Artist Profile for Goodie Barratt < Back Goodie Barratt Goodie Barratt ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE GOODIE BARRATT - UNTITLED SOLD AU$480.00 top Anchor 1 PROFILE Goodie Barratt 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 George Tjungarrayi Ward < Back George Tjungarrayi Ward George Tjungarrayi Ward ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE GEORGE TJUNGARRAYI WARD - CLAYPAN AND SOAKAGE SITE, PINKARRU SOLD AU$6,500.00 GEORGE TJUNGARRAYI WARD - TINGARRI SOLD AU$1,000.00 GEORGE TJUNGARRAYI WARD - TINGARI SOLD AU$2,900.00 top Anchor 1 PROFILE George Tjungarrayi Ward 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 .

COOEE ART LEVEN HOSTS: PADDINGTON ART PRIZE 2023 Art Leven - 17 Thurlow St, Redfern, NSW 2016 October 12-22 COOEE ART LEVEN HOSTS: PADDINGTON ART PRIZE 2023 October 12-22 COOEE ART LEVEN HOSTS: PADDINGTON ART PRIZE 2023 October 12-22 Art Leven - 17 Thurlow St, Redfern, NSW 2016 A $30,000 National Acquisitive Painting Prize Inspired by the Australian Landscape. EXHIBITION OF NATIONAL FINALISTS Opening Night and Prize Presentation Join Marlene Antico OAM (Founder/Principal Sponsor), Chris Antico (Co-Sponsor), our 2023 Judges, and Non-Acquisitive Award Sponsors to celebrate. THURSDAY 12th OCTOBER 6PM - 8PM Prize Presentation and Speeches begin at 7pm COOEE ART LEVEN GALLERY 17 Thurlow Street, Redfern NSW, 2016 www.paddingtonartprize.com.au The Paddington Art Prize is a $30,000 National acquisitive prize, awarded annually for a painting inspired by the Australian landscape. Established in 2004 by Arts Patron, Marlene Antico OAM, this National prize takes its place among the country’s most lucrative and highly coveted painting prizes. The prize encourages the interpretation of the landscape as a significant contemporary genre, its long tradition in Australian painting as a key contributor to our national ethos, and is a positive initiative in private patronage of the arts in Australia. Marlene Antico OAM, created the Paddington Art Prize in order to assist with the monetary difficulties that often impede artists from showcasing their works. As an art student, gallery owner and volunteer guide at the AGNSW for over 10 years, she has underscored her commitment to supporting contemporary Australian artists, aware, of the financial concerns that prevent many artists from devoting themselves entirely to their art practice. In 2017, Chris Antico, Marlene’s son joined as Co-sponsor of the prize, enabling its continued growth. Marlene Antico OAM was awarded her Order of Australia in 2017 for her service to the Arts and to the community of Woollahra. The Paddington Art Prize continues to help foster the careers of contemporary Australian artists and remains dedicated to supporting artists to realise their visions and be equipped to forge long-term artistic careers. For more information go to: www.paddingtonartprize.com.au

Artist Profile for Jeffrey Jangala Gallagher < Back Jeffrey Jangala Gallagher Jeffrey Jangala Gallagher ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE JEFFREY JANGALA GALLAGHER - YANKIRRI JUKURRPA (EMU DREAMING) - NGARLIKUR ... SOLD AU$5,200.00 JEFFREY JANGALA GALLAGHER - YANKIRRI JUKURRPA (EMU DREAMING) - NGARLIKUR ... SOLD AU$1,600.00 top Anchor 1 PROFILE Jeffrey Jangala 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 .

