Artist Profile for Samuel Namunjdja < Back Samuel Namunjdja Samuel Namunjdja ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE SAMUEL NAMUNJDJA - MIMI SPIRIT (WITH FLOOR STAND) SOLD AU$1,500.00 SAMUEL NAMUNJDJA - MIMI SPIRIT (WITH FLOOR STAND) SOLD AU$1,500.00 top Anchor 1 PROFILE Samuel Namunjdja 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 Shorty Jangala Robertson < Back Shorty Jangala Robertson Shorty Jangala Robertson ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Shorty Jangala Robertson 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 .

PROVENANCE Provenance is one of the most universally misunderstood concepts in art, most particularly in Aboriginal art. < Back HOW TO COLLECT ABORIGINAL ART — PROVENANCE PROVENANCE Provenance is one of the most universally misunderstood concepts in art, most particularly in Aboriginal art. Provenance is the imprimatur conferred upon an artwork due to the entire history of its existence. It is a movable feast that only begins with how the artwork finds its way into the market and on to a client’s wall. Imagine that a painting, like an individual dollar coin in your pocket, has passed through many hands since it was first created. The dollar coin is an exact replica of thousands of other coins that came off the same press in the mint yet each has an utterly different history of ownership. Your own coin may have been used to purchase all manner of items, both legal and illegal, by rich and by poor, healthy and sick, at any time between childhood to dotage. And so it is with each and every painting created by each and every individual artist. An artwork’s provenance, and hence its value, only begins with how it found its way into the market in the first place. In the case of an old artefact, this could include whether it was actually made for its intended use or made for sale; whether it was at some time collected by a famous colonial identity; or sat on the mantelpiece in an iconic old homestead. In the case of an Aboriginal painting or sculpture, this will include whether it was produced by an artist and supplied to a community Art Centre, their official agent, an independent dealer, a taxi driver in Alice Springs, a local wholesaler, or perhaps even directly to a gallery at some point along the artist’s travels. Once past this initial transaction, the artwork may find its way into a souvenir shop, a retail outlet that specialises in Indigenous art, or a shop that carries a range of art objects and styles. If purchased by an exhibiting gallery, it may be used to advertise an exhibition in a quality art magazine and, if considered good enough, be included in a group or solo exhibition. It could be used to illustrate an invitation or included in an exhibition catalogue. The standing of the gallery that confers its imprimatur on the artwork will make a valuable contribution to its collectability, just as its sale on eBay or through a ‘fly by nighter’ will fail to enhance its value. Given the many different scenarios that are possible, I have devised a guideline for collectors, which I refer to as an Index of Provenance. This is intended as no more than a tool to assist collectors and help them understand the concept of provenance and how it can be applied by good collectors to enhance the value of their collections. While there will be those at extreme ends of the philosophical divide who may object to the relative magnitude of the points that I have bestowed for various characteristics that make up the history of any individual artwork, I have weighted them according to my own experience after discussion with fellow dealers whose experience in the industry is as extensive as my own. The accompanying table should be self-explanatory. By adding the points that you can confer upon any individual painting, the ways in which a good collector can enhance its provenance should be obvious. INDEX OF PROVENANCE This index is indicative only. It can, however, be a very powerful tool, used to determine the provenance of your artwork. Give an artwork a ‘score’ using the point system below. It is specifically for a work of Australian Aboriginal art. It can, however, be modified in order to apply to absolutely any asset class. Mount Wedge – Clifford Possum Tjapaltjarri 100.0 x 180.0 cm Aboriginal artwork Bought directly from the artist with some documentary evidence prior to 1985 2 Bought through an Art Centre 3 Bought through a recognised established wholesaler 1 Accompanied by: a certificate of authenticity from an Art Centre 2 a certificate of authenticity from a recognised established wholesaler 1 a photo of the artist with the painting 1 a photo of the artist working on the painting 2 a folio of photographs or video showing the painting being created 3 The work was/Is: Sold and documented by an exhibiting gallery* 2 Sold and documented by a retail non-exhibiting gallery or wholesaler 1 Included in a documented and curated group exhibition prior to sale 1 Included in a solo exhibition of the artist’s work 2 Illustrated on the invitation or in a gallery catalogue that is sold with the painting 1 Included in a regional touring exhibition prior to, or subsequent to sale 1 Included in a national touring exhibition 2 Included in an international touring exhibition 3 Illustrated in a touring exhibition catalogue 2 Illustrated in a book 2 Illustrated in a magazine article or review which accompanies the work 1 Lent to or de-accessioned from a regional gallery or equivalent institution 1 Lent to or de-accessioned from a State gallery or equivalent institution 2 Sold from an important private collection 2 Lent to or de-accessioned from a National gallery or equivalent institution 3 Currently offered for sale or purchased from an elite gallery* 2 Previously offered for sale by a major auction house** 1 Currently offered for sale by a major auction house in its premier specialist sale (Tier One) 2 Currently offered for sale by a major auction house in its Tier Two or mixed sale 1 Thoonbi – Paddy Nyunkuny Bedford 150.0 x 180.0 cm *An exhibiting gallery is considered