MATHAMAN MARIKA

Painted at Yirrkala in North East Arnhem Land in the mid 1960s
Private collection

There are two holes pierced in the bark near the top of the painting and a split approximately 7cm long extending near the top centre and there are two holes near the lower margin which have fibre threaded through them. The pigments appear relatively stable and it is likely that it has been treated in the past in order to consolidate the pigments. This has resulted in some discolouration to the original
"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. For paintings of the same subject see, Gunguyuma, Djambawal, the Thunderman, 1961, in the collection of the National Gallery of Victoria, in Ryan, J., Spirit in Land: Bark paintings from Arnhem Land in the National Gallery of Victoria, National Gallery of  Victoria, Melbourne, 1990, p.40, pl.13; Mawlan Marika, Untitled, 1967, and Mau Mununggurr, Untitled, 1967, in Groger-Wurm, H.M., Australian Aboriginal Bark Paintings and their Mythological Interpretation: Vol.1, Eastern Arnhem Land, Australian Institute of Aboriginal Studies, Canberra, 1973, pp. 61-2, pl.87, 88

Djambuwal is the creator of storms and is related to the Djang'kawu ancestral beings who created the Dhuwa moiety clans in eastern Arnhem Land. The conventional image of Djambuwal is depicted in the top left, holding a fishing spear over his head (an analogue for a rainbow or a shooting star), from which hang the clubs with which he makes thunderbolts, and he is shown urinating to create rain, a metaphor for infusing the land with his ancestral powers. Djambuwal is regarded as a great fisherman, hence the depiction of schools of rock cod. The central figure is painted in yellow ochre, rather than black, suggesting this is an image of another ancestor or it could represent the Thunderman standing on a sacred rock in the sea