PetyarreGreen Greeny Purvis Petyarre Greeny Purvis Petyarre 1930 - 2010 Greenie Purvis Petyarre was the most successful male artist in an artistic dynasty that includes his aunt Emily Kngwarreye, cousin Gloria Petyarre and a number of blood sisters and half sisters. A highly respected tribal elder for Alhalkere country, he was born at Boundary Bore around 1930 where he lived until his death in 2010 with his wife Kathleen and their four daughters, all of whom paint. Greenie began his art practice in the early 1980’s alongside Lindsay Bird, Cowboy Louie Pwerle and several other men, prior to the Utopia ‘summer project’ organized by the Central Australian Aboriginal Media Association CAAMA. While a number of these men began by painting bold linear patterns representing ceremonial grounds and traveling lines, Greenie, from the outset, approached his canvases with far greater intimacy. Over time he revealed himself to be a very spiritual painter with a deep understanding and love for his country. He moved back and forth in his painting between three distinct and easily recognizable styles while rendering his Dreamings, which include Bush Plum, Yam, Emu, Turkey and Kangaroo. In works which most closely resemble those of his countrywoman Kathleen Petyarre, Greenie created fields of minute dots that imitate the subtle shifts of colour and texture, indicating underground water and slight variations in the landform of Alhalkere country. Delicate colour shifts may indicate different stages in the development of the yam seed from germination to maturity, the season and the plant’s eventual decline. A second body of works, though rendered with equal unparalleled delicacy, features regularly scattered roundels with bands of the finest dotting radiating and interconnecting. These more structured and subtly coloured works can be so very delicate as to belie the fact that they were created by a man in his 70’s. His last body of work was painted in a strong linear style of which this particular work is a fine example. These paintings tend to be far more highly colour charged and are said to depict the root system of the bush tucker plant and the colours of the wildflowers that spring forth after rain. In these linear works, Greenie employed only one layer of paint, rarely reworking his line with a resultant variation in the texture of the finished artwork. This particular example is one of his largest and most impressive in this style. Painted in October 2006 it measures 187cm x 204cm. The viewer is at first attracted by the work’s size, and its mesmeric bands of colour. Its format creates a vortex. When viewed over time it creates its own internal space and draws you in without being overwhelmed. Regardless of style, Greenie’s paintings reflected his unpretentious personality - quietly unassuming but with that feeling of endurance and respect. Over the years he painted for a variety of dealers including Delmore, Mbantua Gallery and in more recent days Lauraine Diggins who introduced his works to audiences in the U.K., Russia and France. He was represented in the first ever National Aboriginal Art Award in 1984 and was a finalist in the Telstra Art Awards as recently as 2004. His paintings have also been included in numerous important group exhibitions and two solo exhibitions at Gabrielle Pizzi Gallery in Melbourne in 2000, and the Hogarth Galleries in Sydney in 2003. Important collections that hold his work include the Art Gallery of South Australia, Artbank, The Aboriginal Art Museum in Utrecht, The Museum de Lyon, France, and the Thomas Vroom Collection in Amsterdam. While his clearance rate at auction is poor, his highest price is still the respectable $17,625 paid at Bonham’s and Goodman in November 2004 for a Mbantua Gallery provenanced work that carried a presale estimate of $15,000-25,000 (Lot 13). It was a slightly disappointing result for a work created in 1999, which measured a whopping 120 x 270 cm. Nothing has entered his top ten best results since 2008, which is unusual taking into account the fact that he passed away in 2010 and the market would have reacted. Nonetheless, his results have been respectable. Most recently, 2017 saw 5 works from the Thomas Vroom collection go to auction, all of which sold for an average price of $2,753, making him the 52nd most successful artist of the year against a career rankin of 157th. Greenie continued to paint at Boundary Bore and at Camel Camp until his death in 2010, creating works of which a very high proportion are rendered with the greatest integrity and intimate detail. The best of these are a pleasure to behold, and a privilege to possess. 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

