Artist Profile for Dianne Strangways < Back Dianne Strangways Dianne Strangways ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Dianne Strangways 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 Jane M Tipuamantumirri < Back Jane M Tipuamantumirri Jane M Tipuamantumirri ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE JANE M TIPUAMANTUMIRRI - WOMEN'S CEREMONY SOLD AU$1,000.00 JANE M TIPUAMANTUMIRRI - TOKAMPINI BIRDS AND FISH SOLD AU$900.00 JANE M TIPUAMANTUMIRRI - BODY PAINT SOLD AU$750.00 JANE M TIPUAMANTUMIRRI - PAMAJINI SOLD AU$360.00 JANE M TIPUAMANTUMIRRI - WOMEN'S CEREMONY Sold AU$0.00 JANE M TIPUAMANTUMIRRI - WOMEN'S CEREMONY Sold AU$1,000.00 JANE M TIPUAMANTUMIRRI - BODY PAINT SOLD AU$750.00 JANE M TIPUAMANTUMIRRI - BODY PAINT SOLD AU$750.00 JANE M TIPUAMANTUMIRRI - BODY PAINT SOLD AU$330.00 top Anchor 1 PROFILE Jane M Tipuamantumirri 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 .

NamatbaraPaddy Paddy Compass Namatbara Paddy Compass Namatbara 1890 - 1973 Nabadbara, Namadbara, Nobadbara Paddy Compass Namatbara began painting at the Methodist mission at Minjilang (Croker Island) from its very inception in 1941. The centre was a melting pot of tribal groupings, and though Paddy, then in his early fifties, was not of the dominant Kunwinjku people, he became part of a dynamic group of artists, which by the late 1950’s included Yirawala, Midjaw Midjaw and Nangunyari Namiridali. These artists found that the Methodist mission on Croker Island allowed them a greater degree of artistic freedom in comparison to the mission at Oenpelli. Painting through the 1960's, the group came to the forefront of modern bark painting, in part, due to their close alliance with a number of visiting anthropologists and regular visits by Dorothy Bennett and others who collected barks for sale. Karel Kupa came to Minjilang in 1963, following in the footsteps of anthropologists Charles Mountford and Ron and Catherine Berndt, who had visited in 1948 and 1949. Kupa’s presence impacted upon the artists chosen style and subject matter, particularly in the depiction of themes of sorcery, previously suppressed by the mission. Paddy produced rare images of Mimih and spirit figures imbued with the physical deformations, transferred to the intended victim, when accompanied by songs and ceremony. Alongside, this darker connotation, sorcery spirits are also highly imbued with sexual tension and humour, as ‘Kunwinjku relate tales of their ribald exploits' (Taylor 2004: 118). In Paddy’s Spirit Figures c.1960 he depicts a male figure with a sub-incised member of huge proportion, leering towards the protruding genitals of the female figure adorned with pubic hair. It is a work of playful lust, the sexual energy only heightened by the artist’s ability to imbue the image with a sense of rhythmic movement through the depiction of its stringy undulating figures. It is the dynamic energy of Paddy Compass’s paintings that set his works apart from that of his fellow painters. In contrast Midjaw Midjaw preferred symmetry and Namiridali bold black and white bands across figures standing static in nature. The group however, shared many stylistic conventions primarily derived from the tradition of rock painting, where sorcery figures originated amongst the secluded rock escarpments of Western Arnhem Land’s stone country. Common characteristic’s of rock painting found in Paddy’s work includes the coarsely applied white paint in silhouette, adorned with bold dots or crosshatching. The background in his works invariably remains plain and unadorned other than the occasional red ochre wash rubbed into the barks surface. His works created in an X-ray style are also closely affiliated with rock painting and part of a key movement in Western Arnhem Land bark painting. By revealing the interior of human and animal forms Western Arnhem Land artists could convey and exchange bodies of knowledge and demonstrate how animals were divided according to ritual and social obligation. This applied particularly to hunting and increase rituals. While Paddy and others depicted many totemic animals prized by hunters, the vast majority of rock paintings are of fish. They indicate the different parts of the fish that were most prized and comprise a visual iconography that artists developed as a symbolic aid