Artist Profile for England Bangala < Back England Bangala England Bangala ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE ENGLAND BANGALA - WANGARRA SOLD AU$800.00 ENGLAND BANGALA - FISH TRAP SOLD AU$480.00 ENGLAND BANGALA - PANDANUS MAT DREAMING SOLD AU$480.00 ENGLAND BANGALA - PANDANUS MAT DREAMING SOLD AU$480.00 top Anchor 1 PROFILE England Bangala 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 Henry Wambiny < Back Henry Wambiny Henry Wambiny ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE HENRY WAMBINY - MAWANJI SPRINGS SOLD AU$12,000.00 HENRY WAMBINY - HILLS OF TICKALARA SOLD AU$2,500.00 top Anchor 1 PROFILE Henry Wambiny 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 Lindsay Bird < Back Lindsay Bird Lindsay Bird ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE LINDSAY BIRD - UNTITLED SOLD AU$1,800.00 top Anchor 1 PROFILE Lindsay Bird 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 Kasey-Anne Nampijinpa Gallagher < Back Kasey-Anne Nampijinpa Gallagher Kasey-Anne Nampijinpa Gallagher ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Kasey-Anne Nampijinpa Gallagher ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

Artist Profile for Fiona Omeenyo < Back Fiona Omeenyo Fiona Omeenyo ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Fiona Omeenyo 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 Clifford Possum Tjapaltjarri Kumuntjayi Tjapaltjarri < Back Clifford Possum Tjapaltjarri Kumuntjayi Tjapaltjarri Clifford Possum Tjapaltjarri 1933 - 2002 Kumuntjayi Tjapaltjarri Region: Western Desert Community: Papunya, Alice Springs Outstation: Karinyarra -Mt Wedge, Tjuirri -Napperby Station Language: Anmatyerre, Arrernte Art Centre: Papunya Tula Artists ARTIST PROFILE ARTIST CV MARKET ANALYSIS Clifford Possum Tjapaltjarri, a pioneering figure in the Western Desert art movement, stands as one of the continent’s most distinguished painters of the late twentieth century. Following the death of his father, Tjatjiti Tjungurrayai, in the 1940s, his mother, Long Rose Nangala, relocated to Jay Creek with her second husband, the renowned One Pound Jim Tjungurrayai. READ FULL ARTIST PROFILE CLIFFORD POSSUM TJAPALTJARRI - ROCK WALLABY & POSSUM DREAMING SOLD AU$26,000.00 CLIFFORD POSSUM TJAPALTJARRI - DINGO DREAMING Sold AU$0.00 top Anchor 1 PROFILE Clifford Possum Tjapaltjarri 1933 - 2002 Region: Western Desert Community: Papunya, Alice Springs Outstation: Karinyarra -Mt Wedge, Tjuirri -Napperby Station Language: Anmatyerre, Arrernte Art Centre: Papunya Tula Artists Clifford Possum Tjapaltjarri, a pioneering figure in the Western Desert art movement, stands as one of the continent’s most distinguished painters of the late twentieth century. Following the death of his father, Tjatjiti Tjungurrayai, in the 1940s, his mother, Long Rose Nangala, relocated to Jay Creek with her second husband, the renowned One Pound Jim Tjungurrayai. One Pound Jim, a legendary figure in Central Australia, was not only a guide to early explorers and anthropologists but also became a symbolic face of the region when his portrait was immortalized on an Australian stamp between 1950 and 1966. Under his guidance, along with that of other Tjungurrayai men, Clifford underwent his initiation into manhood at Napperby Station. However, Clifford’s celebrated Love Story, inherited from his father’s country west of Mount Allan, and the Bush Fire Dreaming from his mother’s country south of Yuendumu, would become the defining themes of his artistic legacy. In his early years, Possum worked with cattle at various stations including Glen Helen, Mount Allan, Mount Wedge, Napperby, and Hamilton Downs. It was at Glen Helen that his artistic journey truly began, as he found that carving for the burgeoning tourist market offered better pay and conditions than stock work. His carvings, particularly of wooden snakes and goannas, garnered acclaim throughout Central Australia for their exquisite craftsmanship. In the early 1950s, Possum collaborated on the construction of the Papunya settlement alongside his classificatory ‘brother’ Tim Leura and his cousin Kaapa Tjampitjinpa, son of Long Rose’s sister Margie Long. During this time, he married Emily Nakamarra, who would become the mother of his four children: Daniel, Lionel, Gabriella, and Michelle. While Tim Leura became one of the founding members of the Papunya Tula artists, Clifford Possum Tjapaltjarri did not join the burgeoning group of painters under the mentorship of art teacher Geoffrey Bardon until February 1972. Possum’s distinctive artistic style developed rapidly, marked by an inventive spatial configuration that set his work apart from the more conventional Papunya idiom of dots, circles, and lines. This innovation in spatial design, likely influenced by his earlier skills in woodcarving, imbued his early paintings with a striking sense of atmosphere—a quality that distinguished them from the works of other Western and Central Desert artists, who were less focused on evoking psychological depth. Though his early career works hinted at his potential, they were but a prelude to the monumental paintings he would create on an unprecedented scale in the late 1970s. These grand canvases have been described as “beautiful palimpsests” of his extensive Dreaming sites, viewed from shifting perspectives. As Possum’s art evolved, he fused the abstract diagrams of ancestral journeys with the cartographic forms familiar to Western audiences. His ability to merge these different visual languages allowed the unfamiliar viewer to grasp the complex intersections of spiritual and geographical landscapes. As he refined his practice, Possum introduced elements of Western iconography and figurative imagery into his narratives. This strategy served a dual purpose: it made his work more accessible to Western audiences while allowing him to explore imaginative compositions within the constraints of cultural law. Possum, ever mindful of the sacredness of his subject matter, skilfully navigated the delicate balance between revealing and concealing ancestral knowledge. He created a set of secular, non-traditional motifs that became a signature of his work, particularly in his recurring theme, the "Man’s Love Story." This tale centers on a Tjungurrayai man who, against kinship rules, desires a Napangardi woman, wooing her by spinning hair string while singing love songs—a poignant narrative that resonates with the themes of longing and cultural tensions. This and other works from the start of the 1980s onwards are characterised by a complex of designs rendered with modulated tone and broken colour. The fractured shaping of the in-filled fields of dots achieves an extraordinary visual effect, ‘flat but with a thin three-dimensional disguise’ (Bardon 2004: 82). It was only towards the end of Clifford’s life that there was a dramatic reduction in his palette. His most emblematic final works are bleak depictions in black and white; boys' skeletal remains float starkly on unadorned backgrounds as if ethereally infused with the artist's 'own impending sense of death' (Nicholls 2004: 24). The 2002 retrospective of Clifford Possum’s work, which toured extensively across the Continent, offered a comprehensive survey of the artist's remarkable 30-year career. The exhibition showcased the breadth of his artistic journey, with early, smaller works from 1972-1973 and the haunting skeletal sketches from his final years serving as poignant bookends to a singular creative adventure. While Clifford himself may have cherished his private audience with Queen Elizabeth II as the pinnacle of his career, the low point undoubtedly came in the late 1990s when he uncovered an exhibition filled with forgeries in Sydney, a discovery that brought unwanted attention and adverse publicity. Despite being the only Papunya Tula artist to receive a solo retrospective from a major institution by the dawn of the new millennium, Clifford had largely distanced himself from the organization by the mid-1980s. He chose to return to his Anmatyerre homeland at Mount Allan, where he began selling his works directly to the government marketing agency, Aboriginal Arts Australia, in Alice Springs. In a bid to maximize income for himself and his countrymen, he also signed and passed off as his own many works created by others, including Michael Tommy, Brogus Tjapangarti, and other artists from the region. This complex legacy, marked by both his artistic brilliance and the moral ambiguities of survival, underscores the multifaceted nature of Clifford Possum’s life and work. In the late 1980s he produced a large