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Aboriginal Art > Aboriginal Art Styles > Western Desert Art > Pintupi Art > Patrick Tjungurrayi> Patrick Tjungurrayi values

Patrick Tjungurrayi: Values and auction results

Patrick Tjungurrayi Painting Values

Patrick Tjungurrayi’s paintings are among the most distinctive works produced by the Western Desert movement. Beginning his career with Warlayirti Artists at Balgo before joining Papunya Tula Artists, he developed a highly individual visual language that combined the vibrant colour of Balgo painting with the disciplined geometry of the Pintupi tradition. Today his finest works are recognised by collectors for their originality, technical precision and unmistakable style.

Auction results demonstrate a clear hierarchy within his market. Monumental paintings from the early and mid-2000s with exceptional provenance have achieved the strongest prices, with leading examples selling for between $20,000 and $38,000 AUD, while high-quality mid-sized Papunya Tula works commonly realise between $8,000 and $18,000 AUD. Smaller paintings, later works and early Balgo examples generally sell for less, although outstanding provenance, exhibition history or exceptional quality can significantly increase value.

Like most Aboriginal artists, no single value can be placed on a Patrick Tjungurrayi painting. Market value depends on a combination of factors, including:

  • whether it is a Balgo or Papunya Tula work
  • size
  • artistic quality
  • subject matter
  • provenance
  • exhibition and publication history
  • condition
  • current collector demand

The auction results below include realised prices, provenance, literature and exhibition history where known, providing a comprehensive guide to Patrick Tjungurrayi’s market over more than three decades.

If you own a Patrick Tjungurrayi painting and would like to know its current market value or are considering selling, I’d be happy to help. Please send clear photographs of the front and back of the artwork, its dimensions (excluding the frame), and any available provenance, such as certificates of authenticity, gallery invoices or previous valuations. I provide free informal market assessments and purchase selected Patrick Tjungurrayi paintings outright. Even if I’m not the right buyer, I’m happy to offer an honest opinion on its likely market value and the most appropriate way to sell it.

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A rectangular Aboriginal painting in warm desert colours of rich chocolate brown, burnt umber, ochre, cream and white. Near the centre is a large pale ochre circle surrounded by several smaller circular motifs connected by winding grey-blue pathways, forming a network across the composition. Thousands of carefully placed cream and white dots create closely spaced contour-like lines that ripple outward around the circles like topographic map lines or waves in sand. Four angular stepped motifs sit between the circular forms, while a broad border of alternating brown and white stripes frames the painting. The overall effect is highly ordered, rhythmic and hypnotic, with intricate geometric patterns suggesting interconnected places within the Western Desert landscape.

Untitled, 1989

Size
122 × 91 cm

Medium
Synthetic polymer paint on linen

Auction
Mossgreen Auctions, The Alan Boxer Collection of Australian Indigenous Art, Melbourne, 17 March 2015, Lot 105

Provenance
Papunya Tula Artists, Northern Territory. Chapman Gallery, Canberra. The Alan Boxer Collection, Canberra. Accompanied by a Papunya Tula Artists certificate.

Price Realised
$3,200 AUD 

A bright horizontal Aboriginal painting dominated by vivid golden yellow, burnt orange, deep red-brown, sky blue and white. Three large concentric circles stretch across the centre, the middle circle noticeably larger than the others, with each ring built from finely dotted bands of yellow, orange, brown and white. Smaller circles line the upper and lower edges, linked by pale blue pathways that weave around the composition. Angular stepped motifs and triangular forms fill the spaces between the circles, while broad horizontal bands frame the top and bottom. Thousands of small dots create flowing contour-like lines that give the painting a rhythmic, almost vibrating appearance, evoking interconnected ceremonial sites across the Western Desert.

Mother and Child at Mambalyu, 1996

Size
120 × 80 cm

Medium
Synthetic polymer paint on linen

Auction
Leonard Joel, The Kelton Collection – Indigenous Art at Leonard Joel, Melbourne, 11 April 2022, Lot 216

Provenance
Warlayirti Aboriginal Artists Corporation, Western Australia. The Kelton Foundation, United States of America, acquired 1997.

