Wingu was a senior Pitjantjatjara artist, born in the 1920s at Nyumum, near the tri-state border of WA, NT and SA. She eventually settled in the small community of Nyapari at the base of the Mann Ranges in South Australia where she joined a group of senior Anangu artists and established Tjungu Palya (meaning ‘good together’) art centre in 2005.
This masterwork measuring 180 x 199 cm depicts the important sacred 'Seven Sisters' site of Kuru Ala, close to where she was born. The work is one of, if not the greatest example in existence - a sacred gift left to us by this most impressionable and still under appreciated artist.
This major painting by Joseph Jurra depicts designs associated with the soakage water site of Ngatjapirritji, south of the Kiwirrkura Community. While at the site the men gathered the bark from the sandhill rattlepod shrub (Crotalaria cunninghamii). This bark is used to make sandals which are worn when the sand is very hot. The sinuous lines in the painting depicts the bark that is yet to be made into sandals.
On the back of critical acclaim and the important recent international exhibitions in both New York and in LA, these spatial desert masterworks by the Papunya Tula artists are once again gaining international recognition. This work is an exceptional example by this important Western Desert artist.
Rover Thomas was born circa 1926 near Well 33 at Gunawaggi on the Canning Stock Route in the Great Sandy Desert of Western Australia. Having observed the success of Paddy Jaminji, Rover introduced himself to Mary Macha simply stating 'I want to paint.’ The rest is history - Rover would go on to establish himself as one of Australia’s greatest artists.
In this significant transitional picture, Thomas ingeniously flattens the country Kununurra Bridge to challenge the viewers cognition. This major work closely relates to Railway Bridge, Katherine, 1984, in the collection of the National Gallery of Victoria, Melbourne.
Daniel Walbidi is without question one of Australia’s most confident rising contemporary stars. In this work, he has painted the jila (living water) of his ancestor’s country. Wirnpa is the larger black circle at the side of the warla (salt lake). The four smaller waterholes are Wirnpa’s sons that appear today as small water holes in the edge of the salt pan.
This jila (living water) is one of the most significant places for many of the tribes in the Great Sandy Desert. He was the last living ancestral being to lay down. He is the greatest rainmaker in the desert region, who travelled extensively around Australia. His story travels to the Great Australia Bight into Central Australia and up to the Kimberley.
This quality and depth in technique is paramount to Daniel’s continued success - this work was chosen as an entrant in the recent prestigious Wynne Prize at the Art Gallery of New South Wales.
In October/November of 1973, Peter Fannin provided each of the 10 or 11 Papunya Tula men painting at that time with 2 composition boards each of identical size - 122 x 92 cm. These were the largest supports given to the artists since the inception of the painting movement - this painting by Shorty Lungkata being one of them.
The result of this incredible burst of productivity and energy was the groundbreaking Canadian exhibition Art of Aboriginal Australia where 8 of the 22 boards toured in 1974 - 1976. The offered work appearing in the seminal NGV exhibition Face of the Centre, Papunya Tula Paintings 1971-1984, in 1985 to 1986.
Two Roads: Tingarri and Kangaroo Dreaming at Tjukulanya, 1973 can only be described as a National Treasure.
These works will be exhibited at REVERENCE, 6-28 September 2019 in Sydney.
The full catalogue will be released on 21 August. For all buying enquiries please contact me at firstname.lastname@example.org or +61 (0) 421 122 023.