NapangardiPansy Pansy Napangardi Pansy Napangardi 1940 Born in Haasts Bluff c.1940 to a Luritja mother and a Warlpiri father, Pansy Napangardi was for a long time the leading female artist of Papunya Tula. Long before the international art world embraced Emily Kngwarreye, Pansy Napangardi was growing up in Papunya, watching the desert art founders as they painted. A totally unaffected, extremely pretty young woman, she became the first professional female desert painter amongst the Luritja and Warlpiri, much like Linda Syddick Napaltjarri was to the Pintupi. As soon as she was married and about a decade before Papunya started supplying women artists with their own painting supplies, Pansy moved to Alice Springs. She sold her work independently until the mid 1980s, when she returned to Papunya. In 1989, she won the National Aboriginal Art Award and a solo exhibition at the Sydney Opera House followed the same year. Another followed with Gabrielle Pizzi Gallery in Melbourne. Pansy’s reputation flowered at the very moment that the attributes of personal style and expressive ability had become highly prized by collectors. Unfettered by convention, she developed a technique of applying multi-coloured dots by dipping the point of her painting stick directly onto the meniscus of a range of complementary colours. She became the most prominent female artist at Papunya Tula from the late 1980s to the mid 1990s, but later reverted to practising as an independent artist for a range of private dealers. Her sister, Eunice Napangardi, is a renowned Aboriginal artist, her youngest brother Brogas Tjapangati paints for Papunya Tula and her sister, Alice Napangardi, was first married to Kaapa Tjampitjinpa and later his younger brother and fellow artist Dinny Nolan. Pansy Napangardi is a unique artist, whose work deals with her traditional beliefs and cultural heritage in a truly original style. Collection: Artbank, Sydney. Central Collection, Australian National University, Canberra. Donald Kahn collection, Lowe Art Museum, University of Miami. Gabrielle Pizzi Collection, Melbourne. Museum and Art Gallery of the Northern Territory, Darwin. National Gallery of Australia, Canberra. National Gallery of Victoria, Melbourne. The Kelton Foundation, Santa Monica, U.S.A The Queensland Art Gallery, Brisbane. The Robert Holmes a Court Collection, Perth. Subjects: Seven sisters, hail, desert raisin, two women, Wiyanpiri Rockhole. Individual Exhibitions: 1988, Sydney Opera House. 1989, Gallery Gabrielle Pizzi, Melbourne. 1991, Gallery Gabrielle Pizzi, Melbourne Group Exhibitions: 2007 - St-art European Art Fair, Artists displayed:, Lucky Morton Kngwarreye, Walangari Karntawarra Jakamarra, Ningie Nangala, Susie Hunter Petyarre, Andrea Martin Nungarrayi, Josephine Napurrula, Pansy Napangardi, Galuma Maymuru, Julie Robinson Nangala, Milminya Dhamarrandji, Alick Tipoti, Samson Bonson, Eddie Aning-Mirra Kerry, Haleema Djorlom, Bronwyn Kelly, James Iyuna, Stephen Kawurlkku, Arts d'Australie, Stephane Jacob, Strasbourg, France; Papunya Painting - Out of the desert, National Museum of Australia, Canberra. 2004 - Art Aborigine Pour Tous, Galerie DAD, Mantes-la-Jolie, France; Kuniya Pilkarti, Gallery Gabrielle Pizzi, Melbourne; Mythology and Reality - Contemporary Aboriginal Desert Art from the Gabrielle Pizzi Collection, Heidi Museum of Modern Art, Melbourne. 2000 Arts d’Australie, Arts d'Australie , Stéphane Jacob / Galeries Lafayette, Paris; Papunya Tula: Genisus and Genius, Art Gallery of New South Wales, Sydney. 1999 - Salon Grands et jeunes d’Aujourd’hui, Arts d'Australie , Stéphane Jacob / Espace Eiffel Branly, Paris. 1997 L’Art des Aborigènes d’Australie, Arts d'Australie , Stéphane Jacob / Galerie de Stassart, Bruxelles; L’Art des Aborigènes d’Australie, Arts d'Australie , Stéphane Jacob / Espace Paul Riquet, Béziers. 1994, Dreamings - Tjukurrpa: Aboriginal Art of the Western Desert; The Donald Kahn collection, Museum Villa Stuck, Munich; 1994, Jukurrpa Artists, Australian Heritage Gallery, Watson, ACT; 1994, Central Australian Aboriginal Art and Craft Exhibition, Araluen Centre, Alice Springs; 1994, The Eleventh National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin; 1994, Power of the Land, Masterpieces of Aboriginal Art, National Gallery of Victoria. 1993/4, ARATJARA, Art of the First Australians, Touring: Kunstammlung Nordrhein-Westfalen, Dusseldorf; Hayward Gallery, London; Louisiana Museum, Humlebaek, Denmark. 1993, Aboriginal Art Exhibition, Kung Gubunga, Oasis Gallery, Broadbeach,Qld; 1993, Central Australian Aboriginal Art and Craft Exhibition, Araluen Centre, Alice Springs; 1993, The Tenth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin; 1993, Ten years of acquisitions,from ANU collection, Drill Hall Gallery ACT; 1993, Central Australian Aboriginal Art and Craft Exhibition, Araluen Centre, Alice Springs. 1991/92, Friendly Country, Friendly People, Touring Exhibition, through Araluen Centre, Alice Springs. 1991, Australian Aboriginal Art from the Collection of Donald Kahn, Lowe Art Museum, University of Miami, USA; 1991, Aboriginal Art and Spirituality, High Court, Canberra; 1991, Aboriginal Women's Exhibition, Art Gallery of New South Wales, Sydney. 1990, l'ete Australien a' Montpellier, Musee Fabre Gallery, Montpellier, France.; 1990, National Gallery of Modern Art, Rome. 1989, Mythscapes, Aboriginal Art of the Desert, National Gallery of Victoria; 1989, The Sixth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin. 1988, The Inspired Dream, QAG, Brisbane.; 1988, Gallery Gabrielle Pizzi, Melbourne. 