ARTIST TALK WITH KITTY NAPANANGKA SIMON Paddington Gallery for the Kitty Napanangka Simon artist talk. 6 - 8pm From 19 April to 19 April 2018 Viewing Room ARTIST TALK WITH KITTY NAPANANGKA SIMON From 19 April to 19 April 2018 Paddington Gallery for the Kitty Napanangka Simon artist talk. 6 - 8pm

Artist Profile for Nulbinga Simms < Back Nulbinga Simms Nulbinga Simms ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE NULBINKA SIMMS - DIKA DIKA SOLD AU$850.00 top Anchor 1 PROFILE Nulbinga Simms 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 .

NATIVE | MICHAEL JALARU TORRES | HEAD ON PHOTO FESTIVAL Official Opening | Saturday 4th May, 4-6pm From 04 May to 18 May 2019 NATIVE | MICHAEL JALARU TORRES | HEAD ON PHOTO FESTIVAL From 04 May to 18 May 2019 NATIVE | MICHAEL JALARU TORRES | HEAD ON PHOTO FESTIVAL From 04 May to 18 May 2019 Official Opening | Saturday 4th May, 4-6pm Cooee Art is excited to announce their participation in 2019 Head On Photo Festival, with Melbourne based artist, Michael Jalaru Torres. A self-taught photographer, Michael explores the recent history of his country. What is being NATIVE and how does a NATIVE person see the world? The landscape talks to us through colours and texture far beyond what the untrained eye can see – through the shift in colours in the sky and water, the contrast from land to sea and the emotional connection to country. Being NATIVE in the past was a negative experience, with a system that was designed to constantly hold down NATIVE people and take away or not recognise our rights and values. Being NATIVE was viewed as being literally part of the landscape, like livestock that was owned and abused. Being NATIVE today reflects on the survival and resistance of not only the first peoples of this land but also the longest living culture on the planet. Culture is in a revival stage and the values of looking after country have become mainstream. NATIVE people are at the forefront of protecting land and sea and the native animals that share this land. The systemic injustice of Australia’s past policies and views of being NATIVE has been hidden for generations, but the use of modern storytelling has started to illuminate this history for a wider audience. Hopefully this series, as an abstract slice of what NATIVE means as a word, connection and view point, can shift the audience from ignorance to empathy to make change for the future.

Artist Profile for Cowboy Loy Pwerl < Back Cowboy Loy Pwerl Cowboy Loy Pwerl ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE COWBOY LOY PWERL - BUSH TURKEY SOLD AU$14,000.00 COWBOY LOY PWERL - BUSH TURKEY DREAMING SOLD AU$6,000.00 YAKARI NAPALTJARRI - UNTITLED Sold AU$0.00 COWBOY LOY PWERL - BUSH TURKEY DREAMING SOLD AU$6,000.00 COWBOY LOY PWERL - WATER SOAKAGE SOLD AU$2,200.00 top Anchor 1 PROFILE Cowboy Loy Pwerl 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 Ronnie Tjampitjinpa Also know as: Ronny Patinga, Yuntantji, Jampijinpa, Djambidjimpa, Tjambitjimba, Tjampatjimpa < Back Ronnie Tjampitjinpa Also know as: Ronny Patinga, Yuntantji, Jampijinpa, Djambidjimpa, Tjambitjimba, Tjampatjimpa Ronnie Tjampitjinpa c.1942 - 2023 Also know as: Ronny Patinga, Yuntantji, Jampijinpa, Djambidjimpa, Tjambitjimba, Tjampatjimpa REGION: Tjiturrunya, WA LANGUAGE: Pintupi ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE RONNIE TJAMPITJINPA - TINGARI CYCLE SOLD AU$18,500.00 RONNIE TJAMPITJINPA - TINGARI CYCLE Sold AU$0.00 RONNIE TJAMPITJINPA - TINGARI CYCLE Sold AU$0.00 RONNIE TJAMPITJINPA - TINGARI Sold AU$0.00 RONNIE TJAMPITJINPA - WATER DREAMING Sold AU$0.00 top Anchor 1 PROFILE Ronnie Tjampitjinpa c.1942 - 2023 REGION: Tjiturrunya, WA LANGUAGE: Pintupi As a young man of almost 13, Ronnie Tjampitjinpa walked with his family out of the West Australian desert and settled into life in the tumultuous and crowded settlement of Papunya. It was the height of the assimilationist era as the Australia Government oversaw the movement of traditional nomadic people from their Pintupi homelands. In 1971, at the dawn of the Desert painting movement, Ronnie Tjampitjinpa was in his late 20’s. After attending the European-style school in Papunya he returned to the Western Desert, went through initiation at Umari near his birthplace in the region near Muyinnga, about 100 km west of the Kintore Ranges, spent time in Yuendumu and then returned to live with his relatives in Papunya. There he worked as a police tracker, health worker, and labourer. His earlier tribal