Painted on a slightly curved piece of bark cut from the trunk of a Stringybark tree Eucalyptus tetradonta, this painting done in red, white and black pigment depicts a three-quarter length figure of a classic Wanjina Being. Because of the fugitive nature of charcoal and huntite and the fact that fixatives were generally not used in pre- 1970s Kimberley bark painting there has been some loss of definition that, rather than detracting from the work, imbues it with sense of timelessness and also reflects the state of similar works that for decades have gone unretouched that may be found in rockshelters and galleries through much of the Kimberley Plateau.

The halo that surrounds the head, infilled with a close-set series of rays representing lightning - mamara. The vertical lines on the upper body and the infilling on the arms and lower body of the Wanjina represent falling rain - kulingi. Shown are the central

chest oval, said to represent the heart, or the soul, or a pearl shell pendant. Across the abdomen is a hairbelt, an item of dress worn by men, women and children and used to carry tools such as clubs and stone axes as well as being worn in ceremonil events.

It is not possible to identify the artist in this case but it is quite likely to have been a member of the Worrorra or Ngarinyin language groups rater than a Wunambal artist. The time of acquisiton suggests that it was made at Mowanjum Mission in the early days of the settlement, but it may have originated at Wotjalum adjacent to Yampi Sound, and which was occupied by members of the Mowanjum community prior to the establishment of the latter settlement in 1956. At this period there were no formal outlets for the sale of art and craft works from Aboriginal settlements and most were produced on commission for visiting researchers or local non-indigenous enthusiasts. Some missions did on occassion send material to museums and other institutions.

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