Artist Profile for Emily Ngarnal Evans < Back Emily Ngarnal Evans Emily Ngarnal Evans ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Emily Ngarnal Evans 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 .

The information provided on this website is for general purposes only and not intended as legal advice. We strive to ensure accuracy, but we do not guarantee completeness or reliability. Consult a qualified legal professional for specific legal matters. LEGALS Legals at Art Leven (formerly Cooee Art) Welcome to the Legals section of Coo-ee Art Pty Ltd/ trading as Art Leven (formerly Cooee Art), we are committed to maintaining the trust and confidence of our visitors to our website and subscribers to our newsletter. Here you will find information about how we treat data that we collect from visitors to our website, or when someone subscribes to our newsletter. PRIVACY POLICY : This section elaborates on how Art Leven (formerly Cooee Art) collects, stores, and uses the personal data that you provide to us. Read about our commitments to your privacy and understand our data practices in full detail. TERMS AND CONDITIONS : This is where we outline the terms under which you are allowed to use our website, and how we'll treat your account while you're a member. It includes information on account management, payment policies, shipping and delivery options, and more. GALLERY RETURN AND REFUND POLICY : We understand that purchasing art online is a significant decision, and sometimes things may not be as you expect. Our return and refund policy provides you with options for managing these situations. SHIPPING POLICY : Understand how we handle shipping and delivery of the unique pieces of art you purchase from our gallery. We provide you with approximate costs and encourage you to get a detailed quote for individual artworks. AUCTION SELLING POLICY : These conditions are the basis of Art Leven’s agreement with the Seller at Auction. It includes important Definitions and information relevant to all parties in relation to any Sale. AUCTION BUYERS AGREEMENT : These conditions are intended for any person/persons who may be interested in a Lot in our auctions, including registered Bidders and potential Bidders (including any eventual Buyer of the Lot). COOKIE POLICY : Learn about how we use cookies on our website. The cookie policy provides detailed information about how and why we use these handy little files to improve your experience on our site. Please feel free to contact us if you have any questions about your privacy, our terms and conditions, returns and refunds, shipping, or our use of cookies. We're always here to help and make your experience with Art Leven (formerly Cooee Art) enjoyable and trustworthy. Contact us at info@artleven.com or call us at +61 (02) 9300 9233.

Artist Profile for Kay Baker Tunkin < Back Kay Baker Tunkin Kay Baker Tunkin ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE KAY BAKER TUNKIN - MY COUNTRY-KANPI SOLD AU$2,000.00 top Anchor 1 PROFILE Kay Baker Tunkin 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 .

TjakamarraAnatj Anatjari No. III Tjakamarra Anatjari No. III Tjakamarra 1938 - 1992 Anatjari No.3, Anatjara, Anitjari, Yanatjarri Antajari was one of the last group of desert nomads to leave his homeland and settle at Papunya.* From the outset he emerged as a focused and compelling artistic presence within the initial painting group. Geoff Bardon remembered him as 'a slightly built man with a particularly calm and gentle manner…very attentive and interested in what was going on but saying nothing' (2004: 71). When began painting he was working with Uta Uta as a gardener at the local school. He used to congregated after work with others in the small flat where the first discussions and artistic experiments began. Soon, a separate painting area was established and the different tribes with their specific Dreamings, often connected through a once shared terrain, came together as one painting group. 