SYDNEY CONTEMPORARY | BIRRMUYINGATHI MAALI NETTA LOOGATHA From 07 September to 11 September 2022 SYDNEY CONTEMPORARY | BIRRMUYINGATHI MAALI NETTA LOOGATHA From 07 September to 11 September 2022 SYDNEY CONTEMPORARY | BIRRMUYINGATHI MAALI NETTA LOOGATHA From 07 September to 11 September 2022

The Rod Menzies Estate | Indigenous Art Collection | Auction Part II Cooee Art Leven 17 Thurlow Street Redfern Tuesday 5th March 2024 Viewing Room The Rod Menzies Estate | Indigenous Art Collection | Auction Part II Tuesday 5th March 2024 Cooee Art Leven 17 Thurlow Street Redfern It's a Wrap! Two years after his death, the late Rod Menzies’ collection of Australian Aboriginal art has been sold in its entirety. Menzies’ flirtation with Australian Aboriginal art began in 1999, when he hired Melbourne specialist Vivien Anderson to break into the increasingly lucrative Aboriginal art market that had grown from $715,000 in 1994 to $5.4 million. Anderson held only 2 sales in 1999 and 2000. In 2003 Menzies charged Aboriginal art dealer Adrian Newstead with the task of heading Menzies’ Aboriginal art department. In a self-described audacious move, Newstead widened the range of art on offer, securing works through his extensive dealer network. With Christies and Mossgreen entering the market in 2004, Australian Aboriginal art sales grew from $6.9 million at the start of the millennium to $26.5 million by 2007 with 60% generated through Adrian Newstead’s Menzies, and Tim Klingender’s Sotheby’s, sales. In 2008, with the Global Financial Crisis, Newstead, and Menzies parted ways. The art bubble had burst and several competitors departed the field while others were in decline. The secondary market for Aboriginal art dropped year on year until it reached its’ nadir in 2014 at just $5.7 million. Nine years later in 2017, Cooee Art Auctions debuted, with Newstead and then business partner Mirri Leven at the helm. The venture began with a bang when Emily Kngwarreye’s Earth’s Creation I, sold for $2.1 million. The painting, which set the Australian record price for any Aboriginal artwork in 2017, is still the most valuable painting ever sold by any Australian Female artist. In its first year operating as an auction house Cooee’s sales topped $2.6 million. Leven is now sole owner of the gallery and, going forward, head of the auction house. With the death of Rod Menzies in April 2022, the Menzies heirs agreed to entrust Newstead with the task of disbursing the father’s extensive 240 work Aboriginal art collection. Though he had sold his share of Cooee art to Mirri Leven by February 2023, Newstead remained in his position as head specialist on The Rod Menzies deaccession sales Parts I and II, which were held in November 2023 and March 2024. The sales realised a total of $3 million incl BP with 100% of all lots sold. About the Auction We are pleased to introduce the March 5th auction, headlining Part II of the Indigenous art collection of the late Rod Menzies. Part 1 of the special deaccession offering was held in November 2023 and saw all 103 artworks on offer sold, achieving 130% of the sale’s total pre-sale value. Rod Menzies took an assertive financial interest in the stock that he consigned. He amassed and cared for an impressive collection of Australian Indigenous artworks which were on permanent display at Noorilum, his estate located between Seymour and Shepparton in Central Victoria. Menzies was continually growing audiences for Indigenous and Australian art. He toured his finest Indigenous artworks in the exhibition, ‘Masterworks from the Menzies Collection’ to regional galleries throughout Australia between 2006 and 2008. It included several of the large-scale paintings that were included in our November sale along with others that are on offer in this Part II catalogue. Artworks that toured in this sale are: Maggie Napangardi Watson’s Mina Mina Dreaming, 1995 (Lot 34); Judy Watson’s, Women’s Dreaming, 1995 (Lot 35), and two works by Ronnie Tjampitjinpa - Water Story (Lot 33) and Tingari Dreaming, 1997 (Lot 66). Several of the artworks included in this offering currently hold, or have previously held, the artist’s market records, meaning when purchased they sold for the highest amount any artwork by the artist has sold for. Our cover lot is one such work. Purchased by Rod Menzies in 2008, this large-scale piece depicting aspects of the Mina Mina Dreaming by Maggie Watson (Lot 34) holds the artist’s sold record when last sold for $348,000. The on-going rationalisation of the considerable Rod Menzies estate holdings includes hundreds of important Australian and International paintings, real estate, and a large range of additional assets. For this reason, Mina Mina Dreaming carries a pre-sale estimate of just $90,000 to $150,000 in this deceased estate sale. Preceding the 87 works in this final tranche of the Menzies Indigenous art collection are a small number of selected pieces being offered from mixed private vendors. These include a lovely watercolour depicting Glen Helen Gorge by Albert Namatjira, carrying an estimate of $30,000-40,000, (Lot 9); and paintings by John Mawurndjul, Kitty Kantilla alongside several pieces by Emily Kam(e) Kngwarray(e) whose solo exhibition is currently on view at the National Gallery of Australia and will be shown in 2025 at the Tate Modern in London. Emily Kngwarreye’s artworks are becoming more and more scarce in the market. We look forward to welcoming you during the viewing at Cooee Art Leven’s Redfern galleries for this one-of-a-kind deaccession sale of the Menzies collection. LOTS 1 - 14 INDIGENOUS FINE ART I PROPERTY OF MIXED VENDORS LOTS 15 - 101 INDIGENOUS FINE ART I THE ROD MENZIES ESTATE INDIGENOUS ART COLLECTION PART II View Auction Results View Auction Online Auction PDF Catalogue Auction14

