Artist Profile for David Jarinyanu Downs < Back David Jarinyanu Downs David Jarinyanu Downs ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE David Jarinyanu Downs 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 Leon Russell Black < Back Leon Russell Black Leon Russell Black ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE LEON RUSSELL BLACK - PUPUNI JILAMARA SOLD AU$2,000.00 top Anchor 1 PROFILE Leon Russell Black 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 Lee Nangala Gallagher < Back Lee Nangala Gallagher Lee Nangala Gallagher ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Lee Nangala Gallagher ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

Artist Profile for Joshua Ebatarinja < Back Joshua Ebatarinja Joshua Ebatarinja ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE JOSHUA EBATARINJA - PALM VALLEY Sold AU$0.00 top Anchor 1 PROFILE Joshua Ebatarinja 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 .

NapangardiLilly Lilly Kelly Napangardi Lilly Kelly Napangardi 1948 Lily Napangati Born at Dashwood Creek in 1948, Lilly Kelly arrived at Haasts Bluff as a baby in the arms of her mother Narputta and her father Sandy Opal Tjapanangka. The family moved to the newly established settlement of Papunya in 1958 when Lilly was still a young girl and her father became one of the original Papunya Tula shareholders. In the late 1970’s Lilly married Norman Kelly Tjampitjinpa and began assisting him with his paintings while living at Papunya, before the family moved 75 km west to Mt Liebig at the foot of the McDonnell ranges. Lilly Kelly began painting in her own right for Papunya Tula Artists during the mid 1980’s when the company's field officers first began visiting Mt. Liebig regularly, and in 1986, she won the Northern Territory Art Award for a painting entitled Watiyawanu. The win drew attention to the growing number of artists in Mount Leibig and the nascent art centre operated by the shop owners in the community. During the 1990’s Norman Kelly moved to Lajamanu and took a second wife while Lilly remained at Mount Leibig and brought up their three children. In time, while she continued to paint without particular distinction, she became one of the senior Law Women of the community, and the custodian over the Women Dreaming stories associated with Kunajarrayi, in Warlpiri and Luritja country stretching between Mt Liebig, Haasts Bluff, Kintore and Conniston. Here she passed on her knowledge of traditional law and ceremonial dancing and singing to her children, eleven grandchildren, and other young women of her clan. With the success of the Watiyawarnu art centre, Lilly Kelly’s paintings began once more to gain national attention. From 2000 onward Watiyawarnu participated in the annual Desert Mob exhibition in Alice Springs and with the art centre’s patronage she was selected as a finalist in the NATSIA Telstra awards. Her depictions of country during this period and thereafter referred to sand hills, the effect of wind and rain on the desert landscape, and the crucial waterholes found in the area. The best of these works evoke the ephemeral nature of the drifting, changing sandy country in the finest microcosmic detail. Rain streaks the land as it runs off the sand hills while the blowing wind folds them into the undulating waves of an infinite expanse. Beholding each work in is entirety, is to view the landscape in macrocosm as the eye follows the hypnotic fine doting and muted tones that build up into a mysterious, enigmatic topography of her land. Rendered in intricate detail, with subtle colour variations these paintings covey powerful and inspiring visions of her country. Early examples of Lilly Kelly's sandhill paintings were rendered using a dotting technique, which diminished the size of the dots with each row. In later works she diminished the dots within each evolving line. Earlier works therefore have a more meditative settled quality and stronger formal compositional structure, whereas the ebb and flow of the dotting in her later works is evocative, rhythmic and ultimately engaging. Lilly Kelly has been described by those who know her art practice intimately, as an action painter. They suggest that her works are essentially haptic and unplanned and that she engages in painting without any formal schema in mind. If this is the case, then it is likely that it is this informality that evokes such a powerful response from the viewer. The first institutional purchase was of two spectacular major works to the Art Gallery of New South Wales arranged through Neil Murphy Indigenous Art, which organized a solo exhibition for the artist at Span Galleries in Melbourne during the same year. In the wake of her Melbourne success Kelly was reputedly under consideration for inclusion in the 2004 Biennale of Sydney however, although nominally represented by Watiyawanu Artists, she has painted indiscriminately for many dealers in Alice Springs since that time and attempts to present her works at the highest level have, unfortunately failed. Lilly Kelly is a very fine artist who, if handled professionally, is capable of greatness. With this no doubt in mind, Australian Art Collector Magazine selected her as one of Australia's 50 most collectable artists for 2006. Yet in equal measure she produces