Lot 38
  • 38

TIPERA-BUNGA-DILA (KERINUA)

Estimate
12,000 - 18,000 AUD
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Description

  • Tipera-Bunga-Dila (Kerinua))
  • PURUKUPALI FIGHTS TAPARA
  • Bears artist's name, title and annotations regarding the painting on label on reverse
  • Natural earth pigments on eucalyptus bark
  • 33 by 65.5 cm

Provenance

Painted on Bathurst Island in the mid 1950s
The Dorothy Bennett Collection
Sotheby's, Aboriginal and Tribal Art, Sydney, 9 November 1997, lot 22
Private collection, acquired from the above

Condition

The bark painting is in very good condition with nearly all the paint intact and the surface of the bark has been varnished. The bark is mounted on a hessian covered board and attached by lengths of wire in the upper and lower left and right hand corners, which is visible in the catalogue reproduction. There is a minor crack and loss of paint to the top right which is also evident in the illustration.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

The label on the reverse reads: 'This painter is the widow of Cardo Kerinua, who had been ceremonial leader of the Mandiumbula people, and one of the last bulwarks of the culture.  The enormous respect and reverence in which her husband had been held explains why a woman should be here, confidently painting a Creation Time Story, albeit in simple fashion

On the left is Purukupali.  On his right Tapara - about to receive the terrible wounds which even today can still be seen on his body as the Moon man.   Between them stands Bima, the guilty wife, clutching the dead body of her child (Jinaini)

The combatants' dogs bark, and outside the clearing, denoted by the circle, the bird men look on fearfully.  The ideal of the Dreamtime is about to be shattered - death is about to come to the world'