Old photograph of the Station Hotel in Kintore near Inverurie, Aberdeenshire, Scotland. Established in the ninth century AD as a royal burgh, Kintore had its royal charter renewed by King James IV in 1506. But the area has clearly been a popular settlement since prehistoric times. Nearby are the remains of Hallforest Castle, former stronghold of the Earls of Kintore. Its Town House dates back to 1747. Kintore is the site of Deers Den Roman Camp and is thought to relate to Agricola's campaigns into Scotland. All photographs are copyright of Sandy Stevenson, Tour Scotland, and may not be used without permission. View the most recent Tour Scotland photographs.

A 'Class I Pictish Symbol Stone', located in Kintore, Aberdeenshire

content: 100% Polyester width: 55" match: Plain durability: Martindale 50,000 country of origin: India

Amazing Australian Aboriginal Artwork by Esther Bruno Nangala / Marrapinti (EB007) is the title of the painting. Tap to view now!

Details Kunstwerk Künstler Details Aborigine-Künstlerin – Melissa Nungarrayi Larry Gemeinschaft – Nyirripi/Kintore Aboriginal Art Center – Warlukurlangu Artists Aboriginal Corporation Katalognummer – 839/20ny Materialien - Acryl auf Leinen Größe (cm) – H76 B30 T2 Versandvarianten – Das Kunstwerk wird ungedehnt und gerollt verschickt, um einen sicheren Versand zu gewährleisten Ausrichtung – Von allen Seiten bemalt und kann wie gewünscht aufgehängt werden Kunstwerk Der Ort für dieses Dreaming ist Yumari, eine Felsenansammlung westlich von Kintore in der Gibson-Wüste. Yumari ist der Ort einer verbotenen Liebesbeziehung zwischen einem Japaljarri-Mann und einer Nangala-Frau. Dieser Traum wurde dem Künstler von einem Pintupi-Mann weitergegeben. In zeitgenössischen Warlpiri-Gemälden wird die traditionelle Ikonographie zur Darstellung des Jukurrpa, zugehöriger Stätten und anderer Elemente verwendet. In dieser Arbeit werden häufig konzentrische Kreise verwendet, um „Warnirri“ (Felslöcher) darzustellen. Künstler Melissa Nungarrayi Larry wurde im Alice Springs Hospital geboren, dem nächstgelegenen Krankenhaus zu Kintore, einer abgelegenen Aborigine-Gemeinde 550 km westlich von Alice Springs, nahe der NT/WA-Grenze am Wendekreis des Steinbocks. Als sie klein war, starb ihr Vater und ihre Mutter zog Melissa und ihre drei Schwestern allein in Kintore auf. Melissa besuchte die örtliche Schule in Kintore und reiste nach ihrem Schulabschluss nach Nyirripi, einer abgelegenen Aborigine-Gemeinde in der Central Desert Region im Nordosten Australiens, wo sie ihren zukünftigen Ehemann kennenlernte. Sie heirateten und sie hat jetzt fünf Kinder, die die örtliche Nyirripi-Schule besuchen. Melissa begann 2006 bei der Warlukurlangu Artists Aboriginal Corporation zu malen, einem von den Aborigines geführten Kunstzentrum in Yuendumu. Das Kunstzentrum besucht regelmäßig Nyirripi (140 km westlich von Yuendumu), um Leinwand, Farbe und Pinsel für die Künstler abzugeben um fertige Kunstwerke zu sammeln. Melissa ist Vollzeitkünstlerin und malt Jukurrpa ihrer Mutter, Träume, die über Jahrtausende hinweg von Generation zu Generation weitergegeben wurden und sich direkt auf das Land, seine Besonderheiten und die dort lebenden Pflanzen und Tiere beziehen. Sie nutzt eine uneingeschränkte Palette, um den Ort ihrer Träume zu malen – Yumari entwickelt einen modernen, individualistischen Stil, um ihr traditionelles Jukurrpa darzustellen.

Grand-scale beauty amidst garden sanctuary Rarely have classic and contemporary beauty merged with such seamless effect than within "Araluen" (c1900), this…

ROMA GIBSON NUNGARRAYI  TITLE: UNTITLED   ACRYLIC ON CANVAS 112.5CM X 67CM ROMA HAS SIGNED THE PAINTING AND A PHOTO WILL BE PROVIDED WITH HER ARTWORK   REF#RG435   Born: Kintore, Northern Territory Known as: Roma Gibson Nungurrayi Dreaming’s: My Country     Roma resides in Walungurru (Kintore), situated 530km west of Alice Springs. While the area primarily belongs to the Pintupi people, there is a small population of Luritja, Arrenda, Warlpiri, and Pitjantjatjara individuals, making up the approximately 400 residents in the community.We encounter Roma only during her visits to Alice Springs to see her family; otherwise, she predominantly resides in the bush in her homeland.Despite being an 'untitled' piece, Roma's painting is rich in symbolism. Many Indigenous stories, however, are not meant to be shared with outsiders.    This painting was purchased directly from Roma and a gallery certificate of authenticity will be provided with the sale.

Grand-scale beauty amidst garden sanctuary Rarely have classic and contemporary beauty merged with such seamless effect than within "Araluen" (c1900), this…

Artist Name: George Ward Tjungurrayi Tribe: Pintupi Area: Central & Western Desert Born: c. 1945 George Ward Tjungurrayi was born in the vicinity of Kiwirrkura. He began painting for the famed Papunya Tula Artists in about 1976. His ancestral country covers the sites around Wala Wala, Kiwirrkura, Lake Mackay, Kulkuta, Karku, Ngaluwinyamana and Kilpinya to the north-west of Kintore across the West Australian border. George paints the Tingari stories for this region. Tingari Cycle refering to ancient stories of the Tingari People who travelled the land during mythological times. One of George’s most recent achievements is winning the prestigious 2004 Wynne Prize at the Gallery of New South Wales for his topographical depiction of the Western Desert. View large

Grand-scale beauty amidst garden sanctuary Rarely have classic and contemporary beauty merged with such seamless effect than within "Araluen" (c1900), this…

content: 100% Polyester width: 55" match: Plain durability: Martindale 50,000 country of origin: India

HU 115684. Private Kintore Albany Hoban 963. Unit: "C" Company 32nd Battalion 8th Brigade Australian Imperial Force. Death: 24 November 1916 died of wounds in No

Heavy rain that has sparked damaging flash floods and widespread evacuations in Central Australia is being described as a once-in-a-half-century weather event by the Bureau of Meteorology.

