Barama Myth Cycle, 1977

natural earth pigments on bark

75 x 36 cm

Est. $2,500 – $3,500

Hammer $3,400

Provenance: Lawson Menzies, Aboriginal Art Auction, Sydney, NSW, 9 November 2005, Lot 196 Private Collection, NSW Accompanied by a certificate of authenticity from Lawson Menzies
Artwork story: As Dhalwangu elder Yinimala Gumana records in the oral tradition documented by the Kluge-Ruhe Aboriginal Art Collection at the University of Virginia: "Barama came from the place called Mulkanayŋu, near Gäṉgaṉ. There he created the Law." Barama and Lany'tjun emerged from the sacred waterhole at Gangan, covered in patterns of mud and waterweeds that became the clan's sacred designs. Barama instructed Lany'tjun to journey north and Galparrimun south, carrying this Law — language, songs, dances, ceremonial objects, body designs — to all the Yirritja groups, before entering the water at Gangan and transforming into a tree. The diamonds and wavy parallel lines filling the ground of this bark are the sacred Dhalwangu design for fresh water, the mark of that emergence. Minhala, the long-necked tortoise and Yanggarriny's own major totem, holds the centre. Fish flank the upper register, freshwater crayfish occupy the lower corners, all rendered in natural earth pigments with the precision that distinguished him throughout his career. Yanggarriny was one of the major contributors to the Yirritja side of the Yirrkala Church Panels in 1963 and one of four painters selected to paint the Yirrkala bark petitions asserting Yolngu sovereignty. In 1983 he became the first Aboriginal artist to have his copyright recognised in an Australian court. He won the Telstra NATSIAA First Prize in 1997. Barama Myth Cycle predates all of it.

Catalogues187 of 257

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Sale 3 · Lot 39

Yanggarin Wunungmurra

b. c.1932

Region: Arnhem Land
Language group: Dhaḻwaŋu

Barama Myth Cycle, 1977

natural earth pigments on bark

75 x 36 cm

Est. $2,500 – $3,500

Hammer $3,400

Provenance: Lawson Menzies, Aboriginal Art Auction, Sydney, NSW, 9 November 2005, Lot 196 Private Collection, NSW Accompanied by a certificate of authenticity from Lawson Menzies
Artwork story: As Dhalwangu elder Yinimala Gumana records in the oral tradition documented by the Kluge-Ruhe Aboriginal Art Collection at the University of Virginia: "Barama came from the place called Mulkanayŋu, near Gäṉgaṉ. There he created the Law." Barama and Lany'tjun emerged from the sacred waterhole at Gangan, covered in patterns of mud and waterweeds that became the clan's sacred designs. Barama instructed Lany'tjun to journey north and Galparrimun south, carrying this Law — language, songs, dances, ceremonial objects, body designs — to all the Yirritja groups, before entering the water at Gangan and transforming into a tree. The diamonds and wavy parallel lines filling the ground of this bark are the sacred Dhalwangu design for fresh water, the mark of that emergence. Minhala, the long-necked tortoise and Yanggarriny's own major totem, holds the centre. Fish flank the upper register, freshwater crayfish occupy the lower corners, all rendered in natural earth pigments with the precision that distinguished him throughout his career. Yanggarriny was one of the major contributors to the Yirritja side of the Yirrkala Church Panels in 1963 and one of four painters selected to paint the Yirrkala bark petitions asserting Yolngu sovereignty. In 1983 he became the first Aboriginal artist to have his copyright recognised in an Australian court. He won the Telstra NATSIAA First Prize in 1997. Barama Myth Cycle predates all of it.