KAAPA MBITJANA TJAMPITJINPA

Painted at Papunya in July / August 1972
Consignment 16 painting number 3 to the Stuart Art Centre, Alice Springs
Private collection
Sotheby's, Contemporary and Aboriginal Art, Melbourne, 17 June 1996, lot 267
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.479 Ptg.458 illus.

The majority of the paint work is stable, there appears to have been no repairs or restoration, the painting is attached to a light-weight stretcher and housed din a linen backed dark hard-wood frame, a number of areas on the surface have peeled away or are in the process of cracking or lifting, the worst areas being the left hand snake, the central orange oval line and the right hand sacred board. Conservation and consolidation by a professional restorer is recommended
"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."

This painting is sold with an accompanying four page document prepared by Geoffrey Bardon with an annotated diagram and his interpretation of the imagery depicted, that reads in part: "A child ritual figure is indicated in the centre of the painting in the ceremonial area. The naive figuration was encouraged from the earliest discussions with the artist. Anmatjira symmetry gives careful order to the arrangement of Tjurungas. The realism of snakes shows that an initiate boy is being given lessons on the subject. There are variations of body paint, ornamentation and decoration that are features of this artist's superb skill. This Children's Dreaming was part of a unique set completed by the entire Papunya painting group for lessons at the school and safe exhibition in Alice Springs for the Annual Art Show in July 1972. The work is a triumph of expression as it avoids the restrictions of secrecy that accompanied so much traditional Aboriginal painting at Papunya".

There are four figurative children's paintings in this series, all of which are documented in Bardon and Bardon (pp.477-479) including Busy, Cranky or Turbulent Spirit Child, 1972, formerly in the Peter Fannin Collection and now in the National Gallery of Australia.