A Broad Shield, Lower Murray River Early 19th Century

Private collection, South Africa

Walter James Leyland, United Kingdom, acquired from the above circa 1970 and thence by descent

Very good original overall condition, with no repairs or restoration. Top tip broken away many years ago; old patina visible on break - may have been collected this way. Two small marks, each approximately 3mm in diameter on the middle of the right hand edge, as is visible in catalogue.
"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., Carol Cooper et al., Aboriginal Australia, Australian Gallery Directors Council, 1981, p.88, fig.S47, for a shield of similar form and related engraved designs; Carol Cooper, in Judith Ryan, Aboriginal and Torres Strait Islander Art in the Collection of the National Gallery of Victoria, NGV, Melbourne, 2012, pp.16-17 for discussion and illustrations of related shields.

Carol Cooper writes with regard to similar shields in the National Gallery of Victoria, that these shields “… show the typical forms and rhythmic, curvilinear elements which characterise south-eastern shields. It is the mastery of their combination into a multitude of striking designs, believed to signify both the individual artist and his clan or regional group, which gives them such beauty and emblematic distinction. While many look similar, no two are exactly the same. Although made with a variety of tools, the ornamental devices displayed in this group suggest they were produced by the possum-tooth engraver, with its distinctive, tiny gouges. The tool crafted incredibly precise lines and a beautiful chiaroscuro effect, either directly from the polished and decorated surfaces or, when the design was ‘painted up’ for battle or dance, with coloured ochres or pigments.” (ibid p.16)