Hunters and Spirits, c. 1960

natural earth pigments on bark

126 x 48 cm (framed)

Est. $2,000 – $3,000

Hammer $3,200

Provenance: Collected by Charles Banon, Protector of Aboriginal Affairs, NT, 1960 Private Collection, SA Lawsons, Fine Decorative Arts including a single vendor offering of Omega Watches and Contemporary Painting and Sculpture, Sydney, NSW, 27 June 2019, Lot 6 Private Collection, NSW, acquired from the above
Artwork story: This painting was field collected by Charles Banon, the Protector of Aboriginal Affairs, NT, in 1960, and first appeared at public auction in 2019 listed as a work by Mathaman Marika. It was created at a time following the death of Mathaman’s elder brother Mawalan, upon which Mathaman became the leader of the Rirratjingu. As such he was ultimately responsible for the ownership of the Dhuwa moiety myth cycles, and for this reason, even though he may not have been the artist who executed this lovely work, it is culturally appropriate to attribute it and its content to him, as he was ultimately responsible for its content. According to Prof Howard Morphy, it was most likely painted at Milingimbi by a male artist of the Dhuwa moiety. Whilst Mathaman Marika is certainly a candidate, his works generally exhibit more descriptive clan patterning, which suggests that, if he was indeed the artist, the painting could be an unfinished work. Other Key Dhuwa moiety male artists from this region and period include Binyinyuwuy Djarrankuykuy, Dawidi Birritjama, Lipundja, and Dayngangan.

Click to enlarge

Sale 3 · Lot 38

Mathaman Marika

c.1920 – 1970

natural earth pigments on bark

126 x 48 cm (framed)

Est. $2,000 – $3,000

Hammer $3,200

Provenance: Collected by Charles Banon, Protector of Aboriginal Affairs, NT, 1960 Private Collection, SA Lawsons, Fine Decorative Arts including a single vendor offering of Omega Watches and Contemporary Painting and Sculpture, Sydney, NSW, 27 June 2019, Lot 6 Private Collection, NSW, acquired from the above
Artwork story: This painting was field collected by Charles Banon, the Protector of Aboriginal Affairs, NT, in 1960, and first appeared at public auction in 2019 listed as a work by Mathaman Marika. It was created at a time following the death of Mathaman’s elder brother Mawalan, upon which Mathaman became the leader of the Rirratjingu. As such he was ultimately responsible for the ownership of the Dhuwa moiety myth cycles, and for this reason, even though he may not have been the artist who executed this lovely work, it is culturally appropriate to attribute it and its content to him, as he was ultimately responsible for its content. According to Prof Howard Morphy, it was most likely painted at Milingimbi by a male artist of the Dhuwa moiety. Whilst Mathaman Marika is certainly a candidate, his works generally exhibit more descriptive clan patterning, which suggests that, if he was indeed the artist, the painting could be an unfinished work. Other Key Dhuwa moiety male artists from this region and period include Binyinyuwuy Djarrankuykuy, Dawidi Birritjama, Lipundja, and Dayngangan.