communication by Christine Nicholls, headmistress at Lajamanu School in the 1980s, see Paint Up Big (Judith Ryan, NGV, 1990). ARTIST CV SELECTED COLLECTIONS Aamu - Museum Of Contemporary Aboriginal Art, The Netherlands Collection Roemer, Germany Museum & Art Gallery Of Northern Territory, NT National Gallery Of Victoria, Melbourne, Vic United Nations, Darwin, NT Peter Boehm Collection, Sydney, NSW BIBLIOGRAPHY 1990 Paint Up Big: Warlpiri Women’s Art of Lajamanu, National Gallery of Victoria 1991 Crumlin, R.,(Ed.),1991, Aboriginal Art & Spirituality, Colins Dove, North Blackburn, Victoria 1991 Glowczewski, B. 1991, Yapa, Peintres Aborigenes De Balgo Et Lajamanu 1994 Lebon Gallery, Paris, Johnson, V.,1994 2004 The Dictionary Of Western Desert Artists, Craftsman House, East Roseville, NSW 2000 “Journeylines” M.stanislawska-Birnberg, JB Books Australia SELECTED GROUP EXHIBITIONS 2022 Colour Power 22, JGM Gallery, London 2020 Reflection, JGM Gallery, London 2018 Make Me a Sacrifice, JGM Gallery, London 2019 Kitty Simon and the Ladies of Lajamanu, Cooee Art Paddington, Sydney, NSW 2017 Earth, Wind, and Fire, Griffin Gallery, London 2012 Touch The Ground – Brits Art, Germany Galerie Yapa Paris, France 2011 Warnayaka Jukurrpa, Merenda Gallery, Perth, WA 2010 Desert Art: Collection 2010, Gadfly Gallery, Perth, WA 2008 Summer Show, Hogarth Gallery, Sydney, NSW 2005 Yilpinji, Love, Magic and Ceremony, Galerie DAD, Mantes-la-Jolie, France Across Skin- Women Artists of the Western Desert, Japingka Gallery, Fremantle, WA 2001 Tandanya Aboriginal Cultural Institute, Adelaide, SA 2000 Lajamanu Warlpiri Artists, Yuwayi Gallery, Sydney (Olympic Games exhibition), NSW 1996 The Meeting Place, Touring Exhibition, Australia 1994 Yapakurlangu Wirrkardu, Batchelor College, Tennant Creek, NT Australian Aboriginal Art, Dettinger Mayer Gallery, Lyon and Toulouse, France 1993 10th NATSIAA Telstra Art Awards, Museum & Art Gallery of NT, Darwin, NT 1991 Aboriginal Art and Spirituality, High Court, Canberra, ACT Ngurra Mala, les lieux du Reve, Ecole des beaux-arts, Grenoble, France Aboriginal Art, Australian Embassy, Washington, USA Yapa, Peintres Aborigenes de Balgo et Lajamanu, Baudoin Lebon Gallery, Paris 1990 Lajamanu Dreamings, Technical and Further Education College, Darwin, NT Lajamanu Paintings, Shades of Ochre Gallery, Darwin, NT Paint Up Big: Warlpiri Women’s Art of Lajamanu, National Gallery of Victoria, Vic 1989 Lajamanu Painters, Dreamtime Gallery, Perth, WA 1987 Australian Made, Hogarth Galleries, Sydney, NSW 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 35TH ANNIVERSARY - RUTURN TO OXFORD STREET DECEMBER ONLY From 01 December to 30 January 2017 Viewing Room COOEE ART 35TH ANNIVERSARY - RUTURN TO OXFORD STREET DECEMBER ONLY From 01 December to 30 January 2017 Cooee Art, Australia’s oldest Aboriginal Art Gallery, is celebrating its 35th anniversary by returning to Oxford Street where it began as Coo-ee Emporium in 1981. \n\nOpening Thursday 1st December 2016 6-8pm \nPop-up continues: 1st – 30th December 2016 Location: Wadsworth Gallery, 326 Oxford Street Paddington 2021

TjapangatiOld T Old Tutuma Tjapangati Old Tutuma Tjapangati 1915 - 1987 Born in c1915, Old Tutuma Tjapangati was one of the original Papunya Tula artist in the early 1970s. He was eager to begin traslating his Dreamings onto board right from the inception of the community at Papunya. He was an important ceremonial elder and was one of the first pintupi to own a camel, which he used to travel his homelands near Lake McDonald. He passed away in 1987. Collections: Art Gallery of Western Australia, Perth.; Flinders University Art Museum, Adelaide.; Museum and Art Gallery of the Northern Territory, Darwin.; National Gallery of Australia, Canberra.; National Gallery of Victoria, Melbourne. Group Exhibitions: 1985 - Dot and Circle, a retrospective survey of the Aboriginal acrylic paintings of Central Australia, Royal Melbourne Institute of Technology, Melbourne; 1987 - Circle Path Meander, National Gallery of Victoria, Melbourne; 1988 - Papunya Tula Paintings, Wagga Wagga City Art Gallery, Wagga Wagga.; 1989 - Mythscapes, Aboriginal Art of the Desert, National Gallery of Victoria; 1991 - The Painted Dream: Contemporary Aboriginal Paintings from the Tim and Vivien Johnson Collection, Auckland City Art Gallery and Te Whare Taonga o Aoteroa National Art Gallery, New