body of works for John O’Laughlan who acted as his agent and travelled with him to his exhibition at Rebecca Hossack Gallery in London. Clifford worked for a time with disgraced dealer Chris Peacock in Adelaide whose company TOAC printed the logo ‘Bush Myths’ on the back of all canvases. Peacock worked with many artists who painted outside of the art centre system including Emily Kngwarreye. He was reported to have used stand over tactics and violent threats in forcing Possum to sign paintings that were not entirely his own. However, the truth is elusive as sadly, by this time, Clifford was addicted to alcohol and gambling and was producing a large number of perfunctory minor works, signing paintings that he ‘owned’ but which he did not actually paint and others that were not entirely executed by his own hand. Throughout the early 1990s, he lived and travelled with his daughters Gabriella and Michelle and his son-in-law Heath Ramzan as well as others. He worked for a variety of dealers including, Michael Hollows at his Aboriginal Desert Dreaming Gallery, Peter Los in Alice Springs, and Semon Deeb at Jinta Gallery in Sydney. He painted for Frank Mosmeri in Broadmeadow and Des Rogers in Sunbury on the outskirts of Melbourne, and Swiss collector Arnaud Serval, who seemed to share a good relationship with the artist and ensured the works he handled were entirely in Clifford’s own hand. For a time his affairs were managed by Joy Aitken who sold amongst the genuine paintings, individually painted by Clifford and his daughters, many collaborative works where the daughter's assistance was never acknowledged. Leaving Aitken with a number of canvases in various states of completion it appears that out of desperation, given the financial difficulties involved in keeping the ‘Possum Shop’ going, she crossed the Rubicon and completed the dotting on some of these works herself. Clifford’s career and standing reached its nadir when a solo exhibition organised for an important Sydney gallery in the late 1990s was exposed as being almost entirely composed of fakes. The works had been commissioned by the late Patrick Corbally Stoughton from Alice Springs based dealer John O’Laughlan who was found guilty of fraudulent involvement. When Clifford came down to view the exhibition, he visited the Art Gallery of NSW and other institutions pointing out countless works purported to have been created by him but which he denied having painted. In turning away from the communal ethos of the Papunya movement to engage directly with the dominant Western art market, Clifford Possum Tjapaltjarri’s artistic motivations became increasingly obscured by his growing fame as a cultural icon. This trajectory mirrors that of Albert Namatjira, who passed away 40 years earlier, long before the Papunya movement took shape. Both artists began their lives in humble creek beds, far removed from the international art circles they would later navigate with fearless assurance. Namatjira had even encouraged Clifford to follow in his footsteps, though likely not in the way that Clifford ultimately did. Despite declining health and failing eyesight, Clifford spent his final years in a loving relationship with Milanka Sullivan in Warrandyte, in the hills outside Melbourne. Under her care, he created many of his most powerful late-career works. Since his death in 2002, Sullivan has been a vigilant custodian of his legacy, working tirelessly to authenticate his paintings, expose forgeries, and write a book she believes will reaffirm Clifford’s stature as Indigenous Australia’s preeminent painter. Few lives have been written as boldly across the canvas of the Continent’s First Nations art movement as that of Clifford Possum Tjapaltjarri. Over a career spanning more than three decades, he produced masterpieces that will undoubtedly be recognized as some of the most significant works inIndigenous art history. His presence in major national and international exhibitions, as well as in the literature, rivals that of any other Australian Indigenous artist. His achievements were many: he received an Order of Australia for his contributions to the Western Desert art movement, served as chairman of Papunya Tula in the late 1970s and early 1980s, had a private audience with Queen Elizabeth II in 1990, and became the first true ambassador for the continents First Nations art on the global stage. Posthumously, he was honored with a solo retrospective by the Art Gallery of South Australia that toured state galleries, and his life and work have been chronicled in two books by his long-time friend and biographer, Vivien Johnson. ARTIST CV Selected Collections: Artbank, Sydney. Art Gallery of New South Wales, Sydney. Art Gallery of South Australia, Adelaide. Art Gallery of Western Australia, Perth. Berndt Museum of Anthropology, University of Western Australia. Broken Hill Art Gallery. Donald Kahn collection, Lowe Art Museum, University of Miami, USA. Flinders University Art Museum, Adelaide. The Holmes a Court Collection, Perth. The Kelton Foundation, Santa Monica, U.S.A. National Gallery of Australia, Canberra. National Gallery of Victoria, Melbourne. Pacific Asia Museum, Los Angeles. Parliament House Art Collection, Canberra. Queensland Art Gallery, Brisbane. South Australian Museum, Adelaide. Selected Solo Exhibition: 2004 - Binocular: looking closely at Country, Ivan Dougherty Gallery , Sydney. 2003 - 2004 - Clifford Possum Tjapaltjarri, travelling from Art Gallery of South Australia to major cities. 1990 - Rebecca Hossack Gallery, London. 1988 - Clifford Possum Tjapaltjarri Paintings 1973-1986, Institute of Contemporary Arts, London 1987 - Paintings of Clifford Possum Tjapaltjarri, Avant Galleries, Melbourne; Selected Group Exhibitions: 2019 - The Continuing Legacy Of Clifford Possum: Cliford, Gabrielle, Michelle, Cooee Art Gallery, Sydney. 2015 - 2016 - Streets of Papunya, including Kaapa Tjampitjinpa, Clifford Possum Tjapaltjarri, Tim Leura Tjapaltjarri, Isobel Gorey Nambajimba, Billy Stockman Tjapaltjarri, Punata Stockman Nungarrayi, Johnny Warangkula Tjupurrula, Candy Nelson Nakamarra, Shorty Lungkata Tjungurrayi, Martha McDonald Napaltjarri, Limpi Puntungka Tjapangati, Beyula Puntungka Napanangka, Mary Roberts Nakamarra, at UNSW Galleries before touring to Flinders University Art Museum, RMIT Gallery, and Drill Hall Gallery, ANU 2015 - Indigenous Art: Moving Backwards into the Future, National Gallery of Victoria, Melbourne. 2013 - My Country, I Still Call Australia Home: Contemporary Art from Black Australia, Gallery of Modern Art, Brisbane. 2013 - Australia, Royal Academy of Arts, London, UK. 2011 - Celebrating 40 years of Papunya Tula Artists Invitation, featuring Anatjarri Tjakamara, Billy Stockman Tjapaltjarri, Bombatu Napangati, Charlie Egalie Tjapaltjarri, Charlie Tarawa Tjungurrayi, Charlie Tjapangati, Clifford Possum Tjapaltjarri, Dini Campbell Tjampitjinpa, Dinny Nolan Tjampitjinpa, Doreen Reid Nakamarra, George Tjungurrayi, George Ward Tjungurrayi, Inyuwa Nampitjinpa, Johnny Warangkula Tjupurrula, Johnny Yungut Tjupurrula, Joseph Jurra Tjapaltjarri, Kaapa Tjampitjinpa, Kanya Tjapangati, Kim Napurrula, Kutungka Napanangka, Lorna Napanangka, Makinti Napanangka, Maxie Tjampitjinpa, Michael Nelson Tjakamarra, Mick Namarari Tjapaltjarri, Naata Nungurrayi, Nolan Tjapangati, Nyilyari Tjapangati, Old Tutama Tjapangati, Patrick Tjungurrayi, Pinta Pinta Tjapanangka, Pirrmangka Napanangka, Ronnie Tjampitjinpa, Rubilee Napurrula, Shorty Lungkata Tjungurrayi, Tatali Nangala, Tjunkiya Napaltjarri, Turkey Tolson Tjupurrula, Uta Uta Tjangala, Walangkura Napanangka, Warlimpirrnga Tjapaltjarri, Wintjiya Napaltjarri, Yala Yala Gibbs Tjungurrayi, Yukultji Napanangka, Yumpululu Tjungurrayi at Utopia Art Sydney. 2009 - Icons of the Desert: Early Aboriginal Paintings from Papunya including the following artists: Anatjari (Yanyatjarri) Tjakamarra, Billy Stockman Tjapaltjarri, Charlie Tarawa (Tjararu) Tjungurrayi, Clifford Possum Tjapaltjarri, Freddy West Tjakamarra, George Tjangala, John Kipara Tjakamarra, Johnny Scobie Tjapanangka, Johnny Warangkula Tjupurrula, Kaapa Mbitjana Tjampitjinpa, Kingsley Tjungurrayi, Long Jack Phillipus Tjakamarra, Mick Namararri Tjapaltjarri, Old Walter Tjampitjinpa, Ronnie Tjampitjinpa, Shorty Lungkarta Tjungurrayi, Tim Leura Tjapaltjarri, Tim Payungka Tjapangarti, Tommy Lowry Tjapaltjarri, Turkey Tolson Tjupurrula, Uta Uta Tjangala, Willy Tjungurrayi, Yala Yala Gibbs Tjungurrayi, Yumpuluru Tjungurrayi, organised by the Herbert F.Johnson Museum of Art, Cornell University, Ithaca, New York, USA. 2007 - Papunya Painting - Out of the desert, National Museum of Australia, Canberra. 