MAWALAN MARIKA

Acquired directly from the artist in the mid 1960s by the vendor's father who was a missionary at Yirrkala; thence by descent

The bark is gently curved and there are many areas of pigment loss particuarly in the lower third of the work. There are two small cracks that run approximately 6 cm in from the base. There are many other rubs, scuffs and scratched to the surface. It is suggested that the purhcaser have the painting stabilised by a conservator.
"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 another painting by the artist depicting a Christian theme see Crucifixion, , in the collection of the Museum and Art Gallery of the Northern Territory, in Crumlin, R. and A. Knight, Aboriginal Art and Spirituality, Dove Publications, Melbourne, 1995, p.29, plate 9; for paintings about contemporary life see Map of Painter's Travel by Plane from Yirrkala to Sydney, c.1960, in the collection of the National Museum of Australia, in Morphy, H., Aboriginal Art, Phaidon, London, 1998, p.40, plate 22, and Trip to Sydney, c.1960, in Allen, L. A., Time Before Morning: Art and Myth of the Australian Aborigines, Thomas V. Cromwell, New York, 1975, p.25, illus

Mawalan Marika, a leader of the Rirratjingu clan when the Christian mission was established at Yirrkala in 1935, was an innovative artist who sought to comment on his experiences of contemporary life using the traditional conventions of bark painting. In this extraordinary image of the Nativity, the baby Jesus in the manger is surrounded by animals, presumably sheep and a cow, under a variation on a traditional wet season shelter built on forked sticks. The other figures in the composition include the Virgin Mary, Joseph and three other figures, probably the three wise men offering gifts. The wise men are also depicted riding horses in the lower half of the painting and the star that guided them dominates the upper register