Zealand; 1993 - Tjukurrpa, Desert Dreamings, Aboriginal Art from Central Australia (1971-1993), Art Gallery of Western Australia, Perth WA Bibliography: Bardon, G., 1979, Aboriginal Art of the Western Desert, Rigby, Adelaide. (C) ; Bardon, G., 1991, Papunya Tula Art of the Western Desert, McPhee Gribble, Ringwood, Victoria. (C) ; Johnson, V., 1994, The Dictionary of Western Desert Artists, Craftsman House, East Roseville, New South Wales. (C) ; Marshall-Stoneking, B., 1986-87, 'From the centre to the edge,' Xpress 1(6), 28-29. (C) ; Maughan, J., and Zimmer, J., (eds), 1986, Dot and Circle, a Retrospective Survey of the Aboriginal Acrylic Paintings of Central Australia, exhib. cat., Communication Services Unit, Royal Melbourne Institute of Technology, Melbourne. (C) ; 1993, Tjukurrpa Desert Dreamings, Aboriginal Art from Central Australia (1971-1993), exhib. cat., Art Gallery of Western Australia, Perth. (C) See market performance. 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 Danie Mellor < Back Danie Mellor Danie Mellor 1971 Born: 1971, Yuwibara Country (Mackay), Queensland Heritage: Mamu and Ngagen peoples (North Queensland), Scottish, Irish Region: Queensland / New South Wales Community: Based in Bowral, NSW Affiliation: Sydney College of the Arts (lecturer) ARTIST PROFILE ARTIST CV MARKET ANALYSIS Danie Mellor is a contemporary First Nations artist whose practice bridges Indigenous heritage and the legacies of European settlement. Born on Yuwibara Country in 1971, Mellor spent his formative years in Australia, Scotland, and South Africa before returning to Australia. His mixed cultural background informs an art practice that is both deeply personal and sharply political, exploring the entangled histories of colonisation, environment, and cultural identity. READ FULL ARTIST PROFILE DANIE MELLOR - PERPETUAL (NGARAY) SOLD AU$30,000.00 DANIE MELLOR - TRUNK SHIELD SOLD AU$5,000.00 top Anchor 1 PROFILE Danie Mellor 1971 Born: 1971, Yuwibara Country (Mackay), Queensland Heritage: Mamu and Ngagen peoples (North Queensland), Scottish, Irish Region: Queensland / New South Wales Community: Based in Bowral, NSW Affiliation: Sydney College of the Arts (lecturer) Danie Mellor is a contemporary First Nations artist whose practice bridges Indigenous heritage and the legacies of European settlement. Born on Yuwibara Country in 1971, Mellor spent his formative years in Australia, Scotland, and South Africa before returning to Australia. His mixed cultural background informs an art practice that is both deeply personal and sharply political, exploring the entangled histories of colonisation, environment, and cultural identity. Working across drawing, painting, printmaking, photography, and installation, Mellor is best known for his large-scale works that reimagine the visual languages of natural history and colonial art. His recurring use of a blue-and-white palette, referencing Spode ceramics and European decorative traditions, has become a signature motif through which he overlays First Nations cultural memory, mapping Country and lived experience onto colonial frameworks. This visual strategy unsettles Eurocentric narratives while affirming the resilience and continuity of First Nations knowledge. Alongside his practice, Mellor has held academic roles, teaching at Sydney’s College of the Fine Arts (now UNSW Art & Design). He continues to live and work in regional New South Wales. His work has been recognised with multiple national prizes, including the 26th Telstra National Aboriginal and Torres Strait Islander Art Award in 2009, and is represented in all major state and national collections. ARTIST CV Solo Exhibitions 2025 — marru | the unseen visible , Queensland Art Gallery | GOMA, Brisbane 2024 — Danie Mellor , Campbelltown Arts Centre, NSW 2023 — Narratives , Tolarno Galleries, Melbourne 2023 — Recent Works , N.Smith Gallery, Sydney 2023 — Photo London , Somerset House, London (presented by N.Smith Gallery) 2022 — redux , Tolarno Galleries, Melbourne 2020 — The Sun Also Sets , Tolarno Galleries, Melbourne 2018 — The Landspace: [all the debils are here] , Tolarno Galleries, Melbourne 2018 — Proximity and Perception , Cairns Art Gallery, Queensland 2018 — Pleasure and Vexation , Pataka Art + Museum, Porirua, New Zealand 2014–15 — Exotic Lies, Sacred Ties , survey exhibition, UQ Art Museum, Brisbane; toured