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      • TJANGALA Uta Uta (Aboriginal 1926-1990), Napanangka and Nangala Women Sitting at Camp at Ngurapalangu, 1989., Acrylic on Canvas Boar...
        Aug. 20, 2023

        TJANGALA Uta Uta (Aboriginal 1926-1990), Napanangka and Nangala Women Sitting at Camp at Ngurapalangu, 1989., Acrylic on Canvas Boar...

        Est: $2,000 - $3,000

        TJANGALA, Uta Uta (Aboriginal 1926-1990) Napanangka and Nangala Women Sitting at Camp at Ngurapalangu, 1989. Acrylic on Canvas Board 61x30.5cm PROVENANCE: Papunya Tula Artists, cat #UU890979 (certificate included)

        Davidson Auctions
      • Jon Rhodes (b. 1947): Collection of Photographs of Uta Uta Tjangala and Yala Yala Tjungurrayi Gibbs, various dates.
        Jun. 22, 2023

        Jon Rhodes (b. 1947): Collection of Photographs of Uta Uta Tjangala and Yala Yala Tjungurrayi Gibbs, various dates.

        Est: $200 - $300

        Three framed and signed photographs by Australian photographer Jon Rhodes; Uta Uta Tjangala and Yala Yala Tjungurrayi Gibbs at Yumari Rockhole, 1990; Uta Uta Tjangala and Yala Yala Tjungurrayi Gibbs at Yumari Rockhole; Uta Uta Tjangala at Yayayi Bore, 1973

        Abell Auction
      • UTA UTA TJANGALA, YUMARINYA, 1985
        Mar. 22, 2023

        UTA UTA TJANGALA, YUMARINYA, 1985

        Est: $40,000 - $60,000

        UTA UTA TJANGALA (1920 - 1990) YUMARINYA, 1985 synthetic polymer paint on linen 139.0 x 121.0 cm bears inscription verso: artist’s name, size and Papunya Tula Artists cat. UU851088 PROVENANCE Papunya Tula Artists, Alice Springs, Northern Territory Gallery Gabrielle Pizzi, Melbourne  Private collection, Melbourne, acquired from the above in 1986 ESSAY There are recurring themes in the art of Uta Uta Tjangala and the best known of these relate to Yumari, a rock hole and important ancestral site in his mother's country. A sacred site located in between the communities of Walungurru (Kintore) and Kiwirrkura across the border in Western Australia, Yumari had personal significance for the artist. He was the custodian of this site which is linked to his conception place at Ngurrapalangu through the story of Yina, the ancestral travelling Old Man. His father is buried in the area, and it is a place he regarded as home in the sense of the Aboriginal connection to country – Yumari was integral to Tjangala’s personal identity.1 The title of the present painting, ‘Yumarinya’ has the literal meaning of ‘wife’s-mother’s-place’2, and is connected to the mythological story of Yina, the mythological Old Man. In this case, the Old Man travelled west from Henty Hills to Yumari, to engage in an illicit liaison with his ancestral mother-in-law. One of the original band of artists that in 1971 initiated the revolution in Australian Aboriginal desert painting at the community of Papunya, Uta Uta Tjangala was a member of the Pintupi, the last group to be brought into the government run settlement. A man of high ritual status with deep ancestral knowledge, he created some of the great masterpieces of the modern Western Desert painting movement, from his first paintings on composition board to later monumental canvases produced in the 1980s. Two early major canvas works relate to this site, the first of which, Yumari, 1981, was exhibited at the XVII Biennale de São Paulo. This painting was also shown alongside Yumari, 1983, in Dreamings: The Art of Aboriginal Australia, the major exhibition that toured through the United States and Australia in 1988 – 89. Another painting related to the site is Old Man’s Dreaming, 1983, now in the collection of the Art Gallery of South Australia, Adelaide, which was included in the exhibition Australia at the Royal Academy, London in 2013. 1. Myers, F.R., Painting Culture: The Making of an Aboriginal High Art, Duke University Press, Durham and London, 2002, pp. 112 – 3 2. Ibid.   CRISPIN GUTTERIDGE © Uta Uta Tjangala/Copyright Agency 2023

        Deutscher and Hackett
      • UTA UTA TJANGALA (with sons) (c.1926-1990) The Crow at Muyinga 1987 synthetic polymer paint on canvasboard
        Apr. 11, 2022

        UTA UTA TJANGALA (with sons) (c.1926-1990) The Crow at Muyinga 1987 synthetic polymer paint on canvasboard

        Est: $2,000 - $4,000

        UTA UTA TJANGALA (with sons) (c.1926-1990) The Crow at Muyinga 1987 synthetic polymer paint on canvasboard inscribed verso with artist's name and Papunya Tula Artists cat. no. UU870253 and unknown cat. no. P655 45.5 x 38cm PROVENANCE: Papunya Tula Artists, Alice Springs The Collection of John Keane, South Australia Sotheby's, Melbourne, Aboriginal Art, 26 July 2004, lot 495 The Collection of Mr. Kelton, United States of America

        Leonard Joel
      • Uta Uta Tjangala (circa 1920-1990) Untitled, 1988
        Apr. 22, 2021

        Uta Uta Tjangala (circa 1920-1990) Untitled, 1988

        Est: $35,000 - $45,000

        Uta Uta Tjangala (circa 1920-1990) Untitled, 1988 synthetic polymer paint on canvas 182.5 x 152.0cm (71 7/8 x 59 13/16in). For further information on this lot please visit the Bonhams website

        Bonhams
      • Uta Uta Tjangala (1926-1990)
        Oct. 18, 2020

        Uta Uta Tjangala (1926-1990)

        Est: $4,000 - $6,000

        Two Boys Dreaming at Yuriltatjanya Waterhole 1974 synthetic polymer paint on board, inscribed verso with Papunya Tula catalogue number '74919'

