Artist Profile for Walya Mitchell < Back Walya Mitchell Walya Mitchell ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE WALYA MITCHELL - NYIINYII MINYMA SOLD AU$700.00 top Anchor 1 PROFILE Walya Mitchell 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 .

MawurndjulJohn John Mawurndjul John Mawurndjul 1952 Mawandjul, Mowandjul, Mowundjal, Mawundjurl, Mawurndjurl, Johnny John Mawurndjul was born c.1952 at Mumeka, prior to the establishment of the government settlement at Maningrida some 50 kilometres to the north. He grew up with his family, outside the sphere of European influence, living according to the rhythms of nature. The family moved camps with the changing seasons, from Mumeka to Maningrida during the wet season and on to the Tomkinson flood plain in the dry season. With his mother, Mary Wurrdjedje, and father, Anchor Kulunba, Mawurndjul continued this pattern into in adulthood, later accompanied by his wife, Kay Lindjuwanga, and their seven children. However, in the 1980's he followed his older brother, Jimmy Njiminjuma, and relocated more permanently to an outstation at Milmilngkan. It was under Jimmy Njiminjuma’s tutelage that John began bark painting and the mythology of his new surrounding environment at Milmilngkan became the primary subject matter for his work. Thus, throughout the1980's, Mawurndjul painted small barks of Ngalyod, the Rainbow Serpent keeper of the nearby billabong, as well as various depictions of the local natural species, such as fish, bandicoots, and possum with precise attention to anatomical detail. The figurative elements of his work served as a compositional vehicle to support a complex array of cross-hatching, or ‘rarrk’, derived from the body painting designs of the Mardayin ceremony. Mawurndjul’s work at this time reflected his position as heir apparent to a long painting tradition, both emulating and learning from a lineage of Kuninjku artists whom had created magnificent bark paintings over the previous decade. However, unlike Yirawala, Peter Marralwanga, and Mick Kubarkku, who shared a close association to the ancient practice of painting on cave and rock surfaces, John forged a new form of artistic expression. Most obviously the x-ray depiction of the internal organs of the body prevalent in stone country rock and cave paintings are absent in his work. In their place is an emphasis on a complex repertoire of rarrk. Though artists like Yirawala had incorporated rarrk designs into their art, this ‘design element’ remained secondary to the figurative elements and rarely left the interior of the figure, leaving a plain background. This came in time to be thought of as the quintessential Central and Western Arnhem Land style. Mawurndjul, in contrast, increasingly allowed the rarrk designs to dominate, filling both the interior and surrounding space of his figures. In 1988 Mawurndjul abandoned figurative iconography all but completely, creating an abstracted vision of country. This development was a logical extension of his experimentation with rarrk designs, more intimately related to the bark painting tradition of the Yolngu people of Eastern Arnhem Land. However, it was also a very deliberate move on Mawurndjul’s behalf, as he explained: ‘I am the person who instigated this style and others are copying it… I am leading this movement and they are following. I am going first‘ (Ryan 2004: 64). Quite clearly, Mawurndjul saw himself as the pioneering artist in a new movement in Kuninjku bark painting. Certainly, he played a formative role in shaping a new direction for Kuninjku women artists when he taught his wife, Kay Lindjuwanga, and daughter, Anna Wurrkidj, to paint. Maningrida Arts and Culture can now boast of no less than sixteen women bark painters. He also encouraged Ivan Namirrki, Samuel Namunjdja, and Timothy Wulanjbirr to emulate his style. Mawurndjul’s art continued to evolve throughout the 1990s as he perpetually simplified and purified his style to create an increasingly ‘metaphysical form of abstraction with a compelling and esoteric geometry that has a three-dimensional quality' (Ryan 2004: 64). In addition to paintings on bark, he has created sculptures, specifically wooden Lorrkon (Dupun) hollow logs. In these, and in fact all of his art, the designs mirror his development of increasingly graceful mazes of rarrk patterning, which have attracted exponentially growing attention from curators and collectors. Unlike most of the great bark painters who preceded him, perhaps with the exception of Yirawala, John Mawurndjul’s career has been handled professionally and carefully. Since his first solo