'IMPORTANT ABORIGINAL ART' Exhibition Catalogue by mitchellfineart

IMPORTANT ABORIGINAL ART Mitchell Fine Art

Above: Rainbow Valley, Central Australia Front Cover: Tim Leura Tjapaltjarri ‘Rock Wallaby Dreaming’

IMPORTANT ABORIGINAL ART 21 June – 16 July 2022

AA115. Maker Unknown Central Australia A hooked boomerang with fine fluting to the front Early 20th Century Carved hardwood and natural earth pigments 77 x 27.5 x 1.5cm Provenance: Private Collection South Australia #2423 Private Collection Queensland

Opposite

Warlimpirrnga Tjapaltjarri (c. 1950)

A7724 ‘Marawa’, 2006 acrylic on linen 117 x 177cm Provenance: Private Collection Queensland

Warlimpirrnga Tjapaltjarri is arguably one of Australia’s most important contemporary artists. His place in Australia’s history was set in 1984 when his family group made contact with non-Aboriginal Australia. Known as the Pintubi Nine, they are considered the last of those living a traditional existence to come into contact with the outside world. The news made headlines around the world and signalled the conclusion of Aboriginal life in Australia prior to the influence of external cultures. This painting refers to the important rockhole and soakage site known as Marawa, located on the western edge of Wilkinkarra (Lake Mackay). In mythological times, a group of Tingari men passed through this site on their travels. At this point they entered the earth, creating this rockhole and soakage site. From here they continued their journey beneath the earths surface. The events and knowledge pertaining to the Tingari are of a secret nature and only available to the most senior initiated members of the community.

Left

Emily Kame Kngwarreye (1910 – 1996)

A15691 ‘Alhalkere’, 1992 acrylic on linen 102 x 183.5cm

Provenance: Private Collection Melbourne Private Collection Queensland

Opposite A17056 ‘Alhalkere’, 1993 acrylic on linen 140 x 230cm Provenance: Private Collection Queensland

Emily Kame Kngwarreye is considered one of Australia’s most important contemporary artists. Her exceptional artworks are intertwined inextricably with her traditional homelands (Alhalkere) and her intimate knowledge of both traditional law and of Women’s Dreaming sites. It was these connections to country, culture, lore and community that best informed her approach to mark making that made her art and her life inalienably as one. Whatever the style of painting, the story remained unchanged in that it encapsulated all aspects of her various Dreaming’s. “Whole lot, that’s whole lot, Awelye (my dreaming), Arletyeye (Pencil Yam), Arnkerrthe (Mountain Devil Lizard), Ntange (grass seed), Tingu (Dreamtime pup), Arnkerre (emu), Intekwe (small plant), Atnwerle (green bean) and Kame (Yam Seed). That’s what I paint, whole lot” – from an interview with Rodney Gooch as translated by Kathleen Petyarre.

Left AA63. Maker Unknown Central Australia A finely incised ceremonial hand held board Very early 20th Century 73 x 4 x 2.5cm Provenance: Private Collection South Australia #2539 Private Collection Queensland

Right AA5. Maker Unknown Western Australia Very fine shield incised to the front and back Carved hardwood 70 x 12cm Provenance: Private Collection Victoria Private Collection Queensland

Opposite

Mick Namarari Tjapaltjarri (c. 1923 - 1998)

A3229 ‘Tjalkalpa (Bandicoot) Dreaming at Putja’, 1996 acrylic on linen 125 x 165cm Provenance: Private Collection Queensland Born c. 1923, Namarari was one of the founders of the Papunya art movement in 1971. His career as an artist between 1971 until his death in 1998 showed him to be an innovator and an inspiration to many other artists from this region. His Bandicoot series of paintings, developed in the 1980’s and 1990’s show his mastery of the brush as he not only recorded important cultural stories, he structured the composition to create a mesmerising aesthetic. The central circular motif depicts a small hill at the site at Putja. The linear elements were inspired by the actions of the Tjakalpa as it builds its home. They represent the scratch marks made by the bandicoot as it constructs the nest.