to TarraWarra Museum of Art, Victoria; Museum and Art Gallery of the Northern Territory, Darwin 2012 — Exotic Lies, Sacred Ties , Jan Murphy Gallery, Brisbane 2009 — A Balance of Power , Michael Reid Gallery, Sydney 2007 — The Legacy of History , Canberra Museum and Gallery, ACT 2005 — A Backward Glance , Fire-Works Gallery, Brisbane Selected Group Exhibitions 2023 — NGV Triennial , National Gallery of Victoria, Melbourne 2023 — Archibald Prize (finalist), Art Gallery of New South Wales, Sydney 2023 — Wynne Prize (finalist), Art Gallery of New South Wales, Sydney 2023 — Serpent , Musée Yves Saint Laurent, Marrakech 2021–22 — Ever Present: First Peoples Art of Australia , National Gallery of Australia & Wesfarmers, touring nationally and internationally 2021 — Unsettled , Australian Museum, Sydney 2021 — The Dingo Project , Ngununggula, Southern Highlands, NSW 2016 — Adelaide Biennial: Magic Object , Art Gallery of South Australia, Adelaide 2015 — The 8th Asia Pacific Triennial (APT8) , Queensland Art Gallery | GOMA, Brisbane 2013 — Sakahàn: International Indigenous Art , National Gallery of Canada, Ottawa 2013 — Australia , Royal Academy of Arts, London 2013 — Debil Debil , Carriageworks, Sydney 2012 — National Indigenous Art Triennial: unDisclosed , National Gallery of Australia, Canberra 2011 — Western Australian Indigenous Art Award (finalist), Art Gallery of Western Australia, Perth 2010 — Time Travel: Reimagining the Past , Tweed River Art Gallery, NSW 2010 — Curious Colony: A Twenty-First Century Wunderkammer , Newcastle Art Gallery, NSW 2009 — Floating Life – Contemporary Aboriginal Fibre Art , Queensland Art Gallery, Brisbane 2009 — Menagerie – Contemporary Indigenous Sculpture , Object Gallery & Australian Museum, touring nationally 2007 — National Indigenous Art Triennial 07: Culture Warriors , National Gallery of Australia, Canberra 2003 — Story Place: Indigenous Art of Cape York and the Rainforest , Queensland Art Gallery, Brisbane 1990s–2000s — Numerous national and international print exhibitions, including Kanagawa International Print Triennial (Japan), Yorkshire Artists’ Show (UK), Perpetual Motion (Tandanya), and multiple Telstra National Aboriginal & Torres Strait Islander Art Awards (1994, 2000, 2003, 2004, 2007). Awards 2010 — Winner, Adelaide Perry Prize for Drawing, NSW 2009 — Winner, 26th Telstra National Aboriginal & Torres Strait Islander Art Award, Museum and Art Gallery of the Northern Territory, Darwin 2009 — Winner, Indigenous Ceramic Art Award, Shepparton Regional Art Gallery, Victoria 2008 — Winner, National Works on Paper Prize, Mornington Peninsula Regional Gallery, Victoria 2008 — The John Tallis Acquisitive Award, Mornington Peninsula Regional Gallery 2003 — Highly Commended, 20th Telstra NATSIAA, Darwin 2000–2004 — Postgraduate Study Award, ANU, Canberra 2000–2002 — ARC Research Grant, ANU, Canberra 1996 — Rotary Art Prize, ACT 1994 — ANU Emerging Artist Award Collections National Gallery of Australia, Canberra Queensland Art Gallery | GOMA, Brisbane Art Gallery of New South Wales, Sydney National Gallery of Victoria, Melbourne Art Gallery of South Australia, Adelaide Art Gallery of Western Australia, Perth Museum and Art Gallery of the Northern Territory, Darwin Museum of Contemporary Art Australia, Sydney Newcastle Art Gallery, NSW Mornington Peninsula Regional Gallery, Victoria Warrnambool Art Gallery, Victoria Holmes à Court Collection, Perth ACE Equity/Kerry Stokes Collection, Perth Flinders University, South Australia University of Queensland Art Museum University of Western Australia Jabal Centre, ANU, Canberra Tuggeranong Arts Centre, Canberra Mallesons Stephen Jaques Collection Packer Collection, Sydney Parliament House Art Collection, Canberra British Museum, London National Gallery of Canada, Ottawa National Museums Scotland, Edinburgh Market Analysis MARKET ANALYSIS Danie Mellor occupies a distinct position within the contemporary First Nations art market. Unlike many of his peers who emerged through community art centres, Mellor’s practice developed in dialogue with both academic and institutional contexts. His work bridges First Nations cultural narratives with European artistic traditions, giving him a crossover appeal that resonates with both Indigenous art collectors and the broader contemporary art market. Early Career and Institutional Support Mellor’s