CLIFFORD POSSUM TJAPALTJARRI

Painted in the studio of Milanka J. Sullivan at Warrandyte in Victoria
Private collection, Melbourne

There is no visible scuffs or paint loss and the work is in very good condition.
"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."

This painting is sold with an accompanying DVD with 8 minutes of footage of the artist in the process of creating the painting together with copies of working photos an annotated diagram and documentation written by Milanka J. Sullivan that reads: 'In this painting the artist gives expression to a sacred men's "busines@ camp, or Malierra campsite in country known as Ngarlu, or Red Hill. This is situated in Anmetjerre territory; around the border of the Tanami and Simpson Desert in Central Australia. Which forms part of the artist's "native" inheritance, that came into being during Creation in Dreamtime.

Associated to the artist's ancient Tjungurrayi ancestor: known as Lintipilinti, who, in Dreamtime, participates in "love magic" at his Ngarlu campsite to win the heart of a Napangardi woman, this Malierra campsite is generally attended by a number of Law-Men, who lead selected tribal youths through ritual learning experiences as part of their initiation into manhood. Though in this painting, the artist only captures one set of meandering footprints and symbolic U-shapes, that give expression to Lintipilinti himself. While at the same time, double to act as the ancient ancestor's Tjungurrayi and Tjapaltjarri descendants.

Depicted in a rich coloured environment that hosts a number of star-like motifs, which give rise to native Spinifex, or wild growing bush-grass, Lintipilinti is further represented, by the artist, through two sets of arc lines, or traditional motifs, that serve as the ancestor's incised symbolic body designs. That also serve as ceremonial bodypaint, which the artist also captures through the more complex linear patterning on both sides of this canvas, that, in addition double as Ngarlu's rocky terrain. But particularly, a sacred diamond-shaped rock, which takes on a major role in relation to Ngarlu's Malierra ceremonies. Which the artist also refers to as "native high school".

As for the concentric circles, these, essentially, represent the ancestor's ceremonial ground designs, or sandpaintings. While the set of rings, in this work, constitute up-right ceremonial poles, or decorated nulla nullas (fighting sticks). Which by their placement behind Ngarlu's rocks, lend to the idea of secrecy associated to the "making of men", or Malierra ceremonies, that remain a major cultural tradition in the secret/sacred world of Anmatjerre tribesmen.'