Artist Profile for Polly Watson Napangardi < Back Polly Watson Napangardi Polly Watson Napangardi ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE POLLY WATSON NAPANGARDI - NGURLU BLACK SEED DREAMING Sold AU$0.00 top Anchor 1 PROFILE Polly Watson Napangardi 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 .

MandarrkWally Wally Mandarrk Wally Mandarrk 1915 - 1987 Born around 1915, Wally Mandarrk grew up in south-central Arnhem Land and spent time at Marlkawo near Lofty Bardayal Nadjamerrek’s country of Kabulwarnamyo. He did not meet a European until 1946 when he began work at a sawmill in Maranboy. He remained by all accounts a private and traditional man, avoiding contact with Balanda (non-Indigenous people). Through the 1960s and 70s he lived at a number of bush camps including one at Mankorlod before establishing Yaymini outstation with his family in remote Arnhem escarpment country. He was a Barabba clan man of the Balang skin group. His art and practice reflects his traditional character. He continued using orchid juice (djalamardi, Dendrobium sp. - orchid) as a binder for his ochres long after bark artists were introduced to PVA glue. One of his bark works in the National Museum of Australia collection, Borlung and Kangaroo (1972-73) was in fact painted for his family on the wall of their bark shelter in the Mankorlod estate. It was found there by Maningrida art centre manager Dan Gillespie in 1973. In the 1960s he worked with the anthropologist Eric Brandl, who documented a rock painting Mandarrk completed of Bolung (the Rainbow Serpent) in a cave in the Cadell River region around 1965. Mandarrk's works that were painted for sale are distinctive for the simple, stocky outline of his figures, infilled with regular bands of red, white and yellow cross-hatching on a plain red background. This hatching infill is known as rarrk in the Kunwinjku language. His alignment of the diagonal bands of rarrk is often quite uni-directional and vertical, and the extremities of figures and other objects is often filled with more simple parallel rarrk without cross-hatching. Many of his works depict Wayarra (profane ghost or demon spirits) or Mimih (thin, mischevious spirits inhabiting the stone country). For Kunwinjku people, these spirits sometimes form the basis of morality stories, living as they do in a fashion not entirely different from Bininj (Aboriginal people). Mimih spirits in particular are thought to have originated many everyday bush skills which they then passed on to Aboriginal people. In Mandarrk’s work they are often seen gathering food in dilly bags, hunting and playing mako (didgeridoo). As well as appearing in many stories, the existence of these spirits is often the reason certain areas are not visited, usually regarded as dangerous places. Other works by Mandarrk depict animals such as crocodiles, kangaroos and birds as well as the Rainbow Serpent, with influence from rock art styles. Mandarrk’s works were collected during the 1948 American-Australian scientific expedition to Arnhem Land, and were also bought by the Maningrida art centre in its early days. His works have been included in exhibitions such as Power of the Land: Masterpieces of Aboriginal Art at the National Gallery of Victoria (1994), the international touring exhibition Aratjara - Art of the First Australians (1993-4), Kunwinjku Bim at the National Gallery of Victoria in 1984-5 and Art of Aboriginal Australia which toured North America in 1974-76. Wally Mandarrk passed away in 1987. Profile author: Dan Kennedy In many ways, the performance of Wally Mandarrk's paintings at public auction is a reflection of the changing tastes in Aboriginal art market itself. His works were included in the very first Aboriginal specilist sale held by Sotheby's in 1994. By 2000, when AIAM100 statistics began, Mandarrk was the 38th most successful artist of all time. Since then average prices for bark paintings have been eclipsed by those for urban, desert and Kimberley paintings and many artists from the central and western regions of Australia have risen through the rankings rapidly. So much so that by 2007, at the peak of the market boom, Mandarrk had fallen to 117th in ranking and by 2010 he'd fallen to his nadir at 127th. Since that time however, the fortunes of a number