'They were extraordinarily happy to have an opportunity to paint their own stories,' Bardon later wrote, 'At least five or six separate groups of men joined in the sudden blossoming of their traditional art, each in their own way…accompanied by friends who also wanted to draw, paint or sell something' (1986: 39). Bardon played a crucial role as friend and adviser in guiding the raw intensity of early experimentation towards a more disciplined and workable visual language. Within the medley of early free form, some of the men responded more acutely to his explanations of stylistic intelligibility and the dynamics of pattern and form, despite language difficulties and conceptual differences. Anatjari, worked with concentrated attention, always in his customary spot, rarely speaking, refining his method and helping to forge the distinctive Pintupi style. Anatjari’s early works were influenced strongly by the precise line work of Kaapa Tjampitjinpa, which in time came to characterize his own paintings. These were noted by Dick Kimber to be ritually very correct and to contain secret imagery meant only for the eyes of initiated men Anatjarri's finely crafted compositions were informed by his deep wish and need to reconnect with his country and the sacred sites that gave life and meaning to his people. Their 'highly accessible visual logic' stemmed from his ability to pare down significant features of a Dreaming ceremony or journey into a well-balanced and synchronized whole (Sutton 1988: 81). In building on the arrangement of geometric forms, and reflecting their earthbound origins through traditional colours, Anatjari’s strong use of line emitted a powerful sense of gravitas. He was, as Bardon explained, 'forever traveling west to his beloved homelands and affirming the sacredness of the places there' (2004: 50). By thinning the consistency of his paint he created a slightly translucent effect, imparting a distinctive quality that has been attributed to a constant and close reading of the land as a blueprint for nomadic survival and spiritual sustenance. The graphic network, of lines of travel, linking sites or resting places, forms a dense map of Pintupi country. The Tingari Cycle, Anatjari’s enduring subject, re-traces and re-affirms this relationship between the land, its people and their mythology. Supported by his artistic success Anatjari was able to return to his homelands in the early 1980’s. He played a leading role in the establishment of Tjukurla outstation, situated between Kintore and Docker River and lived there for a number of years. From here he painted works which were included in the landmark exhibitions Dot and Circle 1985, Face of the Centre, National Gallery of Victoria 1985, Dreamings The Art of Aboriginal Australia, Asia Society New York 1988 and The Inspired Dream which toured nationally and internationally throughout 1988. He lived and worked at the new settlement of Kiwirrkurra through the mid to late 1980’s and, prior to his death in 1992, had solo exhibitions at John Weber Gallery in New York and Gabrielle Pizzi Gallery in Melbourne. Anatjari No. III Tjakamarra was by this time represented in many international collections and honoured as one of the masters of the earliest period of contemporary Aboriginal desert art. Having lived beyond the regular reach of Papunya Tula for a large part of his later life he became one of the first Pintupi artists to work independently of the company. He was the first of the Western Desert painters to be represented in a major international art collection when his work was selected from the Papunya Tula exhibition at John Weber Gallery in 1988 for inclusion in the Metropolitan Museum of Art, New York. * Subject of the book The Lizard Eaters by Douglas Woodlock and the documentary film Desert People by Ian Dunlop. Until 2010, the majority of Anatjari's top ten results were for works created during the 1990s. In this regard he stood apart from the majority