exhibition at Gallery Gabrielle Pizzi in 1993, he has had numerous solo shows, been in art competitions, and participated in dozens of group and institutional exhibitions. His 2004 exhibition at Bill Gregory’s Annandale Galleries in Sydney introduced his work to collectors outside of those specifically interested in Aboriginal art. This was remarkable for an artist whose primary medium is not clearly understood or accepted in the contemporary mainstream. His star status, partly the effect of his contribution to Crossing Country at the Art Gallery of New South Wales in 2004, saw him paint the ceiling and pillars of the Musee du Quay Branly in Paris while still fresh from a retrospective at the Jean Tinguely Museum in Basel, Switzerland. It led Art Collector magazine, in 2006, to refer to him as ‘the artist of the moment in Australia' when listing him in its 50 most collectable artists. As an almost direct consequence of Mawurndjul’s success, Gregory and others have hailed a renaissance in bark painting, certainly delighting those long-time admirers who have believed that contemporary Arnhem Land art has been sorely neglected when compared to the acrylic paintings of the Western Desert. Though historic artists such as Yirawala do attract high prices for seminal works, equally deserving early bark painters such a Mick Kubarkku, David Milybuma, and Wally Mandark still do not receive comparable prices at auction. Despite Gregory’s enthusiastic assertion, it is far more likely that the current hype surrounding Mawurndjul’s art is due almost entirely to its distinct aesthetic leap from traditional figurative and iconic bark painting and his professional representation. If this is so, just as the development of aesthetic minimalism by Papunya artists in the early to mid-1990s did little to alter perceptions about their more ethnographic 1980’s works, Mawurndjul’s abstracted geometric cross-hatching is unlikely to spark a re-evaluation of the more figurative paintings of early bark artists. Regardless of whether or not he has sparked a revolution in bark painting, John Mawurndjul has already earned himself an enduring place as one of Aboriginal Australia’s greatest bark painters. He won the Telstra National Aboriginal & Torres Strait Islander Art Award for painting on bark in 1999 and in 2002; was awarded the prestigious Clemenger Contemporary Art Award, at the National Gallery of Victoria in 2003. 2018 was a big year for John Mawarndjul's reputation and standing and, concurrently, the value and collectability of his works. Sydney's Museum of Contemprary Art held a major retrospective, which began its tour nationally. He looks likely to produce wonderful works of art and participate in important projects for many years into the future. He is, without doubt, one of the most successful Australian artists of the millennium. There is a defining line between John Mawarndjul’s earliest works and those created later. Australian Art Collector magazine went so far as to say that his early paintings seem almost atypical by comparison and, while a more accurate analysis would recognise the genesis of his new abstracted vision in his early figurative imagery, the success of Mawundjul’s paintings on the secondary market is nonetheless highly selective. All but one of his highest record prices at auction feature large expanses of fine cross-hatching, free of figuration. In 2007, three of the five works offered at auction entered Mawundjurl’s top ten results. It was hardly surprising given the tremendous exposure he had received after internationally publicised shows in Europe and his Musée du quai Branly commission. As a result of the three new entries in his ten best results during 2007, average sales jumped dramatically to $31,857 for that year, placing him in the same league as a small number of stellar secondary market performers including Tommy Watson and Paddy Bedford. In 2008, four of the five works on offer sold and two of these entered his highest records during what was a very poor year for Indigenous secondary market sales. Again in 2009, nine of ten works offered sold for a total of $117,575; a sum equivalent to 20% of his total sales on the secondary market. That they did so well at auction just four years after being originally purchased clearly indicated that Mawurndurl’s primary market success was set to continue to convert into secondary market prominence. 