        Shapiro Auctioneers
      • UTA UTA TJANGALA circa 1926-1990 Two Boys Dreaming at Yuriltatjanya Waterhole 1974 synthetic polymer paint on board 61 x 45.7 cm
        Jul. 17, 2019

        UTA UTA TJANGALA circa 1926-1990 Two Boys Dreaming at Yuriltatjanya Waterhole 1974 synthetic polymer paint on board 61 x 45.7 cm

        Est: $5,000 - $7,000

        UTA UTA TJANGALA circa 1926-1990 Two Boys Dreaming at Yuriltatjanya Waterhole 1974 synthetic polymer paint on board inscribed with Papunya Tula catalogue number '74919' verso 61 x 45.7 cm PROVENANCE Papunya Tula Art, Alice Springs Private Collection, Sydney, acquired from the above in 1974 OTHER NOTES This work is accompanied by a Papunya Tula Art Certificate

        Smith & Singer
      • UTA UTA TJANGALA (c1926 - 1990), Pintupi language group Untitled 1975
        Mar. 28, 2019

        UTA UTA TJANGALA (c1926 - 1990), Pintupi language group Untitled 1975

        Est: $80,000 - $120,000

        UTA UTA TJANGALA (c1926 - 1990), Pintupi language group Untitled 1975 synthetic polymer paint on canvas 335.0 x 168.0 cm inscribed verso with Papunya Tula Artists catalogue number: UU75302 accompanied by a certificate of authenticity from Papunya Tula Artists, Northern Territory Painted at Papunya, Northern Territory in early 1975 Geoffrey Bardon, Sydney, until 1985 Collection of Sir Roderick Carnegie AC and the late Margaret Carnegie AO OAM, Melbourne

        Menzies
      • UTA UTA TJANGALA, (c.1926 – 1990), UNTITLED (TWO SNAKES DREAMING), 1988, synthetic polymer paint on linen
        Feb. 24, 2019

        UTA UTA TJANGALA, (c.1926 – 1990), UNTITLED (TWO SNAKES DREAMING), 1988, synthetic polymer paint on linen

        Est: $5,000 - $7,000

        © Uta Uta Tjangala/Copyright Agency, 2019 UTA UTA TJANGALA, (c.1926 – 1990), UNTITLED (TWO SNAKES DREAMING), 1988, synthetic polymer paint on linen SIGNED: bears inscription verso: artist's name and Papunya Tula Artists cat. UU880162 DIMENSIONS: 151.0 x 91.0 cm PROVENANCE: Papunya Tula Artists, Alice Springs Private collection, Sydney CONDITION REPORT: This work is in excellent, stable and near original condition overall, consistent with age, materials and the artist’s working methods.

        Deutscher and Hackett
      • Attributed to UTA UTA TJANGALA, (1920 – 1990), UNTITLED (YUMARI), 1972, synthetic polymer paint on composition board
        Nov. 28, 2018

        Attributed to UTA UTA TJANGALA, (1920 – 1990), UNTITLED (YUMARI), 1972, synthetic polymer paint on composition board

        Est: $30,000 - $50,000

        Attributed to UTA UTA TJANGALA, (1920 – 1990), UNTITLED (YUMARI), 1972, synthetic polymer paint on composition board DIMENSIONS: 48.5 x 36.0 cm PROVENANCE: Private collection, Alice Springs, acquired in the 1970s Thence by descent Private collection, Melbourne Deutscher and Hackett, Melbourne, 25 March 2009, lot 88 (as ‘Artist Unknown (Pintupi), Untitled (Ceremonial Ground), c.1972’) Private collection, Sydney RELATED WORK: Untitled (Old Men's Story), 1972, synthetic polymer paint on composition board, 46.0 x 61.0 cm, Stuart Art Centre cat. 12032, Private collection, Melbourne, illus. in Ryan, J. and Batty, P., Tjukurrtjanu: Origins of Western Desert Art, National Gallery of Victoria, Melbourne, 2011, p. 139 Yumari, 1976, acrylic paint on canvas, 170.0 x 330.0 cm, in the collection of the National Museum of Australia, Canberra ESSAY: There are recurring themes in the art of Uta Uta Tjangala and the best known of these relate to Yumari, a rockhole and important ancestral site in his mother's country. This early depiction attributed to the artist was painted at Papunya in the later months of 1972, shortly after Geoff Bardon’s departure. A sacred site located in between the communities of Walungurru (Kintore) and Kiwirrkura across the border in Western Australia, Yumari had personal significance for the artist. He was the custodian of this site which is linked to his conception place at Ngurrapalangu through the story of Yina, the ancestral travelling Old Man. His father is buried in the area and it is a place he regarded as home in the sense of the Aboriginal connection to country – Yumari was integral to Tjangala’s personal identity.1 The attribution of both artist and the site depicted have been made independently by R.G. (Dick) Kimber and Professor Fred Myers. Kimber notes that the overall design is a variation of many that the artist painted of Yumari prior to his later depictions of the site as ‘a stylised human figure’ and that the colour palette is one favoured by the artist.2 Connected to the mythological story of Yina, Yumari, with the literal meaning of ‘mother-in-law place’3, is where the revered ancestor had an illicit liaison with his ancestral mother-in-law. Yina is described as a sorcerer, possessing supernatural powers, whose testicles and penis repeatedly separated from his body and transformed into features of the landscape. Rocky outcroppings, a rockhole and various markings found within a few hundred metres of this site are interpreted as being the result of the illicit actions of the mythological beings. One of the original band of artists that in 1971 initiated the revolution in Australian Aboriginal desert painting at the community of Papunya, Uta Uta Tjangala was a member of the Pintupi, the last group to be brought in to the government run settlement. A man of high ritual status with deep ancestral knowledge, he created some of the great masterpieces of the modern Western Desert painting movement, from his first paintings on composition board to later monumental canvases produced in the 1980s. Two later epic works relate to this site, the first of which, Yumari, 1981, was exhibited at the XVII Biennale de São Paulo. This painting was also shown with, Yumari, 1983, in Dreamings: The Art of Aboriginal Australia, the major exhibition that toured through the United States and Australia in 1988 – 89. Another painting related to the site is Old Man’s Dreaming, 1983, now in the collection of the Art Gallery of South Australia, Adelaide, which was included in the exhibition Australia at the Royal Academy, London, in 2013. 1. Myers, F.R., Painting Culture: The Making of an Aboriginal High Art, Duke University Press, Durham and London, 2002, pp. 112 – 3 2. Correspondence from R.