of the bark tradition's most renowned painters have risen with the recent trend toward ethnographic and museological works. By 2014 he was 118th (having been the 61st most successful artist that year). He is fluctuating between 110th and 130th for the foreseeable future due principally to his low average price. His success in 2014 was due to the success of all 5 barks on offer. Nevertheless, his highest price that year was just $2,440, just a fraction higher than his average price of $2,115 at the time. With a record price of just $7475 set as long ago as 2000, and only 3 recorded sales over $5000, Mandarrks barks are eminently affordable. His clearance rate of 54% is an indication that when they carried estimates that are too high, many works have failed to sell. Among these is the untitled image of a spirit figure with a fish trap presented at Sotheby's in July 2009 carrying an estimate of $6000-8000, and the untiled image of a man playing the didgeridu with his wife alongside estimated at $5000-7000 in Sotheby's subsequent November sale that year. Mandarrk was an artist who painted long before the advent of the Aboriginal art 'industry', though he lived to see it burgioning at the time of his death in 1987. Yet a huge tranch of 45 works appeared at Sotheby's in 1998, of which only 14 sold for a total of $36,398 his highest ever yearly total. When 11 of his paintings appeared for sale 15 years later in 2013 it was an entirely different story. Only one failed to find a buyer. All but two of these appeared in the sale of the legendary collection of Clive Evatt. Evatt, who had owed the Hogarth Galleries in Paddington, sold every one of his Mandarrk barks at Bonhams in 2013, with the highest price achieved being $6,100, the artist's second highest recorded price. 2017 represented a great year for the artist, with mossgreen offering 5 works, of which 3 sold for an averag price of $3,802. With of these works selling for 5,208 and making his third highest result at auction, he placed 70th amongst all aboriginal artists that year. Wally Mandarrk painted his simple iconic figurative barks for more than 30 years. Though there are many of them, no Aboriginal art auction seems quite complete without one or two nice examples. They have a natural earthy genuine appeal and are very reasonably priced. As such, they provide time depth and regional diversity to any Aboriginal art collection at an extremely affordable price. 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

MarikaWandj Wandjuk Marika Wandjuk Marika 1930 - 1987 Wondjuk, Wanjug, Wondjug, Djuakan, Wandjuk Djuwakan Marika, Wanjuk Marika, the eldest son of Mawalan Marika, was motivated throughout his life by an interest in, and understanding towards others along with a determination to use this understanding to fight for and protect his land. The Yolngu people of North-East Arnhem Land had a centuries old tradition of mutually beneficial trade with their Maccasan neighbours who regularly visited from Indonesia. Foreign influence was incorporated into their world-view, as often articulated in their art and mythology. As a young man Wandjuk was one of the first to learn English amongst his Rirratjingu clan, acting as an interpreter between his people and visiting missionaries, anthropologists and explorers. Arnhem Land had been proclaimed an Aboriginal Reserve in 1931, the year of Wandjuk’s birth, and was already studded with mission stations that were drawing Aboriginal people away from their traditional lands and encouraging them to live a sedentary existence. In the North East, the mission at Yirrkala was established in 1935 and within a year Rev. W.S. Chaseling began encouraging the local the Aborigines to create cultural material, including bark paintings, in exchange for tobacco and other trade goods. The mission authorities actively consulted in commissioning art and artefacts on behalf of visiting anthropologists and collectors, and dispatched these works to museums and marketing outlets in the southern states. As Wandjuk grew up it seemed to him that the value Europeans attributed to his people’s art indicated that they were concerned for the Rirratjingu’s survival and wellbeing. As a young man he provided a great deal of artwork and knowledge that was to become the material for many influential publications. He took explorers out to remote areas of interest, including the red bauxite sands that later became the centre of the most potent and contentious land rights issue in the Australia’s North East. He thought he was ‘helping out’ but in actual fact, no one gave anything substantial to him or his community. On the contrary, the often exploitative motives of the white ‘Balanda’ soon resulted in very unsatisfactory outcomes for his people indeed. 