2015 was a stellar year for the artist. A new high water mark was set when Mardayin Design at Kakodbebuldi, 2002 sold for $120,000 and no less than four works entered his top 10 records. He was the 9th most successful artist that year having sold 7 of the eight works on offer for an average price of $51,193. With a career average of just $15,517 it was enough to see his overall ranking amongst the most important artists of the movement rocket from 47th to 40th place. 2017 was another strong year, with to works from the Laverty Collection making it into his top ten at 8th and 9th. Buluwana 2001, which sold for $39,040, was the only prominently figurative work in his top ten, representing his best result of the year. Aside from the most prized work, Mawundjul’s large figurative paintings are still of considerable value, while his smaller barks drop in price accordingly. In 2006, Ngaldadmurring 1998, a large figurative work of a Saratoga fish measuring 154.5 x 78 cm sold for $22,800, clearly demonstrating the steady rise in Mawundjul’s prices when compared to the result for a roughly equivalent bark Mimi Spirits in Their Rock Homes, which sold for just $3,300 in 1994. Again, in 2006, Yawk Yawk c.1980 measuring just 68.5 x 30 cm sold for $6,600, the highest price paid for a small bark, definitively demonstrating that size does matter regardless of period or style. Given his current primary market prices, Mawurndjul’s auction record is inaccurately low. Many of the records of works that have failed to sell are now quite old and these have depressed his career average prices. Yet his 2007 sales increased his average price, which stood at $6,671 in 2006. By 2020 it had risen to $14,923. The recent blossoming of the movement at Maningrida is clearly visible on the primary market, but is only now becoming equally apparent in the auction houses. The lag time has been a period of anticipation, excitement, and opportunity for collectors with an eye to acquire quality works by Mawandjurl and several of his contemporaries. It would seem this window of opportunity has now firmly closed. As evidenced by his recent results, the appearance of any work by Mawurndjurl at auction is likely to inspire spirited bidding. 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

OCEANIC ART FAIR 17 Thurlow St, Redern, NSW 2016 From 05 November to 05 November 2022 OCEANIC ART FAIR From 05 November to 05 November 2022 OCEANIC ART FAIR From 05 November to 05 November 2022 17 Thurlow St, Redern, NSW 2016

This year’s 2023 Telstra National Aboriginal and Torres Strait Islander Art Awards (Telstra NATSIAA), Australia’s richest art awards, presented by the Museum and Art Gallery of the Northern Territory (MAGNT) and Principal Partner Telstra on Larrakia Country (Darwin). < Back 40th Telstra NATSIAA Celebrates Diverse Indigenous Artistry Aug 11, 2023 This year’s 2023 Telstra National Aboriginal and Torres Strait Islander Art Awards (Telstra NATSIAA), Australia’s richest art awards, presented by the Museum and Art Gallery of the Northern Territory (MAGNT) and Principal Partner Telstra on Larrakia Country (Darwin). With each state and territory represented, the finalists presented an array of outstanding artworks that spoke of heritage, culture, and modern-day experiences. Hayley Cotton , Cooee Art Leven's Gallery Manager, were among the esteemed attendees, keenly surveying the vibrant showcase at the awards held on Larrakia Country. "It's an incredible privilege to witness the evolution and growth of Indigenous artistry through this prestigious event," remarked Cotton, visibly moved by some of the pieces. "The convergence of traditional narratives with contemporary techniques makes the Telstra NATSIAA a unique and important event in the art calendar." As one of the best known art awards in Australia, the 2023 Telstra NATSIAA not only stands as a testament to the depth and breadth of Indigenous artistry but also as a beacon that draws international attention to the stories and experiences of Aboriginal and Torres Strait Islander communities. This year, both emerging and established artists were honored, showcasing the vast gamut of talent that exists across the spectrum. Cooee Art Leven's representative echoed similar sentiments, noting the significance of having both new and familiar faces on the list of finalists. "It's heartening to see young artists getting the platform they deserve while also celebrating those who have shaped the Indigenous art scene for years." The winners of the awards, announced amidst much anticipation, included a mix of innovative contemporary pieces and deeply traditional artworks. With representatives from every state and territory, the awards were a true reflection of the diverse and dynamic nature of Indigenous art in Australia. While the event came to a close, the reverberations of