16,00 $ AUD
Availability: 1 in stock
CompareThis run of 5 Johnstone Stone banknotes from 1982 have a very light centre fold possibly from a wallet.
Some notes have some light spots of staining quite possibly caused through poor storage and contact with old staples.
The notes have good edges and no pin holes.
They are being sold as is but are still a wonderful short run of notes in better than average condition.
Perfect for the beginning collector.
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Obverse: Elizabeth II (Elizabeth Alexandra Mary; born 21 April 1926) is the queen regnant of 16 independent sovereign states known as the Commonwealth realms, listed here in order of length of possession by the Crown: the United Kingdom, Canada, Australia, New Zealand, Jamaica, Barbados, the Bahamas, Grenada, Papua New Guinea, the Solomon Islands, Tuvalu, Saint Lucia, Saint Vincent and the Grenadines, Belize, Antigua and Barbuda, and Saint Kitts and Nevis. She holds each crown separately and equally in a shared monarchy, as well as acting as Head of the Commonwealth, and Supreme Governor of the Church of England. As a constitutional monarch, she is politically neutral and by convention her role is largely ceremonial.
Reverse: Aboriginal Art Theme by David Malangi (1927 – 27 June 1998) was an Indigenous Australian Yolngu artist from the Northern Territory. The Yolngu are an Indigenous Australian people inhabiting north-eastern Arnhem Land in the Northern Territory of Australia. Yolngu vfwvrally means “person” in the language spoken by the people. One of the most well known bark painters from Arnhem Land. The reproduction of one of his designs was produced on the Australian one dollar note in 1966. (originally without his knowledge – when he became aware of this, he was given financial compensation). The payment by the Reserve Bank of Australia to Malangi began issues of Aboriginal copyright in Australia. He was born at Mulanga, on the east bank of the Glyde River.
Watermark: Captain Cook in left panel
Bark painting is an Australian Aboriginal art form, involving painting on the interior of a strip of tree bark. This is a continuing form of artistic expression in Arnhem Land and other regions in the Top End of Australia including parts of the Kimberley region of Western Australia. Traditionally, bark paintings were produced for instructional and ceremonial purposes and were transient objects. Today, they are keenly sought after by collectors and public arts institutions.
The modern form of bark paintings first appeared in the 1930s, when missionaries at Yirrkala and Milingimbi asked the local Yolngu people to produce bark paintings that could be sold in the cities of New South Wales and Victoria. The motives of the missionaries were to earn money that that would help pay for the mission, and also to educate white Australians about Yolngu culture (Morphy 1991). As the trade grew, and the demand for paintings increased, leading artists such as Narritjin Maymuru started being asked to mount exhibitions.
It was, however, not until the 1980s that bark paintings started being regarded as fine art, as opposed to an interesting Indigenous handicraft, and commanded high prices accordingly on the international art markets. Nowadays, the value of a fine bark painting depends not only on the skill and fame of the artist, and on the quality of the art itself, but also on the degree to which the artwork encapsulates the culture by telling a traditional story.
*All biographical details are taken from Wikipedia for education purposes only.