'I was sort of the leading man‘ he said of these times, ‘because I knew how to operate about the Balanda and talk to them‘ (Isaacs, 1995: 72). Realising his lands were under threat however, Wandjuk turned to fight for them, playing a leading role against the mining giant Nabalco. His understanding of the powerful connection between art and advocacy, by now well developed, became the means of defending his people and striving to keep their culture intact. He played a leading role in the creation of the Bark Petition of 1963, which brought, for the first time in Australia’s history, sacred paintings and ceremonial objects as evidence before the courts to demonstrate ancient and vital connections to the land. During the long struggle for land rights Wandjuk was the main conduit of communication between the elders of the different clans, including his father Mawalan, and the Balanda world. Destined for leadership of the Rirratjingu, art and ceremony were all-important elements of his life from an early age. His father Mawalan, senior custodian and tribal leader, passed on the sacred knowledge of their lands and religious ceremonies to Wandjuk. The important role of reaffirming cultural tradition and spiritual belief, as well as asserting his people’s fundamental connection to land increasingly under threat from European development, became his driving motivation. Wandjuk Marika was the custodian of Yalan'bara, the sacred Arnhem Land beach at which the Djan'kawu (Creator Ancestors) first stepped ashore and gave birth to the first people. The Djan'kawu are a brother and two sisters, creators of all Yolngu life, from whom Wandjuk claimed direct lineal descent over many generations as the eldest son of the eldest son. All Yolngu are divided into two groups, Dhua and Yirritja, who intermarry. All Dhua clans throughout Eastern Arnhem Land are descended from the original procreative acts of the Djan'kawu. In his paintings Wandjuk placed figures that elaborated mythological themes amongst the lines and patterns that provided the structure and identified them with a particular place and clan. The Rirratjingu clan design depicts the sun's rays shimmering over the sea, as this is the origin of their ancestral forefathers, the Djankawu. They came by canoe with the rising sun, two sisters and a brother, landing on the beach at Yalangbarra where digging sticks plunged into the sand brought forth springs of freshwater. They traveled across the land creating and naming its features and inhabitants and the two women, already pregnant, gave birth to the original people. Wandjuk painted this story in detail, demonstrating his clan’s ownership of, and connections to, the land at Yelangbarra. Another major epic he painted was the Wagilak Sisters, a moral tale of behavior and its consequences, inscribed in the features of the landscape and the creatures that live there. These creation stories were central themes in his paintings along with those that linked the Munyuku and the Marrakulu clans with the Rirratjingu. Wandjuk had rights to paint certain aspects of Marrakulu imagery, including the use of the clan's design. In 1975, Wandjuk became chairman of the Aboriginal Arts Board of the Australia Council. Shocked by secret, sacred designs on tea towels and t-shirts, Wandjuk worked towards and brought in legal recognition of Aboriginal copyright. Regularly called upon to assist in seeking official protection of sacred sites, he was often moved to tears by the loss of acknowledgement and the silencing of ‘the voices’ belonging to the area. ‘The land is full of knowledge‘ he said, grieving that’s its power and story were being too easily forgotten (Isaacs 1995: 142-147). Wandjuk was awarded an OBE by the Australian government and travelled the world as a cultural ambassador, contributing and advising on many