Djirrirra Wunungmurra Paintings & Artwork for Sale | Djirrirra Wunungmurra Art Value Price Guide

Nov. 12, 2024
DJIRRIRRA YUKUWA WUNUNGMURRA, YUKUWA, 2016
Est: $6,000 - $8,000
DJIRRIRRA YUKUWA WUNUNGMURRA 1969- YUKUWA, 2016 ochre on board 120 x 60 cm (each); 124 x 63 cm (each framed) artwork cataloguing details verso PROVENANCE Buku-Larrnggay Mulka Centre, NT Cat No. 4138-16 and 3922-16 Outstation Gallery, NT Private Collection, NSW Accompanied by certificates of authenticity from Buku-Larrnggay Mulka Centre Black and White – Nawurapu and Djirrirra Wunungmurra, Outstation Gallery, Darwin NT, 5 - 20 August 2017 ©Djirrirra Yukuwa Wunungmurra / Buku-Larrangay Art Centre, 2024 Yukuwa is one of the personal names of the artist and Yukuwa is the topic of this work. Almost a self-portrait. This piece is a reference to Yirritja renewal ceremony which is by definition a shared communion of Yirritja moiety clans which does not relate to circumcision or mortuary rites. Spirits of deceased people are on a cyclical journey from their point of death to the reservoir of souls particular to their clan identity. But at these irregular ceremonies they all congregate for one last dance together before heading their separate ways. There are relationships between Yirritja moiety clans that are renewed through Yukuwa ceremony at particular sites which relate to the ritual exchange of sacred objects, song and dance. Yukuwa is a yam whose annual reappearance is a metaphor for the increase and renewal of the people and their land. Traditionally the invitation to such a ceremony is presented as an object in the form of a yam with strings emanating from it with feathered flowers at the end. This is a suggestion of the kinship lines which tie groups together. The site referred to in this piece is in the area between Gangan and the sea known as Balambala described as the next river from Gangan. This is a cleared area which is an ancient ceremonial site at which special men’s ceremony involving both larrakitj (or Dhan’parr- bark coffin) and special yidaki occurred. An ancient hero known as Burruluburrulu danced here. It is described as a meeting place for Dhalwangu, top Madarrpa (Dholpuyngu) and Munyuku. These ‘renewal’ ceremonies in Yolngu law occur irregularly when the time is right. They are independent of the funeral, circumcision and age grading ceremonies that occur all the time. They are held at specific natural clearings within the general Stringybark forest that covers most of Arnhem land. The documentation of a different work detailing the Garma site at Gulkula (which is another of these sites) says as follows; “This piece and the Festival and site itself flag reference to a class of Yirritja renewal ceremony which is by definition a shared communion of Yirritja moiety clans which does not relate to circumcision or mortuary rites." There are relationships between Yirritja moiety clans that are renewed through Yukuwa ceremony at particular sites which relate to the ritual exchange of sacred objects, song and dance. Yukuwa is a yam whose annual reappearance is a metaphor for the increase and renewal of the people and their land. Traditionally the invitation to such a ceremony is presented as an object in the form of a yam with strings emanating from it with feathered flowers at the end. This is a suggestion of the kinship lines which tie groups together. The other sites which can host such a ceremony besides Gulkula include an area between Gangan and the sea known as Balambala described as the next river from Gangan. This is in the Dhalwangu coastal zone known as Garraparra. Some of the dancers at 2003 Garma (who used a whistle in their ritual call and response) were Dhalwangu singing this site. It is described as a meeting place for Dhalwangu, top Madarrpa (Dholpuyngu) and Munyuku. An ancient hero known as Burruluburrulu danced here. There is another naturally cleared site at Rurrangala which is an analagous ‘ceremony ground of the gods’. These naturally cleared areas are ancient ceremonial sites at which special men’s ceremony involving both larrakitj (or Dhanbarr- bark coffin) and special yidaki occurred. Gulkula is another time honoured meeting place for such ceremonies. The stories of such sites also involve Watu (dogs), Garrtjambal (red kangaroos) and (Ngerrk) cockatoos. Ngerrk are the Yirritja moiety harbingers of death and therefore related to the mortuary aspect of the Larrakitj ceremony. The Gumatj ancestral hero/giant Ganbulabula called and presided over such a ceremony in ancestral time at Gulkula. During the ceremony a member of Dhamala (sea eagle) clan was misbehaving with various giggly young women of Matjurr (flying fox). This distracted people from their sacred observance and caused disharmony amongst the camp. To express his displeasure and end the behaviour Ganbulabula threw the finely worked memorial pole he had been painting from the edge of the escarpment to the ocean below where it still exists imbuing these waters with special properties. And thus when the stringybark blossom attracting flying fox to the escarpment White breasted Sea Eagles still cruise the edge picking off less careful bats. The Gumatj leaders hold ceremony aimed at unifying people and paint and display Larrakitj. The multidimensionality of sacred time means that the songs of this place relate to the past the present and the future simultaneously. In any event the conception is that when these ceremonies are held by mortals during the day the spirits conduct their own rituals at night. Indeed their nocturnal activities are often audible in the main camp during such ceremonies. It seems as if it is a necessary part of their farewell to this dimension to have this last ceremony. This piece is a fine example of an Australian Aboriginal artwork.