the art and stories showcased will undoubtedly continue to inspire and educate many about the rich and intricate tapestry that is Aboriginal and Torres Strait Islander art. For those who missed the awards ceromony, the physical exhibition and the online showcase remains available , ensuring that this magnificent display of artistry can be accessed by anyone, anywhere. Visit https://www.magnt.net.au/natsiaa2023 for the official website. © Images and copyright belongs to MAGNT. The winners are: Telstra Art Award (The Big One) Keith Wikmunea Wik-Alkan Wik-Mungkan Keith Wikmunea © MAGNT Photo by: Brian Cassy Ku’, Theewith & Kalampang: The White Cockatoo, Galah and the wandering Dog 2023 © MAGNT Photos below by: Charlie Bliss Telstra General Painting Award Winner Julie Nangala Robertson Mina Mina 2022 Julie Nangala Robertson © MAGNT Telstra Work on Paper Award Winner Brenda L Croft blood/memory: Brenda & Christopher II Brenda L Croft © MAGNT Telstra Bark Painting Award Winner Owen Yalandja Ngalkodjek Yawkyawk 2023 © MAGNT Wandjuk Marika Memorial 3D Award Winner Anne Nginyangka Thompson A n angu History 2023 © MAGNT Telstra Emerging Artist Award Winner Dhalmula Burarrwanja wanha, dhika, nhawi? 2022 © MAGNT Telstra Multimedia Award Winner Jimmy John Thaiday Beyond the lines 2022 © MAGNT 2023 Telstra NATSIAA Finalists Congratulations to all the finalist! Anindilyakwa Artist Collective Anne Nginyangka Thompson Arnold Joseph Tipiloura Balwaldja Wanapa Munuŋgurr Barbara Mbitjana Moore Betty Bundamurra Betty Campbell Billy Tjampitjinpa Kenda Brenda L Croft Carbiene McDonald Tjangala Corban Clause Williams Dhalmula Burarrwaŋa Dhamuw Koedal Dhopiya Yunupiŋu Doris Arlyetilhe Thomas Dulcie Sharpe Eileen Bray Joomena Elisa Jane Carmichael Emma Singer Frank Young Gaypalani Waṉambi George Cooley Glen Namundja Graham Badari Gunybi Ganambarr Harry Guyumbirrirr Malibirr Iluwanti Ken Jahkarli Felicitas Romanis Janet Koongotema Janice Murray Pungautiji Jeanette James Jimmy John Thaiday Jingalu Joanne Napangardi Wheeler Julie Nangala Robertson Kaye Brown Keith Wikmunea Mandy Quadrio Mary Dhapalany Matthew Djipurrtjun Teapot Michael Jalaru Torres Motorbike Paddy Ngale Mrs Heffernan Muluymuluy Wirrpanda Naminapu Maymuru-White Naomi Kantjuriny Napuwarri Marawili Nyinta Donald Owen Yalandja Patrick Mung Mung Rachael Lionel Raelene Kerinauia Lampuwatu Samson Bonson Shaun Angeles Penangke Shirley Macnamara Stanley Ebatarinja Tanya Van Horen Umatji Tanya Tjapalyi Warraba Weatherall Wendy Hubert Wurrandan Marawili Yalmakany Marawili Yaritji Tingila Young Previous Next Featured artworks Quick View ANGELINA PWERLE NGAL - UNTITLED ( BUSH RAISIN MAN) Price AU$3,000.00 Quick View ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Out of stock Quick View LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Price From AU$13,500.00 Quick View BRONWYN BANCROFT - UNTITLED Out of stock Quick View JOSHUA BONSON - SKIN: A CELEBRATION OF CULTURE Price AU$8,500.00 Quick View Book BOOK - KONSTANTINA - GADIGAL NGURA Price From AU$99.00 Quick View FREDDIE TIMMS - MOONLIGHT VALLEY Price AU$35,000.00 Quick View NEIL ERNEST TOMKINS - BURN THERE, DON'T BURN THERE Price AU$7,000.00

Artist Profile for Dickie Minyintiri < Back Dickie Minyintiri Dickie Minyintiri ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE DICKIE MINYINTIRI - KAPI TJUKUPA SOLD AU$14,000.00 top Anchor 1 PROFILE Dickie Minyintiri 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 Ian Waldron < Back Ian Waldron Ian Waldron 1950 - ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE IAN WALDRON - BLOODWOOD TOTEM ORANGE SOLD AU$1,400.00 IAN WALDRON - BLOODWOOD TOTEM BLUE SOLD AU$950.00 IAN WALDRON - BLOODWOOD TOTEM BROWN SOLD AU$1,400.00 top Anchor 1 PROFILE Ian Waldron 1950 - 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 Dundiwuy Wanambi < Back Dundiwuy Wanambi Dundiwuy Wanambi ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE DUNDIWUY WANAMBI - GOANNA ASSOCIATED WITH WUYAL MYTH SOLD AU$1,950.00 top Anchor 1 PROFILE Dundiwuy Wanambi 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 Napanangka < Back Walangkura Napanangka Walangkura Napanangka 1946 - 2014 ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE WALANGKURA NAPANANGKA - WIRRULNGA (TWO ROCKHOLES) Sold AU$0.00 WALANGKURA NAPANANGKA - UNTITLED Sold AU$0.00 top Anchor 1 PROFILE Walangkura Napanangka 1946 - 2014 As one of the last generation to remember a childhood lived in the desert hunting and gathering with her family, Walangkura Napanangka’s paintings recall the stories of country and the location of specific sites in her traditional homeland west of the salt