Price Realised
$1,900 AUD 

A square Aboriginal painting in soft desert colours of warm ochre, burnt orange, terracotta, cream, white and muted brown. A large irregular central landform, outlined with rows of bright white dots, dominates the composition like a rocky hill seen from above. Around it are more than thirty concentric circles of varying sizes, each built from finely painted rings in ochre, orange and cream, creating the appearance of rockholes or ceremonial sites scattered across the landscape. Flowing contour-like lines fill every remaining space, curving around the circles and central form to produce a rhythmic, map-like surface. Small diamond-shaped motifs appear between the larger forms, while the tightly packed lines and dots create a sense of movement and depth across the painting.

Untitled (Soakage Water Site of Tjintal), 1997

Size
91 × 91 cm

Medium
Synthetic polymer paint on linen

Auction
Bonhams, Aboriginal Art; Aboriginal Art from the Superannuation Fund of William Nuttall and Annette Reeves, Sydney, 28 May 2012, Lot 186

Provenance
Painted at Kiwirrkurra in 1997. Papunya Tula Artists, Alice Springs. Aboriginal Gallery of Dreamings, Melbourne. Private Collection. Accompanied by Papunya Tula Artists documentation.

Price Realised
$1,200 AUD 

A tall rectangular Aboriginal painting in earthy tones of deep chocolate brown, reddish-brown, slate blue-grey, cream and white. Six large concentric circles dominate the composition, arranged in two rows across the canvas, each built from alternating rings of brown, blue-grey and white dots. The circles are connected by a single horizontal pathway running through the centre, while sweeping curved bands ripple around them like flowing water or contour lines on a map. Smaller oval and crescent-shaped forms fill the spaces between the larger circles, creating a balanced, symmetrical design. Fine white outlines brighten the darker colours, giving the painting depth and a gentle visual rhythm that draws the eye across the entire surface.

Untitled, 1998

Size
91 × 60 cm

Medium
Acrylic on linen

Auction
Leonard Joel, Aboriginal Art & Artefacts, Melbourne, 25 October 2012, Lot 90

Provenance
A.P. Bond Art Gallery Collection, Adelaide.

Price Realised
$400 AUD 

A wide horizontal Aboriginal painting composed almost entirely of parallel wavy lines flowing from left to right across the canvas. The painting is dominated by warm desert colours including burnt orange, terracotta, ochre, reddish-brown, cream and soft white. Hundreds of finely painted dotted lines run side by side in gentle undulations, creating the appearance of wind-shaped sand dunes, rippling desert plains or contour lines viewed from above. Subtle shifts in colour and line spacing produce a shimmering optical effect, while the absence of circles or large motifs gives the composition an exceptional sense of openness, rhythm and quiet movement across the landscape.

Yunala, 1999

Size
122 × 152 cm

Medium
Synthetic polymer paint on linen

Auction
Sotheby’s, Aboriginal and Oceanic Art, Sydney, 25 November 2007, Lot 56

Provenance
Painted at Kiwirrkura for Papunya Tula Artists, June 1999. William Mora Galleries, Melbourne. Private Collection. Accompanied by a Papunya Tula Artists certificate.

Price Realised
$14,500 AUD 

2000-

A rectangular Aboriginal painting in a restrained palette of deep reddish-brown, terracotta, cream and white. The entire surface is filled with thousands of evenly spaced white dots arranged in closely packed contour-like lines. Large angular diamond and trapezoid-shaped forms dominate the centre, each built from concentric bands that step inward toward a small central point. Around them, countless curved semicircular and horseshoe-shaped patterns interlock like ripples spreading across the landscape, leaving almost no empty space. A thick double border of white dotted lines frames the composition, reinforcing its precise geometry. The overall effect is calm, highly ordered and mesmerising, resembling an aerial view of interconnected landforms mapped through rhythmic dotted contours.

Untitled, 2000

Size
122 × 91.5 cm

Medium
Synthetic polymer paint on linen

Auction
Deutscher and Hackett, D+H Online: Australian + International Art: Traditional to Contemporary, Melbourne, 13 February 2024, Lot 54

Provenance
Papunya Tula Artists, Alice Springs. William Mora Galleries, Melbourne. Collection of James Smeaton, Melbourne, acquired in 2000. Accompanied by a Papunya Tula Artists certificate.