initiation into ceremonial knowledge along with his familiarity with country and sacred sites placed him in good stead when he began painting in his early thirties, under the tutelage of Old Mick Tjakamarra. As senior custodian of the Honey Ant Dreaming, Tjakamarra had played an instrumental role in initiating the Papunya art movement. Ronnie was one of the youngest men who began painting in the mid-1970s and his artistic output was initially small as he moved regularly between Papunya, Yuendumu and Mount Doreen Station. As the younger generation no longer lived in close proximity to their traditional homelands painting had become an important means for the older law keepers to pass on their knowledge of sacred sites. Ronnie, having been initiated, became an important participant and mediator in this process. The classic Pintupi style of linked concentric circles tells of a sacred geometry. It is derived from body paint designs, cartography of country, and ancestral narratives. A consolidating conformity existed between the older painters as they worked out the ground rules for telling the Dreaming while protecting sacred content. Being one of the youngest to begin painting, Ronnie began to demonstrate a more bold and expressionistic approach. Laborious, individual dots evolved into linked or ‘flicked’ dotting and a strong linear emphasis. Distinct iconographic features such as circles and U shapes were relinquished in favour of abstraction and the creation of a vibrant, painterly surface. These developments were encouraged by the return to tribal lands, facilitated by a change in government and Indigenous policies in the late 1970s and early 1980s. Ronnie Tjampitjinpa was a strong advocate for this outstation movement that was given impetus and partly funded by Papunya art sales. During this period, he travelled to Yuendumu, Balgo Hills and Mount Doreen encouraging as many people as he could to return to their traditional Pintupi lands. In 1983 he moved with his family to the small settlement of Ininti-Redbank, near Kintore, and stopped painting for a few years due to his political involvements. This included becoming chairman of the Kintore outstations council and his involvement in important claims for land rights. He had already pioneered new ways of interpreting his ancient visual language and soon returned to painting with new enthusiasm, describing politics as 'too much humbug'. The more focused environment of his own community fueled his distinct aesthetic preoccupation. In 1984 Tjampitjinpa won the Northern Territory Art Award. This became controversial when other contestants complained that Papunya art was folk art and not worthy of the ‘high art’ title, a strangely persistent attitude in some art circles at that time. The moment became an historic landmark when Judge Nancy Underhill upheld her decision defending his entry, Happening at Mt. Leibig, as genuine art and notably of the highest standard. Demand for Tjampitjinpa’s work grew and his leaning towards painterly abstraction was increasingly favoured and encouraged by the contemporary art market. He emerged as a leading figure, sustaining the boom in the national and international reputation of Aboriginal art during the 1990s. Ronnie's works first appeared in Papunya Tula exhibitions during the 1970s, and later in commercial art galleries in Sydney and Melbourne throughout the 1980s. He won the Alice Springs Art Prize in 1988 and this was followed by successive solo exhibitions at Gallery Gabrielle Pizzi in 1989 and 1990. More than any other figure, Ronnie Tjampitjinpa can be credited with having forged a new artistic direction in embracing aesthetic minimalism, thereby freeing up further possibilities for the emerging generation of painters and challenging fixed perceptions of Western Desert art. His hypnotic designs explore interacting geometric shapes which emanate an eye-catching, pulsating action. Still infused with the Dreamings of his mythical Tingari ancestors, Tjampitjinpa refined the characteristic Pintupi simplicity of design, boldly scaling up fundamental pictorial elements, freeing them from their iconographic reference points and strongly emphasizing the distinctive repetition of line and form that has always infused Pintupi art with the spirit of their vast and ancient lands. From the mid-1990s, Ronnie Tjampitjinpa began painting for a wide array of dealers, only occasionally returning to work with Papunya Tula. Even though Ronnie frequently