lake of Karrkurutinjinya (Lake Macdonald). Born in 1946, at Tjitururrnga west of Kintore, in the remote and arid country between the Northern Territory and Western Australia, she lived with her father Rantji Tjapangati and mother Inyuwa Nampitjinpa and later, while still a teenager, travelled by foot with her family over the hundreds of kilometres from their remote desert home eventually joining Uta Uta Tjangala’s group as they walked into the settlements of Haasts Bluff and then Papunya. The lure of settlement life with its promise of plentiful food and water belied the harsh conversion they would make to an alien lifestyle with its many problems and unfamiliar demands. The upheaval however, was ameliorated to some degree by the proximity of her immediate family including her mother Inyuwa, adoptive father Tutuma Tjapangati, and sister Pirrmangka Napanangka all of whom became artists. Relocated to the community of Kintore in 1981 when the outstation movement began, Walangkura participated in the historic women’s collaborative painting project (1994) that was initiated by the older women as a means of re-affirming their own spiritual and ancestral roots. It was a time of specifically female singing, ceremony and painting, away from the gaze of outsiders and men folk. The huge and colourful canvases that emerged from the women’s camp were 'alive with the ritual excitement and narrative intensity of the occasion' (Johnson 2000: 197). Within a year, Papunya Tula Artists, now established at Kintore, had taken on many of these women as full-time artists, revitalising the company after the deaths of many of the original ‘painting men’. While individual women forged their own stylistic trajectory, these paintings were immediately distinguishable from the men’s more cerebral and symmetrical style. They radiated an exuberant and vibrant energy, the felt heart-beat of women’s affinity to country and spirit. Walangkura’s early works, created from 1996 onward, are characterized by masses of small markings and motifs covering large areas of canvas. Her favorite colour, a deep sandy orange predominates, accentuated against more somber blacks and reds and dusky greens or yellows. More recent works show a gestural quality though still tightly packed with an intensity of geometric line work representing sandhills. In a sense this provides a strong visual and contextual link to the men’s linear style as exemplified by the works of George Tjungurayi, Turkey Tolson and Willy Tjungurayi. They are rich with a sense of rhythm and unimpeded movement: they show sandhills, rockholes, journeys and gatherings of ancestral women, the flow of colours in subtle shifts of light. Many of these are monumental works that transmit the confidence of an assured and dynamic creativity. Walangkura transmits the power of the desert, soaked up during her childhood years, and imbues her works with the mystery of a sacred perception. In time Walagkura became one of Papunya Tula’s most senior women artists. After the death of her mother Inyuwa and the tragic death of her half sister Pirrmangka in 2001, she moved for a time to Kiwirrkura where she lived with her husband and fellow artist Johnny Yungut Tjupurrula and their six children. Her first solo exhibition was held at Gallery Gabrielle Pizzi in 2003, and this was followed by another at Utopia Art Sydney in 2004. As her fame spread from this time onward she began painting increasingly for a number of private independent dealers outside of the Papunya Tula company. As a result her works could be seen in a great many galleries and retail shops throughout the country. At her best, Walangkura Napanangka was a formidable artist capable of creating masterpieces on canvases up to three metres in size and many of these are likely to become emblematic examples of Pintupi women’s art. ARTIST CV Market Analysis MARKET ANALYSIS Walagkura’s earliest paintings created from 1996 onward became popular for their exploration of aspects of principally Tingari stories. She was quick to develop an identifiable style in which sparsely dotted circles in a variety of colours became more densely painted in a more restricted pallete over time. The connecting lines, typical of Pintupi men’s paintings, were removed and small circles rendered in various shades became spaced, as if the wind had blown them into tighter and looser groupings. The first work appeared at auction in 1999 in a Sotheby’s mixed offering. Un-illustrated in the catalogue and measuring just 91 x 46 cm Rockhole Site of Yukatjirri had been created in 1996 and sold for just $747 (Lot 519). It was not until July 