An exceptionally fine example with great inventive subtlety in the drawing.
In exceptional condition, flat and regular, with still vibrant ochres.

Though superficially strongly pictorial, almost naturalistic, this bark painting is also a serious totemic expression using traditional tribal iconography. Of particular interest is the juxtaposition of traditional Arnhemland cross-hatching with the specifically Western Escarpment (Oenpelli) X-Ray style.
Glued to the reverse is an original typed and hand-written label giving artist details and referencing the subject matter. Also in ink on the bark itself in upper case is the word 'OSCAR', and a catalogue number '23P'

Very little is known about Aboriginal baskets of this type, perhaps because of the extreme rarity of surviving examples: they are very much rarer in fact than their rainforest cousins, the bi-cornuals (Jawun).

Cf. Susan M.Davies, Collected:150 Years of Aboriginal Art and Artifacts at the Macleay Museum, University of Sydney, 2002. Plate 87.
The two examples shown in this publication are at the Macleay Museum, University of Sydney. They were collected in the Herbert River region, North Queensland, c.1885.

Further related examples are published in Sotheby's catalogue Aboriginal Art for the sale to be held on October 20 at the Museum of Contemporary Art, Sydney LOT 33.

None of the excellent examples illustrated in these publications has quite the same features as the basket at the left. The closed end of this piece (i.e. the beginning of the weaving) is more 'mono-cornual' - slightly protruberant, rather than flat.
Secondly, this piece has a more elaborate double 'selvedge' at the open top, made by binding over rims of split lawyer cane.
Thirdly, the handle of the example at left is made from split lawyer cane (rather than bush string), very much as in the early bi-cornual baskets.
I have found one more published example of the 'Herbert River' basket, and it has a similar handle, (and in fact overall a very similar, swelling shape). It is in the following limited edition publication by anthropologist Frederick D. McCarthy:
Australia's Aborigines: Their Life and Culture Melbourne, 1957. Plate 68


Provenance: The basket was originally acquired c.1900 by the forbears of a north Queensland family, and kept in the family homestead until its sale in the late 1990's to the previous owner/collectors in south-east Queensland. .

Hand-drawn silk batik was the first non-traditional art-form introduced at Utopia, pre-dating even the seminal works on canvas by artists (now international names) such as Emily Kame Kngwarreye and Ada Bird Petyarre. The unencumbered and free-form designs in turn grew out of the ancient traditions of body-painting.
This length of silk has hems at each end of approximately 0.5cm. width. and original bolt selvedges on the sides. The original attached label from Utopia Station lists the artist's name, date of the work, size, and a catalogue number '13'. (all hand-written).
Exhibitions of Utopia batik works have been held in Australia and also internationally, and works are held in Australian Museums. They are very rare on the secondary market. This is a superb example.
Please note: Museum and gallery references to the artist may be the later spelling:'Kemarre'. Also the camp where the work was created was at that time called 'Goofey Bore Camp'

An excellent bark by this 'listed' Arnhemland artist. Very flat, especially considering its large size, and in very good stable condition with only slight pigment loss.
The artist's name is hand-written in ink on the reverse, together with the date: 1976

The classic Baluch bagface design. Probably second half of the 19th century. Overall wear and fraying to the sides, but responds very well to sympathetic light. (Our image here is a bit clinical .. )
The rectangle at the centre of the central star appears to be silk, with pale green, possibly synthetic, coloring. A good amount of the original weft-float brocading remains, and there is no apparent repair

Exaggerated assymetry particularly in respect of the unique dynamic stance suggests the work of a master carver. The fashioning of the broad slanted head and the powerful hunched posture also have zoomorphic overtones.

Slight loss to one ear and one foot and a section missing from the right leg and foot (now stable).

In photography this rug was not given any directional light; as with all beautiful old Baluchs directional lighting would substantially hide the wear, and at the same time enhance the embossed effect of selective wear in the field. Sympathetic lighting produces a lovely effect on this rug where the repeating diamond shapes of the stylised mina khani design stand proud on what is essentially a corroded-down (rather than worn) aubergene field.
Excellent wool on this Baluch (of course ...), and vegetable dyes. The selvedges have been re-wrapped, and it is therfore in floor-usable condition.

I would like to draw attention in the detail photo to the use of a medium (lighter) indigo. This subtle variation adds depth and 'shimmer', a technique appearing in some of the older examples of this distinctive brand of Belouch (which, incidentally, used to be called 'Arab' Baluchs in the London trade) ..

There are at least a couple of examples recorded of this format in bark paintings by Waigan, with an upper panel depicting a Wanjina (or several Wanjina figures) above a lower panel depicting marine totemic animals. (Image at left is a detail - click on it for full bark image).

