All images have set with width 600. A more correct review of each image can be achieved by saving to disk, and then opening without this qualifier.

With the exception of the Clifford Possum (which is quite large), all artworks are easily transportable, so could be provided for inspection at a convenient time.

This 'collection' is the result of my casting about for an area of interest in indigenous art following the death of my wife two years ago. While I have always loved the 'stories' being told, it is probably true to state that the only discernable 'pattern' in this group is one of desparation. I have now settled upon an interest in contemporary indigenous artworks, and am actively pursuing several of the leading younger artists.

Note: This work benefits from good lighting. The image shows the work at its best.

Note that this painting definitely has 'two halves' as to background - it is not just a trick of the camera.

Titled verso "Billy Stockman - Water Story"
Comes with a letter on Papunya Tula Artists Pty Ltd letterhead which reads as follows:

"To whom it may concern, the purpose of this letter is to supply further supporting documentation to the work done by Billy Stockman Tjapaltjarri. This work was completed prior to the formation of Papunya Tula Artists Pty Ltd, so therefore does not have a Papunya Tula Artists certificate of authenticity. There is however a hand written copy of the original field notes, most likely done by Geoffrey Bardon, and dated 3rd December 1971. The transcription notes the iconography detailed in the painting and is written on letterhead supplied by 'Papunya Incorporated'".

Photocopy of field notes mentioned above

The watercolour is of the Macdonnel Ranges and was purchased at Albert's first showing in Adelaide on November 14, 1939 at the Society of Arts Gallery. As provenance, it comes with the Adelaide Advertiser newspaper clips of the day as well as the original receipt with duty stamp showing it cost 2 pounds 12 shillings and sixpence and the original cardboard catalogue it was sold from.

The news cuttings speak of the "culture and intelligence of the Australian aborigine and his amazing facility for drawing etc'' ...as can be seen in the photographs of the original articles about Albert. They describe this amazing man as a full-blooded member of the Arunta tribe and say that until three years before this date he had never held a brush in his hand. They also speak of his tutoring by Rex Battarabee and tell how Albert travelled to the showing in Adelaide on a camel from Central Australia, and then spent his earnings on his "family of eight''.

The original cardboard catalogue that this was originally sold from is included, and shows that Albert sold 35 watercolours to a top price of 7 guineas in this exhibition in Adelaide on November 14, 1939 at the Society of Arts Gallery. This painting is No 10 in the catalogue - titled Kum-Berga Western Macdonnels - the mountain range. Kum Berga is hand written on the back of the work in the artist's handwriting. (it is framed in such a manner so that the inscription on the back of this work is also visable).

The image has been framed and matted using museum standard conservation materials (as recommended by the NGA) to about 74cm x 54cm. This painting has only ever been displayed at selected showings over the last 68 years, being kept in the family of the original purchaser until now.

Alison French's 'Seeing the Centre' about Albert Namatjira, mentions and illustrates several of the Namatjira works that were sold in the exhibition in 1939 at the Society of Arts Gallery. Each work that is in French's book that originally came from the 1939 exhibition is dated as being painted in 'circa 1937'. For example, on page 53 of French's book see the work 'Neey too gulpa' (number 35 in the 1939 exhibition catalogue).

Therefore I believe this particular work can be dated 1936, or 1937.