Manila Peter Karadada circa 1920-1989

Painted in the Kalumburu region, North Western Australia, circa 1977
Private collection, New York, acquired in Manly, New South Wales in 1977

The painting is unframed. There are many small areas of pigment loss scattered throughout the image. Predominately in the white pigment though also in other areas and a few small areas where the paint on the surface is flaking. The majority of the surface pigment appears stable though within the areas where the pigment is flaking consolidation by a conservator would be recommended. The bark is gently curving and not flat.
"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. Kim Akerman et al., The Presence of Greatness: Early Wanjina Paintings and Indigenous art of Western Australia, Tim Klingender Fine Art, Sydney, 2013, p. 8 for a related example.

The Karedada family of artists are possibly the most renowned and prolific Wanjina painters. Kim Akerman writes that, “Jack, his wife Lily (Mindildil), his brother Lewis and Lewis’ wife Rosie (Ngalirrman) were members of the Wunambal speaking peoples that occupied the North West Kimberley between the Prince Regent River and the King Edward River. Their brother Manila Karedada (Kutwit) had been one of the foremost painters of Wanjina pictures during the renaissance of North Kimberley art that occurred in the mid-1970s, The clan lands of the Karedada families lie at Cape Voltaire (Wulangku) and its primary totemic affiliation is the butcherbird (karadada). It is this bird that gives the clan its name. The Karedada patrilineal moiety affiliations are wodoi, the spotted nightjar, and the brolga, kurangkuli. The reciprocal moiety totems are the Jiringgun, the owlet nightjar and banar the bustard. These birds are the primary totemic species for Lily and Rosie.” (ibid. p.10)

“Wanjina beings are usually depicted as anthropomorphic figures, sometimes full length but also often as busts - with just head and shoulders portrayed. The head is often surrounded by one or more halo-like headdresses or by radiating ‘plumes’. The mouth is not depicted - although at least one artist, Charlie Numbulmoore, began to include mouth and teeth in the Wanjina paintings he made toward the end of his life. There is often an oval or sub-oval mark in the central chest region. Where the full body is depicted Wanjinas are often shown with a hair belt around the midriff and major joints as well as fingers and toes are indicated. Gender is not always obvious although female Wanjinas may be depicted with breasts….Wanjinas are believed to be responsible for the maintenance of the seasonal cycle - especially the Wet Season that reinvigorates the land after the drought conditions of the dry winter and early summer. Wanjinas are intimately associated with the Ungurr Rainbow Serpents. Clan leaders stimulate and encourage the Wanjinas to fulfil their roles as agents of fertility and growth by repainting their images located in the shelters in caves.”  (ibid. p. 4)

Manila Karedada, his extended family and Alec Mingelmanganu, were the first painters of Wanjina on bark to have their works exhibited and sold at professional galleries in capital cities. Of the few paintings extant, nearly all were sold via the government’s gallery Aboriginal Traditional Arts in Perth in the late 1970s, with this example being sold via a Sydney gallery.