Large aboriginal painting by contemporary artist Ningura Napurrula entitled "My country, rock holes". Canvas is not stretched for easy shipping. Ningura Napurrula (Australian Aboriginal, c.1938-2013) Birthplace: Watulka, Western Australia Language: Pintupi Region: Kintore Brief Biography: Ningura Napurrula Gibson was born around 1938 at Watulka in Western Australia, south of the modern Kiwirrkura community, Ningura Napurrula moved to Papunya in the early days of the settlement with her husband Yala Yala Gibbs Tjungurrayi, a renowned artists and highly respected Pintupi elder who held significant knowledge of his countries Dreaming stories (now deceased). In 1996 she was part of a group of elderly women from Kintore and Kiwirrkura who began painting for Papunya Tula Artists in their own right. Characteristic of her work is a strong dynamism and rich linear design-compositions created with heavy layers of acrylic paint. Ningura Napurrula depict designs associated with the rock hole sites of Palturunya and Wirrulnga, east of the Kiwirrkura Community (Mount Webb) in Western Australia. The concentric circles represent rock holes and the arcs represent the higher rocky outcrops near the site. The U shapes represent women camped at the site. Ningura depicts the mythological events of her ancestors. Her artwork focuses on the travels of her female ancestors, the sacred sites that they passed, and the mythological significance of the bush tucker that they collected. In mythological times, one old woman, Kutunga Napanangka, passed through this site during her travels towards the east. She passed through numerous sites along the way before arriving at the permanent water site of Muruntji, south west of Mt. Leibig. These travels and rituals help to explain the current customs and the ceremonial lives of these Pintupi women.rnIn 2007, Ningura Napurrula is one of the 50 Australia's most collectable artists by the Australian Art Collector magazine.

Details Kunstwerk Künstler Details Künstlerin - Margaret Napnagardi Brown Gemeinschaft – Nyirripi/Kintore Kunstzentrum/Gemeinschaftsorganisation – Warlukurlangu Artists Aboriginal Corporation Katalognummer – 719/13ny Materialien - Acryl auf Leinen Größe (cm) – H91 B61 T2 Versandvarianten – Das Kunstwerk wird ungedehnt und gerollt verschickt, um einen sicheren Versand zu gewährleisten Ausrichtung – Von allen Seiten bemalt und kann wie gewünscht aufgehängt werden Kunstwerk Dieses „Jukurrpa“ (Träumen) stammt aus Mina Mina, einem sehr wichtigen Ort zum Träumen von Frauen weit westlich von Yuendumu in der Nähe des Lake Mackay und der Grenze zu Washington. Die „Kirda“ (Besitzer) dieses Dreaming sind Napangardi/Napanangka-Frauen und Japangardi/Japanangka-Männer; Das Gebiet ist den Napangardi- und Napanangka-Frauen heilig. In Mina Mina gibt es eine Reihe von „Mulju“ (Wasserbecken) und eine „Maluri“ (Tonpfanne). In der Traumzeit tanzten die Frauen der Vorfahren Mina Mina und „Karlangu“ (Grabstöcke) ragten aus dem Boden. Die Frauen sammelten die Grabstöcke ein und reisten dann weiter nach Osten, tanzten, gruben nach Buschpflanzen, sammelten „Ngalyipi“ (Schlangenrebe [Tinospora smilacina]) und schufen unterwegs viele Orte. „Ngalyipi“ ist eine seilartige Schlingpflanze, die an Stämmen und Ästen von Bäumen wächst, darunter auch „Kurrkara“ (Wüsteneiche [Allocasuarina decaisneana]). Es wird als zeremonielle Umhüllung und als Tragegurt für „Parraja“ (Coolamons) und „Ngami“ (Wasserträger) verwendet. „Ngalyipi“ wird auch verwendet, um es sich um die Stirn zu binden, um Kopfschmerzen zu heilen, und um Schnittwunden zu verbinden. Die Frauen hielten in Karntakurlangu, Janyinki, Parapurnta, Kimayi und Munyuparntiparnti an, Orten, die sich vom Westen bis zum Osten von Yuendumu erstrecken. Als sie anhielten, gruben die Frauen nach Buschnahrungsmitteln wie „Jintiparnta“ (Wüstentrüffel [Elderia arenivaga]). Der Dreaming-Track führte sie schließlich weit über das Warlpiri-Land hinaus. Die Strecke führte durch Coniston im Anmatyerre-Land im Osten und dann weiter nach Alcoota und Aileron weit nordöstlich von Yuendumu und schließlich weiter nach Queensland. In Warlpiri-Gemälden wird traditionelle Ikonographie zur Darstellung des Jukurrpa und anderer Elemente verwendet. In vielen Gemälden dieses Jukurrpa werden geschwungene Linien verwendet, um die „Ngalyipi“ (Schlangenranke) darzustellen. Konzentrische Kreise werden oft verwendet, um die „Jintiparnta“ (Wüstentrüffel) darzustellen, die die Frauen gesammelt haben, während gerade Linien verwendet werden können, um die „Karlangu“ (Grabstöcke) darzustellen. Künstler Margaret Napangardi Brown (1940 – 2013) wurde in der Mount Doreen Station geboren, einer ausgedehnten Viehzuchtstation etwa 55 km westlich von Yuendumu, einer abgelegenen Aborigine-Gemeinde 290 km nordwestlich von Alice Springs im Nordosten Australiens. Sie war das älteste von vier Kindern. Als Margaret jung war, reiste sie mit ihrer Familie durch Yuendumu und Nyirripi, wo ihr Sehenswürdigkeiten gezeigt und auf traditionelle Weise unterrichtet wurden. Margaret heiratete Pegleg Jampijinpa, einen erfolgreichen Pintupi-Künstler, der Anfang 2006 verstarb. Sie lebten in Yuendumu und hatten zwei Kinder, eine Tochter und einen Sohn. Nach dem Tod ihres Mannes zog Margaret nach Nyirripi, einer Aborigine-Gemeinde 170 km nordwestlich von Yuendumu, um ihrer Tochter Joy Nangala Brown nahe zu sein, die für Warlukurlangu Artists malt. Margaret malte mit der Warlukurlangu Artists Aboriginal Corporation; ein von den Aborigines geführtes Kunstzentrum, seit 2005. Sie malte die Jukurrpa-Geschichten ihres Urgroßvaters, Dreamings, die sich direkt auf ihr Land, seine Besonderheiten und die dort lebenden Pflanzen und Tiere beziehen. Diese Geschichten wurden ihr von ihrem Großvater und dem Vater ihres Großvaters vor ihm über Jahrtausende hinweg weitergegeben. Wenn Margaret nicht malte, liebte sie es, sich um ihre Enkelkinder zu kümmern und auf die Jagd zu gehen.