1988, ANCAAA and Boomalli, Boomalli Aboriginal Artists Ko-operative, Sydney. 1987, The Fourth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin. 1987, Gallery Gabrielle Pizzi, Melbourne. Awards: 1989 - Winner National Aboriginal and Torres Strait Islander Art Award. Bibliography: Australian Aboriginal Art from the Collection of Donald Kahn, 1991, Lowe Art Museum, University of Miami, USA Caruana, W., 1993, Aboriginal Art, Thames and Hudson, London. (C) Crossman, S. and Barou, J-P. (eds), 1990, L'ete Australien a Montpellier: 100 Chefs d'Oevre de la Peinture Australienne, Musee Fabre, Montpellier, France. (C) Crumlin, R., (ed.), 1991, Aboriginal Art and Spirituality, Collins Dove, North Blackburn, Victoria. (C) Isaacs, J., 1989, Australian Aboriginal Paintings, Weldon Publishing, New South Wales. Johnson, V., 1994, The Dictionary of Western Desert Artists, Craftsman House, East Roseville, New South Wales. (C) 1993, Aratjara, Art of the First Australians: Traditional and Contemporary Works by Aboriginal and Torres Strait Islander Artists, exhib. cat. (conceived and designed by Bernard Luthi in collaboration with Gary Lee), Dumont, Buchverlag, Koln. (C) Ryan, J., 1989, Mythscapes Aboriginal Art of the Desert from the National Gallery of Victoria, exhib. cat., National Gallery of Victoria, Melbourne. (C) West, M. (ed.), 1988, The Inspired Dream, QAG, Brisbane. 1988, ANCAAA and Boomalli, exhib. cat., Boomalli Aboriginal Artists Ko-operative, Sydney. (C) 1991, Aboriginal Women's Exhibition, exhib. cat., Art Gallery of New South Wales, Sydney. Bardon, Geoffrey; Ryan, Judith; Pizzi, Gabrielle; Stanhope, Zara., Mythology and Reality - Contemporary Aboriginal Desert Art from the Gabrielle Pizzi Collection, Heidi Museum of Modern Art, Melbourne. Johnson, Vivien.(Editor), Papunya Painting: Out of the Desert, National Museum of Australia, Canberra, 2007. Paintings by Pansy Napangardi made their earliest appearance at auction in 1989, the year Gabrielle Pizzi staged her first solo exhibition in her eponymous Melbourne gallery. No less than 11 paintings had appeared in the secondary market without distinction before Sotheby’s offered a 122 x 122 cm work entitled Watersnake Dreaming at Pikilli (Vaughan Springs), 1989, in its June 1995 Contemporary and Aboriginal Art Sale. The painting sold for $3680. In June 1997, two works sold at Phillips auctions for $3,740 and $3,630 respectively, and six months later Leonard Joel set a new record with Kunga Kutjara Dreaming, which sold for $7,425 (Still the artist’s 5th highest price on public record). The artist’s current record price was established in 2005 when Lawson~Menzies sold Pililli, c.1995 for $10,800 and a further 12 works have achieved prices greater than $5000. Even so, with a success rate of 63% and 80 works finding new homes out of the 127 offered for sale, so many works have gone for such low prices that her average result at auction is just $2,534. Pansy rarely painted for Papunya Tula after the 1980s and managed her own career thereafter with the help of her European husband. For this reason Sotheby’s, have offered only 6 works by this artist since 1990. Bonhams and Christies have handled even fewer. Though Pansy Napangardi has been an important ‘town’ artist and the winner of the National Aboriginal Art Award in 1989, she is known to have had only 3 solo exhibitions, and these were held at the genesis of her career between 1989 and 1991. Though her works are distinctive and she is strong in the literature, the prices of her works have never hit the stellar heights of several of her contemporaries and are unlikely to do so in the future unless something exceptional is unearthed. 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 Jocelyn Venita Woods < Back Jocelyn Venita Woods Jocelyn Venita Woods ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Jocelyn Venita Woods 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 Walala Tjapaltjarri < Back Walala Tjapaltjarri Walala Tjapaltjarri 1960 ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE WALALA TJAPALTJARRI - TINGARI SOLD AU$650.00 WALALA TJAPALTJARRI - TINGARI - WHITE DIPTYCH Sold AU$0.00 WALALA TJAPALTJARRI - TINGARI SOLD AU$650.00 top Anchor 1 PROFILE Walala Tjapaltjarri 1960 Walala Tjapaltjarri, brother of well-known painters Warlimpirrnga and Thomas Tjapaltjarri, was born in the Gibson Desert east of Kiwirrkura in the early 1960’s. He was one of a small party, that included his brothers, several sisters, and two old aunts whose arrival in Kiwirrkura in 1984 made international headlines that proclaimed the discovery of a ‘Lost Tribe’. Until this time, at age 21, Walala had never encountered Europeans and their ways. The group had been following their traditional lifestyle in the country west of Lake Mackay. In 1990 Walala lived in Kiwirrkura and watched in admiration and respect as his brother Warlimpirrnga began to paint. He had taken to accompanying his brother on trips to Alice Springs from 1986 onward and it was on one of these trips that Walala himself was offered small boards, and