Art Leven (formerly Cooee Art)
Nov. 12, 2024
DJIRRIRRA YUKUWA WUNUNGMURRA, YUKUWA (BUSH YAM), 2020
Est: $3,500 - $4,500
DJIRRIRRA YUKUWA WUNUNGMURRA 1932-2003 YUKUWA (BUSH YAM), 2020 ochres on bark 162 x 55 cm artwork cataloguing details verso PROVENANCE Buku-Larrnggay Mulka Centre, NT Cat No. 4655W Private Collection, NSW Accompanied by a certificate of authenticity from Buku-Larrnggay Mulka Centre ©Djirrirra Yukuwa Wunungmurra / Buku-Larrangay Art Centre, 2024 Yukuwa is one of the personal names of the artist and Yukuwa is the topic of this work. Almost a self-portrait. This piece is a reference to Yirritja renewal ceremony which is by definition a shared communion of Yirritja moiety clans which does not relate to circumcision or mortuary rites. Spirits of deceased people are on a cyclical journey from their point of death to the reservoir of souls particular to their clan identity. But at these irregular ceremonies they all congregate for one last dance together before heading their separate ways. There are relationships between Yirritja moiety clans that are renewed through Yukuwa ceremony at particular sites which relate to the ritual exchange of sacred objects, song and dance. Yukuwa is a yam whose annual reappearance is a metaphor for the increase and renewal of the people and their land. Traditionally the invitation to such a ceremony is presented as an object in the form of a yam with strings emanating from it with feathered flowers at the end. This is a suggestion of the kinship lines which tie groups together. The site referred to in this piece is in the area between Gangan and the sea known as Balambala described as the next river from Gangan. This is a cleared area which is an ancient ceremonial site at which special men’s ceremony involving both larrakitj (or Dhan’parr- bark coffin) and special yidaki occurred. An ancient hero known as Burruluburrulu danced here. It is described as a meeting place for Dhalwangu, top Madarrpa (Dholpuyngu) and Munyuku. These ‘renewal’ ceremonies in Yolngu law occur irregularly when the time is right. They are independent of the funeral, circumcision and age grading ceremonies that occur all the time. They are held at specific natural clearings within the general Stringybark forest that covers most of Arnhem land. The documentation of a different work detailing the Garma site at Gulkula (which is another of these sites) says as follows; “This piece and the Festival and site itself flag reference to a class of Yirritja renewal ceremony which is by definition a shared communion of Yirritja moiety clans which does not relate to circumcision or mortuary rites. There are relationships between Yirritja moiety clans that are renewed through Yukuwa ceremony at particular sites which relate to the ritual exchange of sacred objects, song and dance. Yukuwa is a yam whose annual reappearance is a metaphor for the increase and renewal of the people and their land. Traditionally the invitation to such a ceremony is presented as an object in the form of a yam with strings emanating from it with feathered flowers at the end. This is a suggestion of the kinship lines which tie groups together. The other sites which can host such a ceremony besides Gulkula include an area between Gangan and the sea known as Balambala described as the next river from Gangan. This is in the Dhalwangu coastal zone known as Garraparra. Some of the dancers at 2003 Garma (who used a whistle in their ritual call and response) were Dhalwangu singing this site. It is described as a meeting place for Dhalwangu, top Madarrpa (Dholpuyngu) and Munyuku. An ancient hero known as Burruluburrulu danced here. There is another naturally cleared site at Rurrangala which is an analagous ‘ceremony ground of the gods’. These naturally cleared areas are ancient ceremonial sites at which special men’s ceremony involving both larrakitj (or Dhanbarr- bark