Australian archaeologists have discovered some of the most detailed examples of rare, small-scale rock art in the form of miniature stencils in a rockshelter traditionally owned by the Marra people.
The research, published in the journal Antiquity, examined the unusual art from the Yilbilinji rockshelter at Limmen National Park in the southwest Gulf of Carpentaria region of northern Australia.
Traditionally owned by the Marra Aboriginal people, the site was documented by the research team in 2017 and instantly stood out as unique, according to the researchers from Flinders University and the Monash Indigenous Centre.
“It’s the size of the rock art that makes this site unusual and highly distinctive,” says Flinders University archaeologist ARC Future Fellow Dr. Liam Brady.
“Typically, stencilled rock art around the globe features full or life-sized dimensions such as human and animal body parts, objects (e.g. boomerangs), and even plant matter.
“However, many of the stencils at Yilbilinji are tiny or miniature-sized, and too small to have been made using real-life body parts and full-size objects.”
Only two other examples of this miniature stencilled form of rock art, both human figures, are known from anywhere in the world: one at Nielson’s Creek in New South Wales, and one at Kisar Island in Indonesia.
The research team—archaeologists, anthropologists, Marra rangers, and Limmen National Park rangers—recorded a total of 17 images of these miniature stencils during a 2017 field trip.
The images depict a wide range of motifs including, human figures, animals (crab, long-necked turtles), kangaroo paws, wavy lines, boomerangs, and geometric shapes.
The researchers set out to find out how these unusual images were made. One clue came from the fact most of the miniature stencils were made with rounded and curved edges meaning they were probably made using something that could be easily moulded and stuck to the rock surface.
Another clue came from anthropological research in the region. Co-author and anthropologist Dr. John Bradley, from the Monash Indigenous Centre, has worked with Aboriginal people in the study area for more than 40 years.
He remembers seeing beeswax used by people for a range of purposes such as an adhesive for repairing spears and harpoons. He also saw children shaping beeswax into objects and animals such as cattle, horses and cowboys.
“Using these clues, the researchers decided to test if beeswax could have been used to make the miniature stencils,” he says.
“Our experiments involving heating and shaping beeswax into human figures, animals, objects, and geometric shapes, and then stencilling onto a rock slab confirmed beeswax was an excellent material for making miniature stencils.”
“Whoever made these miniature stencils—adults or children—is open for debate, as is their meaning,” says Matthew Flinders Fellow Professor Amanda Kearney.
“However, what is important here is that this discovery adds another dimension to the Australian and global rock art record,” she says.
In fact, since this discovery was made, three additional stencils have been discovered in the area—a human figure, an echidna and a freshwater turtle—which further highlights the archaeological potential at Limmen National Park.
The article, “A rare miniature and small-scale stencil assemblage from the Gulf of Carpentaria: replication and meaning in Australian rock art,” (May 2020) by Liam M Brady, John J Bradley (Monash University), Amanda Kearney and Daryl Wesley has been published in Antiquity.
More information:
Liam M. Brady et al. A rare miniature and small-scale stencil assemblage from the Gulf of Carpentaria: replication and meaning in Australian rock art, Antiquity (2020). DOI: 10.15184/aqy.2020.48
Citation:
Miniature rock art expands horizons (2020, May 26)
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LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.
Alleged Fraud Scheme
Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.
Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.
Massive Seizure of Artworks
In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.
Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.
Artwork Returned, but Some Remain Unclaimed
In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.
Court Proceedings Ongoing
The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.
Impact on the Local Art Community
The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.
For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.
As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.
While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.
Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.
As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.
