BIRRIKIDJI GUMANA

Painted at Yirrkala, North East Arnhem Land, circa 1960
Private collection

The painting is housed behind perspex in a contemporary frame and it is only possible to give a visual inspection to the front of the bark. The condition of the pigments in general look particuarly sound and stable with only one major area of loss being what appears to be a white line running across the base of the large prahu. There is major cracking in four sections running through the central area of the bark, which should be visible in the catalogue illustration. Since the time of photography for the catalogue and cataloguing these cracks have widened further. Upon closer inspection and consultation with the vendor we can advise that the cracking is a result of a recent flattening of the bark by a restorer. We have been further advised that after flattening, infill and repainting of the cracked areas was carried out by a restorer. This has continued it to split, and the buyer may wish for further restoration to be carried out.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Cf. For other paintings of the same subject by the artist, see Macassan praus, n.d., in Morphy, H. and M. Smith Boles (eds.), Art from the Land: Dialogues with the Kluge-Ruhe collection of Australian Aboriginal art, University of Virginia, Charlottesville, USA, 1999, p.82, plate 3.22, illus; and The coming of the Macassan traders, 1970, in the collection of the Newcastle Region Art Gallery in Aboriginal Bark Paintings from Arnhem Land, Newcastle Region Art Gallery, 1984, p.15, pl.28, illus.

An exquisite rendition of the popular theme of the Macassan fishermen and traders and their ships or prahu. The Macassans, from modern day Sulawesi, visited the shores of Arnhem Land every wet season in search of pearlshell, fish and in particular, trepang or sea cucumbers which are a delicacy throughout much of south east Asia. While they never settled, the Macassans had a marked effect on Yolngu life and culture. They introduced material items such as metal axes and smoking pipes, words which are still in use today, and aspects of their presence entered the ritual symbolism and mythology of several coastal Yirritja moiety clans. For example, the image of the distinctive sail disappearing over the horizon is a metaphor for the end of the wet season. The Macassans ceased their journeys to Australia with the introduction of the White Australia policy in 1907. J.A. Davidson commented that the 'prahu the Macassan traders arrived in are painted by the old men who could remember them,' Birridkji amongst them. Themes related to the Macassans continue to be expressed in painting and in ceremony