        Deutscher and Hackett
      • Uta Uta Tjangala (1926-1990)
        Sep. 20, 2016

        Uta Uta Tjangala (1926-1990)

        Est: $4,500 - $5,500

        Uta Uta Tjangala (1926-1990) Panalnga, 1984 synthetic polymer paint on board, inscribed verso Papunya Tula Artists cat. 'UU840821' 38 x 45 cm

        Shapiro Auctioneers
      • UTA UTA TJANGALA, (ABORIGINAL 1926-1990), untitled, circa 1970, indigenous Australian Dreamtime painting, synthetic polymer paint on board, mounted and framed, Courbally Stourton, Cork Street, label attached to verso, (45.5 x 61cm) (frame 57.5 x 73cm)
        Jul. 19, 2016

        UTA UTA TJANGALA, (ABORIGINAL 1926-1990), untitled, circa 1970, indigenous Australian Dreamtime painting, synthetic polymer paint on board, mounted and framed, Courbally Stourton, Cork Street, label attached to verso, (45.5 x 61cm) (frame 57.5 x 73cm)

        Est: £1,500 - £2,500

        UTA UTA TJANGALA, (ABORIGINAL 1926-1990), untitled, circa 1970, indigenous Australian Dreamtime painting, synthetic polymer paint on board, mounted and framed, Courbally Stourton, Cork Street, label attached to verso, (45.5 x 61cm) (frame 57.5 x 73cm)

        Chiswick Auctions
      • UTA UTA TJANGALA, 1920 – 1990, WOMEN’S DREAMING, 1972, synthetic polymer powder paint on composition board
        Dec. 02, 2015

        UTA UTA TJANGALA, 1920 – 1990, WOMEN’S DREAMING, 1972, synthetic polymer powder paint on composition board

        Est: $80,000 - $120,000

        UTA UTA TJANGALA, 1920 – 1990, WOMEN’S DREAMING, 1972, synthetic polymer powder paint on composition boar DIMENSIONS: 60.5 x 45.5 cm EXHIBITED: Tjukurrtjanu: Origins of Western Desert Art, The Ian Potter Centre, National Gallery of Victoria, Melbourne, 30 September 2011 – 12 February 2012; Musée du Quai Branly, Paris, 9 October 2012 – 27 January 2013 LITERATURE: Bardon, G., and Bardon, J., Papunya: A Place Made After the Story – The Beginnings of the Western Desert Painting Movement, The Miegunyah Press, Melbourne, 2004, painting 325, p. 373 (illus.) Ryan, J., and Batty, P., Tjukurrtjanu: Origins of Western Desert Art, National Gallery of Victoria, Melbourne, 2011, p. 147 (illus.) PROVENANCE: Painted at Papunya in April-May 1972 Geoffrey Bardon Collection, New South Wales George Lindstrom, New South Wales, gifted by Geoffrey Bardon as a gesture of gratitude for the photography of paintings included in Bardon's first book on the Western Desert Art movement Sotheby’s, Sydney, 28 July 2003, Lot 108 Private collection, New South Wales ESSAY: Bardon notes that ‘this is an old peoples story, where two women are indicated by the four dotted shapes at the top of the design representing two pairs of feet. Below them are three concentric circles representing waterholes, the left oval a ceremonial object showing body paint on a woman and the concave short lines representing the arms of the women. The other decoration on the ovals is also body paint and two of the large bottom shapes are arrangements of ceremonial sticks or legs of the ceremonial women.’ Bardon, G., and Bardon, J., 2004, p. 373 Uta Uta Tjangala was a man of charismatic self-confidence whose undisputed ceremonial authority enabled him to push through the constraints governing Western Desert painting.1 While other Pintupi artists sought inscrutability in abstraction, Uta Uta’s paintings are palpably visceral and profoundly personal. His urge for flamboyant self expression distinguishes his work from that of his peers, even as the technical means of their production seems virtually identical. Uta Uta can be compared with Pablo Picasso, who, when collaborating with Georges Braque on the shared project of analytical cubism, inexorably gravitated toward figuration. Despite their mutual commitment to ‘impersonal authorship’ Picasso’s reductive planes and modeled forms always suggest the body. Every mark Picasso made spoke of his irrepressible sense of self.2 Like Picasso, Uta Uta is a painter of the body and his expansive gestures emanate from the centrality of ceremonial performance to his identity.3 The driving urgency of Women’s Dreaming, 1972 originates from the strength of Uta Uta’s identification with the epic travels of the Kungka Kutjarra (Two Women of the Dreaming). The site envisioned is most likely to be Ngurrapalangu, the place where Uta Uta’s mother first felt her son quicken within her. In the distant past, the Kungka Kutjarra danced at Ngurrapalangu, their feet creating the claypan that marks the site. The Kungka Kutajarra later fled north to Wilkinkarra (Lake Mackay), for they feared the advances of Yina, a lascivious old man. Disappointed yet again, Yina trudged westward towards his eventual sexual obliteration at Yumari, the site celebrated in some of Uta Uta’s most renowned canvases.4 Women’s Dreaming, 1972 is a fine example of Uta Uta’s work. Like the exertions of dancers within the constrictions of a small stage, the central sacred oval lunges forwards to the viewer while the discs at either side press at the edges of the board. The tumescent forms refuse to be constrained by the governing rectangular format on which it is painted. Intriguingly, for an art form based on the bird’s-eye view, Women’s Dreaming demands to be seen in elevation with the three large ovals advancing, like decorated

