![Tim Leura Tjapaltjarri, Bushfire Spirit Dreaming at Napperby [formerly Untitled], 1972](https://artlogic-res.cloudinary.com/w_2400,h_2400,c_limit,f_auto,fl_lossy,q_auto/ws-twocollections/usr/images/artworks/main_image/items/f7/f7f185f043a44b438e11947b59d9ad82/cat33_tltjapaltjarri.jpg)
Tim Leura Tjapaltjarri
Bushfire Spirit Dreaming at Napperby [formerly Untitled], 1972
Synthetic polymer paint on composition board
23 ⅞ x 18 ⅞ inches (60.64 x 47.94 cm)
Photo: Tony De Camillo for the Herbert F. Johnson Museum of Art, Cornell University
Provenance
The Artist, painted at Stuart Art Center, Alice Springs, Northern Territory
Private Collection, (purchased from a mission worker in the Alice Springs area in late 1972)
Stuart Art Centre, Alice Springs, Northern Territory, consignment 19, painting 225, cat. no. 19225
Sotheby's, Important Aboriginal Art, 29 June, 1998, lot 47
Collection of John and Barbara Wilkerson, New York
Exhibitions
Icons of the Desert: Early Aboriginal Paintings from Papunya, The Herbert F Johnson Museum, Cornell University, Ithaca, New York, 10 January - 5 April 2009; Fowler Museum of Cultural History, University of California, Los Angeles, 3 May - 2 August, 2009; Grey Art Gallery, New York University, New York, 1 September - 5 December, 2009
Abstraction & the Dreaming: Aboriginal Paintings from Australia’s Western Desert (1971 – Present), Nora Eccles Harrison Museum of Art, Utah State University, Utah, 11 September - 12 December 2015
Publications
Sotheby's, Important Aboriginal Art, 29 June, 1998, p. 38
Bardon and Bardon, Papunya, A Place Made After the Story: The Beginnings of the Western Desert Painting Movement, The Miegunyah Press: Melbourne, 2004, p. 227, painting 138
Johnson, Lives, 2008, p. 44 - 46
John Kean, Dot Circle & Frame, Upswell Publishing: Perth, 2023
Fred Myers and Terry Smith, Six Paintings from Papunya: A Conversation, Duke University Press: Durham, 2024
“This late, stylised Travelling Dreaming, disguised with hidden forms where the landscape features are almost unseen, has a straight line as the journey motif, myriad curvilinear forms associated with dark patches and a hint of some mysterious map-like location.” (A Place Made After the Story: The Beginnings of the Western Desert Painting Movement, 2004, p. 227)