of the early painters who worked with Bardon. His late career success saw two works, both created at the end of his life, overshadow the results for those he created during the early 1970s. When offered for sale through Sotheby’s in July 2003 (Lot 178) and July 2004 (Lot 108) these two paintings (created for Papunya Tula in 1989, and 1990) carried presale estimates of $100,000-150,000. Both sold for $118,000 including the buyer’s premium despite their appreciable difference in size. In 2010 however, the resale of a 1973 board entitled Story of a Woman's Camp and the Origin Of Damper more than doubled Sotheby’s low estimate when it sold for $384,000, at its July sale (Lot 55). This sale is in keeping with the trend that 1972-1973 boards generally fair better than those created in 1971, the first year of the Papunya movement. The fact that eight of Anatjiari’s current top ten results were created during these two years clearly indicates that collectors prefer the more accomplished imagery and greater size of these paintings to his earliest 1971 works, despite their historical significance and sacred content. This is amply illustrated by the fortunes of two embelatic 1973 works both coincidentally entitled Kuningka. Kuningka 1973 originally sold for $74,000 at Sotheby's in 1998 when estimated at $50,000-80,000. It has been re-offered since that time. It failed to sell at Bonhams in 2011, although the ambitious estimate of $200,000-300,000 was undoubtably the cause. And failed once more in Sotheby's London Sale in 2015 when carrying a presale estimate of GBP75,000-100,000. Another work with the same name has experienced an even more tortuous journey through auction. Originally offered under the name Porcupine Danger Men Only 1973, it first appeared for sale at Sotheby's in 2001 and changed hands for $35,750. The work subsequently failed to sell at Sotheby's in 2006, Bonhams in 2011 and Deutscher & Hackett in 2014, while carrying $50,000-70,000 expectation on each occasion. Finally, in December 2019, the work was ncluded in the 33 work offering at Sotheby;s first New York venture into Aboriginal art. This time, in spite of the huge fanfair attendent to the sale and the tiny number of works on offer, it finally sold for a modest $USD47,500, or $AUD68,823 incl BP. Anatjari's most successful year at auction was 2010. In that year all five works on offer sold at an average of $110,380 and a total of $551,900. This gave Anatjari III the highest ranking during the year of any Aboriginal artist. It propelled him to an overall rank of 15th most successful artist of the entire movement. Yet his results have not been as good since. He was 19th most successful artist in 2012 results but has had only five sales since. In 2015 a very nice rendition of a Men's Ceremony created in 1971 sold for $60,000 including buyer's premium. 2016 saw only one of the three works on offer selling, though it reached number 5 in his top ten at $93,000. Aside from breaking the top 5, Big Pintupi Ceremonial Occasion also replaced A Cave Dreaming 1972 (sold in 1996) as the highest price to date for a work created in 1972. Anatjari III died in 1992, just before a number of his male contemporaries made the conceptual leap away from dense ethnographic iconography. The primary market prices achieved for these paintings created from the mid 1990s onward became the principle driver of the growing Aboriginal art market prior to the emergence of women’s painting in the early years of the new millennium. Even so, the paintings he created in the late 1980s are the most sought after and valued of all 1980s canvases created by men of the Western Desert. They are rare, but it is unlikely that sales of his late career works will dominate those of his very best early (1972-1973) boards. For this reason he is likely to be considered as an important early influence in the emergence of desert painting rather than an artist of supreme distinction. 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