perfunctory works motivated more by income than the pleasure of creative engagement. A number of her finest paintings have been acquired by major international collectors including Thomas Vroom and Richard Kelton as well as being added to several Australian State art galleries. The magnificent paintings held by the Art Gallery of NSW, rated by Murphy as the artist’s finest, were exhibited in the exhibition Gifted: Contemporary Aboriginal Art: The Molly Gowing Acquisition Fund in 2006/2007. Lilly Kelly is one of three Mount Leibig female artists whose careers burgeoned post 2000. While Ngoia Pollard, who won the Telstra National Aboriginal Art Award in 2006, and Wentja Napaltjarri, have arguably established a higher profile than Kelly amongst exhibiting galleries in the primary market, their sales at auction have been too infrequent to have established a secondary market presence as yet. There is little doubt however that, in time, they will join Kelly and Bill Whiskey amongst the top 100 artists. Lilly Kelly’s auction records are completely dominated by works created after 2000 including all of her top 10 results. One of the few exceptions was a work created as early as 1989. It is the only Papunya Tula provenanced painting that has appeared for sale despite the fact that she created works for the company for almost a decade beginning in the mid 1980s. When offered at Christies Auctioneers in October 2004 (Lot 21) the rather generic Untitled work failed to attract a buyer despite its provenance. All of her top four results however were created for Watiyawarnu Art, the semi-official art centre in Mount Leibig and works created for independent dealers litter her best sales. Lilly Kelly’s work first appeared at auction in 2004 more than a decade after the first specialist Aboriginal art sale and nearly two decades after she began painting. Few works of significance had appeared by the end of 2005 however in 2006, her most successful year at sale, 13 works were offered of which nine sold for a total value of $95,805. During the following year eight sold of 13 offered and although her works fared slightly worse during 2008, thereby dropping her average price to slightly below $10,000, her career clearance rate was still a very healthy 63%. However this has changed dramatically since, and the decline in her results reads almost like an object lesson in how painting indiscriminately for the market can adversely affect an artist’s reputation. By January 2009 her success rate at auction dropped to 59% and the decline continued. By 2014 it sat at just 45% with just 46 works sold out of a total offering of 102. This can be attributed to the fact that only nine works of 22 sold in 2009 and five of 17 in 2010. Her results were so bad in 2010 that the total value of these 5 sales was just $7,448. This was nothing however when compared to the utter disrespect paid to her by Lawsons Austioneers during the period 2015-2016. In 2015 Lawsons offered no less than 12 works of the 14 on offer publically that year. Nine of the 12 failed although Bonham's did sell a lovely Neil Murphy provenancned work measuring 90 x 122 cm for $5,124 in its sale of the Thomas Vroom Collection. Lawson's highest p[rice was a measly $1, 227. Early in 2016 Lawson's were at it again. It offered 11 works including many of those that had failed twice during 2015. Nine went unsold once more while two sold for a paltry $736. In my opinion, this sort of behaviour shows the Aboriginal art market utter disrespect and the artist, a lack of duty of care. Kelly's record price at auction was achieved for a work of the highest quality commissioned by Neil Murphy through Watiyawarnu. Sandhills Around Mount Leibig 2004, measuring 176 x 120 cm. sold for $39,600 against a presale estimate of just $12,000-16,000 at Sotheby's in July 2007 (Lot 167). This transcended the previous record set by another very fine work from the same original source which had sold in Lawson~Menzies November 2006 sale for $24,000 (Lot 42). While there do not appear to have been many resales, the number of highly estimated works that have failed however should be of deep concern. Lilly Kelly's best works are highly accomplished and regardless of provenance, many others are very good paintings indeed. In the right setting, their spacious textural feel resonates sympathetically with contemporary aesthetics. These are paintings to be valued more for the pleasure they impart than their cultural content. Due to her fierce independence and prolific nature, her works appear in a range of primary market outlets from retail stores to exhibiting galleries. If you like her work, take your time, and chose wisely. Only the most delicately executed are likely to be good ‘investments’. 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 Tjunka Lewis < Back Tjunka Lewis Tjunka Lewis ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE TJUNKA LEWIS - WALPAPUKA SOLD AU$2,500.00 TJUNKA LEWIS - UNTITLED SOLD AU$280.00 TJUNKA LEWIS - UNTITLED Sold AU$0.00 TJUNKA LEWIS - WALYKUMUNU Sold AU$0.00 TJUNKA LEWIS - WALYKUMUNU SOLD AU$280.00 TJUNKA LEWIS - WAKALPUKA SOLD AU$280.00 TJUNKA LEWIS - PATJARRTJA Sold AU$0.00 TJUNKA LEWIS - UNTITLED Sold AU$0.00 top Anchor 1 PROFILE Tjunka Lewis 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 .