projects to do with Indigenous affairs. During his later years, his busy public life began to deplete his energy which he felt still derived power from his spiritual source at Yalangbarra. In 1982, the National Gallery purchased most of the works from an important solo show in Sydney that traced the sacred endowment of his homelands. The proceeds financed his family’s move away from the distracting influences of the township at Yirrkala and back to the sacred beaches of the Djankawu ancestors. Houses were built, freshwater bores were sunk and Wandjuk relished life in the bush once again. He felt there was much learning to pass on to his many children. Although European influence has brought many adaptations and developments to bark painting, the essential designs remain consistent and still serve to teach deeper levels of meaning to his family and people. Wandjuk took ill and died suddenly in 1987. True to his lifelong negotiating role, his works, that grace many galleries and collections all over the world, still speak of his envisioned dialogue between changing worlds. It is difficult when compiling a list of the most important figures of all time to place those artists whose best works are locked up in institutions. Similarly many artists may have achieved great notoriety for their cultural influence beyond simply their art, or alternatively, may not produce the type of art that is easily bought and sold. Wandjuk is an artist who fits the description of the first two of these three categories. Only 19 of his works have appeared so far in the secondary market and the majority of these have been minor works, with seven of these failing to sell. Although his barks were included in the first commercial exhibition of paintings by Arnhem Land artists at the David Jones Art Gallery in 1949 the majority were purchased for major collections and included, over the years, in important touring exhibitions both here, in Australia, and overseas. These exhibitions are simply too numerous to mention, as there has hardly been an important exhibition that has included bark paintings in the last 30 years with at least one of his works. His two highest prices were set for bark paintings sold at Sotheby’s as long ago as 1997 while his fourth, sixth and seventh were set in 1997, 1996 and 1998 respectively. I cannot think of another artist that has a similar record in which the Aboriginal art boom between 2000 and 2007 seems to have completely passed them by. In fact, since 1998 only 12 works have appeared at auction of which no more than one work has sold in any one year other than 2004 when two paintings sold of three offered. However even these were minor works selling for a total value of as little as $2,760. Wandjuk’s record holding work is Djan’kuwu at Yalan’bara c.1959 which sold for $27,600 at Sotheby’s against a presale estimate of $12,000-18,000. The painting, related to a series of works painted for Dr. Stuart Scougall in 1959, depicting the Djan’kawu with Bowata, the Plains Turkey, the birthing of the Yolngu and milk fish on shore. The decorative in-filled patterning included white dots and cross hatching representing life force, sea foam, and the changing of the tide. His second highest priced work featured designs representing Rainmaking Snakes and totemic species associated with ‘pay back’. It also significantly exceeded its expectations when sold for $16,100 against an estimate of $7,000-10,000. All of his highest three records were painted between 1958 and 1960, long before the first Western Desert boards were created. Only one work has been offered twice. A nicely executed untitled bark featuring sand goannas and birds enclosed in tight striated cross hatching and measuring 121 x 39 cm was first offered at Sotheby’s in July 2003 with an estimate of $3,000-5,000 (Lot 343) but failed to sell. It appeared again at Sotheby’s the following July estimated at $2,000-4,000 and although passed in on the night, sold by private treaty the day after the sale for $1,800. Overall Wandjuk's works have enjoyed a reasonable clearance rate of 71% at an average price of $6,731. Yet he is a far more important figure in Aboriginal art than the mere sales total of $80,775 would imply. While it is unlikely that major works will appear all that often, watch out when they do. Should a really significant piece by this artist appear at any stage I would expect it to more than double his current record. 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