was encouraged by his brother to paint. While Warlimpirrnga instructed Walala in the use of paints and canvas, from the outset he was seen to possess a bold and strikingly individual style. He took to painting with the assuredness of a young man firmly grounded in his culture and intimately familiar with the sites he depicted. His subject from the outset was that of the Tingari cycle, a series of sacred and secret men’s mythological song cycles associated with a number of related sites in his country including Marua, Minatarnpi and Mina Mina in the Gibson Desert of Western Australia. Having developed his style during the early 1990’s Walala produced a work on canvas in 1997 that was unlike anything he had done before. Strongly gestural and boldly graphic it featured roundels, rectangles and abutting lines set against a stark monochrome black background. This was the distinctive and individual style that laid the foundation for the remarkable body of work that he has completed since that time. All three brothers as well as Dr. George Tjapaltjarri, the old medicine man who had put them through the ‘law’, began painting for Gallery Gondwana during the late 1990’s.This was due in large part to the personal relationship they shared with Gallery Gondwana Manager Brice Ponsford, who had worked for Papunya Tula in Kiwirrkura when the brothers had first arrived in the community a decade earlier. By 1999 Dr. George painted less and less frequently as his eyesight began to fail, and Walala, preferring his independence, lived in Alice Springs and Katherine where he painted for a number of independent dealers. Warlimpirrnga however, tired of life too far from his family and homeland, returned to paint principally for the art centre other than on his infrequent travels during which he painted for others. Amongst the female members of the group that left the desert with them Yukultji, Yalti and Takarria Napangati all became painters working with Papunya Tula. Walala’s first solo shows were held with Gallery Gondwana in Alice Springs, which was the gallery that encouraged and first presented his art. Following his 1998 solo exhibition at Coo-ee Aboriginal Art Gallery in Sydney, SMH art critic John McDonald enthusiastically endorsed his work and it appeared he was headed for a stellar career. However since that time Walala has become a nomadic and independent artist and this has seemed at times to mitigate against the collectability of his work. Nevertheless his success prior to 2002 was followed by his participation in a number of important exhibitions most notably at Fireworks Gallery in Brisbane where he had the opportunity to engage with international artists in the production of experimental modernist paintings and sculptures, and with Art d’Australie in Paris. ARTIST CV Market Analysis MARKET ANALYSIS Walala is still a relatively young artist at 52 years of age though he has already been painting for nearly 30 years. His secondary market offerings have been relatively prolific with more than 78 works having been offered for sale since 1998. Perhaps because of the large number of his works in galleries throughout Australia his clearance (success) rate at auction is a low 51% compared to the average accross the top 100 artists of around 65%. However artists who are ubiquitous in the primary market rarely fare well at auction during their lifetime. While his auction sales total more than $89,500 his highest individual price is the $7,200 paid for an untitled Tingari painting at Lawson~Menzies in November in June 2009 (Lot 142) . This displaced a smaller, though visually superior triptych (Lot 170) that sold in their 2004 sale for the presale low estimate of $6000. In fact it is Lawson~Menzies that has championed this artist's work in the secondary market having sold 16 paintings for a total of $40,512. Quite amazingly Sotheby's are not recorded as having sold a single work. Having 'come in' with the last remnant Pintupi group in 1984 and settled at Kiwirrkura, Walala by rights should have painted for Papunya Tula when he first took up a brush. Instead he created works exclusively for Roslyn Premont's Galllery Gondwana in Alice Springs. Under normal circumstances this would have been more than safe enough to ensure that the major auction hosues would accept works with this provenance, even if they refuced to accept works created post 2002 by which time he painted for independent dealers on a casual basis. Because of the sheer number of works in galleries his average price at auction is a very low $2,239. Only four works have sold for more than $5,000. Collectors should vote with their hearts with this artist. His importance is unquestionable. The nature of his imagery unique and, despite its ancient origins, his has a decidedly modern edge and is ideally suited to contemporary interiors. While many of his early works may prove to be more collectable over time, those who simply love his work should look for fine contemporary examples like those that have set his highest prices at sale (see top ten results). 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 .