in dividing the sections of the animal correctly. Paddy’s early work, Saratoga 1947, is a prime example. In this and his other works Paddy displayed the diverse functions that artistic practice plays in Western Arnhem Land culture, ranging all the way from comical relief to scientific instruction. The public’s growing recognition of this diversity in purpose and sentiment has transformed the perspective with which they view Indigenous art. The humanistic sentiment of these quirky lustful figures provides a medium in which the outside viewer can relate to the artist, despite the vast gulf in cultural understanding between them. It is as if sexuality and its incumbent awkward humour can transcend culture, for it strikes at the very base of what it is to be human. By seeing a shared humanity in the paintings of Paddy Compass Namatbara, outside audiences could come to terms with the personal imprint within the work, transforming it from a relic of an ancient culture into something alive and of the moment. Other than ethnographic enthusiasts familiar with the Ruhe and Louis Allan collections or lucky enough to have seen the works in the collection of the National Gallery of Australia, the wider audience for contemporary Aboriginal art would have been largely unaware of Paddy’s Compass’s paintings until a series of eight barks were included in the Crossing Country exhibition at the Art Gallery of New South Wales in 2004. All were of Mimih spirits up to kinky business. The following year on the secondary market, a work of similar sentiment Spirit Figures c.1960, sold for $33 400, at Sotheby's in July for a figure some six times its sale price of $5,175 in 2000. This record price is still well above the $19,200 achieved by Sotheby’s in July 2007 for Maam (Malignant Spirit) c.1960 despite this work selling above its high estimate. There is however a big drop to his next record and those thereafter. The next highest result was achieved at Sotheby’s in 2010 with the sale of Death of Kundaagi selling for $9,600. The absence of a gradual rise in sales between 2000 and 2005 can, however, be attributed to a lack of work in his signature style on offer. While the differentiation between the two styles is a compelling explanation, Sotheby’s, which has sold 14 of the 16 works to date, have shown some inconsistency in their attribution and estimates. When a 46 x 135 cm bark of a Saratoga fish was first offered for sale in 2002 it was given the very specific date of 1947 yet it failed to attract interest when carrying a presale estimate of $7,000-10,000 (Lot 284). In July 2007 it appeared once more at Sotheby’s estimated at $3,000-4,000 (Lot 239). Now titled Saratoga c.1960 it sold just below the high estimate for $3,840. The market preference for spirit figures and sorcery images with overt sexual overtones is due to a number of factors. This includes their scarcity, due to attempts by certain missions to curb such subject matter. But also, and perhaps more importantly in the context of artistic developments amongst Western Arnhem Land bark painting, the history of bark painting is marked by a trajectory from figuration to increasing abstraction. This has found its current climax in the works of Kunwinjku artist John Mawurndjul, who abandons the figurative all but completely. In recent years the art world has rewarded the intricate visions of Mawurndjul with unparalleled praise. Yet, in what at first seems to be a paradox, works by Paddy Compass and Yirawala receive applause precisely for their direct contrast to these abstracted visions. In the animated energy of their spirit beings we can see the origins of what has followed, and delight in the fruits of a fascinating dynamic and evolving culture. 