        Deutscher and Hackett
      • UTA UTA TJANGALA CIRCA 1920-1990 | Untitled, Old Men’s Story
        Jun. 10, 2015

        UTA UTA TJANGALA CIRCA 1920-1990 | Untitled, Old Men’s Story

        Est: £30,000 - £40,000

        Bears Stuart Art Centre catalogue number 12032 on the reverse

        Sotheby's
      • UTA UTA TJANGALA (1926-1990) REVE JEU
        May. 21, 2015

        UTA UTA TJANGALA (1926-1990) REVE JEU

        Est: €3,500 - €4,500

        UTA UTA TJANGALA (1926-1990) REVE JEUNES HOMMES / YOUNG MEN DREAMING, 1990 Acrylique sur carton entoilé 61 cm x 30,5 cm

        Cornette de Saint-Cyr
      • UTA UTA TJANGALA circa 1926-1990 Young Man's Travelling Ceremony (1972) synthetic polymer paint on composition board
        Aug. 26, 2014

        UTA UTA TJANGALA circa 1926-1990 Young Man's Travelling Ceremony (1972) synthetic polymer paint on composition board

        Est: $40,000 - $60,000

        UTA UTA TJANGALA circa 1926-1990 Young Man's Travelling Ceremony (1972) synthetic polymer paint on composition board 57 x 26.2 cm PROVENANCE Painted at Papunya, Northern Territory Private Collection By descent Private Collection, Melbourne

        Smith & Singer
      • UTA UTA TJANGALA 1920 - 1990, UNTITLED (OLD MEN'S STORY), 1972, synthetic polymer powder paint on composition board
        Mar. 26, 2014

        UTA UTA TJANGALA 1920 - 1990, UNTITLED (OLD MEN'S STORY), 1972, synthetic polymer powder paint on composition board

        Est: $80,000 - $120,000

        UTA UTA TJANGALA 1920 - 1990, UNTITLED (OLD MEN'S STORY), 1972, synthetic polymer powder paint on composition board SIGNED: inscribed verso: Stuart Art Centre cat. 12032 DIMENSIONS: 46.0 x 61.0 cm EXHIBITED: Tjukurrtjanu: Origins of Western Desert Art, The Ian Potter Centre: National Gallery of Victoria, Melbourne, 30 September 2011 - 12 February 2012; Musée du Quai Branly, Paris, 9 October 2012 - 27 January 2013 LITERATURE: Bardon, G., and Bardon, J., Papunya: A Place Made After the Story - The Beginnings of the Western Desert Painting Movement, The Miegenyah Press, Melbourne, 2004, painting 341, p. 387 (illus.) Ryan, J. and Batty, P., Tjukurrtjanu: Origins of Western Desert Art, National Gallery of Victoria, Melbourne, 2011, p. 139 (illus.) PROVENANCE: Painting 32, consignment 12 to the Stuart Art Centre, Alice Springs Private collection, Adelaide Sotheby's, Melbourne, 28 June 2000, lot 69 Private collection, Melbourne ESSAYS: This work is accompanied by a certificate of authenticity from Stuart Art Centre. Old Men's Stories or Dreamings are a recurring subject in the paintings of Uta Uta Tjangala. The best known of these relate to Yumari, an important ancestral site in his mother's country which is linked to Uta Uta's conception place at Ngurrapalangu through Yina, the ancestral man (Myers, F.R., Painting Culture: The Making of an Aboriginal High Art, Duke University Press, Durham and London, 2002, p.113). However, while the documentation accompanying this painting does not relate it directly to the Old Man Yina, there is a reference in the work to life at Papunya as observed by the artist. According to Geoffrey Bardon, when Uta Uta painted Old Man's Story in May/June 1972, there were two old Pintupi men living at Papunya. Each man only had one leg and both used crutches to support themselves (Bardon and Bardon, 2004:387). The overlaying of ancestral narratives with contemporary or historical events is a feature of the work of many Aboriginal artists, from Mick Namarari Tjapaltjarri at Papunya to Mawalan Marika in Arnhem Land and to Rover Thomas in the east Kimberley. The composition of Old Man's Story is characteristic of Uta Uta's paintings. The picture is divided in two parts: one featuring the Pintupi grid of roundels, which in this case represent campfires, joined by travelling lines; the other half of the painting features a prominent glyph which here represents the two old men decorated in ceremonial body paint. For a painting by the artist that features a similar composition see Medicine Story (version 3), 1971, in the collection of John and Barbara Wilkerson, illustrated in Bardon and Bardon, 2004, p.306, painting 248, and in Benjamin, R., and Weislogel, A.C., (eds), Icons of the Desert: Early Aboriginal Paintings from Papunya, Herbert F. Johnson Museum of Art, Cornell University, New York, 2009, p. 88, cat. 8. WALLY CARUANA

        Deutscher and Hackett
      • Uta Uta Tjangala (circa 1926-1990)
        Aug. 20, 2013

        Uta Uta Tjangala (circa 1926-1990)

        Est: AUD40,000 - AUD60,000

        Untitled (Two Boys' Dreaming - Boys; hairpiece Dreaming) 1972 natural earth pigments and synthetic polymer paint on composition board 45.5 x 45.0cm (17 15/16 x 17 11/16in).