GENERAL MANAGER < Back Hayley Cotton GENERAL MANAGER Hayley completed her Bachelor of Fine Arts at National Art School here in Sydney. Since then, she’s traveled and worked at many places including NG Art Gallery, Sculpture by the Sea and for 4 years she was Gallery Assistant at Liverpool Street Gallery. In September 2019 she joined Art Leven (formerly Cooee Art) as the Paddington Gallery Assistant and is now the Gallery and Operations Manager in Redfern. A couple of her favourite artists are Makinti Napangka and Dorothy Napangardi. hayley@artleven.com +61 (02) 9300 9233

Artist Profile for Valda Napangardi Granites < Back Valda Napangardi Granites Valda Napangardi Granites ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE VALDA NAPANGARDI GRANITES - JUKURRPA (SNAKEVINE DREAMING) - MINA MINA SOLD AU$1,400.00 VALDA NAPANGARDI GRANITES - NGALIYIPI JUKURRPA (SNAKEVINE DREAMING) - MINA ... Sold AU$350.00 top Anchor 1 PROFILE Valda Napangardi 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 .

GENEVIEVE LOY KEMARR | AKWERLKERRMWERLKERR | PADDINGTON Location: Cooee Art Paddington From 16 January to 08 February 2020 Viewing Room GENEVIEVE LOY KEMARR | AKWERLKERRMWERLKERR | PADDINGTON Artist: Genevieve Loy Kemarr From 16 January to 08 February 2020 Location: Cooee Art Paddington Cooee Art Gallery is pleased to present a wonderfully colourful and exciting solo exhibition by Genevieve Kemarr Loy, an emerging artist from the Utopia region. Genevieve is the granddaughter of Artist Nancy Petyarr and daughter of Cowboy Loy Pwerl, from whom she learned how and what subjects to paint. She paints her father’s country, which lies on the western side of Sandover River on Utopia Station. Her story is of the Bush Turkey, for which her father is senior custodian. She is one of the most naturally gifted and inspiring painters to have come out of the Utopia region in some time. Since 2010, she has been a finalist in the Blake Prize, the Waterhouse Natural Science Art Prize, the Paddington Art Prize, the Fleurieu Art Prize, the Churchie, the National Emerging Art Exhibition, and the Alice Prize. Her works have been acquired by the Art Gallery of South Australia, Deakin University, Melbourne, along with numerous private collections around the world. Genevieve’s works show a natural grasp of colour, design, and resolved aesthetic direction. Her Arwengerrp (Bush Turkey) and Akwerlkerrmwerlkerr (Green Plant) paintings combine the traditional meticulous dots with elegant wisps, creating vibrant, pulsating, and richly textured surfaces. Genevieve’s paintings are characterised by the gently beautiful handling of paint, a harmonious sense of colour and great control of the delicate spidery marks that make their way across her canvas. While these works are solidly planted within the established cultural conventions, Genevieve’s paintings are original and independently inspired; they represent her own re-imagining of the Dreaming stories. The strong diagonals that anchor each painting are a stylistic choice that represent the spatial ‘Dream lines’. To borrow from Margo Neale, they evoke ‘a sense of the timelessness embodied in ancestral continuity’. The works all relate directly to the ‘creator of her country’, the Bush Turkey, and while Cowboy Loy depicts the nesting place of the Bush Turkey, Genevieve shows its tracks as it travels between its nesting place and various waterholes searching for seeds and other tucker. On a more complex cultural level, her works relate to Anmatyerr ceremonies, offering a significant depiction of the relationship between Genevieve and her country in Utopia, Central Australia. Dr. Christine Nicholls has referred to the paintings of Iylenty artists, of which Genevieve is the most inspired descendent, as being “more than simple reconstructions of visible spatial features”. They offer “an integrated spatial, environmental, economic, spiritual and moral ‘reading’ of the land”. VIEW CATALOGUE EX 195

Artist Profile for Cory Warkatu Surprise < Back Cory Warkatu Surprise Cory Warkatu Surprise ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE CORY WAKARTU SURPRISE - PITILL JILA SOLD AU$4,800.00 CORY WAKARTU SURPRISE - ROUND ONE WATERHOLE THIS ONE Sold AU$0.00 top Anchor 1 PROFILE Cory Warkatu Surprise 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 .