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 Paddy Jampin Jaminji < Back Paddy Jampin Jaminji Paddy Jampin Jaminji ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE PADDY JAMPIN JAMINJI - DEVIL DEVILS Sold AU$0.00 PADDY JAMPIN JAMINJI - DREAMING PLACE Sold AU$0.00 PADDY JAMPIN JAMINJI - HILLS Sold AU$0.00 PADDY JAMPIN JAMINJI - SUN MOON & STARS Sold AU$0.00 top Anchor 1 PROFILE Paddy Jampin Jaminji Paddy Jaminji, was the classificatory ‘uncle’ of Rover Thomas and a highly respected elder during the establishment of the Warmun Community at Turkey Creek in the early 1970’s. Due to a combination of economic hardship and political upheaval he, along with many of his countrymen, had been displaced from his working life as a stockman and by a strange twist of fate became the founder of the contemporary painting style of the East Kimberley region. In 1974, Jaminji, Thomas, and their contemporaries viewed the destruction of Darwin by Cyclone Tracy as a manifestation of the Rainbow Serpent warning them to make a stand against sliding into the Gadiya (white man’s) ways. This cataclysmic event at the region’s centre of European influence became, for Gidja people in particular, the catalyst for cultural revival. While Rover Thomas re-interpreted the dream of his travels visiting important sites throughout the Kimberley with the spirit of a deceased female relative into a ceremony that included art and dance, it was Jaminji, who was initially the most prolific producer of the paintings that were associated with the story and ceremony, later known as the Krill Krill or Gurrir Gurrir. Rover Thomas described himself as apprentice and confidante to the older man as Jaminji’s great store of knowledge about the land, its features and spiritual significance, provided the grounding for the new ideas and images that would eventually infuse his unique and evocative ceremonial paintings with their strong traditional links. As these paintings generated interest, and a demand for similar works to those used in ceremonies grew, Thomas and others were emboldened to begin their own paintings. Rover camre to be considered the leader of this new art movement. From their genesis in the mid 1970’s, Jaminji’s paintings stood out as appreciably different to the better-known, multi-hued acrylic dotted works that were being created at Papunya during the same period. The remoteness of the Kimberley encouraged a separate development, with Jaminji and those who followed choosing to work only in traditional ochres, which rendered a highly textured surface that conveyed a warm, earthy quality. Jaminji’s diagrammatic depiction of the landscape, which followed the actual contours of the country and used the earth itself as the medium, imparted the feeling that the actual traces of the events, which unfolded through time, were embedded in the works. Jaminji worked as a gardener at the Argyle Diamond Mine during its early years and sold his first paintings to contractors and mine advisers from 1977 onwards. Later, Mary Macha, who ran the Government Marketing Company’s retail outlet in Perth, purchased his and Thomas’s paintings. After leaving the company in 1983 she made her garage into a studio for Rover Thomas and for Jaminji during his occasioned visits down south. She continued to purchase Jaminji’s paintings throughout the early and mid 1980’s until 1987, by which time he was almost completely blind. Jaminji’s most emblematic paintings were of mythic creatures depicted in a figurate style such as devil-devils, and Tawurr, the Half Kangaroo that was transformed into a rock at Elgee Cliffs, the site of an ancient cave painting and Dreaming place.  During the Krill Krill ceremony, the spirit stops to acknowledge Tawurr, ensuring the continuity of the spiritual powers that he imparted which are inscribed within the cliffs just as Jaminji’s painting aim to capture the spirit of this ancient being. Despite their formal composition, Paddy Jaminji’s works emanate a sense of power and freedom befitting the work of a man deeply versed in his tradition who spent most of his life working with cattle and moving them across the land. He was the inspiration behind Rover's decision to paint and went on to inspire many others including Lena Nyabi. The themes for his works were derived from his own beliefs, cultural iconography and working experiences. It is this intimate knowledge of tradition and country that imbues his paintings with their deep meaning. ARTIST CV Market Analysis MARKET ANALYSIS Paddy Jaminji painted for a brief period between the late 1970s and 1987 by which time he was almost completely blind. The first art centres in the region were not established until 1986 by the Kimberley Law Centre and by this time Jaminji was barely able to paint. For the first half of his brief decade of creative activity, paintings were made exclusively for ceremonies and not for