ANCESTORS FOOTSTEPS Art Leven - 17 Thurlow St, Gadigal, Redfern, NSW 2016 14 December 2023 - 13 January 2024 Viewing Room ANCESTORS FOOTSTEPS Artist: Joshua Bonson 14 December 2023 - 13 January 2024 Art Leven - 17 Thurlow St, Gadigal, Redfern, NSW 2016 JOSHUA BONSON Ancestors Footsteps Opening: Thursday 14 December, 6-8pm The minute I was flying over the ocean heading to the islands I could feel my ancestors with me. We were all filled with excitement and joy. Joshua Bonson is a three-time finalist in the Telstra National Aboriginal & Torres Strait Islander Art Awards (2007, 2008, 2013). He won the Top End NAIDOC Artist of the Year in 2013, and followed it up by winning the Young Achievers Award NT main prize, as well as Artist of the year in 2014. His work is held in National Gallery of Australia, Canberra, the Kerry Stokes Collection, Perth, and the TOGA Contemporary Art Collection in Australian and Berlin, to name a few. Standing in my Ancestor’s Footsteps is his third Solo Exhibition with Cooee Art Leven. View Catalogue JOSHUA BONSON - SKIN: A CELEBRATION OF CULTURE price AU$8,500.00 JOSHUA BONSON - SKIN price AU$5,500.00 JOSHUA BONSON - SKIN: ARAFURA SEA price AU$4,400.00 JOSHUA BONSON - SKIN: KOEDAL SALTWATER CROCODILE price AU$3,000.00 JOSHUA BONSON - SKIN: OCEAN'S RHYTHM TORRES STRAIT price AU$800.00 JOSHUA BONSON - SKIN price AU$600.00 JOSHUA BONSON - SKIN Sold AU$0.00 JOSHUA BONSON - SKIN: A CELEBRATION OF MY COUNTRY Sold AU$0.00 JOSHUA BONSON - SKIN: TORRES STRAIT Sold AU$0.00 JOSHUA BONSON - SKIN: MY TOTEM price AU$6,000.00 JOSHUA BONSON - SKIN price AU$5,500.00 JOSHUA BONSON - SKIN price AU$4,400.00 JOSHUA BONSON - SKIN: KOEDAL SALTWATER CROCODILE price AU$2,500.00 JOSHUA BONSON - SKIN price AU$600.00 JOSHUA BONSON - SKIN price AU$600.00 JOSHUA BONSON - SKIN: OCEAN'S RHYTHM TORRES STRAIT Sold AU$0.00 JOSHUA BONSON - SKIN Sold AU$0.00 JOSHUA BONSON - SKIN: OCEANS RHYTHM TORRES STRAIT Sold AU$0.00 JOSHUA BONSON - SKIN: SHIFTING TIDES price AU$5,500.00 JOSHUA BONSON - SKIN: OCEANS RHYTHM price AU$4,400.00 JOSHUA BONSON - SKIN price AU$4,400.00 JOSHUA BONSON - SKIN price AU$2,200.00 JOSHUA BONSON - SKIN price AU$600.00 JOSHUA BONSON - SKIN Sold AU$600.00 JOSHUA BONSON - SKIN: OCEAN CURRENTS Sold AU$0.00 JOSHUA BONSON - SKIN: OCEANS RHYTHM TORRES STRAIT Sold AU$0.00 EX Ancestors Footsteps

Artist Profile for Peterson Nganjmirra < Back Peterson Nganjmirra Peterson Nganjmirra ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Peterson Nganjmirra 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 Bernadine Johnson < Back Bernadine Johnson Bernadine Johnson ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Bernadine Johnson 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 Melissa Napangardi Williams < Back Melissa Napangardi Williams Melissa Napangardi Williams ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Melissa Napangardi Williams 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 .

FIRST NATIONS FINE ART AUCTION Art Leven - 17 Thurlow St, Redfern, Gadigal / Sydney Tuesday 17th June 2025 AEST 7:00pm Viewing Room FIRST NATIONS FINE ART AUCTION Important Works by First Nations Artists Tuesday 17th June 2025 AEST 7:00pm Art Leven - 17 Thurlow St, Redfern, Gadigal / Sydney Tuesday night’s auction was a resounding affirmation of the strength and resilience of the Australian market for top-tier First Nations artists, achieving an impressive 75% clearance rate by volume—almost double that of other recent First Nations auctions. The energy in the room was serious, with many of the country’s leading consultants and collectors in attendance, reinforcing the depth of local engagement with this important sector. While a few key international buyers were momentarily unreachable for works they had registered interest in—understandable with global attention drawn to both Art Basel’s VIP preview and the G7 Summit—it was heartening to see such robust bidding from Australian collectors. Only five of the sold works went overseas, highlighting the passion and commitment of our domestic base. We’re incredibly grateful for their continued support, which