to have a regular exhibition program throughout the year. Holding an occasional exhibition in their gallery or in an interstate or overseas gallery is not enough to qualify as an exhibiting gallery for this purpose. If an exhibiting member of ACGA or Art.Trade you may add extra point ** Christies, Sotheby’s, Bonham’s, (In Australia Deutscher and Hackett, and Mossgreen can be considered major auction houses) The maximum index that is achievable using this guide for a work of the highest provenance is approximately 20 points. Now that you have worked out your score, let’s see exactly what this means HOW TO BUILD THE PROVENANCE OF YOUR ARTWORK – – and, as a consequence, increase its value You will find the points system above to be an extremely useful and reliable indicator of the desirability of any work that you may be considering for purchase or that is already in your own collection. While not mentioned in any of the criteria that attract points, you can be almost certain that there will often be a high degree of correlation between an artwork’s aesthetic value and its increasing index of provenance. However, the most important information that this index of provenance can provide is HOW YOU CAN ENHANCE THE VALUE OF YOUR ARTWORK. This is how good collectors increase the imprimatur of individual pieces and, in fact, their entire collection. 1-4 COLD If this is a painting bought directly off the artist or a dealer with no bone fides and was not bought through a reputable shop or gallery, it will not be of interest to the secondary market unless it has considerable age and the work is of a high quality. It is unadvisable to purchase paintings in this category that were not created at least pre-1985, as once in your collection they are extremely difficult to sell. In the case of Aboriginal artworks, those created prior to the establishment of art centres and specialist dealers and galleries may be an exception if they are aesthetically pleasing, rare, or culturally significant. 5-8 TEPID Artworks in this category should be well documented with either a certificate from the community art centre or working photograph(s). They may have been bought through a recognised gallery or dealer and should therefore be a reasonable investment if held on to for a long enough time to appreciate. Anything that can be done to increase the provenance of a work of art in this category will enhance its value. Lending it to an institution, getting it into a publication, etc. all helps, providing it is a good piece painted with integrity by a recognised artist. 9-12 WARM A good collector, or sophisticated investor, will seek to ensure that the majority of artworks in their collection are in this category or above. It is far easier to build the imprimatur of art that already has this level of provenance. These works are likely to be readily acceptable to the secondary market. All works of a lower quality or provenance level should be shed, or their provenance improved in order to rigorously maintain a good collection. 13-16 HOT These are works of high pedigree. Art in this category will always sell for a premium price and be highly sought after by serious collectors. These are generally listed as ‘top lots’ when sold and have a full page or more dedicated to them in sale catalogues. 17-20 STELLAR As there are only works of museum quality here, you will be lucky to own one even if you have very deep pockets and an insatiable appetite for the best of the best. I strongly recommend that those collectors who are primarily concerned with the investment potential of their paintings take a good look at those works with an Index of Provenance lower than 9 (i.e. those in the cold and tepid categories). While there are a variety of ways to enhance their value, serious consideration should be given to culling them, most especially if the options of improving their provenance are limited. This is especially important advice for those whose works are in a superannuation fund or similar investment portfolio. Works with a low provenance index should be sold and the money generated reinvested into works that are more easily moved into higher index categories. By simply using the information above many of the ways in which you can improve the value of your art should be clear. These include lending works for inclusion in touring exhibitions, loaning works to institutions and exhibiting galleries, or promoting them through articles in art magazines and the media in general. The worst possible thing that you can do for a work of art is to roll it up and store it under your bed or lock it away as if it were a share document or the title to a property. To increase in value, a painting should be as visible as possible. TIP NUMBER 5: LESS IS BEST – the cream always rises to the top Always purchase fewer works of higher value and better provenance than spreading your limited funds too thin. Investing in works created by major established artists is definitely far safer in the long term, but these ‘blue chip’ paintings will be less likely to reap spectacular results. Target paintings by acknowledged artists, in styles as represented in major institutions, if investment potential is a key objective. Once an artist dies or is no longer able to paint, the finite supply of paintings relative to the increasing domestic and international demand means that prices rise. Hank Ebes, Aboriginal Gallery of Dreamings, February 2005[4] Art is no different from the share market. If you want blue-chip artists the fluctuations are going to be minimal. Others may reap spectacular profits both in the long term and the short term but there are no guarantees. Charles Nodrum, December 2005[5] 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 Abie Kemarre Loy Abie Loy < Back Abie Kemarre Loy Abie Loy Abie Kemarre Loy 1972 Abie Loy ARTIST PROFILE ARTIST CV MARKET ANALYSIS Abie Kemarre Loy, born in 1972, is a contemporary Indigenous Australian artist from Central Australia. A member of the Anmatyerre community, Loy's artistic journey began under the guidance of her