Art Leven (formerly Cooee Art) Auctions buying guidelines. BUYING FROM AUCTION AUCTIONS AUCTION 18 NOVEMBER 2025 WATCH LIVE AUCTION REGISTER TO BID ONLINE BID TELEPHONE/ABSENTEE/PRIORITY CATALOGUES & RESULTS BUYING FROM CONSIGNING NOW AUCTIONS EXPLAINED Art Leven (formerly Cooee Art) offers several ways to participate in our auctions - now with two innovative formats designed to make collecting more flexible, transparent, and accessible: Priority Bidding and the Hybrid Auction Model. Our goal is to create an open and modern auction experience where every collector, whether in Sydney or abroad, can participate on equal terms. If you have any questions about the process please contact us . TYPES OF AUCTIONS Live In-Room Auctions Our Live In-Room auctions are open to the public and held at our Redfern gallery at 17 Thurlow Street. We welcome you to attend in person if you’re in Sydney on the night of the auction. Once registered, you’ll receive a bidding paddle and be invited to take a seat in the room to bid live. All other methods - telephone, absentee, and online bidding - are also available for these events. Hybrid Auctions Our Hybrid Auction Model brings together the energy of a live sale and the convenience of remote participation. The auctioneer conducts the sale live from our Redfern gallery, while all bidding takes place via phone, absentee, or online. There’s no in-room audience, ensuring collectors across Australia and abroad can take part in real time from anywhere. Every registered bidder has equal access, and all bids are handled live by our auctioneer for a seamless experience. REGISTER All prospective buyers must register before the auction. Bidding forms are available [here] and in our Redfern showroom during the viewing period. Completed forms can be submitted in person, online, or by email. If you haven’t previously bid with Art Leven, we’ll request photo identification (driver’s licence or passport) with your registration. Please provide your full name, contact number, and payment details. Art Leven reserves the right to refuse registration or the issue of a paddle at its discretion. WAYS TO BID Absentee Bidding / Priority Bidding Launching in October 2025, Priority Bidding rewards collectors who place their bids early. If you submit a binding absentee at least 48 hours before the auction, you’ll qualify for a reduced Buyer’s Premium of 15% (plus GST) - normally 25%. An absentee bid allows you to participate in the auction without the stress of participating in read time. It is the set and forget method. You decide the maximum price you’re willing to pay for a lot, and our auctioneer will bid on your behalf, starting low and only increasing if other bidders continue. The aim is always to secure the work for you at the lowest price possible, up to and including your stated limit. You don’t need to monitor the auction in real time; once your bid is submitted, our team manages it for you with complete transparency. Click here to register as an Absentee Bidder Telephone Bidding / Priority Bidding Telephone bidding lets you take part in the auction live and in real time from anywhere in the world. A member of the Art Leven team will call you shortly before your chosen lot is offered and will relay your bids directly to the auctioneer. You’ll hear the action as it happens and can make decisions on the spot. If you’d like to take advantage of our Priority Bidding option, simply submit your Telephone Bidding form with binding cover bids - the maximum you’re willing to pay - at least 48 hours before the auction. By doing so, you’ll qualify for a reduced Buyer’s Premium of 15% (plus GST) instead of the standard 25%. Your Priority Bids are binding, but you can still bid higher during the live auction by phone and retain your reduced premium. This ensures you’re covered if your call drops out or the line disconnects, your cover bid guarantees participation at the lowest possible price up to your nominated limit. We recommend providing clear instructions in advance, as auctions move quickly and bidding can be competitive. Our team will manage your calls discreetly and with full transparency to ensure a smooth experience. Click here to register as a Telephone Bidder Online Bidding Bid live and in real time with our own platform HERE - or through the Invaluable, our trusted auction partner HERE Art Leven offers buyer parity, meaning no additional online bidding fees apply. Please register in advance and ensure your account is verified before the sale. Note – Priority Bidding is not an option when bidding online. Live In-Room Auctions (Line-In Room Auctions Only) Our Live In-Room auctions are open to the public and held at our Redfern gallery at 17 Thurlow Street. We welcome you to attend in person if you’re in