ensures the market remains vibrant, confident, and future-facing. The withdrawal of 18 lots the day before the auction gave us an opportunity to refine the offering, allowing the strongest works to take centre stage. The decision was made in the best interest of all parties, and we’re confident those works will have their moment in the spotlight soon. This strategic decision paid off, helping us deliver a focused and compelling sale. We are incredibly grateful to the artists, vendors, collectors, and advisors who continue to place their trust in us. Their ongoing commitment ensures the First Nations art market remains vibrant, confident, and forward-looking—despite the ever-changing global context. VIEW AUCTION RESULTS ONLINE AUCTION RESULTS PDF VIEW PDF CATALOGUE Auction 17

TESTIMONIALS Jorgen Lotz “I have purchased a number of pieces from you and have always been treated very friendly and professionally. No hesitation in dealing with Art Leven Gallery in the future" Osman Shajahan “Art Leven Gallery has an amazing collection. I came to find out when I was searching for works by a particular artist I couldn’t find anywhere else at that time." Angela Stasinopoulou “We had a wonderful experience at Art Leven gallery while visiting Sydney. Hayley helped us find a beautiful and unique piece of art and shipped it safely halfway across the world to the UK for us" "This is an amazing gallery devoted to Aboriginal art and committed to strong ethics with respect to the artists, as a member of the Aboriginal Art Association of Australia. We had a wonderful time learning about the art and purchasing a couple pieces with the managing director, Mirri Leven. She was so patient and kind, taking the time to learn our interests and guide us toward pieces of interest. Though there was an exhibit for one current artist, there are numerous other pieces for sale from up-and-coming artists to very well-established, well-known artists. I'm so glad we found this gallery tucked away in Redfern! Highly recommended if interested in Aboriginal art!" Pxxx Bxxx We had a wonderful experience at Cooee Art Leven Gallery while visiting Sydney. Hayley helped us find a beautiful and unique piece of art and shipped it safely halfway across the world to the UK for us. Thank you again! Angela Stasinopoulou I have purchased a beautiful artwork from Cooee Art Leven. Staff were a delight to deal with and made the process effortless. Speedy delivery of the work has been arranged to Melbourne in less than a week. Very happy with the service provided. Sharon Maclure I have purchased a number of pieces from you and have always been treated very friendly and professionally. No hesitation in dealing with Cooee Art Leven Gallery in the future. Jorgen Lotz Cooee Art Leven is absolutely wonderful to deal with, couldn’t have had better service. I’m in love with my two new indigenous pieces. I’ll now always look first for any indigenous items from Cooee Art Leven. Genuine pieces and well priced, and so well packed for interstate delivery. I wish I lived near their shop, as I’d love to view their shop and gallery in person. Thanks again! You’re the best! Leonie Thomas Cooee Art Gallery has an amazing collection. I came to find out when I was searching for works by a particular artist I couldn’t find anywhere else at that time. I will definitely make an appointment when I’m in Sydney but I’m afraid my bank account won’t take it kindly. I must add they are great to deal with too and the piece I ordered was shipped to Melbourne within a short time. Osman ShaJahan Fantastic to deal with. I live in Darwin and the service was outstanding. Shipping and packaging was great, no damage when the pictures arrived. It is very nice to deal with people who clearly love what they do and are extremely knowledgeable. I would recommend Cooee Art to any collector or lover of great art. Andy Salmon FEATURED LOTS | BARK PAINTINGS FIRST NATIONS FINE ART AUCTION III | 2025 Carol Puruntatameri: Tiwi Bark Painter and Custodian of Story