worked for other dealers, Papunya Tula organised solo exhibitions for him at Alcaston Gallery Melbourne in 1995 and Utopia Art Sydney in 1994,1996, 1997 and 2002. In 2004 he was elected Chairman of the company. His work has been included in major survey exhibitions in Australia and overseas - including a solo retrospective in 2015 at the Art Gallery of NSW - yet he has mostly eschewed the trappings of fame and fortune by dividing his time between working as a painter and performing his ceremonial obligations. Able to earn money wherever he goes, Ronnie is the quintessential modern nomad, familiarly known across a wide expanse of country as he constantly travels in his four-wheel drive with his spears tied on the roof. ARTIST CV Market Analysis MARKET ANALYSIS Ronnie Tjampitjinpa began to paint early in life and outlived most of his older contemporaries. He has enjoyed a long and fruitful career as a painter during which he has produced works in a variety of different styles. Apart from a small number of early boards from the early 1970s and generic Tingari paintings typical of the late 1970s and early 1980s, his distinctive trademark is bold geometric design. At their best, these works produced in the second half of his career, have a strength and power that commands attention while his lesser works seem stilted and repetitious by comparison. Although he painted before Bardon left Papunya, his best results have been for works created during the 1990s. This is quite the reverse of the other ‘Bardon’ artists. His early works are rare and do not share the visual strength of the early boards by many of the older men. While Ronnie has painted only occasionally for Papunya Tula since the mid to late 1990s it has been works with this provenance that have dominated his highest secondary market results. His top twenty sales have been for predominantly large works painted for private dealers and it is expected that major pieces like these will continue to increase in value, while his many minor works will languish. Ronnie’s offerings at auction have been voluminous with around 500 works offered for sale since they first appeared in 1995. His low clearance rate is due principally to his independence as an artist in a market where provenance was considered so important. Of his top ten results at the end of 2006 only one had come from a source other than Papunya Tula, however, by the end of 2009 results for non-art centre provenanced works had increased to four. The word results is underlined here as 4 of these results have been set for one single painting. [the following scenario is supposition on my part. I have no proof whatsoever of its veracity] But Kumpuralgna 1996 has appeared in four Menzies sales over a period of 9 years. This 364 x 153 cm work was commissioned by Kimberley Art in Melbourne from dealer Peter Van Groessen and featured a number of the artist’s most important themes. It was purchased first in November 2006 for $54,000 (Lot 109) by a Rod Menzies buyers' consortium of which Menzies most probably retained 50% of the ownership. When resold in March 2008 it was reputed to have sold for just $60,000. Now Menzies probably owned 25%! It appeared once more in 2010 and was recorded as having sold for $66,000 and Menzies had most likely now divested himself of the work. Finally five years later, in 2015, it recorded the artist's second highest record price when it sold for $79,773 netting the syndicate Menzies cobbled together a modest profit on their 'investment'. In 2013 one of Ronnie’s early boards, Ceremonial Dreaming 1972, displaced another 1972 board as his highest record for an early work which had stood since 1996. In what has been a rare occurrence, a not dissimilar work almost twice the size was offered for sale by Lawson~Menzies in May 2007. Carrying an ambitious presale estimate of $75,000-95,000 Ceremonial Dreaming 1972 had failed to find a buyer until a week after the auction when reportedly sold by private treaty for $50,000. In 2017 his previous record was shattered when Wilkinkarra (Lake Mackey) fetched almost double the record of $79,812 it had replaced. Sotheby's had last sold the work in 2000 for $63,000 which was the record at the time. In 2017, after having enjoyed the work for over 15 years, the collector released the work to auction, making an extremely healthy profit. Then, in 2019, Ronnie's record was once again obliterated when Tingari Ceremonies at the Site of Pintjun 1989 sold for a whopping A$353,169 