Artist Profile for Mirdidingkingathi Juwarnda Sally Gabori Sally Gabori; Mirdidingkingathi Juwarnda < Back Mirdidingkingathi Juwarnda Sally Gabori Sally Gabori; Mirdidingkingathi Juwarnda Mirdidingkingathi Juwarnda Sally Gabori c.1924 - 2015 Sally Gabori; Mirdidingkingathi Juwarnda Region: Gulf of Carpentaria Community: Bentinck Island Language: Kayardild Art Centre: Mornington Island Arts and Craft Centre ARTIST PROFILE ARTIST CV MARKET ANALYSIS Mirdidingkingathi Juwarnda Sally Gabori, born around 1924, emerged as a celebrated Kaiadilt artist with a distinct and powerful visual language. Sally Gabori’s tribal name is Mirdidingkingathi Juwarnda. Juwarnda means ‘dolphin’, which is her totemic sign, and Mirdidingkingathi means ‘born at Mirdidingki’, in her country on the south side of Bentinck Island. The English name Gabori comes from her husband Pat Gabori, and is a corruption of his birthplace name, Kabararrjingathi. READ FULL ARTIST PROFILE MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - DIBIRDIBI - TOPWAY SOLD AU$20,000.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - DIBIRDIBI COUNTRY Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - RIVER AT MY FATHER'S COUNTRY Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - DIBIRDIBI COUNTRY Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - MY COUNTRY Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - THE HUNTING GROUND Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - DIBIRDIBI COUNTRY Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - DIBIRDIBI COUNTRY Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - MY GRANDFATHER'S COUNTRY - DINGKIARRI Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - DIBIRDIBI COUNTRY Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - THUNDI Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - MY COUNTRY Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - DIBIRDIBI COUNTRY Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - DIBIRDIBI COUNTRY DIPTYCH Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - THE NGARRAWURDA (BLUEFISH) Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - DIBIRDIBI COUNTRY Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - MY COUNTRY Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - THUNDI Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - MY FATHER'S COUNTRY Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - DIBIRDIBI COUNTRY Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - THUNDI Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - DIBIRDIBI COUNTRY Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - DIBIRDIBI COUNTRY Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - DINGKARRI Sold AU$0.00 MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - DIBIRDIBI COUNTRY Sold AU$0.00 top Anchor 1 PROFILE Mirdidingkingathi Juwarnda Sally Gabori c.1924 - 2015 Region: Gulf of Carpentaria Community: Bentinck Island Language: Kayardild Art Centre: Mornington Island Arts and Craft Centre Mirdidingkingathi Juwarnda Sally Gabori, born around 1924, emerged as a celebrated Kaiadilt artist with a distinct and powerful visual language. Sally Gabori’s tribal name is Mirdidingkingathi Juwarnda. Juwarnda means ‘dolphin’, which is her totemic sign, and Mirdidingkingathi means ‘born at Mirdidingki’, in her country on the south side of Bentinck Island. The English name Gabori comes from her husband Pat Gabori, and is a corruption of his birthplace name, Kabararrjingathi. She grew up on Bentinck Island in the Gulf of Carpentaria, a place deeply connected to her people, the Kaiadilt, who lived entirely within their traditional ways, untouched by external influence. Her life revolved around gathering food, maintaining stone fish traps, and crafting with natural materials, skills that sustained her community for generations. Her first significant contact with outsiders didn’t come until she was around twenty, when she and her people were forcibly relocated to Mornington Island following a devastating cyclone and drought, severing their direct connection to their homeland. Although she spent much of her life immersed in traditional crafts—such as making hibiscus bark string and weaving dilly bags—it wasn’t until her early eighties that she began painting, initially encouraged by the Mornington Island Art Centre in 2005. According to Simon Turner, Director of Woolloongabba Art Gallery, Sally Gabori’s journey into painting began with a simple question: would she like to try painting? By that same afternoon, a vibrant, primary-coloured painting hung on the wall. When fellow artist Melville Escott saw it, he immediately recognised the story within. “That’s pretty good,” he said. “You can see the river, the sand bar, and the ripples the fish leave on the water. This side is her brother King Alfred’s country, and these,” pointing to thick oval shapes, “are the fish traps she used to look after.” Sally’s work is not just art—it is a dialogue, a new language born from her connection to the land and sea off her Kaiadilt heritage. Her paintings became her way of returning home, both in spirit and memory, capturing the essence of her beloved McKenzie River, her grandfather’s land, her brother’s country, and the rich, teeming life of the sea. Fish traps, tidal lagoons, hunting grounds—Sally’s paintings reflect the world she knew intimately but was rarely seen beyond her community. Her relationship with acrylic paint became a daily ritual, the only thing standing in her way being the art centre’s weekend closure. Sally didn’t just tell her story—she painted it. Through her work, she brought the unseen and the untold to life, creating a visual language that speaks of place, memory, and the