Artist Profile for Mervyn Street < Back Mervyn Street Mervyn Street ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE MERVYN STREET - UNTITLED SOLD AU$3,400.00 top Anchor 1 PROFILE Mervyn Street 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 Angelina Pwerle Ngal < Back Angelina Pwerle Ngal Angelina Pwerle Ngal c.1939 Also known as: Angleina Ngale, Angelina Pwerle Community: Utopia, Camel Camp Outstation: Alhalkere Language: Anmatyerre ARTIST PROFILE ARTIST CV MARKET ANALYSIS Born sometime between 1937 and 1949 (records are uncertain), Angelina Ngal (Ngale, Kngale ), also known as Angelina Pwerle (1), is one of the most celebrated artists from the Utopia region in Central Australia. A senior Anmatyerr woman, she resides at Camel Camp, an outstation at the southern edge of Utopia, where she continues to create her highly intricate, minimalist artworks. Pwerle and Ngal are not last names in the Western sense of a shared family name, but skin-names referring to her kinship relationships. Utopia sits on the language boundary between Anmatyerr and Alyawarr. In Alyawarr country Angelina is referred to as Pwerle, and in Anmatyerr country she is referred to as Ngal. When asked about the difference between the two skin names, Angelina told the author: "Pwerle is the same as Ngale, just in another language."(2) Interestingly, the artist speaks only Anmatyerr and would therefore likely refer to herself as Ngal , while some institutions, including New York's MoMa prefer the use of Pwerle. READ FULL ARTIST PROFILE ANGELINA PWERLE NGAL - AHARLPER COUNTRY SOLD AU$34,000.00 ANGELINA PWERLE NGAL - AHARLPER COUNTRY SOLD AU$32,000.00 ANGELINA PWERLE NGAL - AHARLPER COUNTRY Sold AU$0.00 ANGELINA PWERLE NGAL - BUSH PLUM AT AHARLPER Sold AU$0.00 ANGELINA PWERLE NGAL - AHARLPER COUNTRY Sold AU$0.00 ANGELINA PWERLE NGAL - AHARLPER COUNTRY Sold AU$0.00 ANGELINA PWERLE NGAL - AHARLPER COUNTRY Sold AU$0.00 ANGELINA PWERLE NGAL - AHARLPER COUNTRY SOLD AU$32,000.00 ANGELINA PWERLE NGAL - UNTITLED ( BUSH RAISIN MAN) SOLD AU$3,000.00 ANGELINA PWERLE NGAL - AHARLPER COUNTRY Sold AU$0.00 ANGELINA PWERLE NGAL - AHARLPER COUNTRY Sold AU$0.00 ANGELINA PWERLE NGAL - AHARLPER COUNTRY Sold AU$0.00 ANGELINA PWERLE NGAL - BUSH PLUM COUNTRY Sold AU$0.00 top Anchor 1 PROFILE Angelina Pwerle Ngal c.1939 Also known as: Angleina Ngale, Angelina Pwerle Community: Utopia, Camel Camp Outstation: Alhalkere Language: Anmatyerre Born sometime between 1937 and 1949 (records are uncertain), Angelina Ngal (Ngale, Kngale ), also known as Angelina Pwerle (1), is one of the most celebrated artists from the Utopia region in Central Australia. A senior Anmatyerr woman, she resides at Camel Camp, an outstation at the southern edge of Utopia, where she continues to create her highly intricate, minimalist artworks. Pwerle and Ngal are not last names in the Western sense of a shared family name, but skin-names referring to her kinship relationships. Utopia sits on the language boundary between Anmatyerr and Alyawarr. In Alyawarr country Angelina is referred to as Pwerle, and in Anmatyerr country she is referred to as Ngal. When asked about the difference between the two skin names, Angelina told the author: "Pwerle is the same as Ngale, just in another language." (2) Interestingly, the artist speaks only Anmatyerr and would therefore likely refer to herself as Ngal , while some institutions, including New York's MoMa prefer the use of Pwerle. The artist’s creative journey began in the 1980s, producing batiks through the Utopia Women’s Batik Group alongside her sisters, Kathleen and Poly Ngal. These works were created under the guidance of Rodney Gooch, who coordinated workshops through the Central Australian Aboriginal Media Association (CAAMA). During the pivotal 1988–89 CAAMA Summer Project, she transitioned to acrylic painting, transferring her refined batik-making skills onto canvas. Her first paintings were included in the groundbreaking Utopia Women’s Art exhibition in Alice Springs in 1990, marking her entry into the broader art world. Angelina’s art is rooted in her grandfather’s Country, Aharlper, and centres on Anwekety (Bush Plum Dreaming), a subject of profound cultural, social, and ceremonial significance. "I paint anwekety – bush plum. Little flowers ... after the rain and seeds. That’s my country, Ahalper.”