including BP at Sotheby's New York Aboriginal art auction. This result more than doubled 2017s record-setting price of A$151,280. Like most of his highest prices, this work was created at Papunya Tula for a major dealer in Gabrielle Pizzi. Ronnie Tjampitjinpa was and still is a highly successful artist in the primary market. His output was prodigious until 2012-2013 when his health began to deteriorate and began struggling to paint with small brushes. Until the last few years, his highest results hovered around $50,000 with a steady decline in value after the $25,000 mark. In recent years, we have seen his record doubled on a near-regular basis. These results continue to follow the familiar provenance and style model, even if the value has increased fivefold since 2002 (after which his top values plateaued for over a decade.) Evidence suggests that while his works are still available in the primary market, all but the very best will languish at auction. Ronnie, however, is a most important figure in the history of Western Desert painting. His works will continue to demand record prices well into the foreseeable future. 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 Eubena Nampitjin < Back Eubena Nampitjin Eubena Nampitjin 1924 - 2013 ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE EUBENA NAMPITJIN - UNTITLED SOLD AU$2,800.00 EUBENA NAMPITJIN - NAKARRA NAKARRA I Sold AU$0.00 EUBENA NAMPITJIN - KINYU Sold AU$0.00 EUBENA NAMPITJIN - KUNAWARITJI Sold AU$0.00 EUBENA NAMPITJIN - MIDJUL Sold AU$0.00 EUBENA NAMPITJIN - MINDIKI Sold AU$0.00 EUBENA NAMPITJIN - CANNING STOCK ROUTE, W.A. SOLD AU$2,200.00 EUBENA NAMPITJIN - MIDJUL Sold AU$0.00 EUBENA NAMPITJIN - PANKAPIRNI Sold AU$0.00 EUBENA NAMPITJIN - MIDJUL Sold AU$0.00 EUBENA NAMPITJIN - KINYU Sold AU$0.00 EUBENA NAMPITJIN - UNTITLED Sold AU$0.00 top Anchor 1 PROFILE Eubena Nampitjin 1924 - 2013 Born at Yalantijirri near Well 33 on the Canning Stock Route, Eubena Nampitjin moved to the Catholic mission that had been established 5 years earlier near the northern reaches of Lake Gregory in 1948. In 1962 the mission moved to Wirrimanu (Balgo Hills) where there was a more permanent water supply and thereafter became a melting pot of tribal peoples drawn from the cusp of the Tanami and Great Sandy Deserts. The Wangkajunga, Walmajarri, Kukata, Walpiri, Ngarti and Djaru people congregated there as life became more and more difficult on their traditional land. While the people of Balgo Hills heard of the emergence of the Papunya art movement from Pintupi when they visited the mission to take part in ceremony in 1971, their own art movement did not begin until the mid 1980’s. The confluence of up to 10 different Aboriginal traditions in this one community resulted in a degree of flexibility in the practice of law, art and ritual. Since many of the older generation left the desert as mature adults, the majority of their paintings relate strongly to their land and are expressed from a personal or experiential perspective. Eubena did not begin painting until the second art coordinator, Michael Rae, extended the opportunity to paint beyond the Adult Education Centre to the camps that had established themselves around the fringes of the mission. Canvases were delivered and collected on a weekly rotation and it was common for husbands and wives to complete canvases together. This was certainly the case with Eubena Nampitjin, who developed her aesthetic alongside her second husband, Wimmitji Tjapangarti. They began collaborating in 1988 and their art flourished under Rae’s guidance. Though Wimmitji and Eubena initially worked in earthy brown and red toning with areas of white dotting and lines, by 1989 they began experimenting with soft floral patterns transforming the complex dotting and compositions that characterise their work into delicately beautiful and opulent paintings. Their early works portrayed Dreaming sites, country, and ancestral travels in the most intimate cartographic detail and are, to this day, the very finest paintings that have ever emanated from the community. Whether these paintings were attributed to Wimmitji or Eubena was always simply a matter of chance. Canvases were delivered and names were transcribed on to the back prior to handing them to the artists. They were never attributed to both husband and wife. As the art centre flourished and demand for their paintings grew, Wimmitji began painting less and Eubena increasingly painted on her own. After the death