deep bond she had with her country. Her paintings, bold in colour and form, are visual records of her ancestral lands: from the McKenzie River and her brother King Alfred’s country to the tidal lagoons and fish traps she once tended. Sally’s work, rich with geographic and cultural knowledge, stands as an archive of Kaiadilt life, honoring her family, country, and the vibrant marine life surrounding Bentinck Island. Sally’s art grew from a personal narrative and a profound knowledge of her land, translated onto canvas. Each piece captures the sacred sites, history, and stories that form her identity, blending memories with vivid colors and dynamic forms. Her untrained yet visionary approach challenges Western notions of abstraction; her landscapes dissolve the square edges of the canvas, letting the natural contours of her homeland guide each composition. In doing so, Sally reshapes how we see and understand Australian Indigenous art, offering an intimate glimpse into a world known and felt by only a few. Her work stands as both a cultural document and an artistic triumph, embodying the wisdom of her heritage and her new role as a storyteller through art. Sally’s legacy is not only her contribution to contemporary Indigenous art but also the vibrant, enduring voice of her Kaiadilt heritage, preserved on canvas for generations to come. ARTIST CV Selected Collections: Aboriginal Art Museum, The Netherlands. Art Gallery of New South Wales, Sydney Musee du Quai Branly, Paris National Gallery of Victoria, Melbourne Queensland Art Gallery, Brisbane Selected Solo Exhibition: 2022 - Mirdidingkingathi Juwarnda Sally Gabori, Fondation Cartier pour l’art contemporain, Paris, France 2016 - Sally Gabori, Queensland Art Gallery, Brisban, Qld. 2014 - Sally Gabori, Alcaston Gallery, Melbourne. 2011 - Ngumuwa Kinyint - dark shapes, Alcaston Gallery, Melbourne. 2011 - Kalka dulk - bright country, Alcaston Gallery, at the Depot Gallery, Sydney. 2010 - Makarrki - My Big Brother, King Alfred's Country, Alcaston Gallery, Melbourne; Mundamurra ngijinda dulk: My Island Home, The Gallery, Cork Street, Mayfair, London, UK. 2009 - Sally Gabori, Raft Artspace, Darwin, NT. 2008 - Sally Gabori - Dulka Warngiid, Land of All, Alcaston Gallery, Melbourne. 2007 - Sally Gabori Mirdidingkingathi Juwarnda - Dibirdibi Country, Alcaston Gallery, Melbourne 2005 - Woolloongabba Art Gallery, Qld. Selected Group Exhibitions: 2019 - Women in Colour including Andrea Adamson, Teresa Baker, Patricia Tunkin Baker, Karla Dickens, Sally Gabori, Athena Nangala Granites, Maggie Green, Nungarrayi Myra Herbert, Jennifer Ingkatji, Langaliki Lewis, Minma Marlilu , Jorna Newberry, Poly Ngal, Kathleen Ngale , Charmaine Pwerle, Kitty Napanangka Simon, Kalaya Tjukurrpa, Helen McCarthy Tyalmuty, Liddy Walker at Cooee Art, Sydney. 2016 - Cooee Art at Australian Galleries, featuring Albert Namatjira, Alma Webou, Bill Whisky Tjapaltjarri, Daniel Walbidi, Djirrirra Wunungmurra, Dorothy Napangardi, Elizabeth Nyumi, Emily Kame Kngwarreye, Emily Kngwarreye, Freddie Timms, George Hairbrush Tjungurrayi, Gloria Petyarre, Jan Billycan, John Mawurndjul , Johnny Warangkula, Kathleen Petyarre, Makinti Napanangka, Milliga Napaltjarri, Minnie Pwerle, Naata Nungurrayi, Nyurapayia Nampitjinpa (Mrs Bennett), Owen Yalandja, Prince of Wales , Queenie Nakarra McKenzie , Rover Thomas, Sally Gabori , Suzie Bootja Bootja, Timothy Cook , Tjapartji Bates, Tommy Watson, Trevor Nickolls , Yirawala, at Australian Galleries, Sydney. 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 - Personal Structures, part of the Venice Biennale at the Palazzo Bembo, Rialto Bridge, Grand Canal, Venice, Italy. 2012 - Ngamathungarrba Marraanjuthu Dulku - Mother and daughters teach each other about country featuring Sally gabori, Amanda Gabori and Elsie Gabori, Alcaston Gallery, Melbourne. 2012 - Artist Profile at Depot Gallery, featuring the work of Emily Evans, Sally Gabori, Clinton Nain, Womikinimirri Puruntatameri, Cornelia Tipuamantumirri, at Alcaston Gallery, at the Depot Gallery, Sydney. 2012 - Artists from Bentinck and Mornington Island, featuring the work of Emily Evans, Sally Gabori, Amanda Gabori, Helena Gabori, Dolly Loogatha, Amy Loogatha, Paula Paul, Ethel Thomas, at Alcaston Gallery, Melbourne. 2012 - National Indigenous Art Triennial: unDisclosed, featuring the work of Vernon Ah Kee, Michael Cook, Julie Gough, Danie Mellor, Alick TipotiTony Albert, Nici Clumpston, Lindsay Harris, Naata Nungurray, Daniel Walbidi, Bob Burruwal, Fiona Foley, Jonathan Jones, Maria Orsto, Lena Yarinkura, Lorraine Connelly-Northey, Gunybi Ganambarr, Sally Gabori, Christian Thompson, Nyapanyapa Yunupingu, at the National Gallery of Australia, Canberra, Australia. 2012 - All about art, featuring Sally Gabori, Linsday Harris, Garry Lee, and Gulumbu Yunupingu at The Depot Gallery, Alcaston Gallery, Sydney. 2012 - The Bright The Bold & The Beautiful Coo-ee Aboriginal Art Gallery, Sydney, featuring the work of Sally Gabori, Rosella Namok, Emily Kngwarreye, Gloria Petyarre, Eubena Nampitjin, Lorna Fencer Naparrula, Maggie Napangardi Watson, Christine Yukenbarri and Minnie Pwerle. 2011 - Artists from Mornington Island - recent works, featuring Verita Chong, Kelly Marie Chong, Sally Gabori, Amanda Gabori, Elsie Gabori, Netta Loogatha, Dolly Loogatha, Paula Paul, Ethel Thomas, Nancy Wilson at Alcaston Gallery, Melbourne. 2010 - Emerging Elders, National Gallery of Australia, Canberra; Ngamathungarrba bakiinda mirrayalath � Mother and daughters making things together, Alcaston Gallery, Danks Street, Sydney. 2009 - Bentinck Island Artists - New paintings and prints, featuring Kuruwarriyingathi Bijarrb Paula Paul, Mirdidingkingathi Juwarnda Sally Gabori, Thunduyingathui Bangaa Dolly Loogatha and Birrmuyingathi Maali Netta Loogatha, Alcaston Gallery, Melbourne. 