MAKINTI NAPANANGKA  TITLE: UNTITLED   ACRYLIC ON CANVAS 88CM X 70CM MAKINTI HAS SIGNED THE PAINTING AND A PHOTO WILL BE PROVIDED   REF#MN37     Born: Around 1930 -2011. Karrkurritinytia, Western Desert Region Language: Pintupi Dreaming’s: Kungka Kutjarra (Two Women), Body paint, Hair String, Lupulnga    Makinti led a traditional bush life as a member of the Pintupi group of indigenous people in the Western Desert Region. Later residing in communities in Haasts Bluff, Kiwirrkura, Papunya, and Kintore. She began painting for Papunya Tula Artists in 1996 having already painted during the Kintore and Haast Bluff Project in 1994/1995.   Makinti Napanangka's artwork is often multi-layered, with multiple meanings and interpretations that can be discerned from the patterns and symbols she uses. Her art is deeply rooted in the stories, beliefs, and cultural practices of her Indigenous community. Makinti’s paintings are associated with linear designs representing the travels of Kungka Kutjarra (Two women) across the desert including the rockhole site at Lupulnga near Kintore. The free-flowing waves of bold, thick lines in her paintings depict the swirling hair string skirts/belts (these are woven with human hair) worn by aboriginal women during ceremonies associated with sites of importance. Towards the end of her painting career Makinti’s eyesight was failing but it did not dampen her passion for painting. She would visit our family home (or fondly called the farm) and ask for vibrant acrylic paints so she could take home and later come back with her vibrant, colourful canvas. In 2005, Makinti was named as one of Australia’s fifty most collectable artists by Australian Art Collector.  Her works are highly sought after and are exhibited in major and public collections and won numerous art awards. Makinti was posthumously, appointed Member of the Order of Australia in 2016 for her service to the Arts.  This painting was purchased directly from Makinti, and a gallery certificate of authenticity will be provided with the sale.

The design for this chair derives from Italian walnut Sgabelli of the 16th century that were popular throughout the Renaissance. Hall chairs of this general shape were produced in the British Isles through the 18th century and well into the 19th century. The current example is one of the finest we have seen, generously proportioned with a shaped dished seat, and arched trestles. This chair has a particularly graceful presentation. The back is painted with the crest, coronet, initial K and motto Quae Amissa Salva (What has been lost is safe) for the Scottish family Keith, Earls of Kintore and hereditary Earls Marishal. These are two possibilities for the patron who commissioned this chair - John Keith, 3rd Earl of Kintore (1699-1758) and his cousin George Keith, 10th Earl Marishal (1693-1778). The Earl Marishal of Scotland, equivalent to the Earl Marshals in England were hereditary custodians of the Royal Regalia of Scotland and were responsible for protecting the Kings person when attending Parliament. It is unlikely that George Keith would have commissioned this chair because in 1715 he fought on the Jacobite side during the uprising and was attainted for treason by George I forfeiting both his titles and estates and fled to the continent unable to return to Britain until 1759. It is therefore almost certain that the chair was commissioned by John Keith of Keith Hall who inherited the Earldom in 1718 and held it until his death in 1758.

Details Artwork Artist Details Artist - Mary Napnagardi Brown Community - Nyirripi/Kintore   Art Centre/Community organisation - Warlukurlangu Artists Aboriginal Corporation   Catalogue number - 678/15ny   Materials - Acrylic on linen Size(cm) - H91 W61 D2 Postage variants - Artwork posted un-stretched and rolled for safe shipping  Artwork This ‘Jukurrpa’ (Dreaming) comes from Mina Mina, a very important women’s Dreaming site far to the west of Yuendumu near Lake Mackay and the WA border. The ‘kirda’ (owners) of this Dreaming are Napangardi/Napanangka women and Japangardi/Japanangka men; the area is sacred to Napangardi and Napanangka women. There are a number of ‘mulju’ (water soakages) and a ‘maluri’ (clay pan) at Mina Mina. In the Dreamtime, ancestral women danced at Mina Mina and ‘karlangu’ (digging sticks) rose up out of the ground. The women collected the digging sticks and then travelled on to the east, dancing, digging for bush tucker, collecting ‘ngalyipi’ (snake vine [Tinospora smilacina]), and creating many places as they went. ‘Ngalyipi’ is a rope-like creeper that grows up the trunks and limbs of trees, including ‘kurrkara’ (desert oak [Allocasuarina decaisneana]). It is used as a ceremonial wrap and as a strap to carry ‘parraja’ (coolamons) and ‘ngami’ (water carriers). ‘Ngalyipi’ is also used to tie around the forehead to cure headaches, and to bind cuts. The women stopped at Karntakurlangu, Janyinki, Parapurnta, Kimayi, and Munyuparntiparnti, sites spanning from the west to the east of Yuendumu. When they stopped, the women dug for bush foods like ‘jintiparnta’ (desert truffle [Elderia arenivaga]). The Dreaming track eventually took them far beyond Warlpiri country. The track passed through Coniston in Anmatyerre country to the east, and then went on to Alcoota and Aileron far to the northeast of Yuendumu and eventually on into Queensland. In Warlpiri paintings, traditional iconography is used to represent the Jukurrpa and other elements. In many paintings of this Jukurrpa, sinuous lines are used to represent the ‘ngalyipi’ (snake vine). Concentric circles are often used to represent the ‘jintiparnta’ (desert truffles) that the women have collected, while straight lines can be used to depict the ‘karlangu’ (digging sticks). Artist Mary Napangardi Brown was born in a bush camp at Mt Doreen, an extensive cattle breeding station just south west of Yuendumu, a remote Aboriginal community 290 km north-west of Alice Springs in the Northern Territory of Australia. As a young girl, Mary lived a traditional lifestyle, learning about gathering bush tucker, bush medicine, making necklaces for ceremonies and Aboriginal law. Whilst Mary was still young, her family was picked up by a white man and moved to Yuendumu. She lived there for some time with her family and then with her husband and fellow artist, Mick “Pegleg” Jampijinpa Brown (Dec). Mary and Mick later moved to Mt Liebig and then onto Nyirripi, 200 km west of Yuendumu. Mary still lives in Nyirripi and is married to the well known Papunya Tula artist Ronnie Jampijinpa. Mary started to paint in the early 1990s. Mary’s sisters Jeannie Napangardi Lewis, Margaret Napangardi Brown and Margaret Napangardi Turner and her niece, Joy Nangala Brown are all successful artists working with Warlukurlangu Artists. She has three sons who live in Yuendumu. Mary has been painting with Warlukurlangu Artists Aboriginal Corporation, an Aboriginal owned and governed Art Centre in Yuendumu, since 2005. She lives in Nyirrpi a community 160 kms west of Yuendumu. As there is no art centre in Nyirrpi her painting history was sporadic and dependent on the availabiltiy of materials. However, since 2005 canvas, Warlukurlangu drops off canvas, paint and brushes for artists living in Nyirripi, on a weekly basis. Mary paints her Jukurrpa stories, Dreamings that relate to her land, its features and the plants and animals that live there. These stories were passed down to her by her father and his father’s father for millennia. Mary uses an unrestricted palette to develop a modern interpretation of her traditional culture. Mary is a grandmother and spends a lot of her time helping to take care of her grandchildren.