Looking to the past and seeing ahead 7 - 10 September | Carriageworks, Everleigh < Back Sydney Contemporary Art Fair 2023 - Booth H09 Sep 7, 2023 Looking to the past and seeing ahead 7 - 10 September | Carriageworks, Everleigh Cooee Art was established in 1981. From 2023, Australia’s oldest exhibiting Indigenous-focused gallery is solely owned by Mirri Leven. In its new era, the gallery will be run as a space of collaboration, working directly with First Nations curators, art centres, and represented artists. “ Guarding for Change - Looking to the past and seeing ahead .” Our booth will symbolise the passing of torches between generations. One side will represent the primary market gallery; the other will showcase the secondary market wing, with artworks consigned to our specialists from important collections across the globe. Previous Next Featured artworks Quick View ANGELINA PWERLE NGAL - UNTITLED ( BUSH RAISIN MAN) Price AU$3,000.00 Quick View ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Out of stock Quick View LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Price From AU$13,500.00 Quick View BRONWYN BANCROFT - UNTITLED Out of stock Quick View JOSHUA BONSON - SKIN: A CELEBRATION OF CULTURE Price AU$8,500.00 Quick View Book BOOK - KONSTANTINA - GADIGAL NGURA Price From AU$99.00 Quick View FREDDIE TIMMS - MOONLIGHT VALLEY Price AU$35,000.00 Quick View NEIL ERNEST TOMKINS - BURN THERE, DON'T BURN THERE Price AU$7,000.00

Artist Profile for Lorraine Austin < Back Lorraine Austin Lorraine Austin 1956 - ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE LORRAINE AUSTIN - THE DAWN LANDSCAPE SOLD AU$450.00 LORRAINE AUSTIN - OCTOBER SOLD AU$350.00 LORRAINE AUSTIN - GIRL ROSS GHOSTS OCTOBER DREAM PAINTING SOLD AU$350.00 LORRAINE AUSTIN - 13 AUGUST ALONE SERIES SOLD AU$350.00 LORRAINE AUSTIN - FROM THE DREAM NOVEMBER 26 SOLD AU$350.00 LORRAINE AUSTIN - A LAKE OF WHITE WATER SOLD AU$450.00 LORRAINE AUSTIN - 4 MAY BYRON BAY SOLD AU$350.00 LORRAINE AUSTIN - ANXIETY IN MIDDLE AUGUST SOLD AU$350.00 LORRAINE AUSTIN - 5 MAY 2 TIGER SNAKES SOLD AU$350.00 LORRAINE AUSTIN - 10 MARCH SOLD AU$350.00 top Anchor 1 PROFILE Lorraine Austin 1956 - 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 Biddy Long Nungurrayi < Back Biddy Long Nungurrayi Biddy Long Nungurrayi ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE BIDDY LONG NUNGURRAYI - SUGAR BAG SOLD AU$250.00 BIDDY LONG NUNGURRAYI - BUSH VINE DREAMING Sold AU$150.00 top Anchor 1 PROFILE Biddy Long Nungurrayi 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 Jean Baptiste Apuatimi < Back Jean Baptiste Apuatimi Jean Baptiste Apuatimi ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Jean Baptiste Apuatimi 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 Eleazer Nangukwirrk < Back Eleazer Nangukwirrk Eleazer Nangukwirrk ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE ELEAZER NANGUKWIRRK - WAK WAK SOLD AU$1,600.00 ELEAZER NANGUKWIRRK - MIMIH SPIRIT SOLD AU$925.00 top Anchor 1 PROFILE Eleazer Nangukwirrk 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 Timothy Cook < Back Timothy Cook Timothy Cook 1958 Region: Bathurst & Melville Islands Community: Milikapiti Outstation: Goose Creek Language: Tiwi Art Centre: Jilamara Arts & Craft ARTIST PROFILE ARTIST CV MARKET ANALYSIS In his distinctively clear and striking style, Timothy Cook loves to work with the ‘old designs’, transposing the exuberant culture of his Tiwi tradition into the contemporary art-space. READ FULL ARTIST PROFILE TIMOTHY COOK - TRADITIONAL TIWI MOTIF VI Sold AU$0.00 TIMOTHY COOK - UNTITLED (TUTINI AND TUNGA) Sold AU$0.00 top Anchor 1 PROFILE Timothy Cook 1958 Region: Bathurst & Melville Islands Community: Milikapiti Outstation: Goose Creek Language: Tiwi Art Centre: Jilamara Arts & Craft In his distinctively clear and striking style, Timothy Cook loves to work with the ‘old designs’, transposing the exuberant culture of his Tiwi tradition into the contemporary