sale. Thereafter occasional visitors to the community would offer to purchase paintings and, through Don McLeod and others, Jaminji’s works found their way down to the Government marketing company outlet in Perth, run until 1983 by Mary Macha. Three initial collections of ceremonial boards by Paddy, Rover and others were sold to the Berndt Museum at the University of Western Australia and to the Western Australian Museum. A number of boards were sold to individual collectors and contractors working on the Argyle Diamond Mine site or passing through Turkey Creek, however the majority of these had little if any fixative added to the pigments and were stored between ceremonies on earth floors and in poor conditions. Those used in ceremonies and subject to poor handling have mostly suffered varying degrees of damage including smudging of the ochred surfaces and deterioration of the board on which they were painted. The resultant loss in value is reflected in a number of the artist’s more disappointing auction results. Only 87 works by Paddy Jaminji have been offered for sale through auction compared to nearly 400 works by Rover Thomas. Yet despite his lack wide recognition and his relatively small oeuvre he has a better than average success rate of 64% with 60 works sold in total. With just one exception, all of those that failed to sell were lesser works either because of size, damage, or because they had somewhat simplistic images with little colour relief. His auction results do not reflect a great deal of difference between works painted early or late in his career, for sale or ceremony. Generally the larger the work and the more engaging the image the higher the price it has received. The average price paid to date for works more or less 180 x 90 cm in size is around $50,000 while works around the 120 x 90 cm range have averaged $20,000 and smaller 90 x 60 cm paintings have achieved a mean of  approximately $15,000. His third highest sale price was for a very early 122 x 122 cm board, Moon, Sun and Stars 1978-79, which sold at Lawson-Menzies in June 2005 for $105,000 (Lot 54). When originally offered, the work created a minor storm in the media. Noted academic Kim Ackerman challenged the likelihood that it had been created so early and that it was actually a ceremonial board. Further evidence subsequently shed more light on the work’s bone fides. Having been purchased by a Spanish collector it was returned to Australia in 2009 and offered for sale once more. Despite quite modest expectations matching the earlier purchase price, the painting failed to attract a buyer. A great pity, as this was a work of great beauty, extreme rarity and historical importance, something which a largely uneducated market regularly fails to recognise in the hurly burly of the public auction process. (The work subsequently sold privately for $AUD135,000) Paddy Jaminji was the seminal figure in the genisis of East Kimberley art, yet he is rarely recongised as such. Between 2008 and 2012 no work had sold for more than $30,000. 2013 saw a resurgence however, with both works on offer selling for more than their estimate. Hills of Turkey Creek, which in 1998 had already more than doubled its $30,000 high estimate (posting his highest result by far at the time), once again shattered its $80,000 high estimate to shoot to number one of his top ten for an incredible $170,800 (Bonhams, The Grundy Collection, Sydney, 26/06/2013, Lot No. 41). Since 2013 only five small to medium sized works have been offered, and all have found new homes.   Works by Paddy Jaminji that remain in private hands are rare and given his primary place in the history of Aboriginal art should increase in value considerably over time. The discovery of spectacular paintings by this artist are likely to be few indeed, and when these come up for sale they should be expected to better his existing sales records substantially.   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 .

TjakamarraFredd Freddy West Tjakamarra Freddy West Tjakamarra 1940 - 1994 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 Natharia Nangala Granites < Back Natharia Nangala Granites Natharia Nangala Granites ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Natharia Nangala Granites 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 .