MAKINTI NAPANANGKA  TITLE: UNTITLED   ACRYLIC ON CANVAS 70CM X 86.5CM MAKINTI HAS SIGNED THE PAINTING AND A PHOTO WILL BE PROVIDED   REF#MN274     Born: Around 1930 -2011. Karrkurritinytia, Western Desert Region Language: Pintupi Dreaming’s: Kungka Kutjarra (Two Women), Body paint, Hair String, Lupulnga    Makinti led a traditional bush life as a member of the Pintupi group of indigenous people in the Western Desert Region. Later residing in communities in Haasts Bluff, Kiwirrkura, Papunya, and Kintore. She began painting for Papunya Tula Artists in 1996 having already painted during the Kintore and Haast Bluff Project in 1994/1995.   Makinti Napanangka's artwork is often multi-layered, with multiple meanings and interpretations that can be discerned from the patterns and symbols she uses. Her art is deeply rooted in the stories, beliefs, and cultural practices of her Indigenous community. Makinti’s paintings are associated with linear designs representing the travels of Kungka Kutjarra (Two women) across the desert including the rockhole site at Lupulnga near Kintore. The free-flowing waves of bold, thick lines in her paintings depict the swirling hair string skirts/belts (these are woven with human hair) worn by aboriginal women during ceremonies associated with sites of importance. Towards the end of her painting career Makinti’s eyesight was failing but it did not dampen her passion for painting. She would visit our family home (or fondly called the farm) and ask for vibrant acrylic paints so she could take home and later come back with her completed colourful canvas. In 2005, Makinti was named as one of Australia’s fifty most collectable artists by Australian Art Collector.  Her works are highly sought after and are exhibited in major and public collections and won numerous art awards.  Makinti was posthumously, appointed Member of the Order of Australia in 2016 for her service to the Arts.  This painting was purchased directly from Makinti, and a gallery certificate of authenticity will be provided with the sale.

Details Kunstwerk Künstler Rückgabe + Versand Details Künstler - Joy Nangala Brown Gemeinschaft - Nyirripi Kunstzentrum/Gemeinschaftsorganisation – Warlukurlangu Artists Aboriginal Corporation Katalognummer - 689/16ny Materialien - Acryl auf Leinen Größe (cm) – H182 B61 T2 Versandvarianten – Das Kunstwerk wird ungedehnt und gerollt verschickt, um einen sicheren Versand zu gewährleisten. Kunstwerk Der Ort für dieses Dreaming ist Yumari, eine Felsenansammlung westlich von Kintore in der Gibson-Wüste. Yumari ist der Ort einer verbotenen Liebesbeziehung zwischen einem Japaljarri-Mann und einer Nangala-Frau. Dieser Traum wurde dem Künstler von einem Pintupi-Mann weitergegeben. In zeitgenössischen Warlpiri-Gemälden wird die traditionelle Ikonographie zur Darstellung des Jukurrpa, zugehöriger Stätten und anderer Elemente verwendet. In dieser Arbeit werden häufig konzentrische Kreise verwendet, um „Warnirri“ (Felslöcher) darzustellen. Künstler Joy Nangala Brown wurde am 4. Juli 1966 im Alice Springs Hospital geboren. Sie verbrachte den größten Teil ihrer Kindheit in Yuendumu, absolvierte jedoch mehrere Schuljahre am Yirara College in Alice Springs. Joy zog Anfang der 1980er Jahre nach Nyirrpi und lebt seitdem dort, obwohl sie immer wieder nach Yuendumu reist, um ihre Familie zu besuchen. Joy ist die Tochter des erfolgreichen Pintupi-Künstlers Pegleg Jampijinpa und wuchs mit seinen Kunstwerken um sie herum auf. Sie ist mit Jay Jay Spencer verheiratet, dem Adoptivsohn eines weiteren äußerst erfolgreichen Künstlers aus Yuendumu, Paddy Japaljarri Stewart. Sie haben zwei Kinder, eine Tochter, einen Sohn und Enkelkinder. Ihre Tochter Debbie Napaljarri Brown malt ebenfalls mit Warlukurlangu Artists. Joy malt seit 2006 mit der Warlukurlangu Artists Aboriginal Corporation, einem von Aborigines geführten Kunstzentrum in Yuendumu. Joy malt die Jukurrpa-Geschichten ihres Vaters und Großvaters, Träume, die ihr von ihrer Mutter und ihrem Vater weitergegeben wurden, die sie wiederum von ihnen erhielten ihre Eltern. Sie stehen in direktem Zusammenhang mit dem Land und seinen Merkmalen sowie den darauf lebenden Pflanzen und Tieren. In ihrer Freizeit geht Joy gerne auf die Jagd nach Goannas und Bush Tucker, spielt Karten und singt im Kirchenchor. Rückgabe + Versand Wir sind uns darüber im Klaren, dass es nicht immer einfach ist, Kunstwerke ungesehen zu kaufen, aber wir sind so zuversichtlich, dass Sie sie absolut lieben werden, wenn sie auftauchen, und dass Sie zurückkommen können, wenn Sie aus irgendeinem Grund Ihre Meinung ändern oder das Feng Shui nicht spüren Sie erhalten innerhalb von 14 Tagen eine vollständige Rückerstattung. Für alle Bestellungen über 135 US-Dollar innerhalb Australiens versenden wir gerne kostenlos per Einschreiben, ansonsten 15 US-Dollar. Für den internationalen Versand gilt eine Pauschale von 30 US-Dollar.