        Bonhams
      • Uta Uta Tjangala circa 1926-1990 UMARI (SACRED SITE) (1988) synthetic polymer paint on canvas
        May. 28, 2013

        Uta Uta Tjangala circa 1926-1990 UMARI (SACRED SITE) (1988) synthetic polymer paint on canvas

        Est: $25,000 - $35,000

        Uta Uta Tjangala circa 1926-1990 UMARI (SACRED SITE) (1988) synthetic polymer paint on canvas 122 X 152.7CM PROVENANCE Painted at Papunya, Northern Territory Papunya Tula Artists, Alice Springs (stock UU880227) Private Collection, Melbourne This painting is sold with a Papunya Tula Artists certificate

        Smith & Singer
      • Uta Uta Tjangala circa 1926-1990 SPECIAL PINTUPI TRAVELLING CEREMONY (1972) synthetic polymer paint on composition board
        May. 28, 2013

        Uta Uta Tjangala circa 1926-1990 SPECIAL PINTUPI TRAVELLING CEREMONY (1972) synthetic polymer paint on composition board

        Est: $80,000 - $120,000

        Uta Uta Tjangala circa 1926-1990 SPECIAL PINTUPI TRAVELLING CEREMONY (1972) synthetic polymer paint on composition board 60.6 X 45.4CM PROVENANCE Painted at Papunya, Northern Territory Stuart Art Centre, Alice Springs (stock 18032) The Anne Chase Collection, United States of America EXHIBITED Tjukurrtjanu: Origins of Western Desert Art The Ian Potter Centre: NGV at Federation Square, 30 September 2011 - 12 February 2012; Musée du quai Branly, Paris, 9 October 2012 - 20 January 2013 LITERATURE Judith Ryan and Philip Batty, Tjukurrtjanu: Origins of Western Desert Art, National Gallery of Victoria, Melbourne, 2011, p. 142 (illustrated) Judith Ryan and Philip Batty, Aux Sources de la Peinture: Aborigène, Musée du quai Branly, Paris, 2012

        Smith & Singer
      • Uta Uta Tjangala circa 1926-1990 WOMEN'S DREAMING (1973-1974) synthetic polymer paint on linen
        May. 28, 2013

        Uta Uta Tjangala circa 1926-1990 WOMEN'S DREAMING (1973-1974) synthetic polymer paint on linen

        Est: $14,000 - $18,000

        Uta Uta Tjangala circa 1926-1990 WOMEN'S DREAMING (1973-1974) synthetic polymer paint on linen 164 X 48CM PROVENANCE Painted at Papunya, Northern Territory Bruce McElroy, Northern Territory (stock no.3) Bortingnon Kalamunda Gallery of Man, Western Australia The Anthony Knight OAM & Beverly Knight Collection, Melbourne This painting bears descriptive notes and an annotated diagram verso. PROPERTY FROM THE ANTHONY & BEVERLY KNIGHT COLLECTION

        Smith & Singer
      • Uta Uta Tjangala circa 1926-1990 OLD MAN STORY (1973-1974) synthetic polymer paint on artist board
        May. 28, 2013

        Uta Uta Tjangala circa 1926-1990 OLD MAN STORY (1973-1974) synthetic polymer paint on artist board

        Est: $14,000 - $18,000

        Uta Uta Tjangala circa 1926-1990 OLD MAN STORY (1973-1974) synthetic polymer paint on artist board 76 X 61CM PROVENANCE Painted at Papunya, Northern Territory Bruce McElroy, Northern Territory (stock no.7) Bortingnon Kalamunda Gallery of Man, Western Australia The Anthony Knight OAM & Beverly Knight Collection, Melbourne PROPERTY FROM THE ANTHONY & BEVERLY KNIGHT COLLECTION

        Smith & Singer
      • Uta Uta Tjangala circa 1926-1990 TESTICLES GOING WALKABOUT (MEDICINE STORY) (VERSION 1) (1971) natural earth pigments and bondcrete...
        May. 28, 2013

        Uta Uta Tjangala circa 1926-1990 TESTICLES GOING WALKABOUT (MEDICINE STORY) (VERSION 1) (1971) natural earth pigments and bondcrete...

        Est: $35,000 - $55,000

        Uta Uta Tjangala circa 1926-1990 TESTICLES GOING WALKABOUT (MEDICINE STORY) (VERSION 1) (1971) natural earth pigments and bondcrete on composition board 31 X 20CM PROVENANCE Painted at Papunya, Northern Territory (Sep - Oct 1971) The Collection of Geoffrey Bardon The Collection of Mrs Margaret Carnegie AO, Melbourne and Sir Roderick Carnegie AC, Melbourne The Anthony Knight OAM & Beverly Knight Collection, Melbourne EXHIBITED Papunya – Aboriginal Paintings from the Central Australian Desert, Australian Korea Business Cooperation Committee Reception, Regent Hotel, Melbourne, 23 March 1988 Aboriginal Paintings from the Central Australian Desert, Corpus Christi College, Melbourne, 8 May 1988 Bicentennial Aboriginal Art Exhibition, Lauiston Girls School, Melbourne, 7 October 1988 East to West, Tandanya, Land in Papunya Tula Paintings, 1990 Love Magic: Erotics and Polotics in Indigenous Art, Perspecta: S.H. Ervin Gallery, Sydney, 1999 Tjukurrtjanu: Origins of Western Desert Art, The Ian Potter Centre: NGV Australia, Melbourne, 30 September 2011 – 12 February 2012 Aux Sources de la Peinture: Aborigène, Musée du quai Branly, Paris, 9 October 2012 – 20 January 2013 LITERATURE Gary Lee and Maurice O'Riordan, Love Magic: Erotics and Polotics in Indigenous Art, Perspecta: S.H. Ervin Gallery, Sydney, 1999 Geoffrey Bardon and James Bardon, Papunya: A Place Made After the Story: The Beginnings of the Western Desert Movement, The Miegunyah Press, Melbourne, 2004, p. 304 (illustrated) Judith Ryan and Philip Batty, Tjukurrtjanu: Origins of Western Desert Art, National Gallery of Victoria, Melbourne, 2011, p. 130 (illustrated) Judith Ryan and Philip Batty, Aux Sources de la Peinture: Aborigène, Musée du quai Branly, Paris, 2012 PROPERTY FROM THE ANTHONY & BEVERLY KNIGHT COLLECTION

        Smith & Singer
      • Uta Uta Tjangala circa 1926-1990 UNTITLED (KUTITJI) (1973) natural earth pigments on carved wood
        May. 28, 2013

        Uta Uta Tjangala circa 1926-1990 UNTITLED (KUTITJI) (1973) natural earth pigments on carved wood