Price Realised
$5,500 AUD 

A rectangular Aboriginal painting filled with dozens of pale green concentric circles scattered across a glowing background of golden yellow, bright orange and deep red. The circles vary in size and are connected by soft green pathways that weave through the composition like tracks across the desert. Between them are irregular angular landforms outlined with repeating green and white contour lines, creating a dense network of interconnected shapes. A broad border of rich red frames the painting on all four sides, making the luminous yellow and green centre appear to glow. Thousands of carefully placed dots form every line, producing a vibrant, shimmering surface that resembles an aerial view of ceremonial sites linked across the Western Desert.

Kampurarrpa (Desert Raisin), 2000

Size
122 × 107 cm

Medium
Synthetic polymer paint on linen

Auction
Shapiro Auctioneers, Modern + Contemporary Art, Sydney, 20 March 2005, Lot 74

Provenance
Papunya Tula Artists Pty Ltd, Northern Territory. Aboriginal & Pacific Art Gallery, Sydney. Accompanied by the original Papunya Tula Artists certificate of authenticity.

Price Realised
$3,800 AUD 

A horizontal Aboriginal painting glowing with warm desert colours of golden yellow, bright orange, ochre, cream, chocolate brown and white. The centre is dominated by a large radiant orange landform with softly flowing contours that spreads across the painting like a glowing island. Around its edges, dozens of concentric circles of different sizes are linked by dark brown pathways, creating a chain of interconnected ceremonial sites. Smaller angular motifs sit within the orange field, while thousands of tiny cream and white dots build every line and shape. The contrast between the bright orange centre and the pale yellow background creates a strong sense of depth and movement, giving the impression of an aerial view of Country alive with connected places and travelling routes.

Tingari at Wirrilpi, 2000

Size
91 × 61 cm

Medium
Synthetic polymer paint on Belgian linen

Auction
Art Leven, Indigenous Fine Art Auction, Sydney, 20 October 2020, Lot 108

Provenance
Papunya Tula Artists (Cat. No. PT0008136). Kimberley Art, Victoria. Private Collection, Victoria. Accompanied by a Papunya Tula Artists certificate.

Price Realised
$2,000 AUD 

A large horizontal Aboriginal painting dominated by brilliant shades of golden yellow, vivid orange, ochre, cream and white. A broad white winding pathway snakes across the centre of the painting from left to right, ending in a large coiled circular form surrounded by short radiating loops that resemble petals or rays. Above and below this central pathway are intricate networks of small concentric circles linked by fine white travelling lines, interspersed with angular diamond-shaped motifs and contour-like patterns. Thousands of tiny dots create every line and colour transition, giving the surface a shimmering appearance. The bold contrast between the luminous orange background and the bright white central pathway creates a striking sense of movement, as though an important ancestral route is flowing through the landscape.

Nynmi, 2001

Size
180 × 120 cm

Medium
Synthetic polymer paint on Belgian linen

Auction
Deutscher and Hackett, Selected Indigenous Art Including Works from the Collection of Grant Smith, Melbourne, 31 August 2021, Lot 35

Provenance
Warlayirti Artists, Balgo, Western Australia. Scott Livesey Galleries, Melbourne. Private Collection, Melbourne.

Price Realised
$6,500 AUD 

A large horizontal Aboriginal painting in subtle desert colours of pale ochre, golden yellow, cream and soft white. The composition is divided into four rectangular sections filled with neat grids of concentric rectangular shapes that resemble ceremonial designs or enclosed sites viewed from above. A broad horizontal band of closely spaced parallel lines flows across the centre of the painting like a sandy creek bed or travelling route, while a narrower vertical band intersects it, forming a cross that divides the canvas into four quarters. Every line is built from thousands of tiny cream and white dots, creating a delicate shimmering texture despite the highly geometric design. The restrained palette and precise repetition give the painting a calm, meditative quality, evoking an aerial view of an ordered desert landscape.

The Soakage Water Site of Mungaringya, Near Jupiter Well, 2001

Size
183 × 122.5 cm

Medium
Synthetic polymer paint on linen

Auction
Sotheby’s, Aboriginal Art, Melbourne, 31 October 2006, Lot 67

Provenance
Papunya Tula Artists (Cat. No. PT0101017).