Large aboriginal painting by contemporary artist Ningura Napurrula entitled "My country, rock holes". Canvas is not stretched for easy shipping. Ningura Napurrula (Australian Aboriginal, c.1938-2013) Birthplace: Watulka, Western Australia Language: Pintupi Region: Kintore Brief Biography: Ningura Napurrula Gibson was born around 1938 at Watulka in Western Australia, south of the modern Kiwirrkura community, Ningura Napurrula moved to Papunya in the early days of the settlement with her husband Yala Yala Gibbs Tjungurrayi, a renowned artists and highly respected Pintupi elder who held significant knowledge of his countries Dreaming stories (now deceased). In 1996 she was part of a group of elderly women from Kintore and Kiwirrkura who began painting for Papunya Tula Artists in their own right. Characteristic of her work is a strong dynamism and rich linear design-compositions created with heavy layers of acrylic paint. Ningura Napurrula depict designs associated with the rock hole sites of Palturunya and Wirrulnga, east of the Kiwirrkura Community (Mount Webb) in Western Australia. The concentric circles represent rock holes and the arcs represent the higher rocky outcrops near the site. The U shapes represent women camped at the site. Ningura depicts the mythological events of her ancestors. Her artwork focuses on the travels of her female ancestors, the sacred sites that they passed, and the mythological significance of the bush tucker that they collected. In mythological times, one old woman, Kutunga Napanangka, passed through this site during her travels towards the east. She passed through numerous sites along the way before arriving at the permanent water site of Muruntji, south west of Mt. Leibig. These travels and rituals help to explain the current customs and the ceremonial lives of these Pintupi women.rnIn 2007, Ningura Napurrula is one of the 50 Australia's most collectable artists by the Australian Art Collector magazine.

Details Artwork Artist Details Artist - Albury Jangala Dixon Community - Kintore/Nyirripi   Art Centre/Community organisation - Warlukurlangu Artists Aboriginal Corporation   Catalogue number - 2361/18ny Materials - Acrylic on linen   Size(cm) - H107 W91 D2   Postage variants - Artwork posted un-stretched and rolled for safe shipping Orientation - Painted from all sides and OK to hang as wished Artwork This painting depicts a portion of the Tingari cycle, a very important collection of Dreaming narratives from the Western Desert region. The country that this painting depicts is located far to the west of Yuendumu, and spans a vast area of land across the Gibson and Great Sandy Deserts in Western Australia. Aboriginal groups that paint the Tingari cycle include the Pintupi, Kukatja, Ngarti, and Walmajarri peoples, among others. The Tingari cycle consists of three major Dreaming tracks. One begins west of Jupiter Well and eventually runs due east, concluding south-east of Lake Mackay; another heads south-west from near Kintore for some 200 km, and then doubles back to end at Lake Macdonald; the third runs from south to north through Docker River and Kintore. The cycle tells the story of a group of ancient creation ancestors, the Tingari, who travelled across the country. The Tingari took different forms, some human and some animal. Humans were typically initiated men accompanied by ‘punyunyu’ (novices, uninitiated men). The men were sometimes accompanied by extremely powerful initiated women (called variously the ‘Kungka Tjuta,’ ‘Minyma Tjuta,’ or ‘Kanaputa’). Like the initiated men, these initiated women were accompanied by uninitiated women to whom they provided a ritual education. Animals featured in the Tingari cycle include the dingo, emu, kingfisher, and western quoll, among others. As the Tingari travelled over vast areas of the country, they held initiations and other ceremonies, caused or encountered raging bushfires, hunted game, found and cooked bush-tucker, fought and killed one another, disposed of the dead or brought them back to life, interacted with totemic ancestors, copulated illicitly, made and used sacred objects, flew through the air, and died in hailstorms. In the course of these adventures, they either created or became the physical features of the sites they visited, forming rocky outcrops, waterholes, trees, salt lakes, ochre deposits, and so on. These sites which are now regarded as sacred by their descendants, today’s custodians of these places. The Tingari also laid down social custom and law as it should be practised today. Their journeys form the basis of sacred and secret men’s and women’s laws. Public paintings of the Tingari cycle typically only show the unrestricted portions of these stories. Traditional iconography is used to represent the Dreamings, associated sites, and other elements of the Tingari cycle. In many paintings of these narratives, concentric circles represent soakages, rockholes, ancient wells, and other water features. Lines indicate rainfall and grasses that provide edible seeds after the rain, or routes taken by the Tingari as they travelled. People are represented by semi-circles. Sets of circles can represent the body-designs of the older men who are painting the bodies of the younger men, often represented as smaller circles. Artist Albury Jangala Dixon was born in Papunya in 1974. After living in Kintore he is now living and painting in Nyirripi in the Northern Territory. His father is Ronnie Tjampijinpa. "I am doing it like my father, Ronnie. He is old now."