PetyarreAda B Ada Bird Petyarre Ada Bird Petyarre 1930 - 2004 Prominent Utopia artist Ada Bird Petyarre was the eldest of seven sisters (including Kathleen, Gloria, Violet, Myrtle and Jean), all celebrated artists who spent most their lives in this remote and arid area 230 kilometres North East of Alice Springs. The art of Utopia rose to prominence swiftly, not least because it heralded the emerging prominence of female artists and their particular themes as a significant force in Aboriginal art. Utopia had once been a large cattle station where Ada had worked as a young woman. In 1978, the Aboriginal Land Fund Commission returned the land to its traditional Anmatyerre and Alyawarre owners, who established small settlements throughout the 1,800 square kilometres. Ada was born at Mulga Bore (Akaye Soakage) and continued to live there amongst her large extended family, raising two daughters and four sons. Ada Bird participated in the batik making workshops run by the adult education programme in the late 1970s. The women took to this traditional Indonesian craft with ease, reflecting their many years of ‘mark-making’ when painting their bodies as part of their preparation for Awelye (women’s ceremonies). From the outset, Ada Bird’s vibrant personality was expressed in her bright colours and fluid linear designs. Alongside the batiks of her sisters and her aunt Emily Kngwarreye, her early works on luscious silk were soon exhibited and snapped up by buyers including the celebrity collector, businessman Robert Holmes a Court. German filmmaker Wim Wenders acquired one of Ada’s batiks and gave her a part in his film, Till The End of the World, that was partially shot in Central Australia. Traditional obligations and ceremony always played a large part in Ada’s life, feeding directly into the graphic magnetism of her practice. As a senior elder of the Anmatyerre people, she was deeply respected for her talent and cultural role. The body painting of Awelye (women’s ceremony) is a process that is considered as important as its end product. It has been described as a way of inhabiting the world as well as of seeing the world. Fat is rubbed onto the body so that the finger-painted lines of ochre on moving limbs shine and shimmer, particularly by fire-light. Native grasses are soaked and splashed over the skin to produce a decorative effect across breasts and body. The women paint each other according to their skin names and tribal hierarchy. They sing all the while to call the spirit ancestors to the approaching ceremony. This haptic and affective practice invokes a tangible sense of awe and involvement amongst ceremonial participants and it is this influence that infuses Ada’s art making with similar qualities. Growing confidence and skill allowed Ada to move seamlessly into acrylic painting when, in 1988-89, 'Summer Project' workshops organised by the Central Australian Aboriginal Media Association (CAAMA) again made new materials available to the women at Utopia. It had become apparent that a unique style had formed. In fact, the first major book on these artists, Utopia Women’s Painting (1989), featured Ada’s work on the front cover of the landmark publication. In late 1989 the National Gallery of Australia in Canberra acquired a major canvas of hers and the addition of her works to many other major collections followed. The depictions of body painting designs relate to the fertility of the land and the abundance of bush foods, but one of Ada’s most popular and compelling subjects is Arnkerrth, the Mountain Devil Lizard. This tiny desert creature is said to have created the desert by moving sand, grain by grain, since the dawn of time. It is a shared Dreaming among the Petyarre sisters and elucidates the love and responsibility the Anmatyerre people feel for their homelands. Unlike early Europeans, who were wary of the lizard’s bristly spikes (hence the fearful Latin name, Moloch horridus), desert people love these creatures and often keep them as pets. Their camouflage ability to change skin patterns and colouring in keeping with their surroundings gives rise to myriad design possibilities. In 2004 Ada died after a stroke. She left a legacy of traditional knowledge embodied in beautiful artworks known for their striking palette and pleasing, linear design. Some rare and lesser-known works are more subdued in colour, sometimes incorporating fine dotting or even small representational elements. Her works are held all over the world in public and private collections and she remains an inspiring figure of the early Aboriginal contemporary art movement. Profile author: Sophie Baka Edited: Adrian Newstead Individual Exhibitions: 1990, Utopia Art, Sydney. Group Exhibitions: 2008 - More than stories, Utopia Art Sydney, Sydney. 2005 - Decouvrir, Rever, Investir, Australian Embassy, Paris, France. 2004 - Binocular: looking closely at Country, Ivan Dougherty Gallery, Sydney; Reves de Femmes, Galerie DAD, Mantes-la-Jolie, France. 2001 - 2002 - Land of Diversity, The Northern Territory, at Hogarth Galleries, Paddington. 1994, Power of the Land, Masterpieces of Aboriginal Art, National Gallery of Victoria.; 1994, Yiribana, Art Gallery of New South Wales, Sydney. 