Marambur circa 1918 - deceased

Painted in Maningrida, West Arnhem Land circa 1963

Collected by Dorothy Bennett at Maningrida, Western Central Arnhem Land between 1962 and 1964

Tom and Adi Barnett Collection, USA

The Barnett Collection at Columbia University, New York

Sotheby’s, Important Aboriginal Art, Melbourne, 30 June, 1997, lot 106 (AU612)

Fiona Brockhoff, Melbourne

Small areas of pigment loss and rubbing to the surface in many areas of the painting. Visible in the illustration. Worst area of pigment loss is in the lower left hand corner and in the white pigment of the fine designs of the central lower black shape. Small flakes of pigment predominately white, have settled on the bottom of the inner frame. Overall the remaining pigments appear relatively stable. No repairs or restoration.
"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., Berndt, R. M. and Berndt, C. H. with Stanton, J., 1982, Aboriginal Australian Art, a Visual Perspective, Methuen Australia Pty Ltd, Sydney, p.91, pl.85, p.94, pl.88A, for two ceremonial carvings by the artist, collected by anthropologists Ron and Catherine Berndt on Elcho Island in 1961 and 1964.

The label on the reverse reads: "When a man reaches marriagable age, usually at 18 or 19, he is initiated into certain rites, at which are shown to him the totems handed down from both parental sides. Marambur's painting shows down the centre of the painting the shape of the fish totem shown to him at his initiation, and a series of these same totems are painted horizontally also. Totems are jealously guarded from other members of the tribe and are occasionally shown as a special privilege."