Left AA24. Maker Unknown Possibly South East Queensland An exquisite throwing club with exceptional patina Circa. 1900 Carved hardwood 67cm Provenance: Private Collection New South Wales Private Collection Queensland

Right AA26. Maker Unknown South East Queensland An exceptional killing stick (small animals) 19th Century Carved hardwood 70.5 x 4.5cm

Opposite

George Hairbrush Tjungurrayi (c. 1945) A6520 ‘Mamultjulkulnga’, 2005 acrylic on linen 98 x 118cm

The claypan known as Mamultjulkulnga is a site of both cultural and personal significance to the artist, as it was here that his father passed away. Situated to the west of Lake Mackay it was the campsite of Tingari men of the Tjangala and Tjapaltjarri subsections on their travels in mythological times. The mythical Tingari men were usually followed by Tingari women as they traversed huge distances performing ceremonies and forming the landscape. Their journeys are enshrined in song cycles that are of a secret nature. Tjungurrayi is today one of Aboriginal arts most senior and prominent artists.

Left

Makinti Napanangka (c. 1930 – 2011)

A16173 ‘Kungka Kutjarra’, 2009 acrylic on linen 60 x 120cm

Opposite A12888 ‘Kungka Kutjarra’, 2007 acrylic on linen 120 x 180cm

These paintings portray country associated with Lupul, a small Rockhole to the south of the remote community of Kintore (Walungurru) in the far west of the Northern Territory. This site is associated with a number of Dreaming’s including Pee Wee Dreaming and Kunga Kutjarra (Two Travelling Women). In mythological times, several women visited this site in order to conduct ceremonies related to the area. On completion, they continued north to Kaakuratintja (Lake MacDonald) and then on to Walungurru. The linear elements are intended to represent human hair that has been spun in order to make Nyimparra (hair string belts). These are worn by men and women during ceremonies.

Charlie Tjapangarti (c. 1949)

‘Tingari’, 1981 synthetic polymer paint on board 46.5 x 57cm (framed) Provenance: Acquired 1981 at Papunya Collection of Jill McLean Thence by descent Purchased directly from the artist in 1981, the artwork includes images of a sketch by Jill McLean of Tjapangarti painting this piece and field notes describing the interaction with him on the field trip. Born c. 1949 at Palinpalintjanya northwest of Jupiter Well, Tjapangarti was already a fully initiated young man when he first encountered Patrol Officer Jeremy Long c. 1964 and moved into Papunya. A man of great cultural stature, he didn’t commence painting until approximately 1978.

Dinny Nolan Tjampitjinpa (c. 1922)

‘Walukulan Mu’, 1974 synthetic polymer paint on board 59.5 x 75cm (framed) Provenance: Acquired 1981 at Papunya Collection of Jill McLean Thence by descent

Acquired through Daphne Williams of Papunya Tula Artists in 1981 it bears the code 20087 and the date 1/5/74 on the verso. Jill McLean’s field notes read: “Old man Tjampitjinpa is sitting down not far from the Ngana Cave. He uses a firestick to make a fire which eventually gets out of control. The old man runs away. His two sons return later. After the fire a mob of emus pass on their way from Wawuwawu Pa (north of Sandy Blight) in the east to Yaliyumu in the west.”

Daisy Leura Nakamarra (c. 1936) ‘Women’s Dreaming’, 1991 synthetic polymer paint on board 47 x 57cm (framed)

Provenance: Acquired through Daphne Williams of Papunya Tula Artists Collection of Jill McLean Thence by descent “Papunya Tula Artists records officially credit Daisy Leura Nakamarra, widow of Tim Leura, as the first woman to officially paint for the company under the management of Daphne Williams in 1982. (P. 187 One Sun, One Moon, published by the AGNSW) It has been established through her field notes that Jill McLean purchased this artwork in June of 1981. This would make this painting amongst the first painted by not only Nakamarra, but any of the female artists from Papunya. It makes this piece not only a beautiful artwork but one of great cultural and historical significance in the timeline of the evolution of artwork from Papunya.

Tim Leura Tjapaltjarri (c. 1939 - 1984) ‘Rock Wallaby Dreaming’, 1981 synthetic polymer paint on board 41.5 x 52cm (framed)

Provenance: Papunya Tula Artists, Northern Territory. Cat. No. TL8108 Collection of Jill McLean Thence by descent Tjapaltjarri was one of the founding artists of the art movement in Papunya in 1971. His place in history is etched as one of the most influential and important artists and senior cultural figures of this time. This painting tells the story of the Rock Wallaby ancestor, the site being located in the artists homeland on Napperby Station, North West of Alice Springs. The roundels depict sites of significance with the linear elements signifying the travels of the ancestral beings. Also depicted are their weapons and other possessions.

