Artist Profile for Eunice Napanangka < Back Eunice Napanangka Eunice Napanangka ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE EUNICE NAPANANGKA JACK - HAIRSTRING SOLD AU$5,000.00 top Anchor 1 PROFILE Eunice Napanangka 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 .

GAME, SET, MATCH Art Leven - 17 Thurlow St, Gadigal, Redfern, NSW, 2016 27 - 24 February 2024 Viewing Room GAME, SET, MATCH 27 - 24 February 2024 Art Leven - 17 Thurlow St, Gadigal, Redfern, NSW, 2016 'Game, Set, Match ' is a group exhibition consisting of seven individual series or sets of artworks by various artists - on view now at our Redfern gallery. DOROTHY NAPANGARDI - KARNTAKURLANGU price AU$25,000.00 ANGELINA GULUWULLA KARDADA BOONA - WANDJINA EMERGING price AU$5,500.00 DOROTHY NAPANGARDI - SALT ON MINA MINA Sold AU$2,800.00 BANDARR WIRRPANDA - MUŊURRU price AU$1,200.00 JULIE NANGALA ROBERTSON - NGAPA JUKURRPA (WATER DREAMING) - PIRLINYARNU Sold AU$0.00 DOROTHY NAPANGARDI - SALT ON MINA MINA Sold AU$0.00 ANGELINA GULUWULLA KARDADA BOONA - WANDJINA EMERGING price AU$5,500.00 DOROTHY NAPANGARDI - KARNTAKURLANGU JUKURRPA (WOMEN'S DREAMING) Sold AU$4,000.00 NOLA ROGERS - GOGO STATION price AU$1,500.00 BANDARR WIRRPANDA - MUŊURRU - MAŊGALILI STORY price AU$1,200.00 CAROL PURUNTATAMERI - YIPALI AND PURRUKUPALI Sold AU$0.00 DOROTHY NAPANGARDI - SALT ON MINA MINA Sold AU$0.00 ANGELINA GULUWULLA KARDADA BOONA - WANDJINA EMERGING price AU$5,500.00 DOROTHY NAPANGARDI - SALT ON MINA MINA price AU$3,000.00 DAISY JAPULIJA - BILLABONGS price AU$1,200.00 JULIE NANGALA ROBERTSON - NGAPA JUKURRPA (WATER DREAMING) - PIRLINYARNU price AU$850.00 DOROTHY NAPANGARDI - SALT ON MINA MINA Sold AU$0.00 DOROTHY NAPANGARDI - SALT ON MINA MINA Sold AU$0.00 GameSetMatch

HERMANNSBURG - THEN AND NOW From 09 October to 23 October 2021 Viewing Room HERMANNSBURG - THEN AND NOW From 09 October to 23 October 2021

Artist Profile for Glenys James < Back Glenys James Glenys James ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE GLENYS JAMES - KUNGA KUTJARA SOLD AU$250.00 top Anchor 1 PROFILE Glenys James 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 .