(3) Her paintings convey themes of nourishment—both physical and spiritual—and celebrate the interconnectedness of land, knowledge, and memory. Early works feature clusters of red dots symbolising the Bush Plum, surrounded by layers of meticulously rendered coloured dots. Over time, her style evolved into finely detailed, abstract compositions that hint at sacred landmarks, ceremonial activities, and the ephemeral beauty of the landscape. Despite her steady rise in international prominence, Angelina Ngal’s recognition in Australia has been comparatively slow. Her work has featured in prestigious exhibitions such as Marking the Infinite: Contemporary Women Artists from Aboriginal Australia (USA and Canada, 2016-2019), Know My Name: Australian Women Artists 1900 to Now at the National Gallery of Australia, and the upcoming The Shape of Time: Art and Ancestors of Oceania at The Metropolitan Museum of Art. Her paintings are held in major public and private collections worldwide, including the National Museum of Art in Osaka, Japan, and The Debra and Dennis Scholl Collection in Miami, USA. In 2023, Angelina’s work was showcased at Art Basel Miami and toured internationally with The Met’s touring exhibition The Shape of Time: Art and Ancestors of Oceania exhibition. Her enduring connection to Country and her unparalleled attention to detail make her a cult favourite among collectors and institutions. As noted in the Financial Times, she is an insider’s secret, “‘If [Emily] Kngwarreye is the A-lister and [Daniel] Walbidi is the rising star, then Angelina Pwerle is the cult favourite – one on whom a growing number of institutions and collectors are quietly placing bets."(4) What sets Ngal apart from her contemporaries is her exceptional ability to capture the essence of her Country and Altyerr, a skill particularly evident in her intricate dot paintings that vividly evoke Ahalper and Anwekety. According to the artist herself, “This is a constant engagement. This is a spiritual connection to place [...] My Bush Plum paintings represent the whole thing: all of Country.”(5) ARTIST CV Market Analysis MARKET ANALYSIS Angelina Ngal's artworks first appeared at auction in 2000, initially under the name Angelina Pwerle. The name change followed linguist Jenny Green's revised nomenclature for Eastern Desert Artists introduced between 2005 and 2006, leading to some confusion in market records. She has since been represented by several dealers and galleries, including Don Holt at Delmore Downs, Mark Gooch at Mbantua Gallery, Bill Nutall at Niagara Gallery, and Lauraine Diggins at Fine Art Gallery. Her market profile was established in 2000 when a remarkable rendition of her bush plum works sold for $6,325 at Christie's in Melbourne. Measuring 177 x 176 cm, this painting would be valued at close to $30,000 today. By 2004, her auction record had increased to $14,000, set by Christie’s for a similarly sized work. This marked a substantial increase in her work's unit price from $20/sq.cm to $46/sq.cm within four years, reflecting her growing reputation and demand. A significant benchmark was set in 2007 when Lawson~Menzies sold her painting Spring Flowers at Arlpara 2007, a 150 x 374 cm canvas, for $38,400. This sale from Lauraine Diggins provenance was strategic, establishing a solid market benchmark for her work. In 2010, Deutscher & Hackett auctioned another significant piece, measuring 183 x 183 cm with Niagara Gallery provenance, which sold for $17,400, below its $25,000 primary market value but still a commendable sale. Her auction records continued to evolve, with a piece from the Laverty Collection achieving $18,000 in 2015, becoming her fourth highest record price. In 2016, Mossgreen sold a piece from the Helen Reid collection, establishing her sixth highest record. Her seventh highest record was set in 2017 when Arnekwety Place Viii 2002 sold for $12,182. As a meticulous painter who has been given opportunities to create large-scale works, Angelina Ngal has consistently been featured in prestigious national art prizes. Ranked as the 120th most successful artist, with her peak at the 30th in 2016, her ascent into the top 100 is imminent, marking her as a prominent and increasingly influential figure in the art world. 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 Alan Jameison < Back Alan Jameison Alan Jameison ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE ALAN JAMIESON - WATI KALAYA SOLD AU$6,500.00 top Anchor 1 PROFILE Alan Jameison 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 .