Album 2

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THE BRADSHAW ALBUM No 2

Bradshaw Period [17] Sash Bradshaw Group 370x410mm (14x16ins)

This now deteriorated panel shows a very aesthetically composed solitary Sash Bradshaw depiction. The long horizontal headdress has a tassel suspended from its Pom Pom tip, and a detailed classic example of the Winged Headdress feature. Although the figure displays the characteristic Turf Armbands, it has only a Pom Pom Waistband decoration. The outstretched slim right forearm clutches Double Boomerangs.

Bradshaw Period [18] Sash Bradshaw Group 760mm tall (30ins)

A fine Sash Bradshaw displaying a wide range of the accoutrements found associated with this Group. The long headdress has a single feather mounted through its upper extremity, with double tiered tassel extremity. A Prong Variation of the Winged Headdress feature is mounted to the right side of the head. A neck-mounted dillybag is visible beneath the right armpit, and a cluster of four Chilli Armpit Decorations beneath the left. The unusual Barred Variation of the Three Point Sash can be clearly seen rear mounted above the Broad Cummerbund Waistband, while an additional Long Pubic Apron is mounted from the front underside. Double Boomerangs are held in each hand, with an additional Whisk in the right. Tuft Armbands and Multiple Broad Bangle forearms are characteristics of this Group.

Bradshaw Period [19] Sash Bradshaw Group Barred Variation 380x320mm (31x13ins)

Barred Variations of any Erudite Epoch figures are uncommon, and are positive confirmation of the existence of bichrome applications. This Sash Bradshaw example displays many of the accoutrements found in more conventional examples. The headdress has the Prong Variation, together with two features mounted in front of its Pom Pom tip, from which a Tiered Double Tassel is suspended. A neck mounted dillybag is shown beneath the right armpit and a stylised version of the Four Chilli Armpit Decoration beneath the other. Tuft Armbands and Multiple Broad Bangle forearms are characteristics of Sash Bradshaws, even though this example shows only a Long Pubic Apron mounted from the waist.

Bradshaw Period [20] Sash Bradshaw Group 190x80mm (7x3ins)

The miniature Sash Bradshaw Figure illustrates the practice of exaggerating certain items of paraphernalia which appear to have been significant status or cultural identification keys. Both the dramatic erect Winged Headdress feature and the uncommon Barred Three Point Sash have been disproportionately emphasised on this 190mm (7ins) figure. Even when allowing for the inaccuracies of artistic licence there appears continued evidence of two forms of Boomerangs associated with many of these figures; the single example an Angular Boomerang, and the Double Boomerangs of crescentic form. The figure's perimeter detail is partly due to its application on an uneven art surface, although the favoured Mulberry Hue paint was used.

Bradshaw Period [21] Sash Bradshaw Group 630x190mm (25x7.5ins) left figure 320x230mm (12x9ins) right figure

A pair of Sash Bradshaw illustrating the diversity of physical form and accoutrements found associated with this Group. The more representative form of the left figure is decorated with a side mounted Prong Variation Winged Headdress, a Broad Cummerbund mounted Star Sash and Multiple Broad Bangle forearms. Its common Pom Pom/tassel tip headdress has a vertically mounted feather. The smaller figure illustrates this Group's apex of development in blending selective schematisation into primarily naturalist form. Progressive schematisation resulted in grossly muscular forms and miniaturised lower legs, while the Multiple Broad Bangle detail transforms into unnatural bulbous forearms. This figure has an impressive Long Apron mounted from above the Broad Cummerbund, while its headdress area remains unfinished.

Clothes Peg Figure Period [22] Transitionary Figures 390x200mm (15x8ins) left figure 300x230mm (12x9ins) right figure

A sadly deteriorated discrete panel of a face-to-face pair of polychrome figures arranged in what appears to be an elegant dancing or ceremonial alignment. Their bodies and legs incorporate the curvaceous form characteristic of the late Bradshaw Period but the consistent width, straight, bichrome arms are traits of the following Clothes Peg Figure Period. Forehand/face bands and exaggerated Busby Headdress are traits common to the more static later schematised Clothes Peg Figures. Accoutrements include a waistband mounted sash variation and a hand held Whisk. Missing sections accompanying the identifiable red and yellow colours suggest the original applications were polychrome.