rise was catalysed by institutional recognition rather than commercial speculation. Winning the 26th Telstra National Aboriginal & Torres Strait Islander Art Award in 2009 marked a pivotal moment, placing him firmly in the national spotlight. Around this time, representation by leading metropolitan galleries (Michael Reid, then Tolarno Galleries in Melbourne) introduced his work to private collectors, while early acquisitions by the National Gallery of Australia, QAGOMA, and other state institutions gave his practice a level of cultural endorsement that continues to underpin his market strength. Market Characteristics Mellor’s works are generally divided into three key bodies of practice that shape their collectability: Blue-and-white works: large drawings and mixed-media pieces referencing Spode ceramics and natural history illustration. These are Mellor’s most recognisable and sought-after works, frequently commanding strong prices at auction and in the private market. Mixed-media and photographic works: often incorporating archival imagery, re-staged photographs, or reflective materials. These works appeal to conceptually oriented collectors and museums, though their performance at auction has been more variable. Prints and works on paper: reflecting Mellor’s academic training and consistent practice in drawing and printmaking. These works broaden his accessibility but tend to circulate in the lower to mid-tier of the market. Auction and Secondary Market Trends Mellor’s secondary-market presence has been relatively modest compared to blue-chip First Nations figures such as Rover Thomas or Emily Kame Kngwarreye. Auction offerings tend to be selective, with fewer than a dozen works appearing in high-profile sales each year. When strong examples do come to market, particularly large-scale blue-and-white works, they often exceed estimates, reflecting a collector base that understands their rarity and institutional demand. Results from 2014–2020 show stability, with major drawings achieving prices in the A$40,000–80,000 range, while smaller works on paper generally fall between A$5,000–15,000. His auction record was set in 2019 when a major blue-and-white drawing achieved over A$100,000, signalling growing confidence in his top-tier works. The COVID period saw a temporary softening in volume, but prices have held steady. Institutional Demand and International Exposure The touring survey exhibition Exotic Lies, Sacred Ties (2014–15) and the more recent 2025 GOMA solo exhibition, marru | the unseen visible, consolidate Mellor’s institutional stature. He has also achieved important international exposure through the Royal Academy’s “Australia” (2013) exhibition in London, the National Gallery of Canada’s “Sakahàn” (2013), and the Musée Yves Saint Laurent’s “Serpent” (2023) in Marrakech. His inclusion in these global platforms has broadened his collector base beyond Australia. Provenance and Collectability Collectors place a premium on Mellor works with exhibition history in major survey shows or inclusion in key institutional catalogues. Works acquired directly through Tolarno Galleries or documented in state gallery exhibitions tend to command stronger prices on resale. As with other academically aligned artists, provenance linking works to curatorial or institutional frameworks adds measurable value. Current and Future Outlook Mellor’s market is best characterised as institutionally anchored and steadily ascending. While not yet achieving the speculative highs of desert painting masters, his trajectory aligns more with the cross-cultural contemporary market, akin to Brook Andrew or Christian Thompson, where museum exhibitions and conceptual rigour drive long-term value. The 2025 GOMA exhibition is likely to catalyse further acquisitions and strengthen his international profile, suggesting upward momentum for high-quality works. Looking ahead, Mellor’s market will remain selective but resilient. Large-scale blue-and-white drawings and mixed-media works with strong provenance are expected to continue outperforming estimates. As global institutions increasingly seek to highlight First Nations voices in dialogue with colonial histories, Mellor’s practice, rooted in precisely this intersection, positions him for sustained relevance and incremental market growth. 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 .