Sydney on the night of the auction. Once registered, you’ll receive a bidding paddle and be invited to take a seat in the room to bid live. BUYER'S PREMIUM A Buyer’s Premium is the service fee added to the hammer price (the final bid accepted by the auctioneer). It helps cover the cost of running the auction, including cataloguing, photography, marketing, and staff — and is standard practice at all major auction houses worldwide. At Art Leven, a 25% Buyer’s Premium (including GST) applies to all lots. However, if you qualify for Priority Bidding by placing a binding absentee or telephone bid at least 48 hours before the auction, your premium is reduced to 15% (plus GST) on those lots. For example, if a lot sells for $10,000, the total amount payable (including the standard Buyer’s Premium) would be $12,500. If you are a Priority Bidder, your total would instead be $11,500 (plus GST on the premium). This structure ensures transparency and rewards early participation, giving you more value while supporting the professional services that make each auction possible. PAYMENT AND COLLECTION Successful bidders will receive their invoice within 24 hours of the auction. Please check your junk or spam folder in case it does not appear in your inbox. Buyers are required to settle the following within five (5) days of sale: · The hammer price of the artwork. · The Buyer’s Premium, calculated at 25% (incl. GST) of the hammer price, or 15% (+ GST) for approved Priority Bidders. · Any additional costs such as packing, handling, freight, insurance, or storage, if applicable. · Any merchant processing fees on card transactions. Payments can be made in Australian dollars by bank transfer (preferred), EFTPOS, credit card, bank cheque, or cash. Credit card transactions incur a merchant surcharge (currently 2%) Please allow up to 24 hours for electronic transfers to clear before collection. If you wish to collect your purchase on the same day as payment, please provide a copy of your transfer receipt as confirmation. Artworks can be collected from our Redfern gallery during business hours once payment has cleared. Buyers are responsible for organising collection or delivery; however, our team can recommend trusted fine-art couriers and assist with quotes if required. If you would like Art Leven to pack and/or arrange freight on your behalf, please contact us prior to payment so that a shipping fee can be added to your invoice. While all care is taken, Art Leven does not accept liability for damage during transit. To ensure smooth handling, please arrange collection within seven (7) days of the auction. Storage fees of $5 per lot, per day will apply thereafter. GOODS AND SERVICES TAX A 10% Goods and Service Tax (GST) may be included in the Hammer Price (for lots owned by a GST registered entertiy), is included in the Buyers Premium and when additional fees required i.e. shipping. This is relevant only if the buyer is an Australian Resident BIDDING INCREMENTS Bidding typically opens below the listed pre-sale estimate and proceeds in the following increments (however it is at the discretion of the auctioneer, and may vary) $0 – $1,000 by $50 $1,000 – $2,000 by $100 $2,000 – $5,000 by $200 $5,000 – $10,000 by $500 $10,000 – $20,000 by $1000 $20,000 – $50,000 by $2,000 $50,000 – $100,000 by $5,000 $100,000 – $200,000 by $10,000 $200,000 – $500,000 by $20,000 $500,000 – $1,000,000 by $50,000 $1,000,000 – and over by $100,000 ESTIMATES & CONDITION Estimates are printed beside the Lot Entry in the catalogue. 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We do endeavour to track down the original certificates from the sellers of the artworks prior to the sale, however, these are often misplaced and are no longer available. TERMS AND CONDITIONS Full terms and conditions can be found here COPYRIGHT The copyright of the artworks listed in this catalogue may be owned by the artist or third party and used under licence by Art Leven (formerly Cooee Art). The buyer must not reproduce or otherwise use the images or text without prior written consent. Art Leven (formerly Cooee Art) has paid the cost of copyright via the Copyright Agency, 2021 RESALE ROYALTY Some lots consigned for this auction may be subject to the Resale Royalty for Visual Artists Act 2009. Any payments due under the obligations of the Act will be paid by the vendor. DISCLAIMER All information on this website has been compiled from material currently available in the public domain. 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SYDNEY CONTEMPORARY 2022 Location: Carriageworks, Eveleigh NSW 2015 07 September - 11 September 2022 Viewing Room SYDNEY CONTEMPORARY 2022 07 September - 11 September 2022 Location: Carriageworks, Eveleigh NSW 2015 VIEW CATALOGUE EX-SC2022