NampitjinInyuw Inyuwa Nampitjin Inyuwa Nampitjin 1922 - 1999 Nampitjinpa Inyuwa Nampitjinpa was born near Punkilpirri, a large permanent water site deep in Pintupi country west of the Kintore ranges. With her family, she arrived in Haasts Bluff in 1956, seeking food and water, and was later moved to the new government settlement at Papunya. Following the death of her first husband, she married Tutuma Tjapangati, one of the senior members of Geoff Bardon’s original painting group, in 1971. It was not until almost a decade after his death that she began painting herself, encouraged in part by the women’s painting project of the new Haasts Bluff and Kintore communities in 1994. By then a senior law woman, Inyuwa took on an instructive role in the representation of women’s ceremonial subject matter, much as the elder men had during the early days of Papunya. After an eye operation to remove cataracts in 1997, she began a prolific burst of painting and although she died only two years later, she had produced a steady stream of culturally important and aesthetically innovative works between 1997 and 1999, which proved to be formative in establishing the ‘meteoric rise’ of the Desert women artists post 2000. Inyuwa’s artistic output focused on the sacred water holes of her traditional country and creation stories relating the travels of groups of women who gathered for ceremony and sustenance at these sites. They included the old woman Kutungka Napanangka, who traveled from Papunga and passed through a number of important sites along the way to the large permanent water site of Muruntji, south-west of the current community of Mount Liebig. Other stories pertain to the travels of large groups of women who gathered the edible berries and seeds growing in the area through which they passed. In the majority of her works, paint is applied in a thick impasto background upon which roundels or U shapes, of graduating density, are embedded. The generous viscosity of the painting surface is said to mimic the manner in which body paint is applied during women’s ceremonies. References to the rock holes, food collected, and tools used are depicted; such as the edible seeds that were roasted and ground into a paste, then cooked in the coals like damper bread and the oblong shaped nulla nullas which each woman carried. In her loose and energetic compositions, Inyuwa abstracts the basic symbolic elements of her cultural iconography, leaving her free to experiment with simple colour and uncomplicated forms in the evocation of a tactile, experiential event. Like others among this group of senior women painters, Inyuwa’s paintings were startlingly different from the increasingly formal, line and circle compositions of her male peers of that time (late 1990’s). The exuberance and freedom expressed in the women’s work defied the public's expectations of desert painting, opening up the possibilities of its artistic horizons in many ways. Inyuwa painted for Papunya Tula Artists for just five years prior to her death, playing a vital role in the emergence of contemporary women's art amongst the Pintupi. From the late 1990’s onward, women became an increasingly significant presence in the art movement, outnumbering male artists in some communities and injecting new energy into the fickle art market. Alongside the excitement generated by the work itself, the advanced age of many of the female painters and often the consequent brevity of their painting careers highlighted the power of the ancient practices and beliefs that form the bedrock of their indefatigable creativity. Inyuwa was a ceremonial and community leader in Kintore, where she was also the gentle and unassuming matriarch of a large extended family. She guided her daughter Walangkura and adopted daughter Pirrmangka Napanangka in their own artistic careers and painted until her death from ill health in June 1999, at which time her first solo show was on the walls of the Gabrielle Pizzi Gallery in Melbourne, a legacy left, as she wished, to inspire and inform future generations. While Inyuwa Nampitjin reputedly painted for five years, no works are recorded as having been offered for sale through auction other than those created between 1997 and 1999 and all were produced for Papunya Tula. No less than eight of the artists top 20 results have been for works exhibited originally through Gabrielle Pizzi Gallery in Melbourne, where her only solo exhibition was in progress at the time for her death. Surprisingly, the artist’s two highest results and at least four of her top ten were recorded by Lawson~Menzies. This is unusual for a Pintupi artist given Sotheby’s interest in Papunya Tula provenance and the rarity of Inyuwa’s works. Her $43,200 record set in November 2007 justified its $45,000-60,000 presale estimate (Lot 14). The work, Rockhole at Pukunya 1998, achieved well over twice that of her next highest result. Women’s Site at Pukunya 1998 was exactly the same size and an equally pleasing work yet saddled with a far more conservative estimate of $15,000-20,000. It had sold for just $16,800 when offered three years earlier in Lawson~Menzies November 2004 sale (Lot 81). Perhaps the specialists had been influenced by the fact that the very same painting, under the title Pukunya 1998, had been offered at auction with sister company Deutscher~Menzies in June 2000 (Lot 35) and had sold for just $7,637 when carrying an estimate of just $7,000-8,500. Presale estimates can be vitally important in achieving a successful sale and heightened expectations often result in failure. When the small 91 x 61 cm work Pukunya 1999 first appeared for sale at Sotheby’s in June 2002 it was valued at $5,000-8,000 and failed to attract a buyer (Lot 195). More realistically estimated at $2,500-3,500 three years later in Sotheby’s November 2005 sale the painting went for $3,120 (Lot 181). The earliest work by the artist to appear at auction has shared a similar fate, albeit in reverse. The collector who purchased the 91.5 x 61 cm Pukunya 1997 for just $1,762 at Deutscher~Menzies in June 2000 (Lot 139) must have felt they had got a real bargain, especially as they watched the artist’s prices rising over the following seven years. The work was consigned to Sotheby’s for sale in October 2008 with a new title, Women's Dreaming at Punkilpirri, and the estimate increased from $1,500-1,800 to $6,000-8,000. This unremarkable work failed to attract a buyer. The most recent addition to her top ten highest results was in 2017, when Water Site at Punkilpirri sold for $13,420 through Deutscher & Hackett. Sotheby’ s have sold eight works for a total of $43,920 while all four of those offered by Lawson~Menzies are recorded in her top 10 results with a combined value of $77,400. Only Christie's, Deutsher~Menzies and Joel Fine art are included amongst the other houses that have offered her works for sale. It is unlikely that Inyuwa Nampitjinpa produced any more than 100 works during the short period she painted. This explains the complete absence of works for auction in 2009, 2010 and 2011. Yet her influence on those women who followed in her footsteps was profound. Her paintings are both rare and undervalued. More than any others, Inyuwa’s paintings, along with those of her daughter Pirrmangka, can be seen as a lively precursor to the paintings of the desert artists further to the west that would emerge shortly after their deaths. Their paintings have a raw painterly quality that is hard to overlook and entirely satisfying to live with. 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