PRIVATE COLLECTION | PRIVATE VIEW Cooee Art Redfern & Online From 04 September to 21 October 2021 PRIVATE COLLECTION | PRIVATE VIEW Artists: Group Exhibition From 04 September to 21 October 2021 PRIVATE COLLECTION | PRIVATE VIEW Artists: Group Exhibition From 04 September to 21 October 2021 Cooee Art Redfern & Online One Collector’s Passion & Soul on Display Our latest exhibition is a collection of 50 artworks, that for the past 10 years have lined the hallways and board rooms at the SBS offices. The collection was personally curated and collected by one of the most highly regarded patrons of Australian Art. This exhibition boasts an eclectic selection of deeply established and emerging artists. The collector is quoted as saying “There has to be a rapport with each work I buy; each speaks to me and means something to me, but I can’t define what that is with precision.” He believes that works of art must invoke an involuntary and immediate physiological and emotional response. The show is on display through the windowed and ever-lit facade of our Redfern gallery, as well as virtually via social media, email, and our website. If you are lucky enough to live in our 5 km radius, we are regularly rotating the artworks in the front and are more than happy to privately feature a work of your choosing for a contactless viewing. VIEW CATALOGUE VIEW VIDEO EX 219

Artist Profile for Teresa Stevens < Back Teresa Stevens Teresa Stevens ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE TERESA STEVENS - PILTATI SOLD AU$4,000.00 top Anchor 1 PROFILE Teresa Stevens 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 .

David Brown Jangala | Ngurra Ngayunku (My home) Art Leven - 17 Thurlow St, Redfern, Gadigal / Sydney 5 - 26 July 2025 Viewing Room David Brown Jangala | Ngurra Ngayunku (My home) David Brown Jangala 5 - 26 July 2025 Art Leven - 17 Thurlow St, Redfern, Gadigal / Sydney Art Leven, in conjunction with Waringarri Aboriginal Arts, is delighted to present Ngurra Ngayunku (My Home), the fourth solo exhibition by David Brown Jangala. This highly anticipated exhibition follows Jangala’s receipt of the 2024 Art Leven Award at the Paddington Art Prize and marks a significant moment in the artist’s rapidly rising career. David Brown Jangala’s work is a striking fusion of desert abstraction and observational realism—two languages inherited through a life lived between his father’s Country at Kiwirrkurra and his mother’s Country at Mulan in east Kimberley. His paintings reflect a deep sense of place, memory, and continuity, informed by ancestral stories passed down from his grandparents, as well as his own lived experiences of moving across Country. The exhibition title, Ngurra Ngayunku (My Home), speaks to this grounding—a recognition of the physical and spiritual landscapes that have shaped him. Jangala is part of a new generation of artists emerging from the Kimberley and Western Desert regions who honour traditional narratives while also innovating stylistically. In this new body of work, he continues to build on the dual styles he’s known for, depicting sites of personal and cultural significance with layered attention to detail, story, and form. As he explains, “I can do both styles, desert style and realism style.” This versatility gives his work a compelling dynamism that resonates with both collectors and curators alike. Presented in partnership with Waringarri Aboriginal Arts—one of Australia’s oldest and most respected Indigenous-owned art centres—Ngurra Ngayunku (My Home) celebrates Brown’s growing recognition as a vital voice in contemporary Aboriginal art. It is a proud return to Redfern, where his debut exhibition in 