Price Realised
$5,000 AUD 

2003-2004

A large horizontal Aboriginal painting in glowing desert colours of burnt orange, terracotta, ochre, deep plum, cream, white and golden yellow. The composition is formed from broad horizontal bands that stretch across the entire canvas like layers of sandhills viewed from above. Each band is built from repeating wavy and stepped patterns created with thousands of tiny dots. Near the top, a striking golden yellow pathway crosses the painting from left to right, interrupted by evenly spaced white rectangular shapes that resemble markers along a ceremonial route. The surrounding bands vary in colour from soft orange to rich plum, producing a strong sense of depth and rhythm. The repeated undulating forms create the impression of parallel dune systems, while the continuous horizontal movement guides the eye calmly across the landscape.

Warriya, 2003

Size
183 × 152 cm

Medium
Synthetic polymer paint on linen

Auction
Lawson~Menzies, Aboriginal Fine Art, Sydney, 23 May 2007, Lot 15

Provenance
Papunya Tula Artists (Cat. No. PT0309060). Private Collection, Victoria. Sold with original art centre documentation.

Price Realised
$36,000 AUD 

A horizontal Aboriginal painting in a restrained palette of warm terracotta, deep reddish-brown, cream and white. The centre of the painting is filled with a network of more than twenty concentric circles of different sizes, each built from finely dotted rings and connected by gently winding pathways that form a web across the composition. The background between the circles is almost entirely white, making the darker circles and connecting lines stand out with exceptional clarity. A broad terracotta border surrounds the central design, filled with flowing contour-like patterns that echo the forms inside. Thousands of tiny dots create every line and circle, producing a calm, balanced composition that resembles an aerial view of interconnected ceremonial sites across the Western Desert.

Untitled, 2003

Size
120 × 137 cm

Medium
Acrylic on linen

Auction
Mossgreen Auctions, Contemporary Aboriginal Art, Melbourne, 8 April 2008, Lot 109

Provenance
Papunya Tula Artists (Cat. No. PT0307111). Accompanied by a certificate of authenticity.

Price Realised
$11,500 AUD 

A large vertical Aboriginal painting filled with broad horizontal bands in glowing shades of magenta, burnt orange, golden yellow, ochre, cream and white. Each band is formed from repeating stepped and undulating patterns built from thousands of tiny dots, creating the appearance of parallel sand ridges stretching across the landscape. Several pale cream pathways cut diagonally across the composition, weaving between the coloured bands and suggesting ancestral travel routes. Fine dotted contour lines fill every space, producing a shimmering optical effect as the colours shift between warm oranges, pinks and yellows. The repeated horizontal rhythms create a strong sense of movement and depth, resembling an aerial view of the Western Desert shaped by ceremonial journeys.

Kultulgulnga, 2004

Size
153 × 122 cm

Medium
Synthetic polymer paint on Belgian linen

Auction
Deutscher and Hackett, Important Australian Aboriginal Art, Melbourne, 17 March 2021, Lot 35

Provenance
Painted at Kintore, Northern Territory, 2004. Papunya Tula Artists, Alice Springs. Tony Bond Art Dealer, Adelaide. Private Collection, Sydney, acquired April 2005.

Price Realised
$20,000 AUD 

A wide horizontal Aboriginal painting in radiant shades of magenta, hot pink, burnt orange, golden yellow, ochre, cream and white. The surface is filled with closely spaced horizontal bands of repeating stepped patterns built from thousands of tiny dots, creating the appearance of endless parallel sand ridges stretching across the desert. A bold pale orange and white pathway runs across the centre of the painting from left to right, looping in a continuous wave before narrowing at the far right edge. The surrounding bands alternate between bright pink, orange and yellow, producing a shimmering optical effect as the colours vibrate against one another. The repeated horizontal rhythms give the painting a powerful sense of movement, like an aerial view of sunlit sandhills crossed by an ancestral travelling route.

Untitled, 2004

Size
121 × 152 cm

Medium
Synthetic polymer paint on Belgian linen

Auction
Deutscher and Hackett, Important Australian Indigenous Art, Melbourne, 26 March 2025, Lot 44

Provenance
Painted at Kintore, Northern Territory, 2004. Papunya Tula Artists, Alice Springs. Shaun Dennison, Melbourne. Private Collection, Melbourne.

Price Realised
$12,000 AUD 

2005-2007

A large vertical Aboriginal painting in warm desert colours of burnt orange, terracotta, ochre, golden yellow, cream, white and soft magenta. Broad vertical bands fill the canvas, each composed of repeating stepped patterns, concentric rectangular motifs and flowing contour-like dotted lines. Near the centre, a wide field of glowing orange is crossed by irregular white pathways that branch diagonally through the composition like ancestral travelling routes. Narrow columns of nested squares and geometric blocks alternate with rhythmic zigzag bands, creating a richly layered surface that resembles an aerial view of interconnected landforms. Thousands of precisely placed dots define every line and colour transition, producing a shimmering optical effect and a powerful sense of vertical movement.