MAKINTI NAPANANGKA TITLE: UNTITLED ACRYLIC ON LINEN 149CM X 96CM MAKINTI HAS SIGNED THE PAINTING A PHOTO WILL BE PROVIDED   REF#MN112     Born: Around 1930 -2011. Karrkurritinytia, Western Desert Region Language: Pintupi Dreaming’s: Kungka Kutjarra (Two Women), Body paint, Hair String, Lupulnga    Makinti led a traditional bush life as a member of the Pintupi group of indigenous people in the Western Desert Region. Later residing in communities in Haasts Bluff, Kiwirrkura, Papunya, and Kintore. She began painting for Papunya Tula Artists in 1996 having already painted during the Kintore and Haast Bluff Project in 1994/1995.   Makinti Napanangka's artwork is often multi-layered, with multiple meanings and interpretations that can be discerned from the patterns and symbols she uses. Her art is deeply rooted in the stories, beliefs, and cultural practices of her Indigenous community. Makinti’s paintings are associated with linear designs representing the travels of Kungka Kutjarra (Two women) across the desert including the rockhole site at Lupulnga near Kintore. The free-flowing waves of bold, thick lines in her paintings depict the swirling hair string skirts/belts (these are woven with human hair) worn by aboriginal women during ceremonies associated with sites of importance. Towards the end of her painting career Makinti’s eyesight was failing but it did not dampen her passion for painting. She would visit our family home (or fondly called the farm) and ask for vibrant acrylic paints so she could take home and later come back with her vibrant, colourful canvas. In 2005, Makinti was named as one of Australia’s fifty most collectable artists by Australian Art Collector.  Her works are highly sought after and are exhibited in major and public collections and won numerous art awards. Makinti was posthumously, appointed Member of the Order of Australia in 2016 for her service to the Arts.  This painting was purchased directly from Makinti, and a gallery certificate of authenticity will be provided with the sale.

Details Ouvrages d'art Artiste Retours + Expédition Details Artiste - Mary Napnagardi Brown Communauté - Nyirripi/Kintore Centre d'art/Organisme communautaire - Warlukurlangu Artists Indigenous Corporation Numéro de catalogue - 767/15ny Matériaux - Acrylique sur toile pré-étirée Taille (cm) - H30 W30 D3.5 Variantes d'affranchissement - Oeuvre affichée étirée Ouvrages d'art Ce « Jukurrpa » (Rêver) vient de Mina Mina, un site de rêve féminin très important situé loin à l'ouest de Yuendumu, près du lac Mackay et de la frontière de l'État de Washington. Les « kirda » (propriétaires) de ce Rêve sont les femmes Napangardi/Napanangka et les hommes Japangardi/Japanangka ; la zone est sacrée pour les femmes Napangardi et Napanangka. Il existe un certain nombre de « mulju » (trempages d'eau) et de « maluri » (casserole d'argile) à Mina Mina. Au Temps du Rêve, les femmes ancestrales dansaient à Mina Mina et des « karlangu » (bâtons à creuser) sortaient du sol. Les femmes ont ramassé les bâtons à creuser puis ont voyagé vers l'est, dansant, creusant pour trouver du bush tucker, ramassant du « ngalyipi » (vigne serpent [Tinospora smilacina]) et créant de nombreux endroits au fur et à mesure de leur passage. 'Ngalyipi' est une plante grimpante en forme de corde qui pousse sur les troncs et les branches des arbres, y compris le 'kurrkara' (chêne du désert [Allocasuarina decaisneana]). Il est utilisé comme enveloppe de cérémonie et comme sangle pour transporter les « parraja » (coolamons) et les « ngami » (porteurs d'eau). Le « Ngalyipi » est également utilisé pour nouer autour du front pour soigner les maux de tête et pour panser les coupures. Les femmes se sont arrêtées à Karntakurlangu, Janyinki, Parapurnta, Kimayi et Munyuparntiparnti, des sites s'étendant de l'ouest à l'est de Yuendumu. Lorsqu'elles s'arrêtaient, les femmes creusaient pour trouver des aliments de brousse comme la « jintiparnta » (truffe du désert [Elderia arenivaga]). Le morceau Dreaming les a finalement emmenés bien au-delà du pays Warlpiri. La piste traversait Coniston dans le pays d'Anmatyerre à l'est, puis se dirigeait vers Alcoota et Aileron loin au nord-est de Yuendumu et finalement jusqu'au Queensland. Dans les peintures Warlpiri, l'iconographie traditionnelle est utilisée pour représenter le Jukurrpa et d'autres éléments. Dans de nombreuses peintures de ce Jukurrpa, des lignes sinueuses sont utilisées pour représenter le « ngalyipi » (vigne serpent). Des cercles concentriques sont souvent utilisés pour représenter les « jintiparnta » (truffes du désert) que les femmes ont récoltées, tandis que des lignes droites peuvent être utilisées pour représenter les « karlangu » (bâtons à creuser). Artiste Mary Napangardi Brown est née dans un camp de brousse au Mont Doreen, une vaste station d'élevage de bétail située juste au sud-ouest de Yuendumu, une communauté aborigène isolée située à 290 km au nord-ouest d'Alice Springs, dans le Territoire du Nord de l'Australie. En tant que jeune fille, Mary vivait un mode de vie traditionnel, apprenant à cueillir du bush tucker, des médicaments de brousse, à fabriquer des colliers pour les cérémonies et à connaître le droit autochtone. Alors que Mary était encore jeune, sa famille a été récupérée par un homme blanc et a déménagé à Yuendumu. Elle y a vécu quelque temps avec sa famille, puis avec son mari et collègue artiste, Mick « Pegleg » Jampijinpa Brown (décembre). Mary et Mick ont ​​ensuite déménagé au mont Liebig, puis à Nyirripi, à 200 km à l'ouest de Yuendumu. Mary vit toujours à Nyirripi et est mariée au célèbre artiste Papunya Tula, Ronnie Jampijinpa. Mary a commencé à peindre au début des années 1990. Les sœurs de Mary, Jeannie Napangardi Lewis, Margaret Napangardi Brown et Margaret Napangardi Turner, ainsi que sa nièce, Joy Nangala Brown, sont toutes des artistes à succès travaillant avec Warlukurlangu Artists. Elle a trois fils qui vivent à Yuendumu. Mary peint depuis 2005 avec la Warlukurlangu Artists Indigenous Corporation, un centre d'art détenu et géré par des aborigènes à Yuendumu. Elle vit à Nyirrpi, une communauté située à 160 km à l'ouest de Yuendumu. Comme il n'y a pas de centre d'art à Nyirrpi, son histoire de peinture était sporadique et dépendait de la disponibilité des matériaux. Cependant, depuis 2005, Warlukurlangu livre chaque semaine des toiles, de la peinture et des pinceaux aux artistes vivant à Nyirripi. Mary peint ses histoires Jukurrpa, des rêves qui se rapportent à sa terre, à ses caractéristiques et aux plantes et animaux qui y vivent. Ces histoires lui ont été transmises par son père et par le père de son père pendant des millénaires. Mary utilise une palette illimitée pour développer une interprétation moderne de sa culture traditionnelle. Mary est grand-mère et consacre une grande partie de son temps à prendre soin de ses petits-enfants. Retours + Expédition Nous sommes conscients qu'il n'est pas toujours facile d'acheter des œuvres d'art sans les avoir vues, mais nous sommes tellement convaincus que vous les adorerez quand elles apparaîtront que si pour une raison quelconque vous changez d'avis ou si vous ne ressentez pas le feng shui, vous pouvez revenir. dans les 14 jours pour un remboursement complet. Nous sommes heureux de fournir un envoi recommandé gratuit pour toutes nos peintures en Australie et 30 $ pour les frais de port internationaux. Une prime de 15 $ est applicable pour l'emballage sécuritaire et l'envoi recommandé de nos articles 3D.