2009 - The Island Story - a moment in the sun, Alcaston Gallery, Melbourne; Korean International Art Fair and the Art London 2009 art fairs. 2008 - Optimisim, Gallery of Modern Art, Queensland Art Gallery; Bandikawaanda makuwalada rarunginja thaand - Return of Kaiadilt Women, Alcaston Gallery, Melbourne; Land, Sea and the Universe, Alcaston Gallery @ the 2008 Melbourne Art Fair, Exhibition Buildings, Melbourne; Paintings from remote communities: Indigenous Australian art from the Laverty collection, Newcastle Regional Gallery, Newcastle, NSW; Western Australian Indigenous Art Awards (2008), Art Gallery of Western Australia, Perth. 2007 - Bentinck Island Artists featuring Birrmuyingathi Maali Netta Loogatha, Alcaston Gallery, Melbourne; Togart Contemporary Art Award, Parliament House, Darwin. 2006 - Xstrata Coal Emerging Indigenous Art Award Artists, Queensland Art Gallery, Brisbane; Sally Gabori and introducing The Bentinck Island Art Gang, GrantPirrie, Sydney. 2005 - Woolloongabba Art Gallery, Qld. Bibliography: The Bentinck Project, Woolloongabba Art Gallery, Qld, 2006. Webb, Penny, Making art out of alife time's stories, The Age, Melbourne, p.27, 20/1/2007. Xstrata Coal Emerging Indigenous Art Award, Queensland Art Gallery, Brisbane, 2006. McLean, B., Contemporary Australia: Optimism, cat., Queensland Art Gallery, Brisbane, 2008. Market Analysis MARKET ANALYSIS Sally Gabori's market journey from 2008 to 2024 demonstrates a remarkable growth in both demand and value, reflecting her increasing prominence in the art world. When her works were first offered , in 2008, Gabori's work had an 80% clearance rate, totaling A$17,346 from four sold works. Over the next few years, she maintained this strong market demand with high clearance rates, consistently selling around 70–80% of her works in each year. By 2011, Gabori achieved her first 100% clearance rate, with six works sold for a total of A$111,920, signaling heightened collector interest and confidence in her unique artistic voice. Following Sally Gabori's passing in 2015, the market for her artworks began to display a pattern of steady growth, reflecting both a growing recognition of her work and increasing demand in auction sales. In 2016, the first year after her death, Gabori's works saw a total sales value of A$142,125, a modest figure that indicated an early interest. By 2017, sales had slightly increased to A$166,185, suggesting gradual momentum in the posthumous market. The upward trend continued in 2018 with a total sales value of A$183,674, showing the market’s increasing regard for Gabori’s work as more collectors began to acquire her pieces. The year 2019 marked a more notable shift, with Gabori’s total auction sales value rising to A$255,310 and clearance rate to 100%, reflecting heightened collector interest and a broader acknowledgment of her artistic significance. This was followed by a substantial jump in 2020 to A$420,964, likely driven by expanding international attention and an intensified market demand for high-quality Indigenous Australian art. Her high clearance rate remained relatively consistent, with minor fluctuations around 70–75% in certain years, likely influenced by the availability of more works rather than a dip in demand. The financial trajectory of Gabori's work also reveals exponential growth. Her annual sales total increased from A$17,346 in 2008 to an astonishing A$1,209,136 in 2023 with the record 25 works offered, underscoring her significance in the market. This substantial increase reflects her enlarged international presence with the 2022 exhibition at Fondation Cartier pour l’art contemporain in Paris. Sally Gabori's 2008 works, Big River at Thundi and Thundi-Barramundi Story, achieved record prices at a Sotheby’s auction in New York on May 23, 2023, reflecting her exceptional standing in the art market. The monumental Big River at Thundi, a strikingly large painting (197 x 304 cm) sold for USD $190,500 (A$286,569). Thundi-Barramundi Story, a smaller acrylic on canvas (121 x 91 cm) sold for USD $32,000 (A$61,135), demonstrating strong interest in her medium-sized works as well. Sally Gabori’s Ninjilki (2008) set an extraordinary record at the Australian market, achieving an impressive A$251,591 at Deutscher and Hackett auction in March 2023, well beyond its initial estimate of A$60,000–80,000. This sale marked a significant moment for the artist’s market, as this monumental work, measuring nearly 3 meters wide, captivated collectors with its scale, depth, and vibrant representation of the landscapes tied to Gabori’s heritage on Mornington Island. The demand-driven, record-breaking result for Ninjilki not only emphasizes Gabori's growing status in the contemporary art world but also cements her place as one of Australia’s most prominent Indigenous artists. This price point not only reflects the market's increasing appreciation for large-scale pieces by Gabori but also sets a new benchmark for her work, illustrating her rising profile among both local and international collectors. These sales affirm Gabori’s international appeal and the strong demand for her work, which expertly intertwines storytelling, identity, and place, and they underscore her importance within the Indigenous art market and beyond. Gabori’s market presence has continued to strengthen, with her works now seen as valuable cultural investments with significant growth potential. Her high clearance rates and record-setting sales totals in recent years highlight her status as a key figure in contemporary Indigenous art and suggest a future of sustained demand and appreciation. 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 .