grandmother, the renowned artist Kathleen Petyarre. Loy's initiation into the artistic world occurred in the early 1990s, marking the beginning of a prolific and influential career that continues to this day. READ FULL ARTIST PROFILE ABIE KEMARRE LOY - BUSH HEN DREAMING SOLD AU$6,000.00 ABIE KEMARRE LOY - WOMENS CEREMONY (RED) SOLD AU$600.00 ABIE KEMARRE LOY - BUSH LEAF DREAMING Sold AU$0.00 ABIE KEMARRE LOY - BUSH LEAF Sold AU$0.00 ABIE KEMARRE LOY - BODY PAINTING Sold AU$0.00 ABIE KEMARRE LOY - AWELYE Sold AU$0.00 ABIE KEMARRE LOY - WOMENS CEREMONY (BROWN) SOLD AU$600.00 ABIE KEMARRE LOY - WOMENS CEREMONY (BLUE) SOLD AU$600.00 ABIE KEMARRE LOY - BUSH LEAVES Sold AU$0.00 ABIE KEMARRE LOY - BUSH LEAVES Sold AU$0.00 ABIE KEMARRE LOY - BODY PAINTING Sold AU$0.00 ABIE KEMARRE LOY - SAND HILL COUNTRY Sold AU$0.00 top Anchor 1 PROFILE Abie Kemarre Loy 1972 Abie Kemarre Loy, born in 1972, is a contemporary Indigenous Australian artist from Central Australia. A member of the Anmatyerre community, Loy's artistic journey began under the guidance of her grandmother, the renowned artist Kathleen Petyarre. Loy's initiation into the artistic world occurred in the early 1990s, marking the beginning of a prolific and influential career that continues to this day. Loy’s work is deeply rooted in her Anmatyerre heritage, often reflecting the traditional stories and cultural practices passed down through generations. Her paintings are distinguished by their intricate dotting technique, a hallmark of Central Australian Indigenous art, which she uses to convey complex narratives and Dreamings, particularly those related to Bush Medicine Leaves. These leaves hold significant cultural and medicinal value in her community, and her representation of them is both a celebration of Anmatyerre culture and a testament to her deep connection with the land and its traditions. The artist's colour palette typically incorporates earthy tones, reflecting the hues of the Central Australian landscape. Loy's application of paint is meticulous, with each dot carefully placed to create patterns that resonate with vibrancy and depth. This meticulous approach not only reflects her dedication to her craft but also serves as a visual metaphor for the interconnectedness of community, land, and heritage. Loy's art is more than aesthetic expression; it is a form of cultural preservation, educating and inspiring both Indigenous and non-Indigenous audiences about the richness of Anmatyerre traditions. Her works are a bridge between ancient customs and contemporary art, showcasing the dynamic and living nature of Indigenous Australian culture. ARTIST CV Market Analysis MARKET ANALYSIS Abie Loy is an Indigenous Australian artist whose artworks have gained significant recognition both in Australia and internationally. Her pieces are sought after by collectors and enthusiasts who are drawn to the authenticity and cultural depth of her work. The market for Indigenous Australian art has been steadily growing, and artists like Loy, who have a strong connection to their cultural heritage and a unique artistic voice, are at the forefront of this surge in interest. Her works not only hold aesthetic value but are also appreciated for their cultural significance and as investments in Indigenous art. Abie Kemarre Loy's journey as an artist is not just about her individual achievements but also about her role in the broader narrative of Indigenous Australian art. Her work stands as a vibrant testament to the enduring strength and beauty of Anmatyerre culture. Loy has participated in many significant exhibitions showcasing Indigenous Australian art and is recognized as a key figure in contemporary Indigenous Australian art. Her works are held in major Australian and international collections. Below is a list of selected group exhibitions in which Abie Loy has participated: 1997 - Dreampower, Art of Contemporary Aboriginal Australia - Mountain Devil Lizard Dreaming, Japingka Gallery, Desert Designs, Fremantle WA - Documenta, Kasel, Germany - The Alice Prize Exhibition, Alice Springs NT - Japingka Gallery, Desert Designs, Fremantle WA 1998 - Our Country Then and Now, Gallerie Australis - Raiki Wara: Long cloth from Aboriginal Australia & Torres Strait, National Gallery of Victoria, Melbourne VIC 1998 - 15th Telstra National Aboriginal & Torres Strait Islander Art Exhibition Darwin, NT - Utopia Dreamings, Japingka Gallery, Fremantle WA 1999 - Joint Indonesian – Utopia Batik Workshop for Third Pacific Arts - Utopia Recent Works, King Street Gallery, Perth WA - North by North East, Landscape & Ceremonial Paintings from Utopia, Alcaston Gallery, Melbourne - SALA Week, Gallerie Australis, Adelaide SA 2000 - Utopia, Framed Gallery, Darwin NT - The Collection, Gallerie Australis, Adelaide SA 2001 - 15th Telstra National Aboriginal & Torres Strait Islander Art Exhibition, Darwin NT - Little Gems, Japingka Gallery, Fremantle WA 2002 - Kimberly, Central Desert & Utopia, Japingka Gallery, Fremantle WA - Abie Loy & Violet Petyarre, Recent Paintings, Mary Place Gallery, Paddington NSW 2002 - Generations Japingka Gallery, Fremantle WA 2003 - Abie Loy – Recent Paintings, Fire-works Gallery, Brisbane Qld 2004 - Arrnkerthe, New Paintings, Coo-ee Gallery, Sydney NSW 2004 - Group Show Gadfly Gallery, Perth WA 2005 - Dreamings, Gadfly Gallery, Perth WA - Utopia & Beyond, Maunsell Wicks, Paddington NSW 2006 - Abie Loy & Kathleen Petyarre, New Paintings, Maunsell Wickes Gallery, Paddington NSW 2006 - Recent Painting, Kathleen Petyarre & Abie Loy, Framed Gallery, Darwin NT 2006 - Luminaries of the Desert, Japingka Gallery, Fremantle WA - Balmain Art & Craft show, Indigenous Gallery, Sydney NSW 2008 - Utopia Collection, Japingka Gallery, Fremantle WA 2011 - In Black and white, Japingka Gallery, Fremantle WA 2012 - Little Gems, Japingka Gallery, Fremantle WA - Sandover River Country, Japingka Gallery, Fremantle WA - Recent Works, Japingka Gallery, Fremantle WA - Desert Gold, Japingka Gallery, Fremantle WA 2014 - Desert Song, Japingka Gallery, Fremantle WA 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 