coffin) and special yidaki occurred. Gulkula is another time honoured meeting place for such ceremonies. The stories of such sites also involve Watu (dogs), Garrtjambal (red kangaroos) and (Ngerrk) cockatoos. Ngerrk are the Yirritja moiety harbingers of death and therefore related to the mortuary aspect of the Larrakitj ceremony. The Gumatj ancestral hero/giant Ganbulabula called and presided over such a ceremony in ancestral time at Gulkula. During the ceremony a member of Dhamala (sea eagle) clan was misbehaving with various giggly young women of Matjurr (flying fox). This distracted people from their sacred observance and caused disharmony amongst the camp. To express his displeasure and end the behaviour Ganbulabula threw the finely worked memorial pole he had been painting from the edge of the escarpment to the ocean below where it still exists imbuing these waters with special properties. And thus when the stringybark blossom attracting flying fox to the escarpment White breasted Sea Eagles still cruise the edge picking off less careful bats. The Gumatj leaders hold ceremony aimed at unifying people and paint and display Larrakitj. The multidimensionality of sacred time means that the songs of this place relate to the past the present and the future simultaneously.” In any event the conception is that when these ceremonies are held by mortals during the day the spirits conduct their own rituals at night. Indeed their nocturnal activities are often audible in the main camp during such ceremonies. It seems as if it is a necessary part of their farewell to this dimension to have this last ceremony.” - Buku Larrngay Arts This piece is a fine example of an Australian Aboriginal artwork.
Art Leven (formerly Cooee Art)
Oct. 22, 2024
DJIRRIRRA WUNUNGMURRA (born c.1968) (Language group: Dhalwangu) Buyku (Fish Trap) natural earth pigments on eucalyptus bark (3) 34 x...
Est: $6,000 - $8,000
DJIRRIRRA WUNUNGMURRA (born c.1968) (Language group: Dhalwangu) Buyku (Fish Trap) natural earth pigments on eucalyptus bark (3) bears inscriptions on Buku-Larrngay Mulka Art Centre labels verso: artist's name, title, cat. no. 3006-19; cat. no. 3007-19; cat. no. 3008-19 34 x 13.5cm (largest) PROVENANCE: Buku-Larrngay Mulka Art Centre, Yirrkala, Northern Territory (labels attached verso) Private collection, Melbourne OTHER NOTES: © Courtesy of The Artist and Buku-Larrnggay Mulka Art Centre
Leonard Joel
Oct. 22, 2024
DJIRRIRRA WUNUNGMURRA (born 1969) (Language group: Dhalwangu) Buyku 2015 natural earth pigments on stringybark hollow pole 172 x 117...
Est: $3,000 - $5,000
DJIRRIRRA WUNUNGMURRA (born 1969) (Language group: Dhalwangu) Buyku 2015 natural earth pigments on stringybark hollow pole 172 x 117.5cm PROVENANCE: Buku-Larrngay Mulka Art Centre, Yirrkala, Northern Territory (accompanied by a copy of the certificate of authenticity) Private collection, Melbourne OTHER NOTES: © Courtesy of The Artist and Buku-Larrnggay Mulka Art Centre
Leonard Joel
Dec. 13, 2022
DJIRRIRRA WUNUNGMURRA, DJULDJUL GURRUWIWI LARRIKITJ, 2007
Est: $4,000 - $6,000
DJIRRIRRA WUNUNGMURRA born 1969 DJULDJUL GURRUWIWI LARRIKITJ, 2007 natural earth pigments and synthetic binder on hollowed log 254.0 cm (height) PROVENANCE Buku-Larrŋgay Mulka Centre, Yirrkala, Northern Territory The Laverty Collection, Sydney, acquired from the above in 2007 © courtesy of the artist and Buku-Larrnggay Mulka Centre This work is located in our Melbourne Gallery
Deutscher and Hackett
Jul. 15, 2020
DJIRRIRRA WUNUNGMURRA, BUYKU, 2009
Est: $2,500 - $3,500
THE PETER AND RENATE NAHUM COLLECTION OF ABORIGINAL ART, LONDON DJIRRIRRA WUNUNGMURRA born 1969 BUYKU, 2009 natural earth pigments on eucalyptus bark 176.5 x 39.0 cm (irregular) bears inscription verso: artist’s name, cat. 3560-0 and cat. 0309GAN PROVENANCE Buku-Larrngay Mulka Art Centre, Yirrkala, Northern Territory Vivien Anderson Gallery, Melbourne The Peter and Renate Nahum Collection of Aboriginal Art, London, acquired from the above in 2009 EXHIBITED Djirrirra Wunungmurra: Buyku – Tapestries of the Fish Trap, Vivien Anderson Gallery, Melbourne, 2 September – 3 October 2009, cat. 7 (illus. in exhibition catalogue)