Untitled, 2005

Size
183 × 153 cm

Medium
Synthetic polymer paint on linen

Auction
Deutscher and Hackett, Important Aboriginal Art from the Laverty Collection, Sydney, 8 March 2015, Lot 100

Provenance
Papunya Tula Artists, Alice Springs. Collection of Colin and Elizabeth Laverty, Sydney, acquired October 2005.

Literature
Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities

Price Realised
$38,000 AUD 

A large horizontal Aboriginal painting glowing with brilliant shades of burnt orange, golden yellow, terracotta, cream, white and soft lilac. The composition is organised into broad, gently curving horizontal bands that sweep across the canvas like parallel sand dunes viewed from above. Within these bands are dozens of concentric circles connected by winding pathways, alternating with repeating stepped motifs and rows of rectangular blocks. Fine white dotted outlines define every shape, while the lilac bands provide vivid contrast against the warm desert colours. Thousands of tiny dots create a shimmering, rhythmic surface that guides the eye from one interconnected ceremonial site to the next, giving the impression of an aerial view of Country shaped by ancestral journeys

Untitled, 2005

Size
153 × 122 cm

Medium
Synthetic polymer paint on Belgian linen

Auction
Deutscher and Hackett, Selected Indigenous Fine Art Including Works from the Collection of Kristin Stegley OAM, Melbourne, 11 May 2021, Lot 1

Provenance
Painted at Kiwirrkura, Western Australia, 2005. Papunya Tula Artists, Alice Springs. Collection of Colin and Liz Laverty, Sydney. Bonhams, Sydney, 24 March 2013, Lot 188. Private Collection, Sydney.

Price Realised
$24,000 AUD 

A horizontal Aboriginal painting in radiant desert colours of golden yellow, burnt orange, terracotta, soft lilac, cream and white. Broad parallel bands sweep diagonally across the canvas from left to right like rolling sand dunes viewed from above. Within the bands are repeating stepped motifs, rows of concentric circles linked by winding pathways, and long rectangular forms filled with nested square patterns. Fine white dotted outlines define every shape, while lilac bands provide vivid contrast against the warm oranges and yellows. Thousands of tiny dots create a shimmering surface that gives the painting a strong sense of rhythm, movement and depth, evoking an aerial view of interconnected ceremonial sites and ancestral travelling routes across the Western Desert.

Puntujtalpa, 2005

Size
152 × 122 cm

Medium
Synthetic polymer paint on Belgian linen

Auction
Art Leven, Indigenous Fine Art Auction, Sydney, 23 June 2020, Lot 52

Provenance
Papunya Tula Artists (Cat. No. PT0508196). Gabrielle Pizzi Gallery, Melbourne. Private Collection, Tasmania.

Price Realised
$18,000 AUD 

A square Aboriginal painting in luminous desert colours of golden yellow, burnt orange, ochre, cream, white and soft lilac. The centre is filled with dozens of fine horizontal dotted lines flowing gently from left to right, creating the appearance of rippling sand dunes or contour lines stretching across the landscape. Along the top and bottom edges, bands of geometric motifs frame the composition, including concentric rectangular designs, alternating blocks of lilac and ochre, and rows of white dotted rectangles. Every line is built from thousands of tiny dots, producing a shimmering optical surface. The restrained geometry and flowing horizontal rhythms create a peaceful, expansive impression of the Western Desert viewed from above.

Tjiparitjarra, 2005

Size
92 × 92 cm

Medium
Synthetic polymer paint on linen

Auction
Lawson~Menzies, Australian Aboriginal Art, Sydney, 14 November 2007, Lot 11

Provenance
Papunya Tula Artists (Cat. No. PT0503182). Private Collection, Victoria. Sold with original art centre documentation.