2006 - Terre de Rêves, Terre des Hommes, Arts d'Australie, Stéphane Jacob / Musée de la Préhistoire, Bougon, France. 2005- Terre de Rêves, Terre des Hommes, Arts d'Australie, Stéphane Jacob / Musée de la Préhistoire d’Île de France, Nemours; Terre de Rêves, Terre des Hommes, Arts d'Australie, Stéphane Jacob / Ambassade d’Australie, Paris. 2004 - EXPLAINED, A closer look at Aboriginal art, Aboriginal Art Museum, Utrecht, The Netherlands. 2000 - Arts d’Australie, Arts d'Australie, Stéphane Jacob / Air France, Paris. 1997 - Dessine moi un rêve. L’Art des aborigènes d’Australie, Arts d'Australie, Stéphane Jacob / Musée des Beaux-Arts, Auxerre; L’Art des Aborigènes d’Australie, Arts d'Australie, Stéphane Jacob / Festival du Film, Cannes; 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, Power of the Land, Masterpieces of Aboriginal Art, National Gallery of Victoria.; 1994, Yiribana, Art Gallery of New South Wales, Sydney. 1993 - Tjukurrpa, Desert Dreamings, Aboriginal Art from Central Australia (1971-1993), Art Gallery of Western Australia, Perth WA; 1993/4, ARATJARA, Art of the First Australians, Touring: Kunstammlung Nordrhein-Westfalen, Dusseldorf; Hayward Gallery, London; Louisiana Museum, Humlebaek, Denmark. 1992 - Crossroads-Towards a New Reality, Aboriginal Art from Australia, National Museums of Modern Art, Kyoto and Tokyo. 1991 - Aboriginal Art and Spirituality, High Court, Canberra; 1991, Alice to Penzance, The Mall Galleries, The Mall, London; 1991, Australian Aboriginal Art from the Collection of Donald Kahn, Lowe Art Museum, University of Miami, USA; 1991, Canvas and Bark, South Australian Museum, Adelaide. 1990 - l'ete Australien a' Montpellier, Musee Fabre Gallery, Montpellier, France.; 1990, Songlines, Rebecca Hossack Gallery, London; 1990, Contemporary Aboriginal Art from the Robert Holmes a Court Collection, Harvard University, University of Minnesota, Lake Oswego Center for the Arts, United States of America. 1989 - Survey of Aboriginal Contemporary Works, The Bloomfield Galleries, Sydney, NSW. Featuring Raymond Meeks, Nyukana Baker, Angkuna Kulyuru, Yipati Kuyata, Makinti, Maria Curley, Nyukana Hatches, Jillian Davey, Yipati Munti, Caroline Tjangala, Mayan Taylor, Dick Roughsey Jimmy Pike, Jack Britten, George Mungmung, Hilda Bird, Pansy Petyarre, Glory Kngale, Nora Petyarre, Emily Kngwarreye, Gloria Petyarre, June Bird, Eileen Bird, Katy Kemarre, Glady Kemarre, Yilla, Old Mick Tajakamara, Maxie Tjampitjinpa, Barney Daniels Thungurrayi, Billy Stockman Tjapaltjari, Kaapa Mbitjana Tjampitjinpa, Pansy Napangarti, Roy Jupurrurla Curtis, Toby Jampijinpa Robertson, Clifford Possum Tjapaltjari, Madeliene Gibson Nungala, Sonda Turner, Samba Pultara, Kinlea Jungala, Elaine Namatjira, Helen Malbunka. 1989 - A Myriad of Dreaming: Twentieth Century Aboriginal Art, Westpac Gallery, Melbourne; Design Warehouse Sydney [through Lauraine Diggins Fine Art] ; Aboriginal Art: The Continuing Tradition, National Gallery of Australia, Canberra; Papunya Tula: Contemporary Paintings from Australia's Western Desert, John Weber Gallery, New York, USA. 1988 - Dreamings, the art of Aboriginal Australia, The Asia Society Galleries, New York; The Fifth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin. 1987 - Circle Path Meander, National Gallery of Victoria, Melbourne; Aboriginal Art from the Central Desert and Northern Arnhem Land, Community Arts Centre, Brisbane. 1985 - Dot and Circle, a retrospective survey of the Aboriginal acrylic paintings of Central Australia, Royal Melbourne Institute of Technology, Melbourne; The Face of the Centre: Papunya Tula Paintings 1971-1984, National Gallery of Victoria, Melbourne. 1984 - Painters of the Western Desert: Clifford Possum Tjapaltjarri, Paddy Carroll Tjungurrayi and Uta Uta Tjangala, Adelaide Arts festival; Aboriginal Art, an Exhibition Presented by the Australian Institute of Aboriginal and Torres Strait Islander Studies, Canberra. 1983 - The Alice Prize, Araluen Art Centre, Alice Springs, NT, finalists exhibition 1983 - XVII Bienal de Sao Paulo, Sao Paulo. 1981-82 - Aboriginal Australia, National Gallery of Victoria, Art Gallery of Western Australia, Australian Museum, Queensland Art Gallery; Perspecta (with Tim Leura), Sydney. 1980 - The Past and Present of the Australian Aborigine, Pacific Asia Museum, Los Angeles; Papunya Tula, Macquarie University Library, Sydney. 1974 - Anvil Art Gallery, Albury, New South Wales, Australia. Bibliography: Australian Aboriginal Art from the Collection of Donald Kahn, 1991, Lowe Art Museum, University of Miami, USA. Australian Perspecta 1981, A Biennial Survey of Contemporary Australian Art, exhib. cat., Art Gallery of New South Wales, Sydney, 1981 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). Bardon, Geoffrey., Papunya - A Place Made After the Story, Miegunyah Press, 2007, Melbourne. Berndt, R. M. and Berndt, C. H. with Stanton, J., 1982, Aboriginal Australian Art, a Visual Perspective, Methuen Australia Pty Ltd, Sydney. Brody, A., 1985, The face of the centre: Papunya Tula Paintings 1971-1984, NGV, Melbourne. Caruana, W., 1987, Australian Aboriginal Art, a Souvenir Book of Aboriginal Art in the Australian National Gallery, Australian National Gallery, Parkes, Australian Capital Territory. (C). Caruana, W. (ed.), 1989, Windows on the Dreaming, Ellsyd Press, Sydney. (C). Caruana, W., 1993, Aboriginal Art, Thames and Hudson, London. (C). Chanin, E., 1990, (ed.), Contemporary Australian Painting, Craftsman House, Roseville, NSW, Australia. Clifford Possum Tjapaltjarri Paintings 1973-1986, exhib. cat., Institute of Contemporary Arts, London, 1988 Contemporary Aboriginal Art from the Robert Holmes a Court Collection, exhib. cat., Heytesbury Holdings Ltd., Perth, 1990 Cooper, C., Morphy, H., Mulvaney, D.J. and Petersen, N., 1981, Aboriginal Australia, Australian Gallery Directors Council, Sydney. (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). Crocker, A. (ed.), 1981, Mr Sandman Bring Me a Dream, Papunya Tula Artists Pty Ltd, Alice Springs and Aboriginal Artists Agency Ltd, Sydney. (C). Diggins, L. (ed.), 1989, A Myriad of Dreaming: Twentieth Century Aboriginal Art, exhib. cat., Malakoff Fine Art Press, North Caulfield, Victoria. . Duerden, D., 1990, 'Clifford Possum in London', Art Monthly, August 1990, No. 33, P. 12. Isaacs, J., 1984, Australia's Living Heritage, Arts of the Dreaming, Lansdowne Press, Sydney. (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). Johnson, V., 1994, The Art of Clifford Possum Tjapaltjarri, Gordon and Breach Arts International limited, Craftsman House, East Roseville, NSW.. Johnson, V., 1995, 'Is there a gender issue in Aboriginal art?', Art & Australia, Vol. 32, No. 3, pp. 350-357. Johnson, Vivien. Streets of Papunya: the re-invention of Papunya painting, NewSouth Press, 2015. Johnson, Vivien. (Editor), Papunya Painting: Out of the Desert, National Museum of Australia, Canberra, 2007. Neale, M., 1994, Yiribana, exhib. cat., Art Gallery of New South Wales, Sydney. (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). McCulloch, A., & McCulloch, S., 1994, The Encyclopedia of Australian Art, Allen & Unwin Pty Ltd, St Leonards, New South Wales.. Smith, B. with Smith T., 1991, Australian Painting 1788-1990, Oxford University Press, 3rd edition, . Sutton, P. (ed.), 1988, Dreamings: the Art of Aboriginal Australia, Viking, Ringwood, Victoria. (C). Tjukurrpa Desert Dreamings, Aboriginal Art from Central Australia (1971-1993), exhib. cat., Art Gallery of Western Australia, Perth. (C), 1993 XVII Sao Paulo Biennale, exhib. cat., 1983 Market Analysis MARKET ANALYSIS Clifford Possum Tjapaltjari’s career spanned more than 30 years, with his most prolific period occurring between 1983 and 2000, after he began working independently of Papunya Tula Artists. His highest prices at auction have predominantly come from early boards painted in the first two years of the Papunya movement, which account for six of his ten top prices. The auction market for Clifford Possum, one of Australia’s most significant Indigenous artists, has shown considerable volatility over the past decade, with fluctuating sales volumes and total values that reflect a complex demand pattern for his work. Clifford Possum’s place in the annals of Indigenous art was further solidified in 2007 when Sotheby’s announced the upcoming auction of his monumental 1977 masterpiece Warlugulong, estimated at A$1,800,000-2,500,000. This painting had a fascinating history, having been sold in April 1996 for just A$39,600. After being purchased by Hank Ebes, it was sold