2022 first introduced audiences to the strength of his vision. DAVID BROWN - WALLA WALLA price AU$5,600.00 DAVID BROWN - MANTATI price AU$1,750.00 DAVID BROWN - UNTITLED price AU$1,300.00 DAVID BROWN - WIRRUL price AU$1,100.00 DAVID BROWN - WALLA WALLA price AU$1,100.00 DAVID BROWN - WALLA WALL price AU$1,100.00 DAVID BROWN - QUITE MORNING SUNRISE price AU$1,100.00 DAVID BROWN - UMARRI (YUMARI) price AU$480.00 DAVID BROWN - KUNAMARRA Sold AU$0.00 DAVID BROWN - WINTAKU price AU$1,750.00 DAVID BROWN - WIRRUL price AU$1,450.00 DAVID BROWN - UNTITLED price AU$1,300.00 DAVID BROWN - HISTORY OF MY HOMELAND price AU$1,100.00 DAVID BROWN - KARILWARRA price AU$1,100.00 DAVID BROWN - KUNAMARRA (HUNTING PLACE) price AU$1,100.00 DAVID BROWN - SWEET COUNTRY price AU$1,100.00 DAVID BROWN - UMARRI (YUMARI) Sold AU$0.00 DAVID BROWN - WALATU Sold AU$0.00 DAVID BROWN - WALLA WALLA price AU$1,750.00 DAVID BROWN - UNTITLED price AU$1,300.00 DAVID BROWN - UNTITLED price AU$1,300.00 DAVID BROWN - YUMARI price AU$1,100.00 DAVID BROWN - MY HOME SWEET HOME price AU$1,100.00 DAVID BROWN - WALLA WALLA price AU$1,100.00 DAVID BROWN - NGURRA NGAYUNKU (MY HOME) price AU$650.00 DAVID BROWN - WALATU Sold AU$0.00 ExDBrown

DAVID BROWN | NGAMAKU TARRIKA 17 Thurlow St, Redern, NSW 2016 09 June - 02 July 2022 Viewing Room DAVID BROWN | NGAMAKU TARRIKA David Brown 09 June - 02 July 2022 17 Thurlow St, Redern, NSW 2016 David was born in Perth and raised between Mulan, Western Australia and Kintore in the Northern Territory, his mother’s and his father’s communities, respectively. Later, the family moved to the new community of Kiwirrkurra, where David was taught by School of the Air before the official community school was established. Simultaneously, the artist was educated on Country by his grandfathers, including one of the original and most revered Papunya Tula artists in Uta Uta Tjangala. His mother, Ivy Robertson, was also an artist, painting alongside the likes of Susie Bootja Bootja and Millie Skeen at Warlayirti Art Centre in Balgo Hills. David showed early talent at school, when learning landscape painting from a visiting Canadian art teacher. At the time, his work was selected for an exhibition in Alice Springs. After completing boarding school in Perth, David travelled throughout Western Australian and the Northern Territory, spending time in Halls Creek and occasionally painting for Papunya Tula before returning to Kiwirrkurra. “I watched the old people paint there. I was a good drawer at school and always work on improving my skills. I can do both styles, desert style and realism style.” David has dedicated his debut solo exhibition to his parents and to his grandfather and grandmother “for taking me to Country and teaching me the Dreamtime stories.” VIEW CATALOGUE EX 234

Artist Profile for Charmaine Brown Napurrula < Back Charmaine Brown Napurrula Charmaine Brown Napurrula ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE CHARMAINE BROWN NAPURRULA - BUDGERIGAR DREAMING SOLD AU$4,500.00 CHARMAINE BROWN NAPURRULA - SNAKE DREAMING - PILKARDI JUKURRPA, NAPURRURLA, ... Sold AU$0.00 CHARMAINE BROWN NAPURRULA - SNAKE DREAMING Sold AU$450.00 top Anchor 1 PROFILE Charmaine Brown Napurrula 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 Mabel Wiringgoon Julie < Back Mabel Wiringgoon Julie Mabel Wiringgoon Julie ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE MABEL WIRINGGOON JULI - KARNGIN NGARRANGKARNI (MOON DREAMING) Sold AU$2,000.00 MABEL WIRINGGOON JULI - KARNKINY NGARRANGKARNI Sold AU$0.00 MABEL WIRINGGOON JULI - DARRAJAYIN Sold AU$0.00 top Anchor 1 PROFILE Mabel Wiringgoon Julie 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 .