2001 when the next work was offered and by this time Walankura had become quite conspicuous in the primary market. The small 91 x 61 cm work, created in 1997, doubled its high estimate selling for $6,000, then the artists 26th highest record. By the end of 2004, roughly corresponding to the time from which she began painting for others outside of Papunya Tula, nine works had sold of 12 offered. Thereafter a flurry of works were offered on the secondary market. No less than 68 paintings appeared for sale in just three years between 2006 and 2008, with only 51% selling. Her most successful work in a conventional Pintupi style was the Tingari image Rockhole at Tjintjin Tjintjin at sold at Elder Fine Art in June 2007 for what was a bargain price. The painting measured 182 x 151 cm and carried a very low presale estimate of just $10,000-15,000. Lucky indeed was the buyer who paid just $7,300 hammer for what is, in my opinion, close to a masterpiece. Her highest result was for a work offered through Lawson~Menzies in May 2006 and later in March 2008. When first offered, the massive Kutungka Napanangka at Papunga 2005 , created for independent dealer Tony Mason sold to a Menzies investment consortium for $45,600 eclipsing the $20,400 record held by the Papunya Tula provenanced Travels of Kutungka Napanangka 2001 , that had stood since 2004. Advised to offer the work again two years later, it realised a 16% increase in value to $52,800, not enough profit to cover the buyers premium even if the owners were given 0% sellers commission. In her works of the 2004-2008 period, Walangkura played with conventional Pintupi icons by moving them around and stretching out the shapes with a mastery over balance and form. Like Naata Nungurayi and several other Pintupi women she embraced grid-like forms and striated bands of alternating colour. Her fourth highest result was for a fine example created at the beginning of this period. When offered at Lawson~Menzies in November 2006 the 154 x 184 cm non-Papunya Tula work sold for $28,800 against a presale estimate of $30,000-40,000 ( Lot 173 ). In 2015 no les than 20 works were offered for sale, of which 13 found new homes. Deutscher & Hackett showed such strong confidence in a 183 x 244 cm major Papunya Tula provenancned work that they sent it to auction carrying a presale estimate of $40,000-60,000. It sold for $48,800 thereby achieving the artist's second highest price to date. While her works performed badly in 2017 and 2018 all eight of the eight paintings on offer in 2019 found new homes. Though none enetered her highest records thse sales were enough to see her become the 22nd most successful artist in that year against her standing in 49th place in the annuls of the movement overall. Interest in Walangkura centres principally on those works she created in her more recent style. During the period 2008-2011 her prodigious talent and independent nature saw her work for a variety of reputable alternative dealers. By 2012 she was no longer able to paint. Still, Papunya Tula works occupy six of her top ten results and the vast majority of her top 20. As time goes by, those works created for independent dealers will become more and more acceptable by a maturing market. Nevertheless, her finest paintings will require excellent provenance if they are to achieve prices that will see them displace works amongst her 10 highest sales to date. 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 Tjukupati James < Back Tjukupati James Tjukupati James ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE TJUKUPATI JAMES - KUNGA KUTJARA SOLD AU$290.00 TJUKUPATI JAMES - KUNGKA KUTJARA Sold AU$0.00 top Anchor 1 PROFILE Tjukupati 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 .

Artist Profile for Sarah-Jane Nampijinpa Singleton < Back Sarah-Jane Nampijinpa Singleton Sarah-Jane Nampijinpa Singleton ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Sarah-Jane Nampijinpa Singleton 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 Biddy Long < Back Biddy Long Biddy Long ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE BIDDY LONG - MALA SOLD AU$3,000.00 BIDDY LONG - TREE DREAMING SOLD AU$320.00 BIDDY LONG - WOMEN’S DREAMING Sold AU$0.00 BIDDY LONG - BUSH POTATO DREAMING SOLD AU$600.00 BIDDY LONG - BUSH BEAN DREAMING SOLD AU$280.00 top Anchor 1 PROFILE Biddy Long 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 Pauline Napangardi Gallagher < Back Pauline Napangardi Gallagher Pauline Napangardi Gallagher ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Pauline Napangardi 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 .