to the National Gallery of Australia for A$2,400,000, setting a record for Aboriginal artwork that is likely to endure for years. Since his death in 2002, average prices and numbers of works offered at auction have nearly doubled, although they started from a low base average of A$10,000 in the 1990s. Of the 578 paintings offered, only 334 (58%) sold, indicating collectors' reluctance to part with Clifford’s works at lower prices due to their belief that they are undervalued in the market. While some contemporary collectors may find Possum’s imagery less appealing compared to currently successful artists, the lasting power and cultural significance evident in his best works may attract collectors with a more cultural focus as tastes evolve. In 2015, the market was relatively stable, with 100 % clearance rate for only 5 offered works, generating a modest total of A$37,770. However, in 2016, both sales and unsold rates dipped, with only 3 works sold and 2 remaining unsold, resulting in a total of A$17,029. This signalled a challenging period for the artist’s market, with declining demand and lower sales values. The market began to recover in 2017, with a significant increase in the number of works offered (21), though 7 remained unsold. The total value rose to A$115,715, reflecting renewed interest but also indicating a bifurcation in buyer interest—some works failing to meet expectations, while others sold at higher prices. In 2018, the number of works offered rose to 26, but 8 remained unsold, leading to a total of A$63,122, a slight dip compared to the previous year. By 2019, however, the market saw a notable uptick in both volume and value. With 20 works offered and 4 unsold, the total value reached A$265,157, demonstrating stronger demand and higher sale prices. The upward momentum continued into 2020, with 12 works offered and only 1 remaining unsold, resulting in a robust total of A$362,860. This marked a peak in Clifford Possum’s market for the decade, as both the low unsold rate and high total value suggested increasing confidence in his work among collectors. However, the market saw another downturn in 2021, with 15 works offered and 60% clearance, resulting in a total of A$140,314. This sharp increase in unsold works indicates a potential oversupply or cooling interest. Despite a larger number of works offered in 2022 (20), the clearance rate remained at 65%, though the total value climbed to A$373,656, suggesting that while demand was selective, strong sales were still achievable for key pieces. In 2023, the trend continued with 25 works offered, of which 7 remained unsold, generating a lower total of A$144,847. This suggests that while Clifford Possum’s market remained active, the pricing and demand dynamic continued to fluctuate. By 2024, the market contracted again, with only 9 works offered and 3 unsold, leading to a total of A$60,713, the lowest in recent years. This signals a continued cooling of demand or a shift in collector focus away from Possum’s works. Overall, Clifford Possum’s market has experienced notable peaks and troughs over the past decade. While there have been strong years, particularly in 2019 and 2020, the inconsistency in auction results reflects changing collector preferences and a selective market for his works. The fluctuating unsold rates suggest that while certain key pieces can command high prices, many works may struggle to meet expectations, leading to a bifurcated market performance. Clifford Possum’s artistic legacy, while vast and uneven, ensures that his best works are viewed as valuable in the current market. Buyers must exercise caution regarding provenance, ensuring that the paintings attributed to him are indeed authentic, as misattributed works can still hold desirability, albeit at a potentially diminished value. 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 Nyuju Stumpy Brown < Back Nyuju Stumpy Brown Nyuju Stumpy Brown 1924 c. - 2011 Language: Wangkajunga Region: Kimberley Community: Fitzroy Crossing Art Centre: Mangkaja Arts Outstation: Kukapunyu ARTIST PROFILE ARTIST CV MARKET ANALYSIS Senior law woman Nyuju Stumpy Brown was a custodian for ancestral lands at Ngapawarlu, in the Great Sandy Desert. Nyuju was the sister of Rover Thomas and was born at Kukapanyu (Well 39), she grew up in the desert but eventually followed the drovers north along the stock route. She travelled to Balgo mission with her uncle, Jamili, an Aboriginal stockman. Nyuju later moved to Fitzroy Crossing. During an art career that spanned from the 1980s until 2008, she recreated the desert sites that she knew from her childhood, focusing on the Dreaming stories that belong to Ngapawarlu, Warrawarra, Jirntijirnti and other water sites along the Canning Stock Route. READ FULL ARTIST PROFILE STUMPY BROWN - NGUPAWARLU SOLD AU$8,000.00 STUMPY BROWN - NGUPAWARLU SOLD AU$3,500.00 top Anchor 1 PROFILE Nyuju Stumpy Brown 1924 c. - 2011 Language: Wangkajunga Region: Kimberley Community: Fitzroy Crossing Art Centre: Mangkaja Arts Outstation: Kukapunyu ARTIST CV Collection: Aboriginal Art Museum, The Netherlands. Berndt Museum of Anthropology, University of Western Australia. National Gallery of Australia, Canberra. National Gallery of Victoria. Northern Territory University. South Australian Museum, Adelaide. Subjects: Milyinti, Nyila, Jilji country, Yilirrji, Kurraltu- Brolga country, Mayntilajarra, Yirrawirli, Nguparlu, Juntu juntu, Yarrnilyi, Nurtakurangu, Selected Solo Exhibitions: 2006 - Nyuju Stumpy Brown, Alison Kelly Gallery, Melbourne. Selected Group Exhibitions: 2012 - Mangkaja - works on paper , Short Street Gallery, Broome, WA. 2009 - Mangkaja Survey Show , Short Street Gallery, Broome, WA 2008 - Wet’n Wild , Artkelch, Freiburg, Germany 2008 - Mangkaja Arts , A P Bond Art Dealer, Adelaide, SA 2008 - Marnintu Maparnana, Red Dot Gallery, Singapore 2008 - Shalom Gamarada, Caspary Conference Centre, University of NSW, Sydney. 2007 - Kila, Jilji and Miyi, Cool-Art , Sunshine Coast, QLD 2007 - X Marks the Spot , Woolloongabba Art Gallery, Brisbane 2007 - Bendi Lango , Fireworks Gallery, Brisbane 2005 - Decouvrir, Rever, Investir , Australian Embassy, Paris, France; 22nd Telstra National Aboriginal and Torres Strait Islander Art Award , Museum and Art Gallery of the Northern Territory, Darwin. 2004 - Tali and Jila (Waterholes and Sandhills) , Japingka Gallery, Fremantle, WA; 21st Telstra National Aborigainal and Torres Strait Islander Art Award , Museum and Art Gallery of the Northern Territory, Darwin; Colour Power - Aboriginal Art Post 1984 , The Ian Potter Centre, NGV Australia, Melbourne. 2003 - 20th Telstra National Aboriginal and Torres Strait Islander Art Award , Museum and Art Gallery of the Northern Territory, Darwin. 1994 - Power of the Land, Masterpieces of Aboriginal Art, National Gallery of Victoria ; The Eleventh National Aboriginal Art Award Exhibition , Museum and Art Gallery of the Northern Territory, Darwin. 1993 - Mangkaja Women , Freemantle Arts Centre WA; Mangkaja Artists , Hogarth Galleries, NSW; Mangkaja Arts, Broome Fringe Festival, Pearl Fishers Gallery, Broome; Aboriginal Art Exhibition, Kung Gubunga,Oasis Gallery, Broadbeach,Qld; The Tenth National Aboriginal Art Award Exhibition , Museum and Art Gallery of the Northern Territory, Darwin; Images of Power , Aboriginal Art of the Kimberley, National Gallery of Victoria, Melbourne. 1992 - Balgo, Kununurra , Fitzroy Crossing, Gallery 101, Melbourne; The Ninth National Aboriginal Art Award Exhibition , Museum and Art Gallery of the Northern Territory, Darwin. 1991 - Karrayili: Ten years on , Tandanya SA. Bibliography: Ryan, J., 1993, Images of Power, Aboriginal Art of the Kimberley, exhib, cat., National Gallery of Victoria, Melbourne. Karrayili exhib. cat. Mangkaja Arts Resource Agency, 1991. Karrayili; Ten years on - Exhibition Catalogue, 1991. Mangkaja Women's Exhibition catalogue, 1993. Images of Power: Aboriginal Art from the Kimberley - Exhibition Catalogue, 1993. Ngajakurra Ngurrara Minyarti, This Is My Country Exhibition catalogue, 1994. Yirra: Land Law and Language, Strong and Alive - Kimberley Aboriginal Law and Culture Centre Publication, 1996. Jila Painted Waters of the Great Sandy Desert - Video Documentary / SBS Television, 1998. Oxford Companion to Aboriginal Art - Oxford University Press & ANU, 2000. Karrayili The history of Karrayili Adult Education Centre - AIATSIS Canberra, 2000. Painting Up Big, The Ngurrara Canvas - Kaltja Now National Aboriginal Cultural Institute - Tandanya, 2001. 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 .