Ada Bird Petyarre < Back Ada Bird Petyarre Ada Bird Petyarre 1935 - 2009 ARTIST PROFILE ARTIST CV MARKET ANALYSIS Ada Bird Petyarre, the eldest of seven sisters, was a prominent artist from Utopia, a region located 230 kilometres northeast of Alice Springs in a remote and arid area. Along with her sisters Kathleen, Gloria, Violet, Myrtle, and Jean, Ada spent most of her life in Utopia, contributing to the rise of its art scene. READ FULL ARTIST PROFILE ADA BIRD PETYARRE - AWELYE, MOUNTAIN DEVIL SOLD AU$5,000.00 ADA BIRD PETYARRE - ALCHIRA SOLD AU$600.00 ADA BIRD PETYARRE - NGENYA- SWEET WILD FLOWER SOLD AU$1,100.00 top Anchor 1 PROFILE Ada Bird Petyarre 1935 - 2009 Ada Bird Petyarre, the eldest of seven sisters, was a prominent artist from Utopia, a region located 230 kilometres northeast of Alice Springs in a remote and arid area. Along with her sisters Kathleen, Gloria, Violet, Myrtle, and Jean, Ada spent most of her life in Utopia, contributing to the rise of its art scene. Utopia's art gained swift prominence, particularly highlighting the influential role of female artists and their distinct themes in Aboriginal art. Originally a large cattle station, Utopia saw Ada working in her youth before the land was returned to its traditional Anmatyerre and Alyawarre owners in 1978 by the Aboriginal Land Fund Commission. This allowed the establishment of small settlements across the 1,800 square kilometres. Born at Mulga Bore (Akaye Soakage), Ada continued to live there with her extended family, raising two daughters and four sons. In the late 1970s, Ada participated in batik-making workshops organised by an adult education programme. The women, including Ada, adeptly adopted this traditional Indonesian craft, which resonated with their experiences in body painting for Awelye (women's ceremonies). Ada's vibrant personality shone through in her work, characterised by bright colours and fluid linear designs. Her early batiks on silk were highly sought after by collectors, including the celebrity collector, businessman Robert Holmes a Court, and German filmmaker Wim Wenders, who not only acquired one of Ada’s batiks but also cast her in his film Till The End of the World, partially shot in Central Australia. Ada was a senior elder of the Anmatyerre people, respected for her talent and cultural significance. The process of body painting for Awelye was integral to her art, with its preparation considered as vital as the ceremony itself. The paintings involved elaborate preparations including the application of fat and ochre on the body, enhancing its visual impact by firelight during ceremonies. Ada's growing confidence and expertise led her to adopt acrylic painting during the 'Summer Project' workshops in 1988-89, facilitated by the Central Australian Aboriginal Media Association (CAAMA). This transition marked the emergence of a unique style that became characteristic of the Utopia artists. Ada’s work featured prominently on the front cover of the major book, Utopia Women’s Painting (1989), and her artworks were acquired by prestigious institutions like the National Gallery of Australia. One of Ada’s most renowned subjects in her paintings was Arnkerrth, the Mountain Devil Lizard, a creature deeply embedded in Anmatyerre lore and believed to have shaped the desert landscape. Contrary to early European perceptions, the Anmatyerre people cherished these lizards, often keeping them as pets due to their unique camouflage abilities. Ada Bird Petyarre passed away in 2004 after a stroke, leaving behind a legacy of traditional knowledge and striking artworks. Her works, celebrated for their vivid palette and elegant designs, are held in collections worldwide, cementing her status as an inspiring figure in early Aboriginal contemporary art. ARTIST CV Individual Exhibitions: 1990: Utopia Art, Sydney. Group Exhibitions: 2008: More than stories, Utopia Art Sydney, Sydney. 2005: Decouvrir, Rever, Investir, Australian Embassy, Paris, France. 2004: Binocular: looking closely at Country, Ivan Dougherty Gallery, Sydney; Reves de Femmes, Galerie DAD, Mantes-la-Jolie, France. 2001 - 2002: Land of Diversity, The Northern Territory, at Hogarth Galleries, Paddington. 1994: Power of the Land, Masterpieces of Aboriginal Art, National Gallery of Victoria.; 1994, Yiribana, Art Gallery of New South Wales, Sydney. 1993: Central Australian Aboriginal Art and Craft Exhibition, Araluen Centre, Alice Springs; The Tenth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin; Tjukurrpa, Desert Dreamings, Aboriginal Art from Central Australia (1971-1993), Art Gallery of Western Australia, Perth WA; After The Field, Manly Art Gallery & Museum, Sydney; ARATJARA, Art of the First Australians, Touring: Kunstammlung Nordrhein-Westfalen, Dusseldorf; Hayward Gallery, London; Louisiana Museum, Humlebaek, Denmark. 1992/3: New Tracks Old Land: An Exhibition of Contemporary Prints from Aboriginal Australia, touring USA and Australia. 1991: Flash Pictures, National Gallery of Australia; 1991, Aboriginal Women's Exhibition, Art Gallery of New South Wales, Sydney; The Eighth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin. 1990: 'Utopia - A Picture Story,' an exhibition of 88 works on silk from the Holmes a Court Collection by Utopia artists which toured Eire and Scotland.; 1990, A Portfolio of Australian Women Artists, Macquarie Gallery, Sydney.; 1990, Contemporary Aboriginal Art from the Robert Holmes a Court Collection, Harvard University, University of Minnesota, Lake Oswego Center for the Arts, United States of America; Utopia Artists, Flinders Lane Gallery, Melbourne. 1989: Utopia Women's Paintings, the First Works on Canvas, A Summer Project, 1988-89, S. H. Ervin Gallery, Sydney; Utopia Batik, Araluen Centre, Alice Springs; Utopia, Utopia Art, Sydney.; Utopia Women, Coventry Gallery, Sydney. 1988: Time Before Time, Austral Gallery, St Louis, USA.; Contemporary Aboriginal Art, Utopia Art, Sydney. 1977-1987: Exhibited with the Utopia women at exhibitions in Australia and overseas. 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 .