Price Realised
$11,500 AUD 

A large horizontal Aboriginal painting in brilliant desert colours of vivid orange, burnt orange, golden yellow, deep red, cream, white and vibrant lilac. Broad horizontal bands sweep gently across the canvas, each filled with repeating stepped motifs, rows of concentric circles and finely dotted geometric patterns. Three prominent rows of interconnected circles run across the painting, linked by winding pathways that resemble ceremonial routes stretching through the landscape. Lilac bands contrast dramatically with the warm oranges and yellows, while white dotted passages brighten the composition and create a shimmering optical effect. Thousands of tiny dots define every line, producing a richly layered aerial view of interconnected ancestral sites across the Western Desert.

Untitled, 2005

Size
153 × 122 cm

Medium
Synthetic polymer paint on canvas

Auction
Bonhams, The Laverty Collection: Contemporary Australian Art, Sydney, 24 March 2013, Lot 188

Provenance
Painted at Kiwirrkura, Western Australia, 2005. Purchased from Papunya Tula Artists, Alice Springs, October 2005. The Laverty Collection, Sydney. Accompanied by a Papunya Tula Artists certificate.

Price Realised
$11,000 AUD 

A monumental horizontal Aboriginal painting in radiant desert colours of burnt orange, terracotta, golden yellow, cream, white, soft lilac and black. The composition is formed from broad horizontal bands that flow across the canvas like parallel sand dunes seen from above. Most bands contain repeating stepped motifs, rectangular blocks and finely dotted contour lines in warm oranges and yellows. Cutting boldly through the centre is a striking black band bordered with white, filled with a row of large cream concentric rectangular shapes that create a dramatic visual contrast. Thousands of tiny dots define every line and colour transition, producing a shimmering optical surface that balances rhythmic repetition with the powerful central geometric motif.

Mylilili, 2006

Size
182 × 242.5 cm

Medium
Synthetic polymer paint on linen

Auction
Deutscher and Hackett, Aboriginal Art from the Luczo Family Collection, USA, Melbourne, 19 October 2016, Lot 41

Provenance
Painted at Kiwirrkura in 2006. Papunya Tula Artists, Alice Springs. The Luczo Family Collection, USA.

Price Realised
$28,000 AUD 

2008-200

A square Aboriginal painting composed of bold vertical bands in radiant shades of burnt orange, vivid orange, golden yellow, terracotta, cream, white, soft pink and deep magenta. Running from the top to the bottom of the canvas, each band has its own repeating pattern, including stepped motifs, parallel dotted lines, nested rectangular designs, zigzags and alternating blocks of colour. A broad cream band near the centre is filled with dozens of concentric rectangular shapes that resemble ceremonial ground designs viewed from above. Thousands of tiny dots define every line and edge, creating a shimmering surface with a strong sense of rhythm and order. The uninterrupted vertical stripes give the impression of looking down on parallel desert landforms or ceremonial pathways stretching across Country.

Untitled, 2008

Size
122 × 121.5 cm

Medium
Synthetic polymer paint on canvas

Auction
Leonard Joel, Indigenous Art, Melbourne, 24 February 2021, Lot 22

Provenance
Papunya Tula Artists Pty Ltd, Alice Springs, Northern Territory. Private Collection, Melbourne. Accompanied by a certificate of authenticity.

Price Realised
$14,000 AUD 

A wide horizontal Aboriginal painting in radiant shades of golden yellow, burnt orange, terracotta, cream, white, soft pink and vivid orange. The composition is built from broad horizontal bands that sweep gently across the canvas like parallel sand dunes seen from above. Each band contains its own repeating geometric pattern, including concentric rectangles, stepped motifs, rows of coloured blocks, flowing contour lines and undulating pathways. Thousands of tiny dots define every shape, creating a shimmering surface that changes subtly across the painting. The warm colours dominate, while alternating cream and white bands brighten the composition and create a calm, rhythmic impression of an expansive desert landscape shaped by ancestral journeys.

Ngarru, 2008

Size
121 × 153 cm

Medium
Synthetic polymer paint on Belgian linen

Auction
Deutscher and Hackett, Important Australian Aboriginal Art, Melbourne, 18 March 2020, Lot 20

Provenance
Papunya Tula Artists, Alice Springs. Gallery Gabrielle Pizzi, Melbourne. Private Collection, Melbourne.

Exhibited
Papunya Tula 2009, Gallery Gabrielle Pizzi, Melbourne, 14 April – 9 May 2009 (exhibited as Designs Associated with the Site of Ngarru).