AA61. Maker Unknown Cape York, Queensland A rare bi valve woomera. An exceptional item in superb condition. Circa. 1800 Hardwood with a shell handle 74 x 9 x 3cm Provenance: The Holt Collection #618 Private Collection South Australia #2537 Private Collection Queensland

Opposite

Yukultji Napangati (1970)

A3863 ‘Untitled’, 2004 acrylic on linen 129 x 154cm

Provenance: Private Collection Queensland Yukultji Napangati was thrust into the international spotlight in 1984 when her family made first contact with non-Aboriginal Australia. The ‘Pintubi Nine’, as they came to be known are considered the last group of Aboriginal Australian’s that lived a traditional lifestyle, oblivious to the outside world. Coined ‘The Last Tribe’, they were anything but. They lived an existence unchanged in over 60,000 years. This painting depicts a story of a group of ancestral women (Karnaputa) as they traversed the country. Her works are linear depictions of country and generally relate to women’s stories. Her use of a restrained palette and her particular mark making technique results in a field that pulses with innate energy.

Left

Ningura Napurrula Gibson (c. 1938 – 2013) A16963 ‘Wirrulnga’, 2010 acrylic on linen 40 x 90cm

Opposite A15633 ‘Wirrulnga’, 2009 acrylic on linen 120 x 180cm Both paintings depict the site of Wirrulunga, an isolated Rockhole to the east of the remote community of Kiwirrkura, 700km west of Alice Springs. In mythological times, a number of ancestral women were travelling from Ngaminya (a rockhole to the west of Wirrulnga) to Wilkinkarra (Lake Mackay) which is to the North East. The women were of the Napurrula and Napaltjarri kinship subsections and they camped here to break their journey. Wirrulnga is associated with birth and as such is an important women’s site. The roundels in the centre depict topography of Wirrulnga whilst the adjoining lines represent the shape of pregnant Napaltjarri women who gave birth at the site. While camped here, they also spun hair to make the hair string skirts known as Nyimparra. The semi circular icons in the artwork depict these hair string skirts which were worn primarily for ceremony.

Turkey Tolson Tjapurrula (c. 1943 - 2001) A3192 ‘Tingari’, 1996 acrylic on canvas 64 x 136cm

Born in the early 1940’s, Turkey Tolson Tjapurrula grew up between two cultures. He was born into a traditional life to the east of Haasts Bluff (Ikuntji) in Australia’s harsh central deserts. He worked as a stockman whilst simultaneously undergoing initiation and adhering to traditional law and lifestyle. After his first wife’s premature death, he moved into the community of Papunya and was there during the early years of the painting movement. He commenced painting for Geoffrey Bardon in 1972 and embarked on what would be a long and incredibly illustrious artistic career. His quiet, resolute manner and commitment to art and the community as a whole saw him take on a senior leadership role, resulting in the stewardship of Papunya Tula as Chairman for the decade from 1985 to 1995. In the earlier periods of his career, Tjapurrula employed figuration and more complex compositions. Over the subsequent three decades, through innovation and experimentation, he pared the composition to portray the essence of these stories of cultural significance. This painting depicts motifs associated with the Tingari Cycle. This information is only available to the fully initiated and as such no further information on this story is available.

Yala Yala Gibbs Tgungurrayi (c. 1928 - 1998) A3152 ‘Possum Dreaming at Wapintja’, 1996 acrylic on linen 67 x 151cm

One of the founders of the Papunya art movement, Tjungurrayi lived a traditional life until 1962 when he left his homelands to the west of Lake MacDonald and moved to the recently established settlement of Papunya. In 1971 he became one of the first members of the men’s painting group and very quickly rose to prominence. His work centred on elements of the Tingari, stories only known to the fully initiated. Very much a spiritual activity, Tjungurrayi’s palette was restricted primarily to earthy hues and tones, conveying an extreme connection to country, from which he had become displaced. In the 1980’s and 1990’s as Aboriginal art became increasingly abstract, employing a broader palette, Tjungurrayi’s capacity as an artist became increasingly evident. With his restricted palette and apparent simplicity of composition his true ability came to the fore.