Deutscher and Hackett
Jul. 15, 2020
DJIRRIRRA WUNUNGMURRA, BUYKU (FISH TRAP) LARRAKITJ, 2009
Est: $4,000 - $6,000
THE PETER AND RENATE NAHUM COLLECTION OF ABORIGINAL ART, LONDON DJIRRIRRA WUNUNGMURRA born 1969 BUYKU (FISH TRAP) LARRAKITJ, 2009 natural earth pigments on hollow log 198.0 cm height PROVENANCE Buku-Larrngay Mulka Art Centre, Yirrkala, Northern Territory Vivien Anderson Gallery, Melbourne The Peter and Renate Nahum Collection of Aboriginal Art, London, acquired from the above in 2009 EXHIBITED Djirrirra Wunungmurra: Buyku – Tapestries of the Fish Trap, Vivien Anderson Gallery, Melbourne, 2 September – 3 October 2009, cat. 8 (illus. in exhibition catalogue)
Deutscher and Hackett
Jul. 15, 2020
DJIRRIRRA WUNUNGMURRA, BUYKU (FISH TRAP), 2008
Est: $3,000 - $4,000
THE PETER AND RENATE NAHUM COLLECTION OF ABORIGINAL ART, LONDON DJIRRIRRA WUNUNGMURRA born 1969 BUYKU (FISH TRAP), 2008 natural earth pigments on eucalyptus bark 136.0 x 45.0 cm (irregular) bears inscription verso: artist’s name, cat. 33086 and cat. 0208GAN PROVENANCE Buku-Larrngay Mulka Art Centre, Yirrkala, Northern Territory (label attached verso) Vivien Anderson Gallery, Melbourne The Peter and Renate Nahum Collection of Aboriginal Art, London, acquired from the above in 2009 EXHIBITED Djirrirra Wunungmurra: Buyku – Tapestries of the Fish Trap, Vivien Anderson Gallery, Melbourne, 2 September – 3 October 2009, cat. 18 (illus. in exhibition catalogue)
Deutscher and Hackett
Apr. 21, 2020
Wunungmurra, Djirrirra Yukuwa natural earth pigments on board 120 x 60cm 2016
Est: $3,000 - $4,000
Yukuwa is one of the personal names of the artist and Yukuwa is the topic of this work. Almost a self-portrait. This piece is a reference to Yirritja renewal ceremony which is by definition a shared communion of Yirritja moiety clans which does not relate to circumcision or mortuary rites. Spirits of deceased people are on a cyclical journey from their point of death to the reservoir of souls particular to their clan identity. But at these irregular ceremonies they all congregate for one last dance together before heading their separate ways. There are relationships between Yirritja moiety clans that are renewed through Yukuwa ceremony at particular sites which relate to the ritual exchange of sacred objects, song and dance. Yukuwa is a yam whose annual reappearance is a metaphor for the increase and renewal of the people and their land. Traditionally the invitation to such a ceremony is presented as an object in the form of a yam with strings emanating from it with feathered flowers at the end. This is a suggestion of the kinship lines which tie groups together. The site referred to in this piece is in the area between Gangan and the sea known as Balambala described as the next river from Gangan. This is a cleared area which is an ancient ceremonial site at which special men’s ceremony involving both larrakitj (or Dhan’parr- bark coffin) and special yidaki occurred. An ancient hero known as Burruluburrulu danced here. It is described as a meeting place for Dhalwangu, top Madarrpa (Dholpuyngu) and Munyuku. These ‘renewal’ ceremonies in Yolngu law occur irregularly when the time is right. They are independent of the funeral, circumcision and age grading ceremonies that occur all the time. They are held at specific natural clearings within the general Stringybark forest that covers most of Arnhem land. The documentation of a different work detailing the Garma site at Gulkula (which is another of these sites) says as follows; “This piece and the Festival and site itself flag reference to a class of Yirritja renewal ceremony which is by definition