HER MEDITATIONS - BIDDY TIMMS NAPANANGKA Art Leven - 17 Thurlow St, Redfern, Gadigal, NSW 2016 3 - 24 August 2024 Viewing Room HER MEDITATIONS - BIDDY TIMMS NAPANANGKA Biddy Timms Napanangka 3 - 24 August 2024 Art Leven - 17 Thurlow St, Redfern, Gadigal, NSW 2016 Biddy Timms Napanangka Her Meditations 3 - 24 August 2024 Biddy Timms Napanangka has been a working artist for almost 20 years, during which her practice has steadily evolved. You would be hard-pressed to recognise the finely detailed brushwork of an early Timms Napanangka if you were only familiar with her later work. Yet, below the surface, you can find traces of the path leading to the artist she is today.* Warlpiri painting practice as a whole is usually presented as a rhythmic, meditative process involving singing and dancing; swift and fine dot-work spreads over the canvas as the artist traces her sacred Songline across stretches of the Tanami Desert. The art from Lajamanu - as opposed to Yuendumu, the larger of the two Warlpiri townships - is known predominantly for featuring loose, gestural paintings. Many of the artists, however, including Biddy Timms Napanangka, began their careers in the finely-dotted and in some ways more rigid traditions of Warlpiri art-making. Napanangka is a quiet, humble woman. She rarely asks for anything [beyond] a quiet, temperate place to paint and think.** Louisa Erglis, former and interim Manager, Warnayaka Arts At this stage in her career, Napanangka has turned to a more inward form of meditation as she paints. After laying down a thick surface of fresh acrylic paint, she holds her brush so that the tip meets the canvas aiming away from her, bristles agains the grain. Observing her at work invokes the meditative raking of sand in a Japanese Zen garden. Loaded with a new colour, her brush drives across the surface, as though unearthing the new colour from underneath the base layer. Introduction In June of 2023, we conducted a weeklong painting project at Warnayaka Arts In Lajamanu for country x Country, a joint exhibition between ——- Simon Napanangka and Sydney-based painter Neil Tomkins. During this time, we slept on wire-framed trundle beds in the art centre studio, surrounded by thousands of paintings, framed, unframed, rolled, strained, stacked, or suspended from clip-on trouser-hangers on clothing racks. It was in this chaotic and beautiful context that we fell in love with the humble minimalist paintings of Biddy Timms Napanangka. The artist herself is the perfect embodiment of the peaceful, calm works she creates. That week, the studio was abuzz with laughter, conversation, frequent family visitors - constant hustle and bustle. Every day of the workshop Biddy was first one in, approaching the art centre with her walker the exact moment the doors swung open to begin the day. Neil Tomkins, the painter accompanying us on this trip, describes part of his process as “pushing paint around”. The phrase applies just as well to Napanangka’s painting practice. Going through the video footage afterwards, Biddy is remarkably still, hardly moving save for her brush-hand, in a seemingly deep state of meditation. All of the paintings in this exhibition were either discovered or painted during our time in Lajamanu. Artist Profile VIEW CATALOGUE BIDDY TIMMS NAPANANGKA - PULUNTARRI (BUSH MUSHROOM DREAMING) price AU$1,200.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) price AU$1,000.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) price AU$700.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) price AU$500.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) price AU$350.00 BIDDY TIMMS NAPANANGKA -NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - BUSH MUSHROOM DREAMING - PULUNTARRI Sold AU$0.00 BIDDY TIMMS NAPANANGKA - PULUNTARRI (BUSH MUSHROOM DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - PULUNTARRI (BUSH MUSHROOM DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - PULUNTARRI (BUSH MUSHROOM DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) price AU$1,000.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) price AU$700.00 BIDDY TIMMS NAPANANGKA - PULUNTARRI (BUSH MUSHROOM DREAMING) price AU$600.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) price AU$500.00 BIDDY BIDDY TIMMS NAPANANGKA - PULUNTARRI (BUSH MUSHROOM DREAMING) Sold AU$350.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - BUSH ONION DREAMING - JANMARDA JUKURRPA Sold AU$0.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - PULUNTARRI (BUSH MUSHROOM DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - MINAMINA JUKURRPA (MINAMINA DREAMING) Sold AU$1,000.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) price AU$700.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) Sold AU$600.00 BIDDY TIMMS NAPANANGKA - PULUNTARRI (BUSH MUSHROOM DREAMING) price AU$500.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - PULUNTARRI (BUSH MUSHROOM DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - MINAMINA JUKURRPU (MINAMINA DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - NAPANGARDI & NAPANANGKA-KURLANGU (WOMEN’S DREAMING) Sold AU$0.00 BIDDY TIMMS NAPANANGKA - PULUNTARRI (BUSH MUSHROOM DREAMING) Sold AU$0.00 EX-August1-2024

JOSIE PETRICK KEMARRE - ANWEKETY • BUSH PLUM Cooee Art Redfern & Online From 19 August to 27 August 2021 JOSIE PETRICK KEMARRE - ANWEKETY • BUSH PLUM Artists: Josie Petrick Kemarre From 19 August to 27 August 2021 JOSIE PETRICK KEMARRE - ANWEKETY • BUSH PLUM Artists: Josie Petrick Kemarre From 19 August to 27 August 2021 Cooee Art Redfern & Online Josie Petrick began painting in the early 1990s, when some of the first painting workshops where held for Utopia women. By the early 2000s her paintings had found homes in several prominent collections, both private and public. In 2006, Petrick was included in the National Gallery of Victoria’s important Land Marks exhibition, which raised her profile nationally and led to further success. Angkwerrpme is the Arrernte word for mistletoe, of which there are many types in the bush, though only three are edible. The fruit of these plants is most commonly referred to as Bush Plum, as well as conkerberry or candleberry. Josie inherited this dreaming from her grandmother, Emily Kngwarreye. She is best known for her works depicting the Bush Plum Dreaming. In the Dreamtime, Strong winds carried and scattered the anwekety seed all over Josie’s ancestral country and beyond. The Dreamtime plants grew and bore fruit and further seeds were swept up carried beyond. With intricately layered fields of dot-work, Josie Petrick creates deliberate shapes with precise, sharp edges, softened, however, by the overlap of individual colours crossing borders. VIEW CATALOGUE VIEW INTERVIEW EX 218

