Pantjiya Nungurrayi. Kungkiyunti, painting

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Pantjiya NUNGURRAYI (Aborigine Artist, Australia, born in 1936)

"Kungkiyunti", 2001

Acrylic on canvas
Indicated references on verso of canvas : Papunya Tula Artists PTY.Ltd 137 x 122 cm, Pantjya Nungurrayi, PT/PN0110070 (hidden under a stretcher wedge)

Height : 137 cm (54 in.) - Width: 122 cm (48 in.).
Stretcher with wedges

Overall very good condition, minor abrasion traces on border and angles

Provenance:
- private collection, Australia
- Papunya Tula Artists PTY. LTD., North Territory, Australia

Work accompanied with its certificate of origin issued by Papunya Tula Artists PTY. LTD, the first and most prestigious art center established in the 1970s which marked the beginning of the contemporary Aborigine painting movement.


Originally from Kintore in the Grand Central Desert, the Aborigine painter Pantjiya Nungurrayi was a contemporary among the early modern Aborigine art circle launched in Papunya in the 1970s under the influence of Anglo-Saxon teacher Geoffrey Bardon. Adolescents from this community began by reproducing ritual paintings by initiated clan members on the school walls.
Here she celebrates the sacred site of Kungkiiyunti (Browns Bore in English) west of Haasts Bluff, Northern Territory, Australia. A legend tells that during Dreamtime (the mythical time of the creation of the world according to the Aborigines), a group of women camped in this rocky place. They began to pluck various berries (desert grapes or kampurarrpa and quandong also known as blue fig or mangata ) and make loincloths out of horsehair. To evoke this place, the artist used a palette with shades of sandy hues and pink salmon to render the colors of this site. She also arranged on the canvas various elements of the story such as the border that runs around work, sacralized space evoking the dunes that surround Kungkiiyunti and the bristling forms distributed over the periphery represent the growing berry bushes and circles. Perhaps also like the various ceremonial sites such as Kungkiiyunti attached by mystical bonds.
Finally, Pantjiya Nungurrayi populated this mineral and vegetation world with animals : two small snakes crossing via tone by tone on the canvas. Thus the whole chain of beings - the inanimate to the animate - is directed by the painter's art and offered to the invited spectator to discover the mysteries of creation that actually continues the mythical time since its origins to today.

Provenance :

  • Items quantity:  1
  • Expertissim Reference: 2014010910