Mandidaidai (“Tiger”) circa 1910-1972

Natural earth pigments on eucalyptus bark

Acquired from the artist at Mudjinberri (Mudjinbardi) by Lance Bennett, in 1966
The Thomas Vroom Collection, The Netherlands

We believe there to have been no repair or restoration to the painting, which furthermore has suffered no pigment loss and is in stable condition. There is a fine crack in the bark, 1.5cm in from the facing left hand corner, extending vertically for approximately 6cm, which could easily be consolidated by attaching a small piece of hessian to the reverse. A few other small cracks, as visible in the catalogue illustration. The pigment used for the ground of the image has a slight shimmering/sparkling effect throughout (not visible in the catalogue illustration), which most probably results from the presence of mica or a similar mineral within the pigment itself.
"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. Sotheby’s, Aboriginal Art, Melbourne July 9, 2001, lot.18 for another example by the artist, formerly in the private collection of Dorothy Bennett.

Lance Bennett’s accompanying documentation reads in part, “An intense, brooding man, Mandidaidai attached a passionate importance to the secret ceremonial life. He was highly regarded as a singer of both secret and public song.

Born in country known as Guwidji, east of the lower reaches of the Liverpool River, he lived a traditional life for many years. In 1939 he walked 200 miles south-west to Goodparla cattle station where he “just sat down”, having access to tobacco and other desired western goods, but without employment. In 1940 he and other unemployed Aborigines at Goodparla were collected by the army and taken to the township of Pine Creek where he worked as a labourer for the army for the duration of World War II.

After the war he spent some years in the township of Katherine, employed by the Department of Welfare as a woodchopper. Later, he had a job as a gardener at Beswick cattle station, and then squatted two miles out of the little gold mining township of Pine Creek with a large group of unemployed Aborigines.

Finally, ‘Welfare’ picked him up and took him to the remote Mudginberri cattle station, between the South Alligator and East Alligator Rivers. Here again he could find no employment, but he used the small Aboriginal camp on Mudginberri as a base for semi-traditional lifestyle.

The artist described the two figures as wayarra, a general Rembarrnga term for ‘spirit’. The taller figure is the father, the small his son. The father is wearing a skirt made of strips of fur of manburrebar (the rock possum). These spirits live in the stone country and are dirrima (dangerous). They are shown with long hair that streams in the wind as they leap about.

This bark was painted for Bennett during one of his visits to the small Aboriginal community on Mudjinberri cattle station, between the South and East Alligator Rivers, in the dry season of 1966.”