1993, Central Australian Aboriginal Art and Craft Exhibition, Araluen Centre, Alice Springs; The Tenth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin; 1993, Tjukurrpa, Desert Dreamings, Aboriginal Art from Central Australia (1971-1993), Art Gallery of Western Australia, Perth WA; 1993, After The Field, Manly Art Gallery & Museum, Sydney; 1993/4, ARATJARA, Art of the First Australians, Touring: Kunstammlung Nordrhein-Westfalen, Dusseldorf; Hayward Gallery, London; Louisiana Museum, Humlebaek, Denmark. 1992/3, New Tracks Old Land: An Exhibition of Contemporary Prints from Aboriginal Australia, touring USA and Australia. 1991, Flash Pictures, National Gallery of Australia; 1991, Aboriginal Women's Exhibition, Art Gallery of New South Wales, Sydney; 1991, The Eighth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin. 1990, 'Utopia - A Picture Story,' an exhibition of 88 works on silk from the Holmes a Court Collection by Utopia artists which toured Eire and Scotland.; 1990, A Portfolio of Australian Women Artists, Macquarie Gallery, Sydney.; 1990, Contemporary Aboriginal Art from the Robert Holmes a Court Collection, Harvard University, University of Minnesota, Lake Oswego Center for the Arts, United States of America; 1990, Utopia Artists, Flinders Lane Gallery, Melbourne. 1989, Utopia Women's Paintings, the First Works on Canvas, A Summer Project, 1988-89, S. H. Ervin Gallery, Sydney; 1989, Utopia Batik, Araluen Centre, Alice Springs; 1989, Utopia, Utopia Art, Sydney.; 1989, Utopia Women, Coventry Gallery, Sydney. 1988, Time Before Time, Austral Gallery, St Louis, USA.; 1988, Contemporary Aboriginal Art, Utopia Art, Sydney. 1977-1987, Exhibited with the Utopia women at exhibitions in Australia and overseas. With an impressive exhibition history and a strong presence in the literature you would expect Ada Bird to be one of Aboriginal Australia’s most collectable artists, if currently slightly out of fashion. Important institutions that hold her work include the Art Gallery of New South Wales, the National Gallery of Australia, the University of Queensland, the Holmes a Court Collection, the Kelton Foundation in Santa Monica, USA, and the Anthropology Museum, St. Lucia. The highest price achieved for a work by Ada Bird at auction was the $27,600 paid for the Delmore provenanced Atnangkere (Awelye) 1990 that had been exhibited at the Haywood Gallery, London, the Kunstsammlung Nordrhein-Westfalen in Dusseldorf and Gallery Gabrielle Pizzi, Melbourne. Sold at Sotheby's in June 1999 (Lot 97) it measured 151 x 122.5 cm, and exceeded its presale estimate of $8,000-12,000 by a significant margin. Another work, currently the artists’ second highest secondary market result, sold for $16,100 against an estimate of $8,000-12,000 at Sotheby’s a year later (Lot128). Women’s Ceremony for the Mountain Desert Lizard 1992 came from Mulga Bore Artists and was signed by Rodney Gooch on the reverse. It measured 230 x 164 cm. Nevertheless, only five of her ten highest results exceed $10,000 and the average price of the 45 works that have sold of the 101 offered is only $3,896. This is due to the fact that many of the pieces that have been offered at public sale were not in her preferred style. She is an artist who has painted without representation. Many of her paintings have been created with poor materials and have not been executed with great care. Her ouvre is a very mixed bag that is heavily weighted with poor works and her failures at auction have been damaged by these since they first appeared in 1995. Her best year at auction was as early as 1999 when 12 works appeared of which 7 sold for $49,350. In 2007 six of nine sold for $27,192 and in 2010 five of six sold for $20,179. New works entered her current top 10 results in 2010 and 2012 at equal 3rd and 6th places even though her first, second and forth highest results were all recorded in 1999-2000. Interestingly, it was the same work entitled Atnankere Dreaming 1997, which originally sold at Phillips International in 1999 that later achieved the identical result ($15,535) at Mossgreen auctions just over a decade later in 2010. Her results since 2014 have been less than ideal, with only 5 works selling of the 16 on offer in that period, none of which graced her top 20. In reality, Ada Bird is one of those artists who was prolific for a decade but created only a small number of highly collectable works overall. While collectors should keep their eyes open for the best of her paintings, on those rare occasion when they appear at sale they are unlikely to set new records over the coming years. Her more inimately executed works are the pieces that will hold, and possibly increase, in value over time. Even so, it is hard to see even the best of them pushing her records a great deal higher than her current best results. 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 Ivy Janyka Nixon < Back Ivy Janyka Nixon Ivy Janyka Nixon ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE IVY JANYKA NIXON - UNTITLED (FRAMED) SOLD AU$2,500.00 top Anchor 1 PROFILE Ivy Janyka Nixon 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 .

