KAAPA MBITJANA TJAMPITJINPA

Painted at Papunya in April / May 1972
Papunya Tula Artists until 1974
Private collection, UK
Sotheby's, Important Aboriginal Art, Melbourne, 30 June 1997, lot 184
Private collection

Bardon, G. and Bardon J., Papunya, A Place made after the Story; The Beginnings of the Western Desert Paintings Movement, The Miegunyah Press, Melbourne University Publishing, 2004, p.47 Ptg.454 illus.

The painting has been attched to a light weight stretcher and is mounted onto a black hesian backed hardwood frame, the paint is in excellent and stable condition and shows no visual signs of repair or restoration
"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."

In Bardon and Bardon the subject matter is described as: "A ritual man, indicated by the large 'U', sits at a sand mosaic in the centre of the painting. Running water is indicated by the undulating line travelling to waterholes, which are shown by the oval shapes. Modified ceremonial hats for viewing by children are depicted by diamond shapes and the linear grid represents body paint. The human figure shown is of the ritual man duplicated by the traditional 'U'.

'Kaapa used realistic representations quite often and, significantly for me, had tried to do so with the school murals. He was influenced by the magazines and comics which he read avidly, and he should be compared in this matter of influences with Clifford Possum Tjapaltjarri. Tracks of the dancers are indicated, but the full story is unknown since Kaapa was often unforthcoming as to a painting's meaning and tended to lapse into a measured solipsism.' (ibid p.477)

This painting is sold with a copy of the original field notes as prepared by Geoffrey Bardon