SYDNEY CONTEMPORARY 2023 Booth H09 Carriageworks Sydney 7 - 10th September SYDNEY CONTEMPORARY 2023 Emily Kngwarreye, Rover Joolama Thomas, Bill Whiskey Tjapaltjarri and Konstantina 7 - 10th September SYDNEY CONTEMPORARY 2023 Emily Kngwarreye, Rover Joolama Thomas, Bill Whiskey Tjapaltjarri and Konstantina 7 - 10th September Booth H09 Carriageworks Sydney 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. Starting now, Leven will begin exhibiting non-Indigenous alongside our First Nations artists, exclusively through specially curated projects. These focus on technique and transparent dialogue, offering an opportunity beyond the ordinary commercial relationship between artist and gallery, fostering an environment of openness and direct exchanges between artists. The result of the first such project will be presented here alongside paintings by Konstantina, the only exhibiting Gadigal artist of the Eora Nation, whose land is host to the fair and reflected in her work. Across the booth, the secondary market is represented by the finest works of the movement’s figureheads, including Emily Kngwarreye, Rover Joolama Thomas, and Bill Whiskey Tjapaltjarri. VIEW CATALOGUE SYDNEY CONTEMPORARY WEBSITE BILLY PERRURLE BENN - ARTETYERRE price AU$10,000.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES NEAR THE OLGAS price AU$5,500.00 BILLY PERRURLE BENN - ARTETYERRE price AU$4,500.00 BILLY PERRURLE BENN - ARTETYERRE price AU$4,400.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES NEAR THE OLGAS price AU$3,000.00 KITTY NAPANANGKA SIMON - MINA MINA JUKURRPA (MINA MINA DREAMING) Sold AU$0.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLE NEAR THE OLGAS Sold AU$0.00 MICK TJAPALTJARRI NAMARARI - MOUSE DREAMING Sold AU$0.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLE NEAR THE OLGAS Sold AU$0.00 KONSTANTINA (KATE CONSTANTINE) - Gadigal Weave Sold AU$0.00 NEIL ERNEST TOMKINS - BURN THERE, DON'T BURN THERE price AU$7,000.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES NEAR THE OLGAS (DIPTYCH) price AU$5,000.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES NEAR THE OLGAS price AU$4,500.00 KITTY NAPANANGKA SIMON - MINA MINA JUKURRPA (MINA MINA DREAMING) price AU$3,500.00 EMILY KAME KNGWARREYE - UNTITLED (ANOORALYA YAM DREAMING) Sold AU$0.00 KITTY NAPANANGKA SIMON - MINA MINA JUKURRPA (MINA MINA DREAMING) Sold AU$0.00 REX E. BATTARBEE - GHOST GUM Sold AU$0.00 EMILY KAME KNGWARREYE - OF MY COUNTRY, ALALGURA Sold AU$0.00 NEIL ERNEST TOMKINS - WATER TOWER II Sold AU$0.00 KONSTANTINA (KATE CONSTANTINE) - Gadigal Weave price AU$6,200.00 BILLY PERRURLE BENN - ARTETYERRE price AU$4,800.00 BILL TJAPALTJARRI WHISKEY - ROCKHOLES NEAR THE OLGAS price AU$4,500.00 KITTY NAPANANGKA SIMON - KANAKURLANGU (WOMEN BELONGING - DIGGING STICKS) price AU$3,500.00 KONSTANTINA (KATE CONSTANTINE) - RAINING SERIES: GARANGAL Sold AU$0.00 KONSTANTINA (KATE CONSTANTINE) - TARRA Sold AU$0.00 EMILY KAME KNGWARREYE - DESERT PASTORAL Sold AU$0.00 KONSTANTINA (KATE CONSTANTINE) - GARANGALJAM Sold AU$0.00 NEIL ERNEST TOMKINS - LAJAMANU AFTERNOON Sold AU$0.00 SC23

Artist Profile for Munhala Dhamarrandji < Back Munhala Dhamarrandji Munhala Dhamarrandji 1978 REGION: Yilpara NT LANGUAGE: Yolngu ART CENTRE: Buku-Larrnggay Mulka Centre ARTIST PROFILE ARTIST CV MARKET ANALYSIS Munhala Dhamarrandji is a Yolŋu artist from the Djambarrpuyŋu clan whose work intricately weaves cultural stories, natural elements, and ancestral songlines. Her art features the Djambarrpuyŋu clan design of Batjimurruŋu, a shellfish found in the mangrove areas of Gurula Dhulmuwandany near Buckingham Bay. This design, deeply rooted in Djambarrpuyŋu culture, depicts the miny’tji (sacred patterns) of Batjimurruŋu, known in Yolŋu matha as Cassidula angulifera or the Angular Ear Shell, and its synonyms, miniminipi and mitjalaŋaniŋ. The shellfish, which climbs the aerial roots of mangroves with the incoming tide, is celebrated in songs connected to the Djaŋ’kawu Sisters of the Dhuwa moiety. Dhamarrandji learned this design through her mother’s first husband, linking her to her classificatory sister clan and their sacred narratives. Her work reflects not only her heritage but also her personal connection to the ancestral stories of the Djambarrpuyŋu people, particularly through her exploration of Batjimurruŋu and its associated songlines. Dhamarrandji was a finalist in the 40th Telstra National Aboriginal & Torres Strait Islander Art Awards at the Museum and Art Gallery of the Northern Territory (MAGNT) in 2022. READ FULL ARTIST PROFILE MUNHALA DHAMARRANDJI - GOMU' Sold AU$0.00 MUNHALA DHAMARRANDJI - GOMU' Sold AU$0.00 MUNHALA DHAMARRANDJI - BATJIMURRUNU Sold AU$0.00 top Anchor 1 PROFILE Munhala Dhamarrandji 1978 REGION: Yilpara NT LANGUAGE: Yolngu ART CENTRE: Buku-Larrnggay Mulka Centre Munhala Dhamarrandji is a Yolŋu artist from the Djambarrpuyŋu clan whose work intricately weaves cultural stories, natural elements, and ancestral songlines. Her art features the Djambarrpuyŋu clan design of Batjimurruŋu, a shellfish found in the mangrove areas of Gurula Dhulmuwandany near Buckingham Bay. This design, deeply rooted in Djambarrpuyŋu culture, depicts the miny’tji (sacred patterns) of Batjimurruŋu, known in Yolŋu matha as Cassidula angulifera or the Angular Ear Shell, and its synonyms, miniminipi and mitjalaŋaniŋ. The shellfish, which climbs the aerial roots of mangroves with the incoming tide, is celebrated in songs connected to the Djaŋ’kawu Sisters of the Dhuwa moiety. Dhamarrandji learned this design through her mother’s first husband, linking her to her classificatory sister clan and their sacred narratives. Her work reflects not only her heritage but also her personal connection to the ancestral stories of the Djambarrpuyŋu people, particularly through her exploration of Batjimurruŋu and its associated songlines. Dhamarrandji was a finalist in the 40th Telstra National Aboriginal & Torres Strait Islander Art Awards at the Museum and Art Gallery of the Northern Territory (MAGNT) in 2022. ARTIST CV Group Exhibitions: 2024 Gathul’puy- Belonging to the Mangroves, December 2024 - January 2025, Art Leven 2023 Gatjpu - Wishing - Laundry