EMILY KAME KNGWARREYE Location: Cooee Art Online From 05 March to 28 April 2020 Viewing Room EMILY KAME KNGWARREYE Artists: Emily Kame Kngwarreye From 05 March to 28 April 2020 Location: Cooee Art Online During a whirlwind painting career that lasted just eight years, octogenarian Emily Kame Kngwarreye became Aboriginal Australia’s most successful living artist and carved an enduring presence in the history of Australian art. By the time she passed away on September the 2nd 1996 her fame had achieved mythic status. The Sydney Morning Herald obituary reported the ‘Passing of a Home Grown Monet’. By this time comparisons with a number of great international artists including Pollock, Kandinsky, Monet and Matise, had become commonplace. Emily was an artistic superstar, the highest paid woman in the country, who created one of the most significant artistic legacies of our time. As a painter Emily was a bold, unselfconscious force unleashing colour and movement on to canvases that at their best could be sublime. Her finest paintings are entirely intuitive works, painted during furious sessions in which she never stepped back to look. Her forceful independent personality coupled with the strength she developed while working with camels and labouring during her earlier life was clearly evident as she painted. She worked as if possessed, drawing long meandering lines and bashing out fields of dots with her exceptionally strong hands and arms, displaying her ability to use the most unlikely overlays of colours to create deeply luminous works. Like Pollock she painted on the ground but, unlike him, she crouched over the canvas until done. She was renowned for walking away from a canvas without even surveying the finished product, such was her assuredness about its content and meaning. VIEW CATALOGUE EX 198

Artist Profile for Christine Daisy Puruntatameri < Back Christine Daisy Puruntatameri Christine Daisy Puruntatameri ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE CHRISTINE DAISY PURUNTATAMERI - PWONGA SOLD AU$7,800.00 CHRISTINE DAISY PURUNTATAMERI - PWONGA Sold AU$0.00 CHRISTINE DAISY PURUNTATAMERI - PWONGA SOLD AU$3,300.00 top Anchor 1 PROFILE Christine Daisy Puruntatameri ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

MarikaMawal Mawalan Marika Mawalan Marika 1908 - 1967 Mawalan Marika, head of the Rirratjingu clan from North East Arhnem land, is considered one of the true greats of the bark tradition. Born into an era before intensive European colonisation, he became a principle informant to anthropologists Charles Mountford, Roland Berndt and Catherine Berndt in the production of much of the early literature on Arnhem Land song poetry. He was one of the first painters commissioned by the missionary Wilbur Chaseling and produced artworks for Dr Stuart Scougall and Tony Tuckson at the Art Gallery of New South Wales in Sydney in the late 1950’s. Yet his life and work testify to an ambiguous relationship with the colonial presence. He was amongst the ringleaders in the fight for Aboriginal land rights in the 1960’s and 1970’s. He played an instrumental role in the production of the ‘Bark Petition’ to the Commonwealth Parliament, used effectively as testament to their claim over the land and consequent right to negotiate the terms of mining on it. Moreover, he made a very personal political statement in introducing women to painting on bark in the 1960’s when he taught his two oldest daughters to paint their family designs, though they were not embraced by the Australian art market until later decades. Mawalan’s paintings, while characteristic of barks emanating from Yirrkala from the 1960’s to 1980’s in their narrative mode of representing myth, are specifically revered for their conceptual grandeur. The Seagull 1962 is characteristic of his style in using symbolic figurative imagery grouped into compositions surrounded by formal designs associated with the Rirratjingu. In keeping with other Arnhem land art of the period, meaning is developed through intricate symbolism which accommodates both a secular and deeper, spiritual dimension. Malawan was very committed, convinced with other spiritual leaders who also painted large