        Est: $8,000 - $12,000

        Uta Uta Tjangala circa 1926-1990 UNTITLED (KUTITJI) (1973) natural earth pigments on carved wood 75 X 25.6CM PROVENANCE Painted at Papunya, Northern Territory Bortingnon Kalamunda Gallery of Man, Western Australia The Collection of Margaret Carnegie AO The Anthony Knight OAM & Beverly Knight Collection, Melbourne EXHIBITED East to West, Tandanya, Land in Papunya Tula Paintings, Aboriginal Cultural Institute, Adelaide, 1990 Aratjara – Art of the First Australians; Kunstsammung Nordrhein – Westfaien, Dusseldorf, 1993; Hayward Gallery, London, 1993; Louisiana Museum, Humlebaek, 1994; National Gallery of Victoria, Melbourne, 1994 Papunya Tula – Genesis and Genius, Art Gallery of New South Wales, Sydney, 18 August – 12 November 2000 Tjukurrtjanu: Origins of Western Desert Art, The Ian Potter Centre: NGV Australia, Melbourne, 30 September 2011 – 12 February 2012 Aux Sources de la Peinture: Aborigène, Musée du quai Branly, Paris, 9 October 2012 – 20 January 2013 LITERATURE Hetti Perkins and Hannah Fink, Papunya Tula – Genesis and Genius, Art Gallery of New South Wales, Sydney, 2000 Judith Ryan and Philip Batty, Tjukurrtjanu: Origins of Western Desert Art, National Gallery of Victoria, Melbourne, 2011, p. 293 Judith Ryan and Philip Batty, Aux Sources de la Peinture: Aborigène, Musée du quai Branly, Paris, 2012

        Smith & Singer
      • Uta Uta Tjangala (circa 1926-1990)
        Mar. 24, 2013

        Uta Uta Tjangala (circa 1926-1990)

        Est: £40,000 - £60,000

        Special Pintupi Travelling Ceremony, 1972 bears artist's name 'Charlie Tawara' (sic), date '26.9.72', the numbers 5 and 41 and Stuart Art Centre consignment number 18006 on the reverse synthetic polymer powder paint on composition board 61 x 45.5cm (24 x 17 15/16in).

        Bonhams
      • Uta Uta Tjangala (circa 1926-1990)
        Nov. 19, 2012

        Uta Uta Tjangala (circa 1926-1990)

        Est: £5,000 - £7,000

        Two Men Dreaming bears a brief description of the story and catalogue number 75408-UU on the reverse synthetic polymer paint on artist's board 61 x 45cm

        Bonhams
      • Uta Uta Tjangala, 1926-1990, TINGARI CYCLE
        Jul. 26, 2010

        Uta Uta Tjangala, 1926-1990, TINGARI CYCLE

        Est: $18,000 - $25,000

        Uta Uta Tjangala, 1926-1990, TINGARI CYCLE synthetic polymer paint on composition board  bears artist's name, location, Papunya Tula Artists catalogue number U731179, an annoted diagram and a description of the story depicted on Papunya Tula Artists label on the reverse  77 BY 59CM  Provenance:

        Smith & Singer
      • Uta Uta Tjangala, circa 1926-1990, TWO SNAKE ANCESTORS AT LAMPINTJA SOUTHWEST OF KINTORE
        Jul. 26, 2010

        Uta Uta Tjangala, circa 1926-1990, TWO SNAKE ANCESTORS AT LAMPINTJA SOUTHWEST OF KINTORE

        Est: $15,000 - $20,000

        Uta Uta Tjangala, circa 1926-1990, TWO SNAKE ANCESTORS AT LAMPINTJA SOUTHWEST OF KINTORE synthetic polymer paint on linen  bears artist's name on the reverse  183 BY 59. 5CM  Provenance:  Painted at Kintore in 1987  Papunya Tula Artists, Alice Springs (cat. no. UU870222)  Gabrielle Pizzi Collection Exhibited:  Aborigena: Arte australiana co

        Smith & Singer
      • UTA UTA TJANGALA Two Women Dreaming at Wilkinkarra
        Jul. 21, 2010

        UTA UTA TJANGALA Two Women Dreaming at Wilkinkarra

        Est: $2,400 - $3,400

        UTA UTA TJANGALA Two Women Dreaming at Wilkinkarra (Lake Mackay), 1988 synthetic polymer paint on linen 25.0 x 50.5 cm

        Deutscher and Hackett
      • UTA UTA TJANGALA , CIRCA 1926-1990 UNTITLED Synthetic polymer paint on linen
        Oct. 20, 2008

        UTA UTA TJANGALA , CIRCA 1926-1990 UNTITLED Synthetic polymer paint on linen

        Est: $25,000 - $35,000

        Bears Papunya Tula Artists catalogue number UU860615 on the reverse Synthetic polymer paint on linen

        Sotheby's
      • UTA UTA TJANGALA , CIRCA 1926-1990 TWO BOYS DREAMING AT YURILTATJANYA WATERHOLE Synthetic polymer paint on composition board
        Oct. 20, 2008

        UTA UTA TJANGALA , CIRCA 1926-1990 TWO BOYS DREAMING AT YURILTATJANYA WATERHOLE Synthetic polymer paint on composition board

        Est: $8,000 - $12,000

        Bears Papunya Tula Artists catalogue number 74919 and numbered 36 on the reverse, together with the original Papunya Tula Artists Certificate attached to the reverse of the frame Synthetic polymer paint on composition board

        Sotheby's
      • UTA UTA TJANGALA , CIRCA 1926-1990 SNAKE DREAMING FOR CHILDREN Synthetic polymer powder paint on composition board
        Oct. 20, 2008

        UTA UTA TJANGALA , CIRCA 1926-1990 SNAKE DREAMING FOR CHILDREN Synthetic polymer powder paint on composition board

        Est: $40,000 - $60,000

        Synthetic polymer powder paint on composition board

        Sotheby's
      • TJANGA UU UTA UTA TJANGALA Papunya NT (1920/26 -
        Jul. 21, 2008

        TJANGA UU UTA UTA TJANGALA Papunya NT (1920/26 -

        Est: $1,400 - $1,800

        TJANGA UU UTA UTA TJANGALA Papunya NT (1920/26 - 1990) Untitled 1984 acrylic on canvas bears catalogue number CSCA254 76 x 56 cm Provenance: Corbally Stourton Contemporary Art collection. Illustrated: Corbally Stourton P 1996 Songlines and Dreamings Lund Humphries London p. 169 pl. 177.