of her daughter Ema Gimme Nungerayai in 1993, Eubena returned to Well 33 and did not paint again until encouraged to return to Balgo Hills two years later. From that time on she painted alone with larger, freer dots and a more gestural style executed with a palate of red, yellow and pink. In time these late career works became more akin to finger painting with fluid brushstrokes and only the occasional intimate section actually dotted with a stick. While Balgo’s physical isolation has conferred the space to evolve a distinct and unique artistic style, Eubena’s own separation from her homeland has manifested as an art of absence, an act of homage, which has crystallised the poignancy of her country in her works. The sense of raw energy and spontaneity in her work with her trademark use of vibrant colour, bold patterning, and rough and ready handling creates an 'extraordinary sense of presence,' that overrides any connotations of the work as an object of anthropological significance and invites the viewer 'to appreciate pictures for their immediate visual impact as works of contemporary art' (McDonald 1995). Eubena’s art transported her 'way into her country, re-inhabiting it brush mark by brush mark, like walking or breathing' (Mahood 2005: 18). She perpetually renewed this sense of country, tirelessly sitting in her customary position on the floor of the art centre, painting for hours on end. She stated 'I like painting from my heart … I like to do paintings, big ones, to keep my spirit strong. Really good. I don’t get tired doing big ones, sometimes I do them in one day. My spirit keeps me strong' (cited in Alexander 2004: V1). ARTIST CV Market Analysis MARKET ANALYSIS As time has progressed since its incorporation in 1987, the Warlayirti art centre has become increasingly dependent upon a dwindling band of older artists able to mentor younger artists and command high prices. For a period at the end of her life, Eubena was Balgo’s 'grand matriarch and number one painter' (Mahood 2005: 16), whose paintings were always in great demand both in Australia and internationally. For some time it seemed that the older she became, the more she painted. However, she passed away in 2013 having left a significant artistic legacy. The large volume of gestural often fairly repetitive work she produced over the last five years of her life, and the premium prices being charged for her work on the primary market, made the secondary market a better option for those seeking distinctive works at good value. Following her death, works could only be procured from the secondary market and, as a result, Eubena Nampitjin was the 17th most successful artist in 2015 with 10 of the 11 works offered finding willing buyers and her best works that year achieving her 12th and 15th highest results ever at auction. Her best early works were painted with her husband, Wimmitji, and were largely attributed to him. This is evident from the two earliest paintings that have come on the secondary market. One in particular, painted in 1987 and offered at Deutscher~Menzies in June 2000, bore no similarity at all to the rest of her oeuvre. As her work differentiated from that of Wimmitji and she gained greater experience, her style gradually developed. We are now able to distinguish three distinctly different stylistic periods in her work. Her early paintings, most likely under the influence of Wimmitji, are quite detailed in design and the dots, mainly in yellow and some white, remain distinguishable. Very few of Eubena’s paintings from this early period, around 1990, have come on the market. Since she painted far less at this stage, and many of her own paintings could have been attributed to her husband, the demand for these works outstrips supply and their prices should keep rising, especially for the more highly desirable images. Eubena’s second highest price was for a small work from this period measuring just 100 x 75 cm. Wantaru/yintarnyu 1990 sold for $52,200 against an estimate of $15,000-20,000 in Sotheby July 2004 sale. While the images which characterise Eubena’s middle period still tend to be full of detail there is an increasing use of red and more thickly and closely painted dots as well as the introduction and occasional use of black and green. Her record result to this day is a work created during this period, Ikara 1992 sold for $82,750 against a presale estimate of $40,000-60,000, again Sotheby in July 2004. Eventually, in her later, and final