a shared communion of Yirritja moiety clans which does not relate to circumcision or mortuary rites. There are relationships between Yirritja moiety clans that are renewed through Yukuwa ceremony at particular sites which relate to the ritual exchange of sacred objects, song and dance. Yukuwa is a yam whose annual reappearance is a metaphor for the increase and renewal of the people and their land. Traditionally the invitation to such a ceremony is presented as an object in the form of a yam with strings emanating from it with feathered flowers at the end. This is a suggestion of the kinship lines which tie groups together. The other sites which can host such a ceremony besides Gulkula include an area between Gangan and the sea known as Balambala described as the next river from Gangan. This is in the Dhalwangu coastal zone known as Garraparra. Some of the dancers at 2003 Garma (who used a whistle in their ritual call and response) were Dhalwangu singing this site. It is described as a meeting place for Dhalwangu, top Madarrpa (Dholpuyngu) and Munyuku. An ancient hero known as Burruluburrulu danced here. There is another naturally cleared site at Rurrangala which is an analagous ‘ceremony ground of the gods’. These naturally cleared areas are ancient ceremonial sites at which special men’s ceremony involving both larrakitj (or Dhanbarr- bark coffin) and special yidaki occurred. Gulkula is another time honoured meeting place for such ceremonies. The stories of such sites also involve Watu (dogs), Garrtjambal (red kangaroos) and (Ngerrk) cockatoos. Ngerrk are the Yirritja moiety harbingers of death and therefore related to the mortuary aspect of the Larrakitj ceremony. The Gumatj ancestral hero/giant Ganbulabula called and presided over such a ceremony in ancestral time at Gulkula. During the ceremony a member of Dhamala (sea eagle) clan was misbehaving with various giggly young women of Matjurr (flying fox). This distracted people from their sacred observance and caused disharmony amongst the camp. To express his displeasure and end the behaviour Ganbulabula threw the finely worked memorial pole he had been painting from the edge of the escarpment to the ocean below where it still exists imbuing these waters with special properties. And thus when the stringybark blossom attracting flying fox to the escarpment White breasted Sea Eagles still cruise the edge picking off less careful bats. The Gumatj leaders hold ceremony aimed at unifying people and paint and display Larrakitj. The multidimensionality of sacred time means that the songs of this place relate to the past the present and the future simultaneously.” In any event the conception is that when these ceremonies are held by mortals during the day the spirits conduct their own rituals at night. Indeed their nocturnal activities are often audible in the main camp during such ceremonies. It seems as if it is a necessary part of their farewell to this dimension to have this last ceremony.” Buku-Larrnggay Mulka, NT Outstion Gallery, N.T Cooee Art Gallery, NSW
Cooee Art
Apr. 05, 2017
DJIRRIRRA WUNUNGMURRA, born 1969, YUKUWA, 2011, natural earth pigments on eucalyptus bark
Est: $2,000 - $3,000
DJIRRIRRA WUNUNGMURRA, born 1969, YUKUWA, 2011, natural earth pigments on eucalyptus bark SIGNED: bears inscription verso: Buku-Larrngay Mulka Arts, cat. 4078M DIMENSIONS: 56.5 x 39.0 cm PROVENANCE: Buku-Larrngay Mulka Arts, Yirrkala The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in October 2011 ESSAY: This work is accompanied by a certificate of authenticity from Buku-Larrngay Mulka Centre, Yirrkala
Deutscher and Hackett
Nov. 13, 2012
DJIRRIRRA WUNUNGMURRA Didgeridoo, 2011 Ocres
Est: CHF800 - CHF1,200
DJIRRIRRA WUNUNGMURRA Didgeridoo, 2011 Ocres naturelles sur bois. DJIRRIRRA WUNUNGMURRA Didgeridoo, 2011 Ocres naturelles sur bois. 129x7 cm.
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