Lot 52
  • 52

GEORGE WARD TJUNGURRAYI

Estimate
30,000 - 40,000 AUD
Log in to view results
bidding is closed

Description

  • George Ward Tjungurrayi
  • UNTITLED 2003
  • Bears artist's name, size and Papunya Tula Artists catalogue number GW0311201 on the reverse
  • Synthetic polymer paint on linen
  • 183 by 153 cm

Provenance

Painted at Kiwirrkura for Papunya Tula Artists
Private collection, Melbourne

Condition

The painting is in very good condition with no scratches, scuffing or marks.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

In 2004, George Ward won the Wynne Prize for landscape painting at the Art Gallery of New South Wales, only three years after he had commenced painting professionally.  Born around 1950, the younger brother of the renouned Pintupi painter Yala Yala Gibbs (c.1925-98).  George Ward started painting on canvas when he and his family moved to Kintore, in the early 1990s.  He only painted sporadically for Papunya Tyula Artists until 2001.  After his influential brother's death, George Ward, armed with the traditional knowlegde gained through a succession of ritual activity, was prepared to assume his reponsibility to paint his family's ancestoral lands around Lake MacDonald on the Northern Territory/ Western Australia border.

George Ward compositions do not resemble maps of the landscape, rather they reflect a sense of the atmosphere, both spiritual and physical of the country.  His combination of concentric repeated and varied forms, and layers of fine dotting produce surfaces of beguiling complexity and dispay an authority gained through ceremony.

For an appreciation of the artist's paintings on the occasions of his Wynne Prize award, see Rothwell, N, 'Going to the source', The Australian, 20 April 2004.