McRaeTommy Tommy McRae Tommy McRae 1830 - 1901 Barnes Nineteenth century artist Tommy McRae lived and worked along Victoria’s upper Murray River area during the disruption and ultimate end of traditional tribal life amongst the Aboriginal people of South-Eastern Australia. European settlers, gold-diggers and pastoralists increasingly took over their traditional hunting grounds and homelands. Like many of his people, McRae found a livelihood by working for the new landowners as a stockman and drover. It was not until he was in his fifties and towards the end of this physically demanding work life that he began to draw consistently. After being noticed and collected by Theresa Walker (Mrs. G.H. Poole), the artist and wife of a local landowner, Tommy’s naturalistic, figurative drawings were shown to other ‘society whites’. The steady flow of interest and paid commissions that followed allowed McRae to set up an independent camp for himself and family on the shores of Lake Moodemere, a large freshwater lake, rich in plant and animal life and of ceremonial importance to his people. Most of his distinctive pen and ink drawings were made during the two decades of his life there, looking back over his memories and giving a unique, often witty, viewpoint upon a changing world. The true artistic and historical significance of McRae has only emerged relatively recently. Although he was well known within his locale and according to accounts, cut quite a figure in the rural landscape; driving into town in a horse-drawn buggy and attending race meetings in full gentlemanly attire, McRae’s status was undermined by prevailing racial prejudices of the time. European colonialists assumed their superiority in all ways and this included the area of artistic expression. Traditional Aboriginal art, like other abstract and geometrical art forms, was considered primitive, only an early step towards the development of full figurative representation that reached its zenith in the realism of European art. Although it often included figurative motifs and a strongly developed linear aspect, Aboriginal art was seen as a curiosity or collected as anthropological evidence. The rare few names that have emerged from this obscuring viewpoint were considered, at the time, to be imitative and to have simply responded well to the European influence. They were deserving of a certain amount of appreciation but they could never become ‘famous’ (Cooper 1994). This negating attitude was evident in the accreditation to ‘a native artist’ of McRae’s drawings that appeared in several books and exhibitions of the time. When asked by an interested reviewer for more details as to the unnamed artist who had illustrated her Australian Legendary Tales 1896, author Kate Langloh Parker named McRae, describing him as 'a clever black' whose art 'has a look of life mine never has' (cited in Sayers 1994: 50). It is this ‘look of life’ that distinguishes McRae’s drawings. His images tell a story in a captivating and convincing manner, his silhouette-like figures infused with an animated spirit. He transports his audience to see things afresh, like all great works of art, peeling back the layers of habit and expectation with a sparse yet strikingly expressive use of line. McRae focuses on three main subject areas: scenes from traditional Aboriginal life (such as hunting and ceremony), the new occupiers (particularly the proprietorial squatter in top hat and riding boots) and the mythic story of ‘the wild white man’ (William Buckley, who escaped from a convict ship in 1803). McRae’s landscape settings are brief, one or two trees, with singular birds, fish or animals, so superbly rendered that they can be identified as to specific species. McRae’s keen sense of observation underlies his masterful talent. In corroborees, lines of dancers cross the page, their bent legs interlocking in a rhythmic pattern, each dancer carefully delineated with particular patterns or possibly a characterizing tribal adornment; bunched leaves tied to their lower legs or feathered head-dresses for example (Sayers 1994: 33). The moment before capture is a favourite hunting tale, with intently poised men, sometimes holding a bush camouflage before them, their spears about to fly at an unsuspecting kangaroo, emu or fish. Although ritual-like fighting duels provide another popular subject, explicit racial conflict is never present; the self-satisfaction of the new land-owner is conveyed with wry amusement or Chinese gold-diggers are chased away in a spirited sketch of comic disarray. McRae’s rendition of the William Buckley story focuses on two moments; Buckley being found by Aboriginal people and his full participation in tribal life. The saying ‘jump up white man’ sprang from a rumoured Aboriginal belief that white people were souls returned from the dead. A belief, Buckley later told his biographer John Morgan (1852), that was responsible for his full acceptance by them, though in retrospect the tale really marks the beginning of the white incursion and the gradual displacement of the Indigenous culture. McRae was undeterred by the European renditions of the Buckley tale that focused upon the convict’s eventual discovery, pardon and return to white society. As in all his artworks, McRae’s point of view is distinctly his own, revealing the strong sense of identity that makes his drawings all the more unique. McRae found a patron on the nearby property owned by Roderick Kilborn, who collected his drawings and regularly supplied him with new inks and sketchbooks. Kilborn also organized commissions, including a gift to the governor that generated much interest. McRae was highly regarded and well patronised. Yet sadly, this did not prevent his children from being removed according to the laws of the time, despite his concerted appeals to powerful friends. When he wished to buy a house for his family with his well-earned funds; the Board for the Protection of Aborigines promptly dismissed his request. After his death, many of McRae’s drawings were collected and housed in museum archives. They were considered to be examples of ‘the dawn of art’ or an historical record of nineteenth century life, largely inaccessible to the general or art-loving public. However, this situation changed during the 1970’s when new generations of Aboriginal artists sought out their predecessors with a will to reclaim Aboriginal history and identity. Although it is clear that his naturalistic style developed in some part as a response to European demand, McRae’s vantage point upon an important era in Australia’s history is sincere and the stamp of his own personality is remarkably distinct. During the 1980’s and 1990’s McRae’s drawings were included in major touring exhibitions and as Sayers concludes in his definitive study, McRae is now acknowledged as a significant figure in the history of Australian visual culture. Like other past Aboriginal masters (including Albert Namatjira of the Hermannsburg School and William Barak, also of Southeast Victoria), McRae’s artistic practice is now acknowledged as 'a creative choice within a culture of extraordinary complexity' (Sayers 1994: 88). The fragility of these now rare works enhances their Ingenious beauty. Despite a number of authoritative texts on the artist written in 1994, Tommy McRae’s historical and artistic significance has only been recognized relatively recently by those outside of a small number of museum professionals. The first time anything by this artist was offered at public sale was in 1988 when Sotheby’s put up a small quarto sized sketchbook containing 30 marbled cardboard pages depicting the antics of colonists and the tribal and hunting activities of the Aborigines of Wahgunyah, Corowa, and the Murray Basin area of New South Wales and Northern Victoria. Estimated at $15,000-18,000 they were unable to garner enough interest to attract a buyer and it was not until Christies offered two sketchbooks joined together and containing 22 images in 1994 that the artist’s first successful sale was recorded. The sketchbooks sold for $43,700, more than twice the high estimate and this sale stood as the artist’s record throughout the following decade. It is still the fourth highest sale recorded to date. Since then, Sotheby’s have dominated the artist’s sales having sold 14 of the 18 successful offerings for a total value of $409,375. In 2008 Sotheby’s just failed to eclipse the $48,800 paid for the small ink on paper War Dance 1900, sold at Joel Fine Art in June (Lot 3), with Hunting Figures in their November auction (Lot 26). However these two sales and another hunting scene which achieved $40,800 resulted in the artist’s career clearance rate jumping from 59% to 67% and his art market rating improving by no less than 11% in a single year. In 2012 all three works that were offfered sold for an average price of $42,800. Included was the artist's then record price of $78,000. The work, Buckley's Escape was created during the 1890s and featured a stark black narrative in four parts on a single sheet of white paper. The work sold at Deutscher and Hackett while carrying a presale estimate of $60,000-80,000. 