The back of the bark bears the catalogue number AP 1173.

For a related example see: Sotheby's Aboriginal, African, and Oceanic Art, Sydney, 9 November, 1998. LOT145.

An excellent and large piece with the central ancestor face in good high relief, and a wealth of surrounding zoomorphic reference, visually supported by generous cut-outs.
Old pieces of this type are carved very thin, and a breakage has resulted in a section being re-attached. This has been done sympathetically in the manner of a native repair, with the dressing off to the front being done with beeswax. Cleats fashioned to the slighty curved profile of the piece have also been attacherd at the back so that it is now stable and stronger than before breakage, with the multiple curves of the profile being 'locked in'

Meticulously executed, this carved wooden Mokuy figure is adorned with the accoutrements of an important ancestral being. (His sacred dilly-bag, for example, is an actual miniature woven basket). These adornments together with the subtle carving (for example, the delicate separation of the arms from the torso), stamp the figure similtaneously with authority and individuality.

Narritjin Maymuru was a pre-eminent elder of the artistically renowned Manggalili clan, and famous for his bark paintings representing complex narrative myths. Sculptures such as this were ritually illustrative within the clan, but also became a means of widening understanding of the Yolgnu culture in the wider community.

For a similar example see: Sotheby's catalogue Aboriginal Art, Part II, Melbourne, 27 July, 2004, lot 384

Wilma Walker is an elder and a teacher in her community, and is one of the few remaining weavers to still use the fibre of the black palm, which is now an endangered species. This particular format of basket is called Balji, and it was woven in the early 1980's at the Gorge Mission in the Mossman Gorge - the rainforest region where Wilma Walker was born.

These baskets had various food-carrying uses (or, if large enough, baby-carrying ..), including, like their close relative the iconic bi-cornual basket (Jawun), being tethered with contents of certain pounded kernals in a running stream in order to leach out poisons.

This is an exquisite example of the type, beautifully woven, and with a lobed shaping to its circular form.

Boomerangs painted in the Queensland rainforest style are rarely seen, and there is scant mention in the literature. Crossed boomerangs of this type are known to have been used by the Kung'ga:ndyi and Yidindyi tribes of far north Queensland in ceremonial dance, along with similarly painted spatulate dance paddles.

This example has convincing shaping in terms of boomerang aerodynamics, with a little more convexity on one side than the other. Slight overall even erosion of the pigments on both sides points to a reasonably early date.

See also: Item 8 of this catalogue

This is a large figure by Mokuy standards, and the more imposing by virtue of Yuwati's typically restrained sculptural idiom. The conventional 'cloud' design of repeating triangles in alternating colours (also thought to reference a cloth pattern introduced by Macassan traders), in symmetric lateral opposition produce a vertical array of diamond shapes which represent thunder and ligtning. The effect visually is of a powerfully stylised 'full torso' body paint. This panel is repeated on the back of the figure, linked at the sides by the depiction of turtles, major totems in the ceremonies relating to this Mokuy.
Illustrations of related Yuwati Mokuy figures show bright lorikeet plumage attached in bands to the arms; examination of the areas above the painted bands on the arms of this figure show the apparent remnants of such decoration also.
The treatment of the face on this example, whilst conventionally minimalised, has two disticnt planes, and, particularly with the depiction of the eyes, has strong overtones of the funerary skulls of North-eastern Arnhemland. (Other published examples of Yuwati Mokuy, though still minimal, seem to exhibit a more Macassan influence in facial featuring ... )

A fine and very rare rainforest paddle with traditional diamond patterning in ochres to the front and back of the bi-convex ovoid 'head', with an undecorated carved wood handle.

Paddles such as this are clearly related in shape to the traditional rainforest clubs, which in their early 20th century incarnations were also painted with ochred designs related to those on the large shields. As opposed to those traditional large softwood shields, which were used in warfare, these later variants, together with the smaller early 20th century rainforest shields, were used purely ceremonially, usually in dance. There are very few examples known of this 'dance specific' paddle format, as opposed to 'fighting format' artefacts (clubs, shields, boomerangs) brought over into the realm of ritual by appropriate decoration.

Published: Christie's catalogue Australian Aboriginal Art, Melbourne, 30 August, 2005 (lot128).

For similar examples see: Sotheby's ABORIGINAL ART, Melbourne, 26-27 July 2004, lot 174

See also: Item 04 of this catalogue (above)

This is a large bark, but the execution of its imposing graphic elements is precise and measured, giving it great strength and clarity. There is a glued label on the back with (typed) the artist's name as above, listing his age as 37 years, and the place of execution of painting also as above. Added are several lines of handwriting which wpould be perhaps decipherable, but at a quick examination only disjointed words including 'ancestor', 'barramundi', and 'water' are legible. Another entry has been made on the bark itself which appears to read 'PURCHASED RIGBY EXHIBITION 1971'.