Gallery, Darwin NT 2022 40th Telstra National Aboriginal & Torres Strait Islander Art Awards-Finalist - Museum and Art Gallery of the Northern Territory (MAGNT), NT Market Analysis MARKET ANALYSIS IMAGE CREDIT: Buku-Larrnggay Mulka Centre 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 Michael Jalaru Torres < Back Michael Jalaru Torres Michael Jalaru Torres ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE MICHAEL JALARU TORRES - WIRRIYA (HAPPY) FRAMED WITHOUT GLASS Sold AU$1,480.00 MICHAEL JALARU TORRES - WAMBA (MAN) SOLD AU$1,200.00 top Anchor 1 PROFILE Michael Jalaru Torres 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 Lily Sandover Kngwarrey < Back Lily Sandover Kngwarrey Lily Sandover Kngwarrey ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE LILY SANDOVER KNGWARREY - ALHWERT Sold AU$0.00 top Anchor 1 PROFILE Lily Sandover Kngwarrey Lily Sandover Kngwarreye was born c 1937 at MacDonald Downs on the Utopia clan lands. She began painting during the 1988-9 CAAMA summer workshop following almost a decade making batik. The adopted ‘sister’ of Emily Kngwarreye, Lily was her closest friend and constant companion, often referring to Emily when in a humorous mood as ‘granny’. The Sandover River, winds its way through the sprawling homelands of the Alyawarr people. The surrounding country is characterized by red sands dotted with ghost gums and, in season, with explosions of wildflowers set against piercing blue skies. The Alyawarr live in simple outstations adjacent to the river, which for much of the year is a wide sandy strip lined with dry silver grasses and shady trees. Lily was the eldest daughter of senior Alyawarr elder Jacob Jones and she in turn became the senior woman for the site of Entibera. She painted the important Two Sisters stories and a range of stories about bush foods including Honey Grevillia. When painting, Emily Kngwarreye and Lily Sandover were inseparable companions. Lily looked after the older Emily closely, while painting her own works alongside. Lily painted hundreds of paintings over the years as she worked beside her friend and, right up until the last months of her life,  Emily camped with Lily and their family on Delmore Downs. Her tribal country lies close to the homestead at Delmore Downs owned by the Holt family for whom Emily Kngwarreye painted more than 1500 paintings between 1989 and her death in 1996. Together Emily and Lily would travel and live for long periods on Delmore surrounded by an extended family that at times could grow to 40 women and children. When an ‘official’ art centre, Urapuntja Artists, was established at Utopia, Lily became a founding member and during this time she collaborated with Northern Editions to produce a number of etchings including 'Alhwert I' and 'Alhwert II’, now in the collection of the National Gallery of Australia. The alhwert (pronounced 'allota') was a small burrowing bettong, or kangaroo rat, that is now extinct. The prints depict ‘iepa grass’, the traditional food source and home of the alhwert. The centre from which the patterns radiate is where the alhwert made its home. This became Lily Sandover’s defining image and the subject of the vast majority of her paintings.  Former art coordinator of Urapuntja Artists Narayan Kozeluh, who worked with Lily over many years, noted in 2009 that when painting this image ‘Lily would place a heavily loaded painting stick of white onto a black canvas and in one fluid motion push it away creating swirling patterns that stylized the grass which her painting represented’. While best known for works in contrasting black and white, she would occasionally apply other colours such as red acrylic on a yellow ochre ground. In time Lily, like her father, became a senior spokesperson for the Alyawarr people. She exhibited at Gallery Gabrielle Pizzi in 1989 and at the Hogarth and Coo-ee Galleries in Sydney during 1991 but failed to gain the recognition that many felt she deserved due to her restricted subject matter and the fact that she spent so much time in her more famous countrywoman’s shadow. While Lily Sandover had only one solo exhibition in 1991 in Melbourne, her work was included in a number of important group shows during her lifetime. They included exhibitions with Stephane Jacob's Arts d'Australie in Paris, Flash Pictures at the National Gallery of Australia, and works from the Holmes a Court Collection which toured Scotland and a number of USA venues including Harvard University, University of Minnesota, and Lake Oswego Center for the Arts. She is represented in the collections of the Netherlands Aboriginal Art Museum in Utrecht, The National Gallery of Australia, Canberra, The Holmes a Court Collection, Perth, and a number of important private collections in Australia and overseas. ARTIST CV Market Analysis MARKET ANALYSIS under 40 works by Lily Sandover have appeared at public auction since her work first appeared in 1994. In that first year four works were offered of which only one sold for $1,725. Her success rate remained at a low 42% until 2005 when five works were offered and all sold for a total value of $59,247. Her results have continued to be mixed since that time, leaving her current clearance rate at 46% and total sales at auction $105,035. While her best result to date is the $21,510 achieved for a 120 x 150 cm work carrying Delmore provenance at Christies in 2005, no less than 6 works have sold for more than $9000. Christies and Lawson~Menzies have championed this artist in the secondary market. Sandover was a relatively prolific artist for a no more than six years and the majority of her works were small and of relatively minor importance. Major works are limited, especially paintings on the scale of the one illustrated here. This major piece depicting Ayippa (Iepa) Grass was part of a collection of 12 specially commissioned major works by Utopia women artists in 1997 and curated and overseen by Urapunja artists. The collection included works by Poly, Kathleen and Angelina Ngal, as well as Gloria, Kathleen and Violet Petyarre. The collection was broken up in 2008. 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 .