2013 pushed aside the previous year as his best yet. Almost tripling his previous record, Sketchbook 1881, which included 14 individual drawings, sold for $228,000 through Deutscher and Hackett (Lot 21). Returning from the Chase (circa 1890) almost doubled its $40,000 presale estimate, fetching 79,300 just two months later, pushing what was only recently his highest selling work to the number 3 in his top ten. Notable amongst those lots that failed to sell when originally offered is the only object credited to the artist, an engraved bellows. Passed in when first offered at Sotheby’s in July 2007 (Lot 2) it carried the same $5,000-8,000 estimate five months later at Charles Leski in Melbourne and sold this time for $8,338 (Lot 98). Interestingly a particularly engaging image One of the Murray River Tribe’s War Dance (Before the Fight) c.1890s first offered at Christies in August 2004 (Lot 92) failed to find a buyer when offered with a presale estimate of $18,000-25,000 but achieved $20,400 the following year in Sotheby’s July sale (lot 6) when estimated at a slightly lower $14,000-18,000. In 2008, four drawings sold for an average price of $40,195, a good $12,000 above the artist’s average. It certainly makes those three sketchbooks containing more than 20 images each that have been offered over the past 20 years look remarkably good investments and, although Tommy's ranking amongst all artists of the movement did not improve as a result, his 2008 sales place him within striking distance of no less than five of the movements most prominent artist’s should they continue on this trajectory over the next decade. There was a notable absence of works offered in 2009 in spite of the previous year's success. Perhaps also the re-offfering of Retuning from the Chase c1890 at Detscher and Hackett in 2010 was a little premature. Originally sold for an impressive $31,200 just three years previously its ambitious $60,000-80,000 presale estimate proved just too high on the night. Tommy McRae achieved notoriety at the very dawn of the 20th century. His works are exceedingly rare, and good examples appear at auction infrequently. Only one has been uncovered since 2014. It sold at the Cooee Art MarketPlace for $43,700 in June 2018. Works by McRae have only ever appeared at auction on 33 occasions and a good many of these were resales. Expect tremendous interest whenever the ocasional fresh work appears. 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 Mitjili Napanangka Gibson < Back Mitjili Napanangka Gibson Mitjili Napanangka Gibson ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE MITJILI NAPANANGKA GIBSON - WIRNPARRKU SOLD AU$12,000.00 MITJILI NAPANANGKA GIBSON - WILKINKARRA SOLD AU$350.00 MITJILI NAPANANGKA GIBSON - WIRNPARRKU AND YUMARI Sold AU$0.00 MITJILI NAPANANGKA GIBSON - TWO GIRLS AT MURRUWA SOLD AU$6,500.00 MITJILI NAPANANGKA GIBSON - WILKINKARRA Sold AU$0.00 top Anchor 1 PROFILE Mitjili Napanangka Gibson 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 .

TjupurrulaTurke Turkey Tolson Tjupurrula Turkey Tolson Tjupurrula 1938 - 2001 Tolsen, Malka Malka, Taarki Turkey Tolson was born under a tree beside a creek bed about eight kilometres east of Haasts Bluff. After years working in the Haasts Bluff stock camp droving cattle to Mount Leibig, he underwent initiation into manhood and the family moved to the Papunya settlement where Turkey worked as a construction labourer and in the communal kitchen. In 1961 he married and moved with his young family to an outstation west of Papunya. After his first wife’s untimely death, he remarried at Papunya where he lived during the early years of the painting movement. He joined Papunya Tula artists as one of its youngest members, painting his earliest artworks for Geoff Bardon in 1972. Throughout the 1980s Tolson’s unassuming leadership style and commitment to the community led him to remain focused on the more anonymous, collective meaning in his work - to the detriment of any personal ambition. He was, in fact, the artist Chris Anderson of the South Australian Museum had in mind when he stated ‘Andy Warhol didn’t have a CV either. I mean- they’re not artists on the make. They’re not part of the whole career structure’ (cited in Johnson 1996: 98). Yet Tolson’s individual approach and quiet creative momentum were the hallmarks of what became an enduring career. During his early period, Turkey Tolson was one of the most innovative and figurative artists of the Papunya Tula movement. In the 1980s, he travelled to Paris with Joseph Jurra Tjapaltjarri to create a sand painting as part of the Peintres Aborigines d’Australie exhibition. He collaborated with renowned artist Tim Johnson, supervising Johnson’s use of sacred designs in Emu, Porcupine and Bandicoot Dreaming 1983. Throughout his distinguished career, Tolson’s experimentality and versatility were abundantly manifest as he embraced new, less traditional mediums including the prints he created for the Utopia Suite and multicolour woodblocks which were, according to Stephen Rainbird, 'a bold expression of his individual sensibility and creativity, his artistic maturity and outstanding carving skill' (1994: 182). His prints were included in the comprehensive survey of Aboriginal printmaking New Tracks, Old Land, which was shown to international acclaim in America, touring 25 venues throughout Australia in the early 1990s. Turkey Tolson was elected Chairman of Papunya Tula in 1985 and held this role until 1995, despite painting for a variety of outside dealers from the early 1990s onward. He became one of the company’s best-known artists, and seemingly had no problem in marrying this status with his desire to act independently when the circumstances seemed propitious. His paintings were invariably included in landmark exhibitions from the early 1980s. These included the exhibition of works from the Richard Kelton collection, Contemporary Australian Art 1981 at the Pacific Asia Museum in Los Angeles, The Face of the Centre at the National Gallery of Victoria in 1985, Aratjara: Art of the First Australians which toured Germany and the UK in 1993-1994 and Papunya Tula: Genesis and Genius at the Art Gallery of NSW in 2000. Tolson’s versatility in medium and practice was firmly grounded in his superb command of the more traditional painting techniques. His most emblematic and famous images are of Straightening of Spears at Ilyingaungau. Mick Namarari, in fact, was at Kirdungurlu for many of Turkey Tolson’s Dreamings and this in part accounts for the striking resonance between their paintings of the period. Turkey’s Spear Straightening images depict spears lying in the desert. The subtle modulations of line and tone evoke the quintessential desert landscape. This, according to Johnson (1994), was one of the most influential artworks of the Papunya Tula movement. Mindful of the profusion of major abstracted canvases produced by artists like Mick Namarari, George Tjungurayai, Willy Tjungurayai, Ronnie Tjampitjinpa, and a number of other senior Pintupi men, Turkey Tolson becomes the pre-eminent figure in the last decade of the Central Desert art movement and the importance of his work can not be overstated. While Turkey Tolson was present during the early painting years at Papunya, his early works have never been valued highly. Despite being extremely pleasing and well-rendered small images, only two appear in the best 50 results for this artist at auction. For example, Napaltjarri Dreaming’, created by the artist in 1973, was valued by Sotheby’s at just $5,000 - 8,000 and sold for $6,000 in 2005. The best sales result achieved for an early career work occurred as early as 1996 when a very attractive untitled painting measuring 46 x 15 cm sold for $8,625. Why Sotheby’s failed to increase the estimate and stand by his early board in 2005 remains a mystery. This may be partially explained by the failure of an extraordinary canvas thought to have been painted by the artist in 1974/5, which appeared in Christie's Modern Aboriginal Art auction (Lot 51) just the year before. The