Stylistically and compositionally impressive, the painting evidences natural skill and flair: there seems more than a passing resemblance to some of the great works from the Croker Island masters.
The bark appears to have had a light coat of resin/varnish, probably at the time of its exhibition, but most has been absorbed into the bark, and it is not greatly noticeable - in fact many probably wouldn't...

Exuberant bark paintings of hunting pursuits are the staple of Mornington Islsland narrative art: this one by the original master of the movement, Dick Roughsey, has less narrative and figurative detail than many, but offers a reflective and somewhat stylised symmetry that perhaps focuses more on the balance of the transaction between man and the natural environment implied by hunting. The humans are thus without features, as is typically the case in much of Dick Roughsey's work in other media - the non-specificity of the human protaganists often achieved by having their backs to the viewer. Perhaps this reduction and balance also reflects an historical perspective: a hand-written note taped to the back of the paintng explains the turtle hunt theme of the painting as referring to 'the old days' (the artist was well past middle age by the time of painting). Here we see also a characteristic concern amongst Aboriginal artists with the passing on of traditional observances and cultural background to future generations ( and also to the wider world).

The information suipplied by the artist also explains that the turtle net (which dominates the composition) is made from twisting and weaving the fibres of the coastal hibiscus tree. (I would add in passing that this material and the manner of its weaving for fishing nets is duplicated on a smaller scale in the weaving of the ubiquitous stringbags of Aboriginal Northern Australia.... see later in this catalogue ..!)

The painting is signed by the artist both at the bottom and also on the attached note on the back. .

Cf. Sotheby's Aboriginal and Oceanic Art catalogue, Sydney, 23 November 2007. Lot 27

The artefact illustrated in the above reference is the only background that I am aware of in relation to this piece. The Sotheby's item was described as originating probably in Western Australia because of its design motifs. The incised design on this example (on the left) is quite different, but having examined the Sotheby's example very closely it is clear to me that they are related pieces: the overall shape, the virtual plano-convexity, the tight radius of the edges (almost sharp), the type of hardwood, and the size - all match. If there is a difference in age, then I would think that this piece is perhaps older - or at least has more use wear and patina.

The elements of the design are incised in two ways: one a wide 'grubbing' incision (now worn down) similar to the Sotheby's piece, and the other, at the extreme distal end, being a detailed fine incision, now also worn down. The design itself is much more of an extemporised array of elements spread over most of the 'face' of the club - perhaps in response to ongoing ritual use. (Under the patina in the worn grooving there appears to be a vestigial base of red ochre).

This is an old, rare, and exceptional piece with perhaps further history still to be written.

Old bark coolamons from areas outside of the Kimberleys region must be extremely rare. Essentially a bark painting moulded into a semi-circular section with gathered or pleated ends, this particular piece evidences the skill of a talented painter, who may well have been one of the great Groote Eylandt artists on bark.

Traditional Groote iconography using opposed triangles is very cleverly manipulated to produce fish images in the negative space.

This piece was acquired from a collector who noted down certain details at the time of its purchase from an exhibition. In addition to the artist's name and his membership of the Bathurst Island Tiwi group, there is the phrase which appears to read 'Carving of Puka Kolip', though his handwriting is a little difficult ...

The medium, listed in the notes as 'Iron Wood Carving', is obviously so - an extraordinarily dense and hard wood. This may explain the apparent fire-blackening on the lower part of the sculpture: fire was used by Aboriginal carvers to 'soften' wood in the process of working it. There is also a possible connection to Pukamani ceremony itself.

Published: Christie's Australian Aboriginal Art Catalogue, Melbourne, 30 August, 2005, Lot 121.

This magnificent canoe model may well be unique. I acquired it from an elderly gentleman who had lived and worked on Mornington Island for a number of years around 1960, during which time he became part of the community, and also a close personal friend of the artist and elder, Dick Roughsey (Goobalathaldin). He had in his possession a number of artworks which had been passed on to him by the artist, amongst which was this ceremonial canoe; while he couldn't definitely vouch for Dick Roughsey having actually crafted the canoe, it did come via this connection with Goobalathaldin himself.

The piece is carved from one solid piece of wood, the straw colour of the hull being the natural wood colour, and carrying the the powerfully minimal images of fish and a dugong on one side. In nearby Eastern Arnhemland and Groote Eyulandt small ceremonial painted canoes have been recorded as serving as rannga in the ritual of certain communities.