MoffattTrace Tracey Moffatt Tracey Moffatt 1960 It was no doubt the experience of growing up ‘between cultures’ that sharpened photographer and filmmaker Tracey Moffatt’s acute perceptive faculties. Born to an Aboriginal mother and Irish father, she was adopted by a white working-class family and brought up in the suburban sprawl of outer Brisbane. Her birth mother would visit her there and, as Moffatt describes it, ‘attuned’ her to an Aboriginal identity. At the same time, the bedazzlements and bewilderments of popular European culture both provoked and fascinated her. From her early girlhood, she was intrigued by the images and the possibilities engendered by its purposeful arrangement. Staged neighbourhood snapshots already revealed her directorial talents and hinted at her future stellar career. Moffatt ‘manufactures’ her photographs or moving images rather than ‘takes’ them and consequently, imprints her own bodily self and her own sensibility upon them. She taps into areas of experience that are pushed to the edges of awareness out of habit, haste or social position. An early influence, she says, were the black and white, everyday-life photos that appeared in the 1960’s American Life magazine. To the innocuous ‘snap’ Moffatt applies a deconstructionist approach, looking beyond the obvious and the momentary, to touch upon the unseen forces at work. She brings these to the surface of the image in a surreal mesh of the past and present to reveal the imaginative and emotional ambiguity. The narratives that accompany her images are short and succinct but the power that they unleash in conjunction with these re-constructed visual renditions is often compelling and at times daunting. These narratives do not progress and resolve themselves in the customary manner. These are the frozen moments in the story that intrude on the plot and compellingly divert it, if only briefly. They open a pressure valve in what has been described as 'a boiling hot outburst' (Travis 2000: 555). Moffatt trained in her medium at the Queensland College of Art. Her early works addressed issues of identity and survival from the viewpoint of Indigenous Australians, though firmly focused upon modern motifs and stories rather than traditional ones. In her photo-series Scarred For life 1994, Moffatt’s own experiences of growing up, feed into themes about childhood memory and adolescent alienation, although photo-documentation and/or social comment are never her main imperative. Backyard nostalgia seems branded into the memory with pain. 'I think my imagery comes from my subconscious,' Moffatt says, '…I think my work is very dreamlike' (Summerhayes 2007: 256). Her reluctance to be thought of as an Indigenous artist stems from her wish to express universal human themes, as reflected more broadly in her work after 1995. Moffatt’s reputation as an exceptional and significant creative voice upon the international art stage followed upon the release of her short experimental film, Night Cries, A Rural Tragedy 1989, and her photo series Something More 1989. Both are tales of women trapped in an arid, rural environment. Issues of race and sexuality, hope and despair, love and cruelty, vie for attention but Moffatt refrains from defining the end result in terms of any of these. No moral lesson is conveyed. As a storyteller, Moffatt varies her strategies of presentation and performance in order to find the most successful manner of the telling. Her highly contrived scenarios draw upon the post-modern techniques of pastiche and (visual) quotation and are thereby ‘super-saturated’ with shifting levels of meaning. 'I am constantly thinking about composition in a photographic sense,' she says, 'and framing and textures are very important to me' (cited in Summerhayes 2007). Her eclectic working method is fuelled by a natural curiosity. In the age of mass-production, it has been said that the image as such has lost its ‘aura’ of contemplative distance (Walter Benjamin) but Moffatt strives towards it once again, employing artifice to create the hyper-reality of myth. In a series of videos made with Gary Hillberg in New York (now her part-time home), Moffatt edits together short snippets from Hollywood films to create a fast-paced, pressure-cooker of emotion and action. In Lip 1999 black women servants ‘give lip’ to their so-called superiors. Artist 2000 explores the act of creation while Love 2003, features the Hollywood romance, over and over, from go to woe. Repeated moments of high drama and impending disaster in Doomed 2007, amuse and startle us, but also somewhat worryingly reflect the mundanity that inures us to events in the nightly television news. Such repetitive gestures subvert our tendency to suspend disbelief and draws awareness to underlying cultural perspectives while glancing humour and brief moments of seeming recognition hold our fascination. After the 2000 Sydney Olympic Games, Moffatt threaded her way through miles of footage to pick up the experience of athletes who came in just below the line of medal-winning and intense public adulation. This was the subject of her psychologically intriguing photo-series Fourth 2001. Moffatt’s more recent work embraces the era of digital technology with a heavy though playful reliance on computerized manipulation of the image. Adventure Series 2004, plays with the slick, dramatic scenarios of the 1970’s comic strip. Her move towards portraiture is heralded in Being Under the Sign of Scorpio 2005, where she enacts forty photo-portraits of acclaimed women. This exhibition gives expression to Moffatt as a performance artist, using her own body to act/speak on life and individuality. 