art-space. He works at Milikapiti on Melville island, north of Darwin and has been exhibiting his paintings and prints since the late 1990’s. During this time and with other artists from the Jilamara Arts and Crafts Association, he visited the ‘Mountford Barks’ in the Adelaide Museum. This historic collection was instrumental in Cook’s revisioning of the past, creating an artistic response in keeping with both ancient traditions and modern practises. In 2012, after being included as a finalist for many years, Cook won the prestigious NATSI Art Award and since then has gone on to receive much acclaim. Cook’s early career collaboration with professional printmakers who ran workshops on Melville Island, encouraged his eye for bold design. His experimentation with composition fed into larger painting works which always have an engaging clarity. Many of Cook’s painting refer to Kulama, the Tiwi ceremony of the wild yam harvest. Kulama also is a time of initiation. Three days of body painting, singing and dancing, welcome the boys into manhood and gives them their adult name. The whole community joins in and because it is the end of the wet season (March/April), the Tiwi Islands are burgeoning with new life. During this time, a ring appears around the moon (Japarra). This circle often features centrally in Cook’s paintings and reflects the circular dances of ceremony as well as corresponding body painting designs. Cross motifs signify a spirit place of significance, while smaller dots and circles are yams and or stars (japalinga). With crushed charcoal providing dark base areas, vivid natural ochres of red, white and yellow stand out in a vibrant symmetry of dots. While his design is precise, Cook’s painting method is gestural and unhesitatingly, reflecting the power behind an ancient but still living tradition. The Pukumani (funeral) ceremony and the myths of Purukapali, the Tiwi ancestral figure who first brought death into the world, are also central Tiwi themes. The valuing of aesthetic ingenuity and innovation has long been a part of their object making around mourning rituals. The rich artistic legacy of the Tiwi Islands has played a key role in the recognition and ongoing evolving of Aboriginal Art. Timothy Cook’s place in this story is attested to by his inclusion in Australia’s national galleries and increasingly, international collections. Isaacs, Jennifer, Tiwi: Art, History, Culture, Melbourne University Press, 2012 Rey, Una, MCA Collection Handbook, mca.com.au/artists " ARTIST CV Selected Collections : Aboriginal Art Museum, The Netherlands. Artbank Collection, Sydney. Art Gallery of NSW. Laverty Collection, Sydney. Museum and Art Gallery of the Northern Territory, Canberra. National Gallery of Australia. The National Gallery of Victoria. Queensland Art Gallery, Brisbane. Selected Solo Exhibition: 2019 - Vivien Anderson Gallery, Melbourne VIC 2018 - Yingarti Japarra (All the moons), Aboriginal and Pacific Art Gallery, Sydney, NSW 2016 - Full Moon, Luc Nerthier Galerie, Paris 2015 - Dancing With the Moon, Seva Frangos Art, Perth 2014 - Timothy Cook, Aboriginal & Pacific Art Gallery, Sydney 2013 - Timothy Cook, Seva Frangos Art, Perth 2012 - Timothy Cook , New Works, Aboriginal & Pacific Art Gallery, Sydney 2011 - Timothy Cook, Seva Frangos Art, Perth 2010 - New works by Timothy Cook, Aboriginal and Pacific Art Gallery, Sydney 2008 - Timothy Cook New Paintings, Aboriginal & Pacific Art Gallery, Sydney 2005 - Tartuwali apapirraya (the shark goes south), Aboriginal & Pacific Art Gallery, Sydney 2008 - Timothy Cook, Seva Frangos Gallery, Perth 2004 - Tarduwuli come to George Street, Aboriginal & Pacific Art Gallery, Sydney 2003 - Aboriginal & Pacific Art Gallery, Sydney. 