AmagulaThoma Thomas Nandjiwarra Amagula Thomas Nandjiwarra Amagula 1926 - 1989 Nandjiwarra Amagula was a man of extraordinary skills and integrity. Not only an artist of renown in the bark tradition of Groote Eylandt, he was also a community leader and political negotiator and received an MBE at the age of 45 for service to his community. Amagula acted alongside David Gulpillil in the 1970s classic ‘The Last Wave’ (Peter Weir), was a friend of celebrities and politicians and was known as “the barefoot executive”. His life and work spanned a time of fundamental social change, throughout which the tradition of bark painting provided both a crucial support and a necessary reflection of the shifting histories and fortunes of his remote island situated in the Gulf of Carpentaria. The high profile of Groote Eylandt bark painting has its roots in the past. Like other traditions that developed from rock art, it traditionally had a magical or ceremonial purpose. However a strong aesthetic quality also made an impression on collectors from the earliest times of European involvement on the island. Groote Islanders painted and decorated the inside walls of their bark huts, and because of trade and exchange with Macassan fishermen from Indonesia also had an interest in more secular and self expressive forms of painting. Groote Eylandt is renowned for its several rock painting sites where the imagery relates directly to that found on sheets of bark. The use of a characteristically monochrome black background, with figurative elements described in areas of dots, dashes and hatching, outlined with contrasting red, white or yellow, became known as the old or classic style (emerging in the 1920s).The black ground is obtained from manganese. Groote Eylandt has some of the world's largest deposits of the mineral. Though there are cultural connections and stylistic affinities between western Anindilyakwa people and the Nunggubuyu and Yolngu tribesmen in Arnhem Land, the painting style is markedly distinct from those practiced on the mainland. The first collections of bark paintings from Groote Eylandt were made by the anthropologist Norman Tindale who assembled the first collection in 1921-1922 (now in the collection of the South Australian Museum). Tindale was followed by Frederick Rose from 1938, with the assistance of a white resident of the island and later superintendent of the Umbakumba settlement, Fred Gray. Gray was an entrepreneurial type who sought to encourage local Groote Islanders in bark painting as a means of financial independence from the often restrictive church and government obligations. As a young man, Nandjiwarra visited his father Damandu who was working within the Umbakumba community. Charles Mountford collected his work in 1948 during the American Australian Scientific Expedition to Arnhem Land and in the 1950s, the Rev. L.M. Howell commissioned eight sets of narrative paintings from Thomas Nanjiwarra and Bill Namiayangwa (1923-68). Later, Helen Groger-Wurm collected Nandjiwarra's barks in 1969.(these became the National. Gallery of Australia's first major acquisition of Aboriginal art in 1972: comprising four sets of paintings by each artist, seven of which depict narratives in sequential frames). Nandjiwarra's on-going friendship with academics and enthusiasts in the southern cities meant that an appreciative audience began to collect the barks of what became a prolific and sophisticated painting school of which Nandjiwarra was one of its most sought after artists. He went on to produce exquisite and detailed works that combine narrative elements with patterning from the different clan groups to which he was connected through family relations. His animated imagery, and spatially complex pictorial scenes combined totemic animals, Macassan boats, wind spirits and creation beings. During the 1960s and 70s, when this distinctive and celebrated style reached a peak, the advent of manganese mining operations brought a demanding and disruptive influence to the island. Inheriting a leadership role, Nandjiwarra became chief negotiator with the mining companies (BHP, GEMCO). He was intent on protecting his community and environment but was also aware of the need to spend mining royalties in order to move into the new times facing his people. Community meetings were held under the Banyan trees and soon Groote Eylandt became known as a model for other indigenous communities facing incursions from developers. School attendance was at 90% and thriving health centres and housing improvements were put in place. Meanwhile in 1978, Nandjiwarra was voted chairman of the Aboriginal Cultural Foundation and well-informed and serious collectors from around the world would visit his island to study and buy artworks. Since 2005, an art center and gallery have encouraged Groote artists to rekindle elements of the ‘classic style’, recognising the importance of maintaining the island’s unique cultural identity in the face of modern distractions. The barks of Nandjiwarra remain one of its most distinguished exemplars, featuring centrally in landmark exhibitions such as ‘Creation Tracks and Trade Winds: Groote Eylandt bark paintings from the University of Melbourne Collection’, held in Melbourne in 2007. Author: Sophie Pierce Edited: Adrian Newstead Collections: Musee des Arts Africans et Oceaniens, Paris, France.; Museum and Art Gallery of the Northern Territory, Darwin.; Museum of Contemporary Art, Arnotts Collection, Sydney.; National Gallery of Australia, Canberra.; Ruhe Collection of Australian Aboriginal Art, U.S.A.; Group Exhibitions: 2002 - Exposition collective, La Loire-Atlantique donne rendez-vous à l’Australie, Art et Culture des Antipodes, Arts d’Australie • Stéphane Jacob / Conseil Général de Loire-Atlantique, Nantes. 1991 - Aboriginal Art and Spirituality, High Court, Canberra. 