INDIGENOUS FINE ART AUCTION 17 Thurlow Street Redfern NSW 2016 8 June 2021 | 7PM Start INDIGENOUS FINE ART AUCTION 8 June 2021 | 7PM Start INDIGENOUS FINE ART AUCTION 8 June 2021 | 7PM Start 17 Thurlow Street Redfern NSW 2016 Welcome to the first Cooee Art Indigenous Fine Art offering for 2021. Our specialists have collected 100 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 showrooms in Redfern on June 8th starting at 7pm. The sale features 16 lots from the estate of Lorna Mellor AM who acquired most of her lovely collection from her close family friend Dorothy Bennett. Lorna Mellor was a stylish, larger than life character, who played a leading role in children’s health care as the International President of the Diabetes Foundation. Her collection included rare Tiwi artefacts that Dorothy Bennett personally collected during the 1950s and 1960s, as well as Arnhem Land barks and sculptures, two lovely works by Albert Namatjira (Lots 33 and 36), and other exquisite desert paintings. Amongst them is Clifford Possum’s refined 1982 work Yabbierangu, Honey Ant Dreaming. It is a delight, and carries a very conservative pre-sale estimate of $40,000-60,000 (Lot 37). VIEW CATALOGUE VIEW RESULTS WATCH THE VIDEO

NaparrulaMitji Mitjili Naparrula Mitjili Naparrula 1946 Described as one of the brightest stars of the Haasts Bluff art movement, Mitjili Napurrula has lived a life of absolute involvement in the formative years and ongoing development of modern desert art. Her mother, Tjunkiya Napaltjarri, who also became an artist of public repute, ‘came in’ from the drought-stricken Pintupi/Lurjita country seeking refuge and rations in the remote community of Haasts Bluff. Along with her extended family, she was settled at Papunya, where Mitjili was born in 1945. Mitjili grew up in Papunya and later married the artist, Long Tom Tjapanangka. The couple returned to Haast’s Bluff as part of the 1980’s outstation movement and both artists, often in conjunction, proceeded to contribute significantly to the emerging art community there. Mitjili began painting in 1992, encouraged by the opening of the Ikuntji Women’s Centre, the social and artistic hub of Haast’s Bluff and nearby desert communities. Under the guidance of art coordinator Marina Strocchi, Ikuntji rapidly developed an exciting style of its own, propelled in part by the older women who had been assistants to Geoffrey Bardon’s first painting men. As a member of a family of distinguished artists, including her brother Turkey Tolson Tjupurrula, Mitjili grew up watching artists paint. Her mother became one of the foundation group of female artists that formed after the Kintore/Haasts Bluff painting project in 1994. Mitjili learned the symbolic language of her tradition from her mother who would relate the mythic stories to her and draw them in the sand. While it took years before she developed her own mature style, Mitjili gained an international following after winning the Alice Springs Art Prize in 1999. By then she had confidently embraced her own naturalistic approach to painting. Her individualistic style conveys a personal vision, anchored always in the country of her ancestors. Through the process of gradually reducing the complexity of her imagery, Mitjili works towards creating a tapestry of repeated shapes and symbols. Her singularly distinctive iconography is often highlighted by dazzling combinations of strong, complimentary tones. Alternatively, contrasting colours may be starkly juxtaposed, jumping out from the canvas in vibratory shapes and patterns, captivating audiences of modern sensibility. The beautiful desert oak, Watiya Tjuta, is one of Mitili’s familiar motifs, originating from her father’s country at Uwalki where red sand hills, native grasses and wirt trees stretch to the horizon’s edge. Like her famous brother, Turkey Tolson, Mitjili inherited the right to paint her Ilyingaungau, a site in the Gibson desert where the ancestors prepared their spears (kulata). Turkey’s iconic Spear Straightening paintings should be seen as the complimentary balance to his sister’s feminine rendition of the plants and places associated with the cutting of wood and assembling of spears. Mitjili’s record price at auction was achieved in November 2004, when a large three metre canvas originally commissioned by Mason Gallery in Darwin sold for $26,400. Entitled Uwalki: Watiya Tjuta, 2004 it had justified the $25,000 - 30,000 presale estimate placed on it by Lawson~Menzies specialists. Interestingly, not one single work in the artist’s top ten results has been achieved by market leader Sotheby’s. In fact Sotheby’s have offered only two minor works, which both failed to find a buyer. This is doubtless due to the fact that since the mid 1990’s Mitjili has increasingly painted for dealers outside of art centre patronage. Mitjili’s results at auction are dominated by small and minor works and this has resulted in an average price at auction of just $2,475 for works on canvas and $873 for works on paper. In 2015 for instance, no less than 17 works appeared for sale at public auction and although 13 of these sold, the highest price acheiveed was only $1200. Nevertheless, due principally to the large number of works that have appeared at auction since she began painting, Mitjili’s Aboriginal Art Market Rating ranks her amongst the top 100 living artists. Her works are generally bold, with a strong decorative design appeal. Collectors should seek out good works, with a preference for larger pieces with a strong contemporary aesthetic. These should continue to satisfy and find a ready market when offered for resale in 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