ALPEYT MWERRANGKER | GOOD BLOSSOMS 17 Thurlow St, Redern, NSW 2016 20 October - 10 November 2022 ALPEYT MWERRANGKER | GOOD BLOSSOMS Artists: Artists from Barkly Regional Arts 20 October - 10 November 2022 ALPEYT MWERRANGKER | GOOD BLOSSOMS Artists: Artists from Barkly Regional Arts 20 October - 10 November 2022 17 Thurlow St, Redern, NSW 2016 The Barkly Tableland stretches over 320,000 square km of the Northern Territory, surrounding its largest town and cultural centre, Tennant Creek, located approximately 1000km south of Darwin and 500km north of Alice Springs. Here, Barkly Regional Arts is the area’s main hub for visual artists and musicians, each inspired by the Country under the canopy of vivid blue sky and red dust. From their visual arts and music studios in the heart of Tennant Creek, Barkly Regional Arts does outreach with the area’s remote communities, producing ar t and music that tells the stories of the Barkly, fostering access, development, and recognition of arts in the Barkly. Art made in the Barkly is significant not just as a way of preserving culture, but also as a means by which the community can come together, celebrating culture and Country and, not least, earning an income.The work of the Artists of the Barkly reflects the remote, unforgiving desert landscape and harsh conditions, yet also portrays the charm and magical beauty of the region. The Artists of the Barkly collective represents over fifty artists, living in four remote communities across the Barkly region:Tennant Creek,Wutunugurra (Epenarra), Owairtilla (Canteen Creek) and Kulumindini (Elliott). Alpeyt Mwerrangker meaning Good Flowers or Good Blossoms in Alyawarr, features eleven of the regions most well renowned painters, sharing a remote, rugged landscape and an interest in Country, modern history and life in the Barkly.The artists from each community exhibit a distinctive style, demonstrating the profound influence of the art centre setting. VIEW CATALOGUE EX 243

Artist Profile for Helen McCarthy Tyalmuty < Back Helen McCarthy Tyalmuty Helen McCarthy Tyalmuty ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Helen McCarthy Tyalmuty 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 Milatjari Pumani < Back Milatjari Pumani Milatjari Pumani ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE MILATJARI PUMANI - NGURA WALYTJA, ANTARA SOLD AU$6,500.00 top Anchor 1 PROFILE Milatjari Pumani 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 Tjunkiya Napaltjarri < Back Tjunkiya Napaltjarri Tjunkiya Napaltjarri ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE TJUNKIYA NAPALTJARRI - UMARI SOLD AU$950.00 TJUNKIYA NAPALTJARRI - UMARI SOLD AU$800.00 TJUNKIYA NAPALTJARRI - UMARI SOLD AU$950.00 TJUNKIYA NAPALTJARRI - UMARI Sold AU$800.00 top Anchor 1 PROFILE Tjunkiya Napaltjarri 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 .

REDFERN GALLERY LAUNCH | COOEE: COME HERE Cooee Art Redfern From 25 March to 04 April 2021 Viewing Room REDFERN GALLERY LAUNCH | COOEE: COME HERE Group Exhibition From 25 March to 04 April 2021 Cooee Art Redfern COOEE: Come Here features works by some of the most highly renowned artists in Aboriginal art and a strong representation of female painters, with artists including Emily Kame Kngwarreye, Queenie McKenzie, Mirdidingkingathi Juwarnda Sally Gabori, Dorothy Napangardi, Kitty Napanangka Simon, Minnie Pwerle, Kathleen Petyarre, Regina Wilson, Yariti Young as well as Vincent Namatjira, Freddie Timms, John Mawurndjul, Timothy Cook and a video work by Djon Mundine OAM. VIEW CATALOGUE EX 209