1989 - Aboriginal Art: The Continuing Tradition, National Gallery of Australia, Canberra. Bibliography: Caruana, W., 1993, Aboriginal Art, Thames and Hudson, London. (C); Bush, C.,1990, Explorers to Groote Eylandt, in Pascoe, B., (ed.), 1990, Aboriginal Short Stories, No. 32, Pascoe Publishing, Apollo Bay, Victoria. ; Crumlin, R., (ed.), 1991, Aboriginal Art and Spirituality, Collins Dove, North Blackburn, Victoria. (C) ; Dussart, F., 1993, La Peinture des Aborigines D'Australie, Editions Parentheses, Marseille, France. ; Kupka, K., 1972, Peintres Aborigines d' Australie, Societe des Oceanistes, Musee de l'Homme, Paris. ; Tweedie, P., 1985, This My Country, A View of Arnhem Land, William Collins Pty Ltd, Sydney. For an artist whose bark paintings first appeared (unsuccessfully) at public auction in 1999 Thomas Amagula's market performance since 2009 has been quite remarkable. In that year he forged his way into the top 200 artists of the movement for the first time leapfrogging more than 200 artists on the back of the sale at Sotheby's of a collection of small barks which netted $132,000 including the buyer's premium. These 17 small barks from the collection of William McE. Miller, Jr, in the USA., thematically explored what happens to a man after he dies on Groote Eylandt. On the back of this one sale alone he became the 83rd most successful artists of all time. By the end of the following year he had reached 80th his highest raking to date. He is now 95th. Prior to this his record price was the $7440 paid at Sotheby's in 2008 for two untitled barks depicting a Pelican story that were originally purchased through the Church Missionary Society. In one, a small boy gets his brother to climb up to collect little pelicans for him. In the next, a man becomes a bird and flies away. This same pair of barks reappeared in Deutscher and Hackett's, Important Aboriginal and Oceanic Art, sale in Melbourne, in March 2010 (Lot No. 99) , this time selling for $15,600, the artist's second highest auction result. Overall, 20 lots have appeared thus far at auction of which 14 have sold for a success rate of 70%. The strong market performance of early bark paintings from Groote Eylandt during the past decade is mirrored in the sales of several formative artists who created works in this style. Paintings by these artists have become highly desirable and average prices paid for fine examples by Nandjwarra and others are likely to continue to rise into the future. 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

TIWI CREATION Cooee Art Redfern - 17 Thurlow St, Redern, NSW 2016 From 14 May to 04 June 2022 TIWI CREATION Artists: Artists from Munupi Arts, Melville Island NT From 14 May to 04 June 2022 TIWI CREATION Artists: Artists from Munupi Arts, Melville Island NT From 14 May to 04 June 2022 Cooee Art Redfern - 17 Thurlow St, Redern, NSW 2016 Flowing arcs of dot-mark lines portray the world in patterns and rhythms on every canvas. The sun’s glare, the moon’s glow, the black of night, all depicted in ochre, the country’s own pigment lifted from the earth. Such is the art of the Tiwi Islands, north of Darwin — the longest-known and most thoroughly recorded Indigenous creative tradition in Australia. The works in this exhibition showcase the artists’ individual styles in depicting shared stories. Some artists adhere closely to traditional tools, employing a wooden comb (Pwoja) to apply dots to their canvas or sculpture. Others may use sticks or western paint brushes in their mark-making. The commonality comes from the deep heritage and tradition each artist is influenced and inspired by. In an introductory statement in the book Tiwi, Art/Histroy/Culture, Pedro Wonaemirri opens with ‘We are the Tiwi. Tiwi is we the people. […] We Tiwi people have to keep our culture alive. The art from long time ago and today – we are still seeing it as Tiwi art.” Tiwi society is quite different to that of mainland communities. The Kulama and the Pukumani ceremonies lie at the heart of Tiwi culture. The Kulama is the ceremony associated with fertility and abundance, during which poisonous yams are made edible. The Pukumani is a funeral ceremony in which elaborate poles are carved, decorated, and erected to become the focus of dancing and singing. Intricate designs adorn the face and body of the performers, matching the designs of the poles. “The knowledge is when you listen, then look — the knowledge is by words, singing, talking, and also the dance, meanings of dance, and the song that goes with the dance and also art as well. And now I am creating my own art, my own style, totally different. My art is my art” Pedro Wonaeamirri Jennifer Isaacs explains in her comprehensive book Tiwi, Art/History/Culture. “Distinct in style and form, the art of the Tiwi may be rooted in tradition and ceremony but not all can, or should be explained. “The Tiwi artists feel the interior meaning of paintings is changeable and is theirs to know or think about at a given time. Recording a story tightens the meaning of a work in a restrictive manner. The real feeling in the work is primarily only in the artist’s own mind and not necessarily something the purchasers of the painting, whether galleries or collectors, should need or want to know. As meaning probably only occurs subconsciously during the making process, expanding on it for others would seem, to Tiwi, somewhat irrelevant.” VIEW CATALOGUE EX 232

INDIGENOUS FINE ART AUCTION 17 Thurlow Street Redfern NSW 2016 8 March 2022 Viewing Room INDIGENOUS FINE ART AUCTION 8 March 2022 17 Thurlow Street Redfern NSW 2016 Welcome to the first Cooee Art Indigenous Fine Art offering for 2022. Our specialists have collected 103 lots with a total value of $1.8-2.4 million for this multi-vendor auction which will be held in our newly appointed auction showroom in Redfern on March 8th starting at 7pm AEDT. Location Description Cooee Art Auction Showroom and Gallery Viewing Information 1st - 8th March 10am till 6pm VIEW CATALOGUE VIEW AUCTION RESULTS WATCH VIDEO