collaborative works of the most sacred stories at the time, that their most important sites were under threat from bauxite mining. Another ethnographic theme in his work was the depiction of the relations between Maccasan traders and Aboriginal people of Arnhem Land as early as the 17th Century. Due to his historical and artistic prominence Mawalan is one of the most revered and widely represented artists in galleries and museums in Australia and overseas. His work still forms the centrepiece of the Art Gallery of NSW Indigenous collection and he is the subject of considerable literature, including a documentary film In memory of Mawalan 1981. Along with Munggarawuy Yunupingu, Wandjuk Marika and a small band of others, Mawalan Marika was a profoundly influential early artist in North East Arnhem Land during his lifetime due to his commitment to educating Westerners whose actions impacted on Yolngu existence at the time. His career parallels that of renowned Western Arnhem Land artist, Yirawala. Both created masterpieces for more than 20 years during a period when Aboriginal art was considered principally as ethnographic. While only less than 100 of his paintings have been offered for sale at auction compared to more than 154 by Yirawala, Mawalan’s success rate is higher than Yirawala, even after dropping from 80% in 2006 to its current 69%. However, only ten paintings have achieved prices above $20,000 including Sacred Waterhole 1963-4 that exceeded estimates to become the artist’s eigth highest result to date when sold by Joel Fine Art in June 2008 (Lot 18). Prior to 2009 his record, the $42,800 set by Sotheby’s in June 2005, was held by The Seagull, painted in 1962 and collected by Dr Stuart Scougall (Lot 69). The painting had been exhibited in New York, at the Qantas Gallery, in 1963. In the same sale The Milky Way a later work, illustrated in Lewis Allan’s classic book Time Before Morning and John Rudder’s 1999 book An introduction to Arnhem Land Bark Paintings, achieved $26,350 currently the artist’s sixth highest result. The interest in these works at Sotheby’s in 2005 was indicative of the strong interest in Mawalan’s best provenanced and most complex works given that few of this quality had appeared since 1999 when Warrana c.1960 was offered with an estimate of just $15,000-25,000 but sold for $34,500 to the Kerry Stokes collection. In 2009 a new record was set for The Milky Way when it sold for $43,200 at Sotheby’s in July (Lot. 30). The painting was similar to another, of the same name, which sold four years earlier for $26,350. The jump in price was a good indication of the escalating value of Mawalan’s finest works and a more general reappraisal for high quality early barks. While high prices have been achieved for those paintings depicting complex narratives, others with simpler, more static imagery do not fare half as well. This is sharply illustrated by the fact that a wonderfully complex painting Maruma-Story of a Burial c.1960, which had sold for as little as $6,900 at Sotheby’s in 1997, achieved a sale price of $18,000 just four years later in 2001, while simple works like Djanda (Goanna) c.1960 and Daymirri (The Whale) c.1964 sold for as little as $4,800 and $4,600 respectively in 2003. Sotheby’s have taken up all of the running with Mawalan’s works, establishing all of the artists highest results until 2008, when Joel Fine Art managed to insert one painting in the artist’s top ten and 2009 when Deutscher and Hackett gained a fourth place sale. As the number of Mawalan Marika’s finest works in private hands are rare or un-attributed by their current owners, on those rare occasions when they are recognised by appraisers and appear at auction, they are likely to defy any downward market trends. As major pieces appear, his ten highest records will tumble and his average prices will rise considerably. 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 Inawintji Williamson < Back Inawintji Williamson Inawintji Williamson ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE INAWINTJI WILLIAMSON - KUPI KUPI Sold AU$0.00 top Anchor 1 PROFILE Inawintji Williamson 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 .