AA4. Maker Unknown Central Australia A very fine shield with ceremonial motifs to the front Circa. 1930 Natural earth pigments and charcoal on carved beanwood 70 x 22cm Provenance: Private Collection Victoria Private Collection Queensland

AA3. Maker Unknown Central Australia A beanwood shield with ceremonial motifs to the front Circa. 1900 Natural earth pigments on carved beanwood 73 x 22cm

AA29. Maker Unknown Western Australia A superb Wunda shield, carved to front and back 19th Century Natural earth pigments and carved hardwood 70 x 17cm

Provenance: Private Collection Victoria Private Collection Queensland

Provenance: Private Collection Melbourne Private Collection Queensland

AA96. Maker Unknown Central Australia A very fine beanwood shield Natural earth pigments on carved beanwood 69 x 20.5 x 6cm Provenance: Private Collection South Australia #2557 Private Collection Queensland

AA97. Maker Unknown Central Australia A very finely fluted beanwood shield, fight damaged Natural earth pigments on carved beanwood 58 x 16.5 x 5cm

AA98. Maker Unknown Central Australia A very finely fluted beanwood shield, fight damaged Natural earth pigments on carved beanwood 67.5 x 23 x 9cm

Provenance: Private Collection South Australia #2564 Private Collection Queensland

Provenance: Private Collection South Australia #2552 Private Collection Queensland

AA122. Maker Unknown Central desert A central Australian hunting boomerang, fluted to the front with adze marking to the verso Early 20th Century Carved hardwood and natural earth pigments 73.5 x 7 x 2cm Provenance: Private Collection South Australia #2374 Private Collection Queensland

Opposite

Clifford Possum Tjapaltjarri (c. 1932 - 2002)

‘Bush Fruit Dreaming’, 1992 acrylic on linen 86 x 145cm

Provenance: Commissioned in 1992 by Milanka Sullivan Collection of Peter Los #POLCP6 Private Collection Queensland Private Collection Northern Territory

Clifford Possum Tjapaltjarri, born c. 1932 was the youngest son of Tjatjiti Tjungurrayi and Long Rose Nungala. He was born in a creek bed on Napperby Station, approximately 200kms North West of Alice Springs. He was a pioneer of one of the most extraordinary contemporary art movements of the 20th century when a small band of senior men commenced painting at Papunya in Central Australia in 1971. Although he died in 2002, he continues to be one of the most influential artists in the Australian art landscape. He influenced not only several generations of artists, but also an entire genre of art. The plant illustrated in this painting is called Ulyquarta and its fruit resembles a cucumber. Depicted is a ceremony performed to encourage an increase in its fruit production. The feet and the ininti bean necklaces portray the women performing this ceremony. The centrally located roundel depicts an important site in Anmatyerre Country near Mt Allan.

Willy Tjungurrayi (c. 1930 – 2018)

Born at Patjantja, south west of Lake Mackay c. 1930, Tjungurrayi moved to the community of Ikuntji (Haasts Bluff) in the late 1950’s. He started painting at Papunya in 1976 and it was immediately obvious that he was an artist of great competence. During the 1980’s he emerged as one of the most senior of the Pintubi artists. His death in 2018 saw the passing of the last of the original painting group. Above A16296 ‘Kungka Tjuta (Women’s Story)’, 2009 acrylic on linen 60 x 60cm This painting depicts a women’s story as it relates to the Tingari song cycle. A site of significance and a story of cultural importance, it is of a secret nature.

Opposite A9150 ‘Kaakurutintjinya (Lake MacDonald)’, 2006 acrylic on linen 120 x 180cm Kaakurutintjinya is a site of immense cultural importance to the Pintubi and relates to the Tingari song cycle. Kuninka, a mythological marsupial cat became enraged after two initiates failed to share the spoils of a hunt. Kuninka was so angry that he sent a hailstorm to kill the two young men and to destroy all of the surrounding vegetation, thus creating the salt lake. The two initiates were transformed into water snakes and continue to inhabit this country.

Opposite

Rover Joolama Thomas (1926 - 1998)

‘Ruby Plains Massacre’, 1995 Natural earth pigments & bush gum on canvas 90 x 120cm Natural earth pigments & bush gum on canvas Provenance: Kimberley Art, Melbourne Private Collection Queensland Private Collection Northern Territory Private Collection Poland This painting is one of a series of artworks by Rover Thomas in which he portrays the massacres that occurred during the ‘Killing Times’ in the Kimberley region of Western Australia. The events depicted occurred primarily from the 1880’s to the 1920’s. The Ruby Plains Station massacre and other violent events were initiated largely by the dispossession of traditional homelands and confrontation with, amongst others, the pastoral industry. The brutal and bloody encounters are estimated to have caused the deaths of over 20,000 Aboriginal people throughout the 19th and 20th centuries. Ruby Plains Massacre refers to the aftermath of a massacre in which a station owner shot and killed a number of Aboriginal men from that region in reprisal for the killing of a bullock. A few days later, Aboriginal stockmen were lured to the killing site by birds that were circling above. It was here that they found the severed heads of the men in a tree trunk. The stockmen left the cattle property in protest to what they had found. Without this vital labour force, the cattle station was forced to close. This is one of the few times that Rover Thomas depicted human figures in his work. Today he is considered one of Australia’s most highly regarded artists.