period, the dots in her works have become so gestural and painterly in their application that they are more or less indistinguishable, and the colours used have been confined to mostly red, yellow, pink and white. Eubena has also combined blue with white in a number of works produced between 2007 and 2009. These paintings, especially when large, exhibit a haptic rhythm that excites the beholder such that, even though there is quite a large supply from this period, the better images still fetch very reasonable prices both on the primary and secondary market. Eubena’s fifth to eighth highest prices at auction, were for large works from this final period. Interestingly Untitled 1999 , currently her ninth highest price, held the artist’s record until eclipsed in 2004 by the work that still stands as her highest sale at auction. In general, the more static the image and the smaller the work, the less value has been attached to it. While leaving out the two highest priced early works which tend to skew the results, prices tend to be principally size related. Eubena's fortunes at auction have been mixed since the beginning of 2004. Prior to this her career success rate was 70%. While her 2004 results saw this drop to 65%, with only nine of the 16 works on offer selling, it was by far her most successful year in terms of turnover generating $214,359 in sales. 2010 was her most disappointing year in terms of sales clearance, with only four of 23 works finding a new home. With many of the failures carrying estimates above $25,000 and as high as $80,000, these results are clearly indicative of an overheated market for the works of an artist who was still actively painting at the time. Nevertheless quality works can still command high prices. A good example was Millagudoo in the Great Sandy Desert 1995 which established the artist’s third highest record when sold at Sotheby’s in July 2009 for $45,600 (Lot 49). In 2011 and Near Jupiter Well in the Great Sandy Desert 1995 which sold at Sotheby's in New York in 2019 for $AUD50,712, her fourth best result. As with the work of other first generation Balgo painters, Eubena’s early works are undervalued given their historical importance and aesthetic quality. This is unlikely to last, now that she has passed away and works in the primary market have dried up. Just as 1970s Papunya works were replete with ceremonial knowledge and intimate detail, so too were 1980s Balgo Hills paintings. Over time, as the market becomes more knowledgeable, Eubena Nampitjin will be recognised as the ‘great matriarch’ of an artistic legacy that spread during her lifetime, from the Great Sandy Desert and the Canning Stock Route throughout the southern reaches of the Kimberley. 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 Valma Nakamarra White < Back Valma Nakamarra White Valma Nakamarra White ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE VALMA NAKAMARRA WHITE - WARNA JUKURRPA (SNAKE DREAMING) Sold AU$0.00 top Anchor 1 PROFILE Valma Nakamarra White 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 Steven Jakamarra Walker < Back Steven Jakamarra Walker Steven Jakamarra Walker ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Steven Jakamarra Walker 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 Tommy May Ngarralja < Back Tommy May Ngarralja Tommy May Ngarralja ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE TOMMY MAY NGARRALJA - JILJI AND BILA SOLD AU$3,000.00 top Anchor 1 PROFILE Tommy May Ngarralja 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 Nungarrayi Larry < Back Melissa Nungarrayi Larry Melissa Nungarrayi Larry ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Melissa Nungarrayi Larry 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 Walangkura (Uta Uta Tjangala's Widow) Napanangka < Back Walangkura (Uta Uta Tjangala's Widow) Napanangka Walangkura (Uta Uta Tjangala's Widow) Napanangka ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE WALANGKURA (UTA UTA TJANGALA'S WIDOW) - KURRUYULTI SOLD AU$2,400.00 WALANGKURA (UTA UTA TJANGALA'S WIDOW) NAPANANGKA - UNTITLED Sold AU$0.00 top Anchor 1 PROFILE Walangkura (Uta Uta Tjangala's Widow) 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 .

Artist Profile for Colleen Carter < Back Colleen Carter Colleen Carter ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE COLLEEN CARTER - SUGARBAG YARD, BOW RIVER SOLD AU$1,800.00 top Anchor 1 PROFILE Colleen Carter 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 .