Clothes Peg Figure Period [23] Broad Clothes Peg Figure Sub-Group 330x160mm (13x6ins)

A small example of an early Clothes Peg Figure in the profile dancing stance alignment. During the transitionary period artists retain basic semi-naturalistic silhouettes of paunch, hips and leg muscles, but schematise the arms. The ungainly Reverse Bent Arm alignment is encountered mostly on profile Clothes Peg Figures, where the difficulty in depicting the upper torso in profile obviously persists. Missing feet, lower arm, face and headdress segments characterises the widespread use of less stable paints accounting for the increasing preference for bichrome depictions in the Clothes Peg Figure Period. Side Buns and Broad Tussock Pairs represent surviving decorative appendages from the headdress forms common to this Group.

Clothes Peg Figure Period [24] Broad Clothes Peg Figure Sub-Group 860x360mm (34x14ins)

This 860mm (34ins) early Clothes Peg Figure is the largest example recorded in the rarely depicted profile dancing stance. Certain naturalistic silhouette attributes of the earlier Bradshaw Figures are still evident in the body and legs, while progressive schematisation is evident in the arms and shoulders. This Period witnesses the development of this distinctive form of fine parallel fingers with a shorter angled digit to either side. Interesting features include the forelock extension and the accompanying chin extension; reminiscent of false beard accessories favoured by Pharaohs in certain periods of ancient Egypt.

Clothes Peg Figure Period [25] Broad Clothes Peg Figure Group 380x170mm (15x7ins) centre figure

A discrete panel of Clothes Peg Figures in the profile bent knee stance, suggestive of a dance or ceremonial activities. Missing hands, feet, head, ankle bands and waistband sections are typical indicators of this Period's unstable bichrome or polychrome segments. The Reverse Bent Arms are awkward attempts at dealing with profile alignments. Elements of the earlier Sash Bradshaws survive in the Barbed Three Point Sashes, as shown in the schematised Star Sash from on the larger figure. The Cross Hatched Busby Headdress, with rear Broad Tussock and front Hockey Stick elaborations, are associated with elaborate Clothes Peg Figures. The pendulous Zig Zag Line feature appears to be a schematised form of decorative hair appendage.

As yet undefined Period [26] Elegant Action Figure Group 175x330mm (7x13ins) left figure 125x110mm (5x4ins) right figure

Detail from a 510x900mm (10x35ins) panel involving at least 16 Elegant Action Figures in a range of sitting and walking poses. This period is synonymous with successful depictions of elegant miniatures in difficult positions, as is evident in this fine pair of sitting cross-legged figures. The main figure appears to be working on the head of a Multi Barb Spear which is supported across his legs. This form of Dunce Cap Headdress with small Pom Pom Tip is this Group's most frequently depicted decorative accoutrement. Smaller figures in group scenes are frequently depicted with undecorated round heads, possibly representing children.

As yet undefined Period [27] Elegant Action Figure Group 210mm (8ins) high (top figure)

Section of a deteriorated 540x420mm (21x16ins) ceiling panel involving at least four Elegant Action Figures running with one arm raised. Adjacent more intact examples indicate that the short shaft held in the upper figure's upraised arm to be the remnants of a Multi Barb Spear. This Group's artists were noticeably concerned with carefully arranging figure alignments to maximise aesthetics; seen in the exaggerated leg alignments of these running figures. The arm clutching the favoured assemblages of Crescentic Boomerang stacks and small dillybag is shown trailing: clearly illustrating these important elements below, but in an unobtrusive manner which balances rather than clutters the composition.