        Leonard Joel
      • UTA UTA TJANGALA , WYUTA TJUKURRPA (POSSUM DREAMING AT NGAMUNANGYA) 1976
        Jul. 24, 2007

        UTA UTA TJANGALA , WYUTA TJUKURRPA (POSSUM DREAMING AT NGAMUNANGYA) 1976

        Est: $50,000 - $70,000

        Bears Papunya Tula Artists catalogue number UU761272 on the reverse Synthetic polymer paint on canvas

        Sotheby's
      • UTA UTA TJANGALA , TWO TRAVELLING WOMEN 1984
        Jul. 24, 2007

        UTA UTA TJANGALA , TWO TRAVELLING WOMEN 1984

        Est: $12,000 - $18,000

        Bears Papunya Tula Artists catalogue number UU840126 on the reverse Synthetic polymer paint on linen

        Sotheby's
      • UTA UTA TJANGALA (CIRCA 1926 - 1990) - Katata-nya-Two Men Sleeping, 1972
        Nov. 22, 2006

        UTA UTA TJANGALA (CIRCA 1926 - 1990) - Katata-nya-Two Men Sleeping, 1972

        Est: $30,000 - $40,000

        UTA UTA TJANGALA (CIRCA 1926 - 1990) Katata-nya-Two Men Sleeping, 1972 synthetic polymer paint on composition board 90 x 13 cm Provenance: Purchased directly from the artist by Peter Fannin in 1992 Private Collection, SA schema verso The schematic diagram drawn on the back of this lovely early board by western desert art movement founder Uta Uta Tjangala, reveals the image to be an example of second order stylisation in that it represents both a map of the place where an old man camped, and the old man himself. The meandering line is both water and the outline of the old man's body. It borders sites that are camps and waterholes as well as the old man's navel. Sites at either end of the painting are his eyes as he rests his head on pillows. He lies in the space between a series of rocks indicated by the scalloped edges.

        Lawsons
      • UTA UTA TJANGALA (CIRCA 1926 - 1990) - Two Women Story at Sandy Blight, 1976
        Nov. 22, 2006

        UTA UTA TJANGALA (CIRCA 1926 - 1990) - Two Women Story at Sandy Blight, 1976

        Est: $6,000 - $8,000

        UTA UTA TJANGALA (CIRCA 1926 - 1990) Two Women Story at Sandy Blight, 1976 synthetic polymer paint on composition board 51 x 41 cm Provenance: Aboriginal Dreamings Gallery Private Collection, Tas Sold with original gallery documentation

        Lawsons
      • UTA UTA TJANGALA 1926-1990
        Jul. 31, 2006

        UTA UTA TJANGALA 1926-1990

        Est: $40,000 - $60,000

        UNTITLED (TWO BOYS DREAMING) 1972 MEASUREMENTS 45.5 by 40.5 cm Bears a field diagram of the work by Geoffrey Bardon attached to the reverse Synthetic polymer powder paint, PVA and natural earth pigments on composition board PROVENANCE Purchased directly from the artist at Papunya in June/July 1972 W. L. Jackson Collection of Early Western Desert Paintings, Victoria Sotheby's I mportant Aboriginal Art, Melbourne, 28 June 1999, lot 74 Private collection, Victoria LITERATURE Bardon, G. and J. Bardon, Papunya, A Place Made After the Story: The Beginnings of the Western Desert Painting Movement, The Miegunyah Press, Melbourne, 2004, p.498, painting 485 where Bardon calls this work, 'Pintubi Boy's Hairpiece Dreaming' and describes the iconography as 'four young people indicated by the U shapes, sit at fires with a ritual hairpiece. There are Water Dreaming themes rich in decorative patterning and motifs including a sand mosaic in the bottom right hand corner of the design' Cf. Bardon, G., Papunya Tula Art of the Western Desert, Penguin Books, Victoria, 1991, pp.97-98 for illustrations of two stylistically related paintings both completed in 1972 entitled 'Boys' Coroborree Dreaming' and 'Snake Dreaming'

        Sotheby's
      • UTA UTA TJANGALA CIRCA 1926-1990 WOMEN'S DREAMING 1972
        Jul. 25, 2005

        UTA UTA TJANGALA CIRCA 1926-1990 WOMEN'S DREAMING 1972

        Est: $30,000 - $50,000

        Synthetic polymer paint on composition board Provenance

        Sotheby's
      • UTA UTA TJANGALA CIRCA 1926-1990 TINGARI AT PALANGUNJA 1973
        Jul. 25, 2005

        UTA UTA TJANGALA CIRCA 1926-1990 TINGARI AT PALANGUNJA 1973

        Est: $12,000 - $18,000

        Synthetic polymer paint on composition board Provenance

        Sotheby's
      • UTA UTA TJANGALA CIRCA 1926-1990 UNTITLED 1988
        Jul. 25, 2005

        UTA UTA TJANGALA CIRCA 1926-1990 UNTITLED 1988

        Est: $12,000 - $18,000

        Synthetic polymer on linen Provenance

        Sotheby's
      • UTA UTA TJANGALA CIRCA 1920-1990 MEDICINE STORY 1971
        Jul. 25, 2005

        UTA UTA TJANGALA CIRCA 1920-1990 MEDICINE STORY 1971

        Est: $20,000 - $30,000

        Natural earth pigments, synthetic polymer and enamel paint on composition board Provenance