CherelJanan Janangoo Butcher Cherel Janangoo Butcher Cherel 1920 - 2009 Like many of his generation, Butcher Cherel Janangoo started painting relatively late in life. His quick mind and enthusiasm for the art that gave his traditional culture new life and expression never dimmed. He painted consistently until just before his death in 2009, at the age of 90. His paintings are often treasured by their owners and seldom appear for resale. Many are held around the world in collections both public and private. He put his hand to many mediums, including printmaking, watercolour and acrylic on canvas, experimenting with techniques and a repertoire of marks, dots and lines. Though his subject matter is always related to his culture and country, it never constrains the infusion of his own perspective and experiences derived from a long and eventful life. He was officially recognised as one of Western Australia’s State Living Treasures in 2005. Born at Jalganjoowa on Fossil Downs Station, one of the oldest homesteads in the Southern Kimberley, Cherel’s Gija mother and Goonninyandi father instructed him in traditional law and language. Like them, he worked on the cattle station, both as butcher (hence his name) and drover, often driving cattle far afield. He later remembered these times as being ‘real hard’. He eventually retired and settled at Fitzroy Crossing and in his late sixties turned his hand to painting. His work gives us a glimpse into his cultural and physical environment, telling us stories about food, flora and fauna, land formations and sites of Dreamtime significance. He often depicts microscopic details of bush food, vegetation, ceremonial dress and body painting, using these as the basis for patterns that resonate within the canvas but also seem to extend outwardly beyond its frame. His images are precisely drawn using bold black lines, often with a central figurative motif holding sway. He tells us stories of personal experience and spiritual significance. Though a cache of early works was later discovered, he was taken up exclusively by Mangkaja Arts in 1992 and his career began to build slowly yet consistently. He liked to turn up to his corner in the painting room and work diligently throughout the day on ideas that he had been considering the evening before, “with my eyes, my heart and with my brain,” as he said. He always produced works of high quality and his generosity in sharing his knowledge and encouragement was well known. As a key elder of the Gooniyandi people, he was instrumental in the retention of law ceremony within the Muluja Community. He felt uneasy about the young people no longer having this tradition to fall back upon. He felt it to be fundamental to his people’s sense of identity and wellbeing. He participated in the Gooniyandi claim for land rights. Butcher was a man of great character and dignity and was often present at art openings, sometimes as far afield as Sydney and Fremantle, and always ‘elegantly bearded and invariably hatted’. Before his passing, Butcher was considered to be a senior statesman of Aboriginal art, his leadership and presence widely sought after. He work can be difficult to categorise because of his innovative approach, but at the same time it is invariably appealingly and contemporary. Australian Art collector and media man Kerry Stokes once walked into a solo show and bought the lot. Butcher’s work can be seen in national galleries and major collections. Profile author: Sophie Pierce 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

PetyarreJeann Jeannie Pitjara Petyarre Jeannie Pitjara Petyarre 1951 Born circa 1951 on the Boundary Bore Outstation of Utopia, Aboriginal Art Regions of Central Australia, Jeannie Petyarre came into a family stacked with famous artists. Her sisters are Greeny Purvis Petyarre, Evelyn Pultara, Rosemary Petyarre and Anna Price Petyarre. She is cousin to the famous sisters Gloria Petyarre, Nancy Kunoth Petyarre, Myrtle Petyarre, Kathleen Petyarre, Violet Petyarre, Ada Bird Petyarre, and Jean Petyarre. Collections: The National Gallery of Australia, Canberra.; The Holmes a Court Collection, Perth. Group Exhibitions: 1989, Utopia Women's Paintings, the First Works on Canvas, A Summer Project, 1988-89, S. H. Ervin Gallery, Sydney; 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.; 1993, Central Australian Aboriginal Art and Craft Exhibition, Araluen Centre, Alice Springs Bibliography: Brody, A., 1989, Utopia Women's Paintings: the First Works on Canvas, A Summer Project, 1988-89, exhib. cat., Heytesbury Holdings, Perth. (C) ; Brody, A., 1990, Utopia: a Picture Story, 88 Silk Batiks from the Robert Holmes a Court Collection, Heytesbury Holdings Ltd, Perth. (C See market performance. 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