This is a very fine bark painting by Mick Kubarkku on stringybark (Eucalyptus tetradonta) using one of his trademark formats: an array of totemic animal images repeating across the bark. One of this painter's great skills is to so arrange the orientation (and sometimes the scale) of the creatures so as to give the whole composition a feeling of harmony and movementt. Attached catalogue detials from Maningrida Arts & Crafts tell us that the animal here is a pigmy glider possum (lambalk in the Gunwinggu language), a nectar feeder which uses a membrane between its front and back legs to 'volplane' from branch to branch.

For related examples of this compositional format see Sotheby's Important Aboriginal Art , Melbourne, 28 June, 1999, Lot 225 .... and Melbourne 24 July, 2007, Lot154

Provenance: Maningrida Arts and Crafts, Catalogue Number L33/IRT, May, 1981. (Original signed certificate glued to the back of the bark)

Published: Sotheby's Aboriginal Art catalogue, Melbourne, June26, 2000, Lot 393.

In the above lot description, the shield was listed as 'possibly Walmajari, or Guguja in the south Kimberly region ...'. Clearly it stands out graphically, and is possibly quite individual in this respect.

Apparently prior to its appearance in the above Sotheby's sale, the shield had been given a small collection marking in the concavity of the lug handle, which reads: 'CENTRAL AUST. NO.2'

Please note: The shield is a full 63 cm. in length, not the understated length of 53 cm. in the catalogue entry referred to above.

Cf. Sotheby's Arts of Africa, Oceania and The Americas catalogue, New York, May 17, 2002, lot 326.
and
Sotheby's African and Oceanic Art catalogue, New York, May 6, 1998, lot 48

Both of these examples have a similar bird carved in high relief pointing down from the crown of the forehead. However, neither has the second bird which in this piece points upward from the lower chin. Both examples also have similar forward angled crescent ears, and pierced uoward angled oval eyes. One of them has the concentric circled scarification marks on the cheeks, as found on this mask. Also noteworthy on this one are the two extruded lugs at either end, the top one pierced for attachment.

The 1998 Sotheby's catalogue also makes reference to related examples in Kelm, Kunst vom Sepik Vol. 3, 1968, Figures 162,163, and 168.

Aboriginal Australia, Published by Australian Directors Council, 1981, Sydney p. 100 illustrates a related example. However, it does not approach the elegance and purity of form of this piece. Although collected by Major Hasson circa 1940, this example is clearly much, much older. In terms of the execution of its remarkable leaf like form it is possibly unique.

PROVENANCE
Major Hasson Collection c.1940 -2002

Brunks Austions, Ashville, North Carolina

Private collection, California

Private collection Brisbane

PUBLISHED
Sotheby's Abpriginal Art, Sydney, 29 July, 2003, lot 89.

Virtuoso carving on this elegant shield: the generous size and depth of the lug handle, itself almost enclosed by the wrapping back of the protective side elements, and enhanced by the rounded shaping from this central element back to the finely tapered ends. This carefully executed traditional shaping suggests a pre-Papunya dating, though its maker may well have subsequrntly participated in that art movment.
Certainly similar iconography to that of the painted face of the shield is seen in the earliest work of some of the great Papunya board painters.
The paint used for the dots appears to be 'trade' (or hoiusehold enamel) variety, which conjecturally might have been accessed on one of the out-stations in the tribal areas.
The ochred back of the piece shows nice age weathering.

This superbly carved and painted figure is quintessentially Tiwi. The adaptation of traditional ceremonial Pukamani designs to the stylised and minimal representation of wings and plumage brings to mind the artistry of the earliest and best of Tiwi Island bark painters.

Sculpturally the carving suggests both power and movement by a sideways rotation of the expressive head in relation to the thick cylindrical trunk.

Compared with much of the earliest of Tiwi figure sculpture, this piece impresses by its refinement and subtlety.

Published: Lawson-Menzies Aboriginal Art catalogue, Sydney, 14 November, 2007: lot 166

A truly impressive work by Mickey Bungkuni - buiding on the trademark irregularity of his bark to create a powerful juxtaposition of two totemic creatures. Relative to the other few extant examples of his work, this bark painting is in excellent condition and, thankfully, un-retouched.

This actual bark was offered by Sotheby's Australia in their in their November, 2007 sale in Sydney, and is published in their catalogue:
Sotheby's Aboriginal and Oceanic Art, Sydney, November 25, 2007. LOT 89

Bungkuni bark paintings sit comfortably with the work of other legendary bark painters from the Kimberleys such as Charlie Numbulmoore and Alec Mingelmanganu who have been introduced to the market over recent years by Sotheby's Australia, and whose works have justifiably fetched prices in the hundreds of thoudsands of dollars.