NGARUKURUWALA KAPI MURRUKUPUNI - WE SING TO THE LAND 16 November - 9 December 2023 NGARUKURUWALA KAPI MURRUKUPUNI - WE SING TO THE LAND 16 November - 9 December 2023 NGARUKURUWALA KAPI MURRUKUPUNI - WE SING TO THE LAND 16 November - 9 December 2023 Art Leven (formerly Cooee Art) 16 November - 9 December 2023 Opening: Thursday 16 November | 6-8pm Munupi Arts & Crafts Association is located along Melville Islands North-Western coastline at Pirlangimpi (also known as Garden Point). It is the most recently formed art centre on the Tiwi Islands. The Munupi artists, inspired by their natural lush environment and the Tiwi creation stories, are renowned for their striking approaches to colour and design. Frequently referred to as “Jilamara” (design), their artworks are created using traditional earth ochres, mixed to create a wide range of colours. “Our paintings are like our songs to country, just like when we go to country we call out and sing to our ancestor”. Carol Puruntatameri ( in discussion with Guy Allain) “Ngarukuruwala Kapi Murrukupuni, means ‘we sing to the land’. We do this to invite our ancestral elders to watch over us, and to thank them for the bush food and other traditional plants and materials that we gather and hunt for, including the ochre and bark. When we go to country, we enact Ngarikuruwala Kapi Murrukupuni so that our ancestors know that we are coming, inviting them to guide and protect us. As we leave country, we sing out to the ancestors to thank them and to let them know of our gratitude and knowledge of their presence and wisdom. Our practice of Ngarikuruwala Kapi Murrakupuni is not only transported in the materials gathered to create our bark paintings—it is also intertwined into our images and designs. This is reflected in the stories and meanings that we convey in and through our creative expressions.’’ Paulina Puruntatameri and Carol Puruntatameri ( in discussion with Dashielle Allain) View Catalogue ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Sold AU$35,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI Sold AU$19,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPAL (DIPTYCH) Sold AU$18,000.00 CHRISTINE DAISY PURUNTATAMERI - PWONGA price AU$7,800.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI Sold AU$7,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) price AU$6,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Sold AU$5,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPAL price AU$4,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Sold AU$3,500.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI Sold AU$3,500.00 CHRISTINE DAISY PURUNTATAMERI - PWONGA price AU$3,300.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Sold AU$3,000.00 SHIRLEY PURUNTATAMERI - PUPUNI JILAMARA price AU$2,600.00 DELORES TIPUAMANTUMIRRI - PARLINI JILAMARA price AU$2,100.00 VIRGINIA GALARLA - TAPALINGA (STARS) price AU$1,800.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPAL Sold AU$1,800.00 SHIRLEY PURUNTATAMERI - PUPUNI JILAMARA price AU$1,300.00 CAROL PURUNTATAMERI - YIPALI AND PURRUKUPALI Sold AU$0.00 CORNELIA TIPUAMANTUMIRRI - BANAPA Sold AU$0.00 SHIRLEY PURUNTATAMERI - PUPUNI JILAMARA Sold AU$0.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Sold AU$22,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI Sold AU$19,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) price AU$12,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI Sold AU$7,500.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI Sold AU$7,000.00 DELORES TIPUAMANTUMIRRI - PWONGA price AU$5,500.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Sold AU$5,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI price AU$4,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI price AU$3,500.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) price AU$3,500.00 ARTHUR JOHN COWELL - JIYIMPIRRIYANGA price AU$3,200.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI price AU$3,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Sold AU$2,200.00 JACQUELINE PURUNTATAMERI - PARLINI JILAMARA price AU$2,000.00 VIRGINIA GALARLA - TAPALINGA (STARS) price AU$1,800.00 JACQUELINE PURUNTATAMERI - PWOJA JILAMARA price AU$1,700.00 PATRICK PURUNTATAMERI - TUMARRARINGINI (WILDFLOWER) price AU$650.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Sold AU$0.00 FRANCESCA PURUNTATAMERI - PUPUNI JILAMARA Sold AU$0.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVE) Sold AU$0.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPAL price AU$19,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI price AU$18,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Sold AU$12,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) price AU$7,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI Sold AU$6,500.00 KARINA (PENNY) COOMBES - JITAKA (SWORDFISH) Sold AU$5,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI price AU$5,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI price AU$4,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI price AU$3,500.00 FRANCESCA PURUNTATAMERI - PUPUNI JILAMARA price AU$3,300.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Sold AU$3,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI Sold AU$3,000.00 CAROL PURUNTATAMERI - YIPALI PURRUKUPALI Sold AU$2,200.00 SHIRLEY PURUNTATAMERI - PUPUNI JILAMARA price AU$1,900.00 VIRGINIA GALARLA - TAPALINGA (STARS) price AU$1,800.00 PATRICK PURUNTATAMERI - TUMARRARINGINI (WILDFLOWER) price AU$1,300.00 VIRGINIA GALARLA - MINGA 1 Sold AU$0.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Sold AU$0.00 JOSEPHINE BURAK - MILIMIKA Sold AU$0.00 CHRISTINE DAISY PURUNTATAMERI - PWONGA Sold AU$0.00 Ngarukuruwala