'Every piece I have ever made, be it film or photograph,' Moffatt says, 'is in some way autobiographical. Each work depicts a mood or current obsession' (cited in Summerhayes 2007). Since her first solo show in Sydney in 1989, Moffatt has proved herself an articulate and communicative artist, willing to share her thoughts and creative processes. Her works have been shown widely in solo exhibitions and international art events throughout Europe, the USA and Australasia since 1995. Moffatt had the honour of representing Australia in the 2017 Venice Biennale, where her work was lauded as a roaring success. Alongside her almost yearly exhibitions in major museums and galleries around the world, she engages in an ongoing dialogue with her now international audience. Her celebrity status has been the inspiration behind her ‘paparazzi-style’ exploration of portraiture in photo-series The Beautiful Human Face 2007. Moffatt captures family and friends at their greatest moments of power, energy and excitement. 'These portraits are in a way a mirror of myself, because the gleam in the eye you see here is my gleam, reflected back to me' Moffatt says (www.roslynoxley9.com ). To her long list of honours and prizes, Moffatt has recently added the Infinity Award (2007) from the International Centre of Photography in New York for her outstanding contribution to the field. While she does not promote herself as an Aboriginal artist per se, Tracey Moffatt’s Aboriginal heritage ensures that she is included in the top 100 Aboriginal artists survey. She enjoys a very successful career through Roslyn Oxley’s representation in Australia and with works sold across a number of continents. However, her ranking amongst the most important Aboriginal artists of all time is principally due to the repeated sales of one particular photographic image created in 1991, as well as the most popular of those additional images in the same body of work. Her photographs first appeared at auction in 2000 when three works were offered, of which two sold. The following year all 11 works offered found new homes and this spectacularly continued into 2002 when 17 of 21 works were successful. By this time her clearance rate was a very impressive 86%, which dropped slightly to 83% at the end of 2003. While her career record price was reached the following year when a suite of six Cibachrome prints from the Something More series and three black and white photographs sold for $227,050, her secondary market results have been on a downward spiral ever since. Throughout the 2010s, only about a third of the works offered have managed to sell. Moffatt's top 30 results at auction almost all consist of the same images from her Something More series. Unfortunately for Moffatt, the secondary market, in Australia at least, has considered her a one-trick pony. Little wonder she has refused auction houses copyright over this ubiquitous image in order to avoid being stereotyped. Nevertheless, Moffatt can hardly avoid it. Even Baz Lurhman, in his epic movie Australia, couldn’t resist dressing Nicole Kidman in a Cheongsam with a weatherboard backdrop as an homage. All this must be the stuff of nightmares for Moffatt, who is a very fine artist. She is equally at home with prints and graphics as she is with photography. Her inclusion in important international exhibitions and the range of work she produces is likely to continue well into the future and this should, in time, round out her auction results. One thing is definite, however. Tracey Moffatt’s work is more worthy than her auction results indicate. Collectors would be well advised to delve deeper into her oeuvre. Her Up In The Sky series created in 1997, Scarred for Life 1994 and Some Boys are good examples of works very much worth collecting, especially given their currently reasonable prices. 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 Edwin Pareroultja < Back Edwin Pareroultja Edwin Pareroultja ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE EDWIN PAREROULTJA - UNTITLED SOLD AU$3,200.00 EDWIN PAREROULTJA - UNTITLED Sold AU$0.00 EDWIN PAREROULTJA - UNTITLED Sold AU$0.00 top Anchor 1 PROFILE Edwin Pareroultja 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 .