JOSHUA BONSON | SKIN - Moving Through Monochrome Art Leven - 17 Thurlow St, Redern, NSW 2016 2 - 23 August 2025 JOSHUA BONSON | SKIN - Moving Through Monochrome Joshua Bonson 2 - 23 August 2025 JOSHUA BONSON | SKIN - Moving Through Monochrome Joshua Bonson 2 - 23 August 2025 Art Leven - 17 Thurlow St, Redern, NSW 2016 SKIN – Moving through Monochrome Joshua Bonson 2 – 23 August 2025 Art Leven is proud to present SKIN – Moving through Monochrome , a bold new body of work by Torres Strait Islander artist Joshua Bonson. This exhibition marks a significant evolution in Bonson’s practice, his first major series since relocating from Darwin to Cairns to work full time as an artist. With this personal and professional shift comes a visual transformation: a move into a monochromatic palette that strips away colour to focus on form, texture, and the emotional resonance of light and shadow. At the core of SKIN is Bonson’s totem, the Saltwater Crocodile, a powerful symbol of identity, heritage, and place. His works have long explored the reptile’s protective skin as a metaphor for ancestral strength, kinship, and cultural memory. In this series, that imagery is reinterpreted through dynamic compositions rendered in black and white. These works feel elemental and raw, yet deeply refined, inviting viewers into an intimate dialogue with Bonson’s cultural and personal landscape. Using palette knives, brushes, and his hands, Bonson builds tactile surfaces that seem to breathe with energy. The scale-like markings, layered textures, and flowing forms speak to Country and sea, to memory and movement. Though abstract in appearance, each work holds specific meaning: they are meditations on belonging, portraits of family ties, and stories that transcend language. Bonson’s shift to monochrome also signals a deeper engagement with spirit. The absence of colour allows space for reflection, for both artist and audience. Light becomes a medium in itself, animating each work as it moves across the surface, revealing subtle shifts in tone, depth, and emotion. SKIN – Moving through Monochrome is an exhibition of reconnection and renewal. It reflects Bonson’s willingness to embrace change, to honour the past while exploring new visual and personal territories. In this remarkable series, Bonson invites us to slow down, to look closely, and to feel, offering a space of openness and quiet power. Each work is a window into his journey, but also a mirror—one that reflects our own capacity for connection, transformation, and story. View PDF Catalogue JOSHUA BONSON - SKIN - ABSTRACTION price AU$8,500.00 JOSHUA BONSON - SKIN: MY TOTEM price AU$6,000.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME price AU$6,000.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME (OCTET) price AU$2,500.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME price AU$2,400.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME Sold AU$2,400.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME price AU$1,650.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME Sold AU$1,650.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME Sold AU$1,650.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME price AU$7,500.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME Sold AU$6,000.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME price AU$6,000.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME price AU$2,400.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME price AU$2,400.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME price AU$2,400.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME Sold AU$1,650.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME Sold AU$1,650.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME price AU$1,000.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME price AU$7,500.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME price AU$6,000.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME price AU$6,000.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME Sold AU$2,400.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME price AU$2,400.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME price AU$2,400.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME price AU$1,650.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME Sold AU$1,650.00 JOSHUA BONSON - SKIN - MOVING THROUGH MONOCHROME Sold AU$0.00 EXJBMONO

Artist Profile for Belinda Golder Kngwarreye < Back Belinda Golder Kngwarreye Belinda Golder Kngwarreye ARTIST PROFILE ARTIST CV MARKET ANALYSIS Belinda Golder is an Aboriginal artist from the Anmatyerre language group, originating from Utopia near Alice Springs in Central Australia. She is deeply rooted in a family lineage of prominent artists. READ FULL ARTIST PROFILE BELINDA GOLDER KNGWARREYE - BUSH PLUM Sold AU$3,200.00 BELINDA GOLDER KNGWARREYE - BUSH PLUM Sold AU$0.00 BELINDA GOLDER KNGWARREYE - BUSH PLUM Sold AU$1,500.00 top Anchor 1 PROFILE Belinda Golder Kngwarreye Belinda Golder is an Aboriginal artist from the Anmatyerre language group, originating from Utopia near Alice Springs in Central Australia. She is deeply rooted in a family lineage of prominent artists. Her grandmother, Polly Ngale, is a celebrated artist from Utopia, and her artistic legacy continues through Belinda's mother, Bessie Purvis Petyarre, and sister, Janet Golder. Belinda's great aunts, Kathleen Ngale and Angelina Ngale, are also esteemed artists. Artistic Themes and Techniques: Belinda specialises in depicting the "Bush Plum Dreaming" story, an inheritance from her grandmother. Her artworks vividly portray the transformation of the bush plum (Anwekety) throughout its ripening process, capturing the myriad colours of the fruit. The bush plum is a central element in the Jukurrpa (Dreaming) stories, symbolising the seed dispersal across ancestral lands by the wind, which is a foundational aspect of Anmatyerre culture. The conkerberry, known locally as Anwekety, features prominently in Belinda's paintings. This plant, scientifically named Carissa lanceolata , is noted for its brief fruiting period and the sweet, black fruit it produces, which is highly valued by the desert communities. The tangled, spiny shrub not only provides nourishment but also possesses medicinal properties; its orange inner bark is used in traditional remedies for skin and eye ailments, and its thorns are employed in the treatment of warts. Belinda's painting technique, inspired by the renowned artist Emily Kame Kngwarreye, involves a distinctive method of loading her brush with multiple colour tones and applying them through a dotting technique. This approach, often executed with the paint wet, allows the colours to merge on the canvas, creating dynamic, fluid representations. Her preferred medium is acrylic on canvas. Main Art Themes: Bush Plum Dreaming : Represents the life cycle of the bush plum and its significance in the Dreamtime. Atnwelarre (Pencil Yam) Kame (Pencil Yam Seed) Awelye (Women's Ceremony and Body Paint Designs) : Depicts the traditional body paint and ceremonial designs used by Anmatyerre women. Through her art, Belinda Golder continues to preserve and share the rich cultural heritage of her people, portraying significant stories and traditions of the Anmatyerre community. 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 .