Details Artwork Artist Details Aboriginal Artist - Melissa Nungarrayi Larry Community - Nyirripi/Kintore  Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation Catalogue number - 1378/21ny Materials - Acrylic on linen Size(cm) - H91 W46 D2  Postage variants - Artwork posted un-stretched and rolled for safe shipping Orientation - Painted from all sides and OK to hang as wished Artwork The site for this Dreaming is Yumari, a collection of rocks west of Kintore in the Gibson Desert. Yumari is the site of a forbidden love union between a Japaljarri man and a Nangala woman. This Dreaming was passed down to the artist by a Pintupi man. In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, associated sites and other elements. In this work concentric circles are often used to represent ‘warnirri’ (rock holes). Artist Melissa Nungarrayi Larry was born in Alice Springs Hospital, the closest hospital to Kintore, a remote Aboriginal community located 550 km west of Alice Springs, near the NT/WA border on the Tropic of Capricorn. When she was young her father died and her mother raised Melissa and her three sisters alone in Kintore. Melissa attended the local school in Kintore and when she finished school she travelled to Nyirripi, a remote Aboriginal community located in the Central Desert Region of the NT of Australia, where she met her future husband. They married and she now has five children who attend the local Nyirripi school. Melissa began painting with Warlukurlangu Artists Aboriginal Corporation, an Aboriginal owned and governed art centre located in Yuendumu, in 2006. The Art Centre makes regular visits to Nyirripi (140 km west of Yuendumu) to drop off canvas, paint and brushes for the artists and to collect finished artwork.  Melissa is a full time artist and paints her Mother’s Jukurrpa, Dreamings which have been passed down over the generations for millennia and relate directly to the land, its features and the plants and animals that inhabit it.  She uses an unrestricted palette to paint the site of her dreaming - Yumari, developing a modern individualist style to depict her traditional Jukurrpa.

ELIZABETH MARKS NAKAMARRA TITLE: UNTITLED ACRYLIC ON CANVAS 147CM X 89CM ELIZABETH HAS SIGNED THE PAINTING AND A PHOTO WILL BE PROVIDED REF#EMN84     DOB: 1959. Papunya  Northern Territory Language: Pintupi     Elizabeth was born in the Settlement of Papunya which is home to approximately 450 residents of Luritja, Pintubi, Warlpiri and Arrernte people and home to many renowned indigenous artists, past and present. Her parents were Mary Napanangka and Frank Tjupurrula. Her father was an artist who sadly passed away when Elizabeth was very young.   It was her step-father Turkey Tolson Tjpurrula (now deceased) who was one of the most successful artists to emerge from Papunya who would inspire Elizabeth to start painting. Elizabeth married Mick Namerari Tjapaltjarri who became an acclaimed Papunya Tula artist and help him with his work as was customary. It wasn’t until her husband passed away in the late 1990s when Elizabeth began establishing herself as an artist.   She has gone on to develop her own distinctive style of painting to tell the stories associated with her country of Walungurru (Kintore).   This painting was purchased directly from Elizabeth and a gallery certificate of authenticity will be provided with the sale.

Details Artwork Artist Details Aboriginal Artist - Carol Nampijinpa Larry Community - Nyirripi/Kintore  Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation Catalogue number - 3066/19ny Materials - Acrylic on linen Size(cm) - H122 W107 D2  Postage variants - Artwork posted un-stretched and rolled for safe shipping Orientation - Painted from all sides and OK to hang as wished Artwork This painting depicts Nakamarra and Napurrurla women hunting for bush foods. The ‘kirda’ (owners) for this story are Nakamarra/Napurrurla women and Jakamarra/Jupurrurla men. Yumurrpa and Wapurtali are two major Dreaming sites owned by the Nakamarra/Jakamarra and Napurrurla/Jupurrurla subsections; these sites are also associated with bush food Dreamings. Yumurrpa is a major waterhole to the northwest of Yuendumu and a ‘yarla’ (bush potato [Ipomea costata]) Dreaming site. The area north of Wapurtali/Yintaramurru (Mt. Singleton) is a ‘wanakiji’ (bush tomato [Solanum chippendalei]) Dreaming site. Warlpiri women hunt for a number of different bush foods at different times of the year. These include ‘ngarlkirdi’ (witchetty grubs [Endoxyla leucomochla larvae]), ‘yunkaranyi’ (honey ants [Camponotus inflatus]), ‘jintiparnta’ and ‘purlantarri’ (desert truffle [Elderia arenivaga]), ‘yuparli’ (bush bananas [Marsdenia australis]), ‘janmarda’ (bush onions [Cyperus bulbosus]), ‘pirlala’ (bush beans [Acacia coriacea seeds]), ‘ngarlajiyi’ (bush carrots [Vigna lanceolata]), ‘wayipi’ (small bush carrots [Boerhavia diffusa]), and ‘yakajirri’ (bush raisins [Solanum centrale]). Women traditionally dug for these foods using wooden ‘karlangu’ (digging sticks). The end of the digging sticks were charred and ground on a stone surface to create a bevelled edge. Today many Warlpiri women use crowbars (also called ‘karlangu’) to dig for bush foods. Collected bush foods are traditionally carried in ‘parraja’ (coolamons), which can be carried with a strap made from the ‘ngalyipi’ (snake vine [Tinospora smilacina]). In Warlpiri paintings, traditional iconography is used to represent the Jukurrpa and other elements. Concentric circles are often used to represent the bush foods that the women have collected, while straight lines can be used to depict the ‘karlangu’ (digging sticks). Sinuous lines are often used to represent the ‘ngalyipi’ (snake vine). Artist Details currently unavailable.