2002 - Aboriginal & Pacific Art Gallery, Sydney. Selected Group Exhibitions: 2023 - Sir John Sulman Prize, Art Gallery of New South Wales, Sydney, finalists exhibition 2023 - Bayside Acquisitive Art Prize, Bayside Arts & Cultural Centre, Melbourne, finalists exhibition 2022 - National Works on Paper, Mornington Peninsula Regional Art Gallery, Mornington, VIC, finalists exhibition 2022 - The Blake Prize, Casula Powerhouse Arts Centre, Sydney, finalists exhibition 2021 - Telstra National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery Northern Territory, Darwin, finalists exhibition 2020 - TIWI, Ian Potter Centre National Gallery of Victoria, Melbourne. 2020 - Wynne Prize, Art Gallery of NSW, Sydney, finalists exhibition 2020 - National Works on Paper, Mornington Peninsula Regional Art Gallery, Mornington, VIC, finalists exhibition 2019 - Hadley's Art Prize - finalists' exhibition, Hadely's Orient Hotel, Tasmania 2019 - turnuwa amintiya kirijipuni, Short Street Gallery, Broome, WA 2018 - Yati Ratuwati Yatuwati (One Island, One Side), Munupi and Jilamara working Together. 2018 - Tim, Tom E., Harry, Rusty, Tiger & Pussycat Recent works on Paper with Basil Hall, Nancy Severs Gallery, Canberra, ACT 2018 - Tarnanthi Art Fair, Tandanya, Adelaide, SA 2018 - Tanz Im Mondenschein, AboriginalArt Austellung, Art Karlsruhe, Freiburg and Schorndorf, Germany 2018 - Print & Paper, Tunbridge Gallery, Cottesloe, WA 2018 - Palaneri - Aboriginal Art Der Tiwi, Art Kelch, Freiburg, Germany 2018 - Nginingawula Awirankiniwaki, Tiwi Exhibition, Doubletree Hilton, Darwin, NT 2018 - Jilamara and Munupi Arts group exhibition, Chapman & Bailey,Melbourne, VIC 2018 - Jane McKenzie In the service of poetry & Jilamara Arts, Koskela Gallery, Sydney, NSW 2018 - Fig Bilbao Art Fair, in conjunction with Print Council of Australia, Bilbao, Spain 2017 - Yirringinkiri Pwoja, Double Tree Hilton, Darwin, NT 2017 - Tiwi Time, Art Mob, Hobart, TAS 2017 - Tarnanthi Art Fair, Tandanya, Adelaide, SA 2017 - Ngini Parlingarri Amintiya Ningani (past, present, future), Nomad Art Gallery, Darwin, NT 2017 - NATSIAA, MAGNT, Darwin, NT 2017 - Being Tiwi, Morree Plains Gallery, Morree, NSW 2017 - Being Tiwi, Lawrence Wilson Art Gallery, WA 2017 - Being Tiwi, Glasshouse Port Macquarie, NSW 2016 - Being Tiwi, featuring Pedro Wonaeamirri, Timothy Cook, Raelene Kerinauia, Maria Josette Orsto, Eddie Puruntatameri, Giovanni Tipungwuti, Cornelia Tipuamantumirri, Nina Puruntatameri,Bede Tungutalum, Australian travelling exhibition. 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. 2015 - Kuripapuranjuwi Ngini Ngawila Jilamara Kapi Ngawa Tiwi: Tiwi Show, Darwin 2015 - Dancing With the Moon, Seva Frangos Art, Perth 2013 - My Country, I Still Call Australia Home: Contemporary Art from Black Australia, Gallery of Modern Art, Brisbane. 2012 - 29th Telstra NATSIAA Awards, Museum and Art Gallery of the Northern Territory, Darwin. 2011 - Western Australian Indigenous Art Award – finalists, featuring Jan Billycan, Michael Cook, Timothy Cook, Angkaliya Curtis, Gunybi Ganambarr, Angelina George, Gary Lee, Danie Mellor, Patrick Mung Mung, Trevor Nickolls, Lena Nyadbi, Tiger Palpatja, Kuruwarriyingathi Bijarrb Paula Paul, Reko Gwaybilla Rennie, Nyilyari Tjapangati, Nyapanyapa Yunupingu, Art Gallery of Western Australia, Perth. 2011 - 28th Telstra National Aboriginal Art Award, Museum and Art Gallery of the Northern Territory, Darwin. 2010 - Emerging Elders, National Gallery of Australia, Canberra. 2009 - Floating Life - Contemporary Aboriginal Fibre Art, Queensland Art Gallery, Brisbane. 2009 - Mukumuwu - To be Together including Pedro Wonaeamirri, Timothy Cook, Conrad Tipungwuti, Raelene Kerinauia, Jean Baptiste Apuatimi, Maria Josette Orsto, Ita Tipungwuti, Susan Wanji Wanji, Nina Puruntatameri and Robert Puruntatameri, organised by the Tiwi Art Network, at the Holiday Inn, Darwin, NT. 2006 - Xstrata Coal Emerging Indigenous Art Award Artists, Queensland Art Gallery. 2005 - Yirrarra - Kulama amintiya Pukumani, Alcaston Gallery, Melbourne; Recent work by Conrad Tipungwuti and Timothy Cook, Raft, Darwin; 22nd Telstra National Aboriginal and Torres Strait Islander Art Award, Museum and Art Gallery of the Northern Territory, Darwin. 