very large canvas, measuring 203 x 174 cm, was thoroughly documented by Dr. Vivien Johnson and had an estimate of $60,000-80,000. Tolson painted continuously throughout the 1970s and into the late 1990s exploring many themes throughout his career as an artist, but none of these works have achieved the success of his most emblematic image - that of the Spear Straightening associated with the site Illingaungau. Paintings of this story occupy almost all of his highest results. Moreover, five of his top ten paintings were produced for Papunya Tula between 1996 and 2000, two years before his death. Turkey Tolson was a highly gifted, innovative artist whose range of imagery sets him amongst the finest exponents of desert painting. In comparison to the Spear Straightening works of his later years, his 1980s paintings have been mysteriously overlooked and would seem to represent great value in the current market for an artist of this stature. Many of these works explore a range of stories with imagery that is more varied and complex in structure than those created late in his life. While the telltale signs of his subsequent imagery are present, he was yet to pare down his imagery to its most essential elements at this earlier stage of his career. An iconic painting of this period is a Papunya Tula work titled, Two Travelling Women at Pultja, 1983 which measured 194 x 274 cm. Offered for sale in 2003 by Sotheby’s with an estimate of $10,000-15,000 it sold for the modest sum of $9,200. Sotheby’s put up another very nice example in 2004 (Lot 491) with an estimate of $12,000-18,000, yet this work failed to sell until the following year when Lawson~Menzies (May 2005) achieved $15,600 (Lot 63). In 2015 a very interesting 120 x 180 cm untitled work created in 1985, featuring a Perente Dreaming story, was offered at Mossgreen auctions with a presale estimate of just $6,000-$8,000. It sold for $15,860 (Alan Boxer Collection of Australian Indigenous Art, Melbourne, 17/03/2015, Lot No. 14). Under 40 of the over 300 works that have gone to auction have achieved prices higher than $20,000. Paintings created during the 1980s, with a wider artistic range and good provenance, would seem to represent fantastic value and canny collectors would be well advised to seek them out. Tolson is a much better artist than he is given credit for. Gathered together, his 1980s works would make a fascinating exhibition, and herald a major reappraisal of his career. 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 Bill Tjapaltjarri Whiskey < Back Bill Tjapaltjarri Whiskey Bill Tjapaltjarri Whiskey 1920 - 2008 ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE BILL TJAPALTJARRI WHISKEY - ROCKHOLES NEAR THE OLGAS SOLD AU$5,500.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES NEAR THE OLGAS SOLD AU$4,500.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES NEAR THE OLGAS SOLD AU$3,000.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES NEAR THE OLGAS Sold AU$0.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES AND COUNTRY NEAR THE OLGA'S Sold AU$0.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES AND COUNTRY NEAR THE OLGA'S Sold AU$0.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLE NEAR THE OLGAS Sold AU$0.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES NEAR THE OLGAS (DIPTYCH) SOLD AU$5,000.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES NEAR THE OLGAS SOLD AU$4,500.00 BILL TJAPALTJARRI WHISKEY - ROCK HOLES AND COUNTRY NEAR THE OLGAS Sold AU$0.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES AND COUNTRY NEAR AYERS ROCK AND THE OLGAS Sold AU$0.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES AND COUNTRY NEAR THE OLGA'S Sold AU$0.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLE NEAR THE OLGAS Sold AU$0.00 top Anchor 1 PROFILE Bill Tjapaltjarri Whiskey 1920 - 2008 Pitjantjatjara elder Bill Whiskey began creating his finely dotted, colourful canvases in 2004 when already in his mid 80s. He was born in near Pirrulpakalarintja outstation at Pirupa Alka, 130 km south of the stunning mountains and rock formations of Kata Juta (the Olgas) and, in search for food and water, moved with his family to Uluru (Ayers Rock) during his adolescence. Whiskey returned to his tribal land with his family after their first contact with white people ended in conflict, and continued to live a nomadic tribal existence throughout his childhood. By the time he was a young man, his father and a number of his immediate family had passed away and he joined a group of people who made the journey to Haasts Bluff mission, about 250 km to the northeast. Due, in part, to his earlier experience, he was afraid of white people, but after a restive period during which he continued his wanderings, he eventually settled at the mission and married Colleen Nampitjinpa, a Luritja woman with whom he eventually had five children. He worked at Areyonga, being paid in rations for labouring, clearing land and building as well as mustering and cooking but eventually returned to Haasts Bluff until, with Colleen and their children, he eventually moved to the outstation of Amunturungu (Mt. Liebig) during the 1980’s. Over the following decades Bill and Colleen’s renown as skilled healers, or ngangkari, spread far and wide and they became greatly respected for their traditional knowledge and authority. Despite the connotations inherent in his name he was actually a non-smoking teetotaller who initially came to be called Whiskers due to his long flowing white beard and, no doubt due to his own wry humour, the name eventually evolved into Whiskey. The Pitjantjatjara were amongst the last of the Central and Western Desert people to embrace the Desert painting movement. For the most part they had resisted the move to painting their sacred Dreaming stories on canvas for public display and sale until the 1990’s. Whiskey himself did not begin painting until the last four years of his life and, despite his age, was able to complete a number of large canvases amongst an oeuvre of no more than 200 works. His subjects included his early travels and also the mythic battle related in the Cockatoo Dreaming that occurred at his birthplace, Pirupa Alka. This ancestral story involves three birds: the white cockatoo, his friend the eagle and the aggressive black crow that attacked the cockatoo in order to steal his witchetty grubs. During a terrible battl white feathers were scattered about and the landscape became indented by the entangled birds crashing to the ground several times. Subterranean streams filled these impressions with water and a circular amphitheatre was created by the sweep of wings. The badly wounded cockatoo was helped by his friend the eagle, which chased the crow away and brought scraps of kangaroo meat for the injured bird to eat. From a large protruding rock, Katamala Cone, the eagle still watches the area protectively while a large, central, glowing white rock signifies the fallen cockatoo, still sipping the life-giving water from the sacred pools. Colourful blues, yellows, reds and greens, always tempered by cockatoo white, represent the wildflowers that grow in profusion after rain. In keeping with the depiction of Dreaming stories throughout the Western Desert, the mythic and numinous is inherent within the sacred geography. By implication human survival in the harsh desert environment has been due to the knowledge embodied by ancient wisdom passed down through the millennia. Bill Whiskey’s bold bright painting style reflected his indomitable spirit. At 80 years of age he was widely renowned as a powerful healer and keeper of sacred knowledge. His paintings, the first to depict the major Dreaming story and the creation of major sites throughout his country, are imbued with authority and steeped in traditional knowledge. ARTIST CV Market Analysis MARKET ANALYSIS Bill Whiskey painted for just four years during the later part of his life when his renown as a traditional healer and cultural custodian was at its zenith. When they first appeared in galleries in 2004 his innovative and lively works generated immediate enthusiasm amongst collectors. During the following two years his works were highlighted in exhibitions at John Gordon Gallery in Coffs Harbour, Scott Livesey Gallery in Melbourne and Japingka Gallery in Fremantle as well as with Stephane Jacob’s Arts d’Australie in Paris. Already in his mid 80s, his energy and output was so prodigious that it seemed to belie his age. After Elder Fine Art achieved $6,600 for a 120 x 120 cm work in August 2006 (Lot 120) Lawson~Menizes offered another measuring 