        Sotheby's
      • UTA UTA TJANGALA CIRCA 1926-1990 WALLABY DREAMING 1972
        Jul. 25, 2005

        UTA UTA TJANGALA CIRCA 1926-1990 WALLABY DREAMING 1972

        Est: $15,000 - $20,000

        Synthetic polymer paint on composition board Provenance

        Sotheby's
      • UTA UTA TJANGALA (CIRCA 1926-1990)
        Oct. 12, 2004

        UTA UTA TJANGALA (CIRCA 1926-1990)

        Est: £8,000 - £12,000

        Honey Art Dreaming with Papunya Tula Artists number UU900756 (on the reverse) synthetic polymer paint on canvas 150 x 37 cm Painted in 1990 This painting is to be sold with an accompanying certificate of authenticity from Papunya Tula Artists, Alice Springs

        Christie's
      • UTA UTA TJANGALA (CIRCA 1926-1990)
        Oct. 12, 2004

        UTA UTA TJANGALA (CIRCA 1926-1990)

        Est: £15,000 - £20,000

        Untitled with Papunya Tula Artists number UU8807119 (on the reverse) synthetic polymer paint on linen 154 x 45.5 cm Painted in 1988

        Christie's
      • UTA UTA TJANGALA CIRCA 1926-1990 THE CROW AT MUYINGA 1987 45.5 by 38 cm Synthetic polymer paint on canvas board Bears artist's name together with Papunya Tula catalogue number UU870253 on the reverse Provenance: Painted in 1987 for Papunya Tula
        Jul. 26, 2004

        UTA UTA TJANGALA CIRCA 1926-1990 THE CROW AT MUYINGA 1987 45.5 by 38 cm Synthetic polymer paint on canvas board Bears artist's name together with Papunya Tula catalogue number UU870253 on the reverse Provenance: Painted in 1987 for Papunya Tula

        Est: $1,500 - $2,500

        UTA UTA TJANGALA CIRCA 1926-1990 THE CROW AT MUYINGA 1987 45.5 by 38 cm Synthetic polymer paint on canvas board Bears artist's name together with Papunya Tula catalogue number UU870253 on the reverse Provenance: Painted in 1987 for Papunya Tula Artists, Alice Springs Private collection, South Australia This painting is sold with the original descriptive label which reads: 'This painting shows the Crow Dreaming site of Muyinga to the west of the Kintore community. The roundel is a rockhole at the site and the "U" space shapes are the crow ancestors that made camp near the rockhole.'

        Sotheby's
      • UTA UTA TJANGALA CIRCA 1926-1990 OLD MAN STORY 1980 166.5 by 97cm Synthetic polymer paint on linen Bears Papunya Tula Artists catalogue number UU801003 on the reverse Provenance: Painted at Papunya in 1980 Papunya Tula Artists, Alice Springs Private
        Jul. 26, 2004

        UTA UTA TJANGALA CIRCA 1926-1990 OLD MAN STORY 1980 166.5 by 97cm Synthetic polymer paint on linen Bears Papunya Tula Artists catalogue number UU801003 on the reverse Provenance: Painted at Papunya in 1980 Papunya Tula Artists, Alice Springs Private

        Est: $15,000 - $20,000

        UTA UTA TJANGALA CIRCA 1926-1990 OLD MAN STORY 1980 166.5 by 97cm Synthetic polymer paint on linen Bears Papunya Tula Artists catalogue number UU801003 on the reverse Provenance: Painted at Papunya in 1980 Papunya Tula Artists, Alice Springs Private collection, Queensland This painting is sold with an accompanying Papunya Tula Artists certificate that reads: 'This painting tells the story of the mythology of the Traveling Old Man. The story, and the painting, is susceptible to interpretation on a number of levels. This is often the case in this art. At one level it is the simplest tale of travel and making camp, with the ever-important cartographic details predominating. The travelogue starts at Kamberarpa, by the Ehrenburg Range and due west of Alice Springs, and carries on through Sandy Blight Junction to Nginana, again due west and finally to Umari. At the next level it is an aetiological tale of incest and its disasterous and rather comical consequences. At Umari there are standing stones, hollow stones and other geological features which suggested to the Aborigines a story of a man who had intercourse in violation of a kinship taboo and suffered the retribution of horribly distended sexual organs and pursuit by hordes of women. In this interpretation the roundels in the painting are testicles while the other motif which is usually people at a camp is a subincised penis and testicles. It is probable, given the Aboriginal scheme of things, that there would also be a spiritual allegory encompassed.'

        Sotheby's
      • UTA UTA TJANGALA CIRCA 1926-1990 UNTITLED 1971 65 by 26 cm Synthetic polymer powder paint on composition board Bears artist's name 'OOTA' sic) and Stuart Art Centre catalogue number 2001 on the reverse Provenance: Painting number 1 from consignment
        Jul. 26, 2004

        UTA UTA TJANGALA CIRCA 1926-1990 UNTITLED 1971 65 by 26 cm Synthetic polymer powder paint on composition board Bears artist's name 'OOTA' sic) and Stuart Art Centre catalogue number 2001 on the reverse Provenance: Painting number 1 from consignment

        Est: $22,000 - $28,000

        UTA UTA TJANGALA CIRCA 1926-1990 UNTITLED 1971 65 by 26 cm Synthetic polymer powder paint on composition board Bears artist's name 'OOTA' sic) and Stuart Art Centre catalogue number 2001 on the reverse Provenance: Painting number 1 from consignment number 2 to the Stuart Art Centre, Alice Springs Private collection, Adelaide Sotheby's Aboriginal Art, Melbourne, 9 July 2001, lot 44 Private collection, Sydney Cf. Sotheby's Important Aboriginal Art, 28 June 1999, lot 64 for a related painting executed in July 1972 where the artist has painted a more complex version of this story, centred around the same wavering central motif, and incorporating ceremonial figures and objects.

        Sotheby's
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