Superimposition [28] Bradshaw Period 650mm (26ins) long boomerang 1090x480mm (43x19ins) figure

This superimposition sequence involves a 1050mm (41ins) tall Tassel Bradshaw with three faint boomerang stencils from the earlier Irregular Infill Animal Period. Relatively few superimpositions involving Erudite and Archaic Epoch art have been discovered, and the deteriorated state of these ancient art forms invariably makes positive identification of the sequence an impossibility. Plan alignment portrayals of figures from the Tassel Bradshaw Group are scarce, and are usually shown with near vertical headdress. This figure is decked in some elaborate decorations, including Tasselled Cords suspended from the lower headdress, and long Tasselled Cord Armpit Decorations.

Superimposition from the Bradshaw Period [29] Tassel Bradshaw Group Transitionary Figure 675mm (26x24ins) Ceremonial Figure 1130x1200mm (44x47ins) Sitting Penis Figure

This superimposition panel emphasises the anomalies of different weathering encountered in some Kimberley rock art. The underlying elaborate Bradshaw Figure survives a remarkable state of preservation while the very recent painting superimposing it is already badly deteriorated. The large Sitting Side Penis Figure with basket over forearm is a specific figure unique to the most recent times of the Wandjina Period, and probably less than 200 years old. What fortuitous sequence of events and/or climatic conditions are responsible for such exceptional stabilisation over countless millennia, and what changes now result in major deterioration of modern paintings in mere generations of time, are questions yet to be answered.

Clothes Peg Figure Period [30] Multi Barb Spearmen Sub-Group 620x320mm (24x12ins) panel

A specific form of small figures in the north-west Kimberley appear to be regional variations of the Clothes Peg Figures. At times they are depicted in group scenes, involved in definite aggressive activities, throwing Multi Barb Spears. This battle scene panel shows an upper group of seven figures, and a lower group of eight. A solitary figure conspicuously positioned between the opposing factions appears to be the lower group's unfortunate ninth member, struck by a Multi Barb Spear and a boomerang. The extended arm on all figures presumably indicates missile launching actions, with their spears and boomerangs shown passing to the rear of the opposing group. Earlier Kimberley art appears passive, with aggressive stances and obvious conflict appearing only in the Clothes Peg Figure Period. This may reflect inevitable conflict resulting from increased competition for diminishing resources, leading to the apparent lengthy period of discontinuity following this late Erudite Epoch.

Clawed Hand Period [31] Primary Clawed Hand Group 360x150mm (14x6ins)

The Clawed Hand Period is named after its most frequently recurring motif, the Clawed Hand Motif. These motifs are generally freehand depictions of wrist length adult hands, mostly appearing to have been bichrome, possibly with yellow as the secondary fugitive colour. Palm and wrist areas frequently feature a diverse range of geometric infills. Fingers invariably have long clawlike tips, at times with hair-like lines radiating around the claw bases. Occasionally stencil hands have more recently been neatly superimposed over them, initially appearing similar to the recent decorated hand paintings of Arnhem Land. Several very clear and apparently genuine stencils inexplicably record similar 'claw' tips on the actual hands. Clawed Hand Period art is technologically grossly inferior to the earlier art periods; suggesting the appearance of a new culture and marking the start of the Aborigine Epoch.

Clothes Peg Figure Period [32
As yet unidentified Group
250x1350mm (10x53ins)

The Archaic and Erudite Epochs contain depictions believed to portray extinct aquatic and marsupial species. Fossil bones seldom provide sufficient information to permit positive identification, and only mummified remains can confirm colour patterns and muscular form emphasised in the art. This painting appears to be a lifesize depiction of the now extinct thylacine (Tasmanian Tiger); also depicted in Arnhem Land rock paintings and Pilbara engraved art. The tail-tip hair tuft and distinctive transverse striped tapering hindquarters are naturalistic detail corroborated by mummified remains. The proportionally small head and straight-sided neck are artistic characteristics believed synonymous with marsupial depictions from the Clothes Peg Figure Period. The introduction of the dingo, Australia's native dog, and its more efficient competition for resources, is considered a factor contributing to this marsupial carnivore's eventual extinction.

Contact: agricola2000@bigpond.com

Last revisited: 11 October, 2001