2004 - 21st Telstra National Aborigainal and Torres Strait Islander Art Award, Museum and Art Gallery of the Northern Territory, Darwin. 2003 - One Voice, Two Islands, Three Communities, Chapman Gallery, Canberra ; Let’s Keep Our Art Strong: Recent works from the Jilamara Artists, Raft Artspace, Darwin; Kuturkuni Amintiya Tapulunni, RAFT Artspace, Darwin; Exhibition aboard the luxury liner The World, Melbourne to Tokyo; Big Country, Gallery Gondwana, Alice Springs; Alliance Française Gallery, Canberra 24 – 29 October in association with Chapman Gallery. 2002 - Summer Collector’s Exhibition, Alison Kelly Gallery, Melbourne; Pwoja Jilamara Raft Artspace Darwin; Awuna Mantawi Hello My Friends, Tandanya, Adelaide; 27th Annual Shell Fremantle Print Award Fremantle Art Centre; 19th NATSIAA, Museum and Art Gallery of the Northern Territory, Darwin; Pwoja Jilamara, Raft Artspace Darwin. 2001 - Taykwapi Tiwi RAFT Artspace, Darwin; Ochre Short Street Gallery Broome; Jilamara, Jilamara Framed Gallery Darwin; Jilamara- New Work, Redback Art Gallery Brisbane; Island Images Australian Print Workshop Melbourne. 2000 - This Earth for Us, Commonwealth Institute, London; Heritage Art Award, Canberra; From Mythology to the Present, Wuerzburg , Germany. 1999 - New Paintings from Milikapiti, Redback Gallery, Brisbane; Art of the Tiwi, Framed Gallery Darwin; Tiwi on Wood, Alcaston Gallery, Melbourne; New Paintings from Milikapiti, Redback Gallery, Brisbane; Art of the Tiwi, Framed Gallery Darwin. 1998 - The Old and the New, Gallery Gondwana Alice Springs NT; Ngawa Mantawi Mossenson Gallery Subiaco Perth; Jilamara, Mossenson Gallery, Subiaco WA; Group Exhibition, Alcaston House Gallery, Melbourne Victoria. 1998- 2000 - One Thousand Journeys, Tin Sheds Gallery, Sydney & touring exhibition 1997 - Old Tiwi, Alcaston House Gallery Melbourne Vic.; Old Designs Framed Gallery Darwin NT; Kartukuni Amintiya Jurra (Ironwood and Paper) Hogarth Gallery Paddington NSW. Bibliography: Bennett, J. Ngingingawula Jilamara kapi purunguparri (Our Paintings on Bark) Gallery Monthly Magazine of the National Gallery Society of Victoria, September. 1992 The Body Tiwi Aboriginal Art from Melville and Bathurst Islands, catalogue, The University Gallery, University of Tasmania at Launceston, 1993. Art of the Tiwi from the Collection of the National Gallery of Victoria, catalogue, NGV Melbourne, 1994. Market Analysis MARKET ANALYSIS Timothy Cook's secondary art market is notably scarce. The fluctuations in sales, clearance rates, and overall market engagement are heavily influenced by the limited availability of his works, which impacts both demand and pricing. Years like 2005, 2007, 2008, 2013, and 2014, which recorded clearance rates of 100%, indicate a strong correlation between limited supply and high demand. In these years, the availability of Cook’s works prompted immediate interest from buyers. 2008 stands out with five works sold and total revenue of A$17,812. In 2016 his works achieved the highest revenue with only one work Kulama (2013) , sold by Deutscher and Hackett for A$24,400, indicating strong price performance. The recent years (2020-2023) indicate a potential resurgence in interest, particularly with the successful sales in 2023 (five works sold with 71% clearance rate). This suggests a renewed appreciation for Cook's work or improved market conditions. 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 Willy Kew < Back Willy Kew Willy Kew ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE WILLY KEW - HILLS AT NYIRLA SOLD AU$2,500.00 top Anchor 1 PROFILE Willy Kew 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 Estelle Munkanome < Back Estelle Munkanome Estelle Munkanome ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE ESTELLE MUNKANOME - JILAMARA SOLD AU$1,200.00 ESTELLE MUNKANOME - JILAMARA SOLD AU$750.00 ESTELLE MUNKANOME - JILAMARA SOLD AU$1,200.00 top Anchor 1 PROFILE Estelle Munkanome 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 .