Maxi Tjampitjinpa (c. 1945 - 1997)

A18284 ‘Waru Tjukurrpa (Bushfire Dreaming)’, 1995 acrylic on canvas 58 x 43cm Provenance: Private Collection Queensland Tjampitjinpa grew up in Haasts Bluff, later attending school in Papunya in the 1960’s prior to the start of the art movement there. He didn’t start painting until 1980 and as such was a part of the second wave of artists from this area. His painting commenced at a time when artists were moving away from the stricter iconography and traditional motifs adhered to from the outset in 1971, and were developing individual forms of expression. This was due in part to the controversy and discord that he would have witnessed in the beginning caused by the use of ceremonial symbols and motifs. He was a trailblazer in terms of re-interpreting traditional imagery, employing a more abstract aesthetic. In this work he has depicted an ancestral bushfire as it raged across his traditional homelands. It is a story of renewal and rebirth. No further details were made available due to the nature of this story.

Mick Woma (Pegleg) Tjampitjinpa (c. 1920 – 2006) A5022 ‘Tingari’, 2004 acrylic on canvas 46 x 76cm

Born c. 1920, Tjampitjinpa and his family had no contact with non-Aboriginal Australia until a chance encounter with a Northern Territory Welfare branch patrol in 1957. They were initially relocated to Papunya. He did not commence painting however until 1996 under the encouragement of his friend and mentor Pinta Pinta Tjapanangka. His works are immediately reminiscent of the earliest of the Papunya artworks, as would be expected of a fully initiated elder. His works are pared back, simplistic paintings utilising iconography from the Tingari storylines. These are of a secret nature, the information only known by the most senior initiated men.

Left AA21. Maker Unknown Central Australia A superb throwing club, finely fluted most likely with kangaroo tooth, beautiful patina 19th Century Carved hardwood 60.5 x 3 x 3cm Provenance: Private Collection Victoria Private Collection Queensland Right AA1. Maker Unknown South East Australia An exceptional South East Australian club with extraordinary patination and notched handle 19th Century Carved hardwood 70cm Provenance: Private Collection Victoria Private Collection Queensland

Opposite

Timmy Pyungka Tjapangati (c. 1935 - 2000)

A3225 ‘Tingari at Wilkinkarra’, 1997 acrylic on linen 67 x 150cm

Wilkinkarra is known to non-Aboriginal Australia as Lake Mackay. Located in the Western Desert of Central Australia, it is the largest of a number of ephemeral salt lakes in this region. It is a site of great cultural significance. Tjapangati was one of the first to be relocated to the newly established settlement of Papunya and started painting with the first wave of artists there in 1971. His influence on Western Desert art from the outset was enormous.

AA41. Maker Unknown South East Queensland A superb large club Circa. 1900 Carved hardwood 59 x 4.5cm Provenance: Private Collection Queensland

Opposite

Johnny Warangkula Tjupurrula (c. 1920 - 2001) A295 ‘Lightning Dreaming’, 1997 acrylic on linen 90 x 126cm

For the first decade of his life, Johnny Warangkula Tjupurrula lived in the remote Western Desert of Central Australia before coming into contact with non-Aboriginal Australia. Recalling his first encounter with Europeans and their camels circa 1930, he thought they were Mamu (devils). Eventually moving to Papunya in 1960, Warangkula was serving on the Papunya Council at the beginning of the Central Australian contemporary art movement in 1971. One of the initial Papunya painters, Warangkula quickly developed his own distinctive style. His work was included in the very first consignment of Papunya paintings to the Stuart Art Centre in Alice Springs in July 1971. In June 1998 and then again in 2000, his painting ‘Water Dreaming at Kilipinypa’ (1972) set a world record for Aboriginal art at auction. Warangkula is one of the most prominent and important artists in Australian Aboriginal art.

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