152 x 92 cm in their November sale. It was obvious they intended to champion the artist as this relatively small work appeared as a ‘must sell’ kicker in the first 20 items at Lot 12. Carrying a pre-sale estimate of $10,000-12,000 it sold for $12,000. This excellent result gave little warning however of events to follow. At the time works measuring up to 200 x 200 cm created for Watiyawarnu and sold through those few galleries that could acquire them were marketed at between $28,000 and $32,000. The rumour that a prominent Melbourne gallerist had sold a work of this scale to a private collector for $65,000 was greeted with such incredulity that it wasn’t reflected in the $30,000-40,000 estimate placed on the major 181 x 181 cm work Rockholes Near Olgas that appeared at Lawson~Menies in November 2007. The work submitted by Coo-ee Aboriginal Art, had been purchased from Watiyawarnu just six months earlier. The house broke into sustained applause when it set a record price for the artist of $72,000 (Lot 53) given the painting was still ‘wet’. In September 2008 Lawson~Menzies offered another major work. The magnificent 180 x 270 cm painting Rock Holes and Country Near the Olgas c.2007 carried a presale estimate of $80,000-100,000 and stimulated spirited bidding. With the hammer poised to strike it exceeded the high estimate and looked to be heading toward a titanic struggle between two buyers with deep pockets until one withdrew on advice from their consultant in the room. The final price was $144,000 with the cautious under-bidder, already sensitized to the looming economic meltdown, successfully securing a work of similar dimensions on the primary market less than three months later for under $100,000. Until 2009 only five works had appeared for sale on the secondary market and all but the first of these has been offered through Lawson~Menzies. By 2008 the expectation grew that as more works appeared at auction his ranking would continue on its steep incline, thereby indicating that he was one of the most highly collectable artists of the moment. This was confirmed in 2009 when eight works sold out of nine on offer and cemented in 2010 with a yearly ranking of fourth. Championed by Sotheby’s and Deutscher and Hackett, Whiskey's works generated $276,119 in sales for that year alone. Unlike other sudden rushes to market the relative scarcity and consistency in quality of his works ensured prices remained high with an average around $35,000. The only barrier perhaps now being affordability for the less affluent collector, though Deutscher & Hackett sold a very fetching smaller untitled work for just $4,320, in October 2009 (Lot 139). His sales during 2012 were impressive. Though only four works sold of six offered all four entered his top ten. His results have been no less impressive since. Between 2013 and 2015, 11 of 14 works have sold generating $396,120 in sales, seven of which have recorded top 15 results. Between 2016 and 2017, only 6 works of the 13 on offer sold. However, despite one of these six being a minor work that sold for only $3,885 and another being a print that sold for only $292, his average price for the two years was an impressive $20,167. This was thanks in part to two wonderful works that sold from the American Luczo Family Collection. No les than 8 works appeared for sale in 2018 though most were minor. Nevertheless, a very accomplished major work measuring 202 x 148 cm achieved $57,340 against its presale estimate of $30,000 - 40,000 which became his 9th highest record overall. With a 68% success rate at auction and an exponential rise in values, Bill Whiskey has been one of the hottest artists in the market post 2005. He was, until 2016, the Aboriginal Art Market's most dramatic improver during the past decade. He was ranked 190th in December 2007 and is now 34th. He died during 2008, just 2 years after his first painting was offered for sale at auction. With an oeuvre limited to no more than 200 works, their quality and rarety increases their desirability enormously. I expect his reputation and prices to rise steadily, though the scarcity of major paintings will unfortunately prevent his ascention into the top ten artists of all times. On a rising market, only lucky collectors with very deep pockets will be able to purchase his finest major works. 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 Arnulf Ebatarinja < Back Arnulf Ebatarinja Arnulf Ebatarinja 1931 Region: Central Desert Community: Hermannsburg Language: Western Arrernte ARTIST PROFILE ARTIST CV MARKET ANALYSIS Arnulf Ebatarinja was a Western Arrernte man, born in 1931, and a pivotal figure in the Hermannsburg school of Aboriginal watercolour artists. As a nephew of Cordula and Walter Ebatarinja, his artistic lineage is deeply embedded in the traditions and cultural narratives of his community. READ FULL ARTIST PROFILE ARNULF EBATARINJA - UNTITLED SOLD AU$1,200.00 ARNULF EBATARINJA - UNTITLED SOLD AU$700.00 ARNULF EBATARINJA - UNTITLED SOLD AU$800.00 top Anchor 1 PROFILE Arnulf Ebatarinja 1931 Region: Central Desert Community: Hermannsburg Language: Western Arrernte Arnulf Ebatarinja was a Western Arrernte man, born in 1931, and a pivotal figure in the Hermannsburg school of Aboriginal watercolour artists. As a nephew of Cordula and Walter Ebatarinja, his artistic lineage is deeply embedded in the traditions and cultural narratives of his community. Over the years, Arnulf's style evolved significantly, incorporating detailed patterning and a unique method of layering fine black marks over brushstrokes, with delicate brush highlighting. These techniques set his work apart in the 1960s and 1970s, earning him recognition as an influential artist of that era. His skilful depiction of shadows in crevices and the use of horizontal strokes to represent riverbeds, shadows, and outcrops, along with informal vertical strokes to depict clifftops and other landforms, showcased his deep connection to and understanding of his native landscape. Arnulf began painting in the latter half of the 1950s, contributing to the resurgence of the Hermannsburg school movement. This revival was spurred by the life and untimely death of Albert Namatjira, whose story deeply impacted Arnulf and his contemporaries. Today, Arnulf's works are featured in numerous prestigious collections, including the Art Gallery of South Australia, the National Gallery’s Hermannsburg Gallery, Art Gallery NSW, and the Flinders University Art Museum collection in Horsham Town Hall. Hermannsburg Mission and Hermannsburg School Background Hermannsburg, known as Ntaria to the local Western Arrernte people, is located in the MacDonnell Shire west southwest of Alice Springs in the Northern Territory, Australia. Established in 1877 by Lutheran missionaries from Germany, the mission was built on a site considered sacred by the indigenous Arrernte people. The Western Arrernte have inhabited this region for thousands of years, with anthropologists believing they descend from some of the first peoples to arrive in Australia over 40,000 years ago. The missionaries, having initially struggled to make contact with the Aboriginal people, eventually learned the local Arrernte language and developed strong ties with the community, contributing significantly to the documentation and preservation of the language and culture. Hermannsburg became a focal point for the community, especially during periods of drought when pastoralism and racial tensions were on the rise. By the mid-20th century, Hermannsburg had become the birthplace of the Hermannsburg School art movement, particularly renowned for its Western-style landscape watercolours, characterized by the striking colours of the Australian outback. Albert Namatjira is the most celebrated artist of this movement, having been inspired by the watercolour paintings of Rex Battarbee and John Gardner. This style of painting offered a new form of cultural expression for the Arrernte people, blending traditional ceremonial artistic expressions with new techniques that captured the essence of their ancestral lands in a way that resonated with wider audiences. Arnulf Ebatarinja, along with other artists from the Hermannsburg School, played a critical role in this cultural synthesis, helping to promote and preserve Arrernte cultural heritage through art. This integration of traditional and new artistic methods not only enriched Arrernte culture but also introduced these unique perspectives to the global art community. Recommended further reading hermannsburgschool.com/ 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 .