Price Realised
$10,000 AUD 

A horizontal Aboriginal painting in warm desert colours of deep plum, burnt orange, golden yellow, cream, soft pink and pale lilac. The composition is divided into four large rectangular sections by broad intersecting pathways that form a cross across the canvas. Within each section are repeating stepped motifs arranged in neat rows, while the surrounding borders are filled with concentric rectangular patterns that resemble ceremonial ground designs viewed from above. Thousands of tiny dots create every line and colour transition, producing a finely textured surface with a subtle shimmering effect. The balanced geometry and intersecting pathways give the impression of an ordered aerial view of connected places across the Western Desert.

Wirrilpinya, 2009

Size
92 × 107 cm

Medium
Synthetic polymer paint on Belgian linen

Auction
Art Leven, Indigenous Fine Art Auction, Sydney, 20 October 2020, Lot 37

Provenance
Papunya Tula Artists (Cat. No. PT0909052). Cicada Trading, Queensland. Accompanied by a Papunya Tula Artists certificate.

Price Realised
$4,800 AUD 

A vertical Aboriginal painting in brilliant shades of burnt orange, vivid orange, deep red, cream, white and pale yellow. Broad horizontal bands stretch across the canvas, each filled with repeating stepped motifs, parallel dotted contour lines and gently undulating pathways. The central bands are composed of thousands of closely spaced white dots that create flowing horizontal lines, while the upper and lower sections feature bold geometric patterns in alternating orange, red and cream. The warm colours shimmer against one another, giving the painting a vibrant optical rhythm that resembles rolling desert sandhills viewed from above.

Tjiparitjarra, 2009

Size
90.5 × 60.5 cm

Medium
Synthetic polymer paint on linen

Auction
Deutscher and Hackett, Aboriginal Art from the Luczo Family Collection, USA, Melbourne, 19 October 2016, Lot 42

Provenance
Painted at Kiwirrkura in 2009. Papunya Tula Artists, Alice Springs. Harvey Art Projects, Ketchum, Idaho, USA. The Luczo Family Collection, USA.

Price Realised
$3,000 AUD 

A wide horizontal Aboriginal painting in glowing shades of burnt orange, terracotta, golden yellow, cream, white and soft magenta. Broad horizontal bands sweep gently across the canvas, each decorated with repeating geometric patterns including concentric rectangles, stepped motifs, rows of coloured blocks and finely dotted contour lines. The warm colours alternate rhythmically, while bright white passages and golden yellow bands create striking contrast against the deeper oranges and reds. Thousands of tiny dots form every line and shape, giving the painting a shimmering, woven appearance. The flowing horizontal rhythms resemble parallel sand ridges and ceremonial pathways stretching across the Western Desert when viewed from above.

Puntujarrpa Country, 2010

Size
108 × 155 cm

Medium
Synthetic polymer paint on linen

Auction
Leonard Joel, Fine Art, Melbourne, 23 November 2021, Lot 117

Provenance
Agathon Galleries, Sydney, 2010. Private Collection, Melbourne. Accompanied by a copy of the certificate of authenticity.

Price Realised
$8,000 AUD 

A horizontal Aboriginal painting in soft desert colours of terracotta, burnt orange, golden yellow, cream, pale blue, olive green, mauve and dusty pink. Broad horizontal bands sweep gently across the upper half of the painting, each decorated with repeating concentric rectangular motifs, stepped geometric patterns and finely dotted contour lines. A striking pale blue band runs diagonally across the centre, contrasting with the surrounding warm earth tones. Below, large fields of mauve and dusty pink are divided by a tall golden-yellow rectangular form filled with nested concentric rectangles, creating a strong focal point. Thousands of tiny dots build every line and colour transition, producing a subtle shimmering surface that evokes an aerial view of Country structured by ceremonial pathways and significant places.

Tingari and Country, 2010

Size
120 × 90 cm

Medium
Acrylic on linen

Auction
Shapiro Auctioneers, Indigenous Art, Sydney, 17 March 2026, Lot 13

Provenance
Ironwood Arts, Alice Springs. Private Collection, Sydney.

Literature
Accompanied by an Ironwood Arts certificate of authenticity, working photographs and Catalogue No. IWPT01.