INDIGENOUS FINE ART AUCTION Cooee Art Paddington | 326 Oxford Street Paddington 4 June 2019 INDIGENOUS FINE ART AUCTION 4 June 2019 INDIGENOUS FINE ART AUCTION 4 June 2019 Cooee Art Paddington | 326 Oxford Street Paddington This June 4th 2019 offering includes 105 selected items from Australia and overseas estimated, at $1.4 million. With major Papunya artworks featuring at Gagosian Gallery in New York during the next two months Cooee Art MarketPlace is delighted to offer a 244 x 183 cm masterpiece by the renowned George Ward Tjungurrayi. This major men’s ceremonial painting is one of a number of superb Western Desert works with Papunya Tula provenance in the Mike Chandler Estate. Mike Chandler, who passed away, aged 74 on January 6th this year was a great supporter of Aboriginal artists and galleries here in Australia and with his adored wife Barbie, championed Aboriginal art on the international stage. Mike was great at everything he put his hand to. A great wine and food lover, great cook and host, great lunch partner, great fly fisherman, but most important of all he was a great mate who shared our passion for art and Aboriginal culture. Amongst his colleagues he was widely acknowledged as Australia’s greatest typographer. He helped improve the work of every single great writer and art director in Australian advertising throughout the 70s, 80s and 90s. Cooee Art is Australia’s oldest Indigenous art gallery (Est 1981). “With the depth of our expertise in both the primary and secondary art markets and our progressive outlook, we provide sellers with a vital distinction from the staid, conservative approach of our competitors. We understand that Australian Aboriginal artworks are a vital cultural legacy and believe that they are best promoted and offered for sale by those who are passionately committed to them. VIEW THE CATALOGUE WATCH THE VIDEO

Artist Profile for Conway Ginger < Back Conway Ginger Conway Ginger ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE CONWAY GINGER - BULLDOG AND WEST COAST SOLD AU$330.00 CONWAY GINGER - MOTOR BIKE SOLD AU$260.00 top Anchor 1 PROFILE Conway Ginger 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 Peg Leg Tjampitjinpa < Back Peg Leg Tjampitjinpa Peg Leg Tjampitjinpa ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE PEG LEG TJAMPITJINPA - UNTITLED (PAIR) SOLD AU$7,000.00 PEG LEG TJAMPITJINPA - TINGARI AT PARAYILYPIL Sold AU$0.00 PEG LEG TJAMPITJINPA - TINGARI AT PARAYILYPIL SOLD AU$2,500.00 top Anchor 1 PROFILE Peg Leg Tjampitjinpa 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 Neil Ernest Tomkins < Back Neil Ernest Tomkins Neil Ernest Tomkins ARTIST PROFILE ARTIST CV MARKET ANALYSIS Contemporary landscape painter Neil Ernest Tompkins has developed a painting style recognisable for its blending and fragmenting of imagery and perspectives. He is renowned for his distinctive approach to mark-making and has been featured in myriad exhibitions across the globe, as well as being part of extensive commissions, murals, and residencies in Portugal, India, Peru, Mexico & Tasmania. READ FULL ARTIST PROFILE NEIL ERNEST TOMKINS - BURN THERE, DON'T BURN THERE SOLD AU$7,000.00 NEIL ERNEST TOMKINS - BY OLD STATION Sold AU$5,500.00 NEIL ERNEST TOMKINS - COLLECTORS EDITION COLLAGE SOLD AU$40.00 NEIL ERNEST TOMKINS - WATER TOWER IN TOWN Sold AU$0.00 NEIL ERNEST TOMKINS - CORNER OF WAMPANA ROAD Sold AU$0.00 NEIL ERNEST TOMKINS - LOOKING AT RARRI STREET Sold AU$0.00 NEIL ERNEST TOMKINS - LAJAMANU AFTERNOON Sold AU$0.00 NEIL ERNEST TOMKINS - WEST HOOKER CREEK AGAIN SOLD AU$5,500.00 NEIL ERNEST TOMKINS - KITTY'S HOUSE SOLD AU$3,000.00 NEIL ERNEST TOMKINS - EMU ROCKHOLE AGAIN Sold AU$0.00 NEIL ERNEST TOMKINS - SLOW DOWN (KITTY'S HOUSE AGAIN) Sold AU$0.00 NEIL ERNEST TOMKINS - (BUSH BANANA THERE) Sold AU$0.00 NEIL ERNEST TOMKINS - WATER TOWER II Sold AU$0.00 top Anchor 1 PROFILE Neil Ernest Tomkins Contemporary landscape painter Neil Ernest Tompkins has developed a painting style recognisable for its blending and fragmenting of imagery and perspectives. He is renowned for his distinctive approach to mark-making and has been featured in myriad exhibitions across the globe, as well as being part of extensive commissions, murals, and residencies in Portugal, India, Peru, Mexico & Tasmania. Tomkins’ process usually begins en plein air, loosely drafted with a focus on composition and framework. Often, the artist refines his imagery by cutting up photographs taken while travelling, and arranging them into collages that form a reference for his ensuing paintings. He is regularly exhibited and represented by galleries across Australia. “I aim to connect with the place, to find the spaces of stillness within the motions of the everyday. In this sense, I would approach direct references to landscape to be conceptual, and abstract. Often breaking down the subject matter into fragments, my work alludes to a connection through displacement. With each body of work, I try to develop that idea of movement through the understanding of colour. Travel contextualises my work, where the shifting light is more abstract, unrooted and adaptable.” Neil Tomkins, 2023 ARTIST CV SELECTED SOLO EXHIBITIONS 2022 Return of Rivers, Maunsell Wickes Gallery, NSW 2021 Between Dreams, Maunsell Wickes Gallery, NSW 2020 Now Here. Nowhere, Maunsell Wickes Gallery, NSW 2019 This Dream Called Reality, 17 Oxford St, NSW Synergy Collaborations, Studio Gallery, VIC 2018 This Could be Your Color, Raizvanguarda, PT The Veil, New Standard Gallery, NSW 2017 Rising Dark, New Standard Gallery, NSW 2016 A Deep Rumble, New Standard Gallery, NSW 2014 East of Eventuality, Ginkgo Gallery, NSW 2013 Neil E Tomkins, Ginkgo Gallery, NSW 2010 SCA grad Show, Sydney Collage of Arts, NSW Animals and Landscape, Mil’s Gallery, NSW 2008 Birds and Friends, Abattoir Gallery, NSW 2007 New and Old Work, Long Gallery, NSW SELECTED GROUP EXHIBITIONS 2023 country x Country, Cooee Art Leven, NSW 2021 X-mas show, Maunsell Wickes Gallery, NSW 2020 Showcase, Michael Reid Gallery, NSW 2019 Open Call Salon, Delphain Gallery, UK 2018 Paper and Canvas, New Standard Gallery, NSW 2017 June, New Standard Gallery, NSW 2016 Higher Ground, Kinokuniya, NSW 2015 Art Parked, Artesian 4, NSW 2014 We, The Muse, Ambush gallery, NSW 2012 Outpost Festival, Cockatoo Island, NSW 2011 Communicating with Rocks, Mils Gallery, NSW 2009 Two Young Painters, Cat & Fiddle, NSW 2007 Ten Young Artists, Project Gallery, NSW RESIDENCIES 2018 Milton Post Office Residency, NSW Raizvanguarda Artist Residency Góis, PT Unconformity Festival Residency, TAS 2017 Q Bank Artists Residency Queenstown, TAS 2015 El Ray Private Residency Mazunte, MX COLLECTIONS Neil Tomkins’ work is held in Private collections Nationally in NSW, VIC, QLD & TAS and Internationally in USA, MX, PT, FR, DE, MN & IN. 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 .