Details Kunstwerk Künstler Kunstzentrum Details Aborigine-Künstlerin – Mavis Nampitjinpa Marks Gemeinschaft - Ikuntji (Haasts Bluff) Aboriginal Art Center – Ikuntji-Künstler Katalognummer – 17/MM93 Materialien - Acryl auf Leinen Größe (cm) – H91 B40 T2 Versandvarianten – Das Kunstwerk wird ungedehnt und gerollt verschickt, um einen sicheren Versand zu gewährleisten Kunstwerk In diesem Gemälde malt Mavis Nampitjinpa ihr Tjukurrpa (Träumen), das Wasserträumen, das speziell für den Ort Kalipinpa nördlich von Kintore gilt. Für die Aborigines der westlichen Wüste ist Kapi (Wasser) eine lebenswichtige Ressource. Wenn der Regen in der Wüste einsetzt, erwacht die Landschaft zum Leben, die Wüstenblumen blühen, es gibt reichlich Buschwerk und die Menschen nutzen alle Freuden, die das Wasser mit sich bringt. Künstler Mavis wurde in New Haven geboren. Sie ist die Schwester von Ronnie Tjampitjinpa und Smithy Zimran Tjampitjinpa. Ihre Schwestern Yuyuya Nampitjinpa und Gina Nampitjinpa haben dieselbe leibliche Mutter und denselben leiblichen Vater (Tjangala). Sie reist gerne nach Kintore, um ihre Schwester Yuyuwa zu besuchen. Gina lebt in Alice Springs und Mavis kann sie regelmäßig sehen. Als Teenager zog sie mit ihrer Mutter nach Haasts Bluff. Als sie heiratete, zog sie mit ihrem Mann nach Mt. Liebig und begann dort im Kunstzentrum zu malen. Nach dem Tod ihres Mannes kehrte Mavis nach Haasts Bluff zurück und zog später nach Papunya. Mavis malt gerne den zeremoniellen Tanz der Damen am Mt. Liebig und repräsentiert ihre Körperbemalungsentwürfe. Sie malt auch die Geschichte, die ihr Großvater von Kalipinpa, der Wasserträumer, erzählt hat und die mütterlicherseits stammt. Sie hat fünf eigene Kinder großgezogen und ihre Tochter Sylvana Marks ist ebenfalls Künstlerin. Kunstzentrum Es werden immer noch viele Geschichten über lange Reisen von Menschen aus verschiedenen Sprachgruppen erzählt, die von Felslöchern und Wasserlöchern zu Höhlen und Bergen reisten und schließlich in Haasts Bluff ankamen. Die Einheimischen, die Luritja aus Haasts Bluff, waren bereits hier. Somit ist Haasts Bluff eine Gemeinschaft voller sprachlicher und kultureller Vielfalt. Ikuntji Artists wurde 1992 nach einer Reihe von Workshops mit der Melbourner Künstlerin Marina Strocchi und unter dem Einfluss der damaligen Gemeindepräsidentin, der verstorbenen Esther Jugadai, gegründet. Das Kunstzentrum wurde ursprünglich gegründet, um die Rolle eines Frauenzentrums zu erfüllen, das Dienstleistungen wie die Betreuung alter Menschen und Kinder in der Gemeinde anbietet. Nach ersten Erfahrungen mit dem Bedrucken von T-Shirts begannen die Künstler mit der Herstellung von Acrylgemälden auf Leinen und handgeschöpftem Papier, was schnell die Aufmerksamkeit der australischen und internationalen Kunstwelt auf sich zog und dem Zentrum einen beeindruckenden Ruf für bildende Kunst einbrachte. Der Schwerpunkt änderte sich 2005 mit der Gründung des Kunstzentrums als Ikuntji Artists Aboriginal Corporation von einem Frauenzentrum zu einem Kunstzentrum. Die Künstler lassen sich von ihrem persönlichen Ngurra (Land) und Tjukurrpa (Träumen) inspirieren. Sie interpretieren die Ahnengeschichten anhand traditioneller Symbole, Ikonen und Motive. Das künstlerische Repertoire der Ikuntji-Künstler ist vielfältig und umfasst beispielsweise: naive sowie stark abstrakte Gemälde, die jeder Künstler in seinem persönlichen Handschriftstil erzählt. In den 21 Jahren ihres Bestehens blühte die Kunstbewegung in Ikuntji auf und hinterließ immer wieder ihre Spuren in der Welt der bildenden Künste. Gleichzeitig war das Kunstzentrum das kulturelle Zentrum der Gemeinschaft, das kulturelle Praktiken durch Kunstschaffen aufrechterhielt, stärkte und neu belebte. Heute hat Ikuntji Artists acht wichtige Künstler, die in Australien und international ausstellen. Sie sind in bedeutenden Sammlungen auf der ganzen Welt vertreten. Text: Melanie Greiner, Alison Multa und Dr. Chrischona Schmidt

designed by dorte mandrup arkitekter, this timber-clad kindergarten boasts a distinctive typology that references the surrounding coastal landscape.