Price Realised
$5,000 AUD

A horizontal Aboriginal painting in warm desert colours of burnt orange, vivid orange, golden yellow, peach, cream, white and charcoal black. Broad diagonal bands sweep across the canvas from the upper left to the lower right, creating the impression of layered sand ridges seen from above. Two striking charcoal-black bands filled with concentric rectangular motifs frame a brilliant central orange band decorated with rows of nested rectangles and fine white dotted lines. Above and below these bands, the peach-coloured background is covered with faint geometric rectangular patterns that shimmer subtly beneath the surface. Thousands of tiny dots define every line and colour transition, giving the painting a rich optical texture and a strong sense of rhythm and movement across the landscape.

Untitled, 2010

Size
122 × 91 cm

Medium
Synthetic polymer paint on Belgian linen

Auction
Deutscher and Hackett, Australian Aboriginal Art Including Works from the Maclean Collection – Online, Melbourne, 19 May 2020, Lot 6

Provenance
Papunya Tula Artists, Alice Springs. Private Collection, Darwin.

Price Realised
$3,000 AUD 

A square Aboriginal painting in rich desert colours of deep plum, burnt orange, golden ochre, cream, white and soft lilac. The composition is built from hundreds of small concentric rectangular motifs arranged in broad blocks that curve and interlock across the canvas like an aerial map of connected ceremonial grounds. Wide bands of white rectangles contrast with neighbouring fields of orange and plum, while narrow borders of stepped geometric patterns frame the larger forms. Every rectangle is outlined with thousands of tiny hand-painted dots, creating a dense shimmering surface. The repeating geometry gives the painting a strong sense of order and movement, while the warm colours evoke the light and landscape of the Western Desert.

Myilili, 2011

Size
121.5 × 121.5 cm

Medium
Acrylic on linen

Auction
Art Leven, First Nations Fine Art Auction, Sydney, 18 November 2025, Lot 44

Provenance
Papunya Tula Artists (Cat. No. PT1112050). Gallery Gabrielle Pizzi, Melbourne. Niagara Galleries, Melbourne. Private Collection, New South Wales. Accompanied by a Papunya Tula Artists certificate.

Exhibited
Blue Chip XVII: The Collectors Exhibition, Niagara Galleries, Melbourne, 2015.

Price Realised
$10,000 AUD 

 

Further Reading

  • Carty, John, Hetti Perkins & Sarah Brown (eds). Beyond Borders: Patrick Tjungurrayi. University of Western Australia Publishing, 2021. The definitive publication on Patrick Tjungurrayi’s life, art and advocacy for the Purple House dialysis service. It combines biography, art history and cultural context and is the single most important reference on the artist. 
  • Johnson, Vivien. Aboriginal Artists of the Western Desert: A Biographical Dictionary. Craftsman House, revised editions. The standard biographical reference for Western Desert artists, including Patrick Tjungurrayi’s early career and his movement between Balgo and Kiwirrkurra. 
  • McLean, Ian. Naata Nungurrayi; Muni (Rita) Simpson; Spinifex Artists Group; Patrick Tjungurrayi. Art Gallery of Western Australia, 2008. Published to accompany the Western Australian Indigenous Art Awards, this catalogue examines Patrick’s paintings within the context of contemporary Western Australian Aboriginal art. 
  • Perkins, Hetti & Hannah Fink (eds). Papunya Tula: Genesis and Genius. Art Gallery of New South Wales, 2000. An essential history of the Papunya Tula movement and the artistic traditions from which Patrick’s mature geometric style emerged.
  • Myers, Fred R. Painting Culture: The Making of an Aboriginal High Art. Duke University Press, 2002. A landmark anthropological study explaining how Pintupi painting expresses Tjukurrpa, Country and social relationships, providing important context for understanding Patrick’s abstraction.
  • Bardon, Geoffrey & James Bardon. Papunya: A Place Made After the Story. Miegunyah Press, 2004. The definitive account of the origins of the Western Desert painting movement and the development of Papunya Tula Artists.
  • Johnson, Vivien. Lives of the Papunya Tula Artists. IAD Press, 2008. Biographical essays on many of the senior Papunya Tula painters who worked alongside Patrick Tjungurrayi and shaped the movement.
  • Morphy, Howard. Aboriginal Art. Phaidon Press, 1998. A foundational introduction to Aboriginal art that explains the relationship between ancestral knowledge, symbolism and artistic practice across Australia.
  • SmithDavidson Gallery. Patrick Olodoodi Tjungurrayi – Bibliography. A useful online bibliography listing museum collections, publications and exhibition references relating to Patrick’s work.

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