ARTIST UNKNOWN, CENTRAL ARNHEM LAND

Executed at Milingimbi, Crocodile Islands, Central Arnhem Land in the 1960s
Private collection

The figure is in good condition overall with no splits of cracks, restorations or repairs. There is a small gouge to the lower torso and a number of areas of minor scuffs, scratching and pigment loss on various areas of the surface.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Cf. For a similar figure by the same hand and dating from the 1960s in the Gabrielle Pizzi Collection see Lüthi, B. (ed.), Aratjara, Art of the First Australians: Traditional and contemporary works by Aboriginal and Torres Strait Islander artists, DuMont, Cologne, 1993 p.161, pl.32; this figure also appears in a photograph taken by Alan Fidock of mokuy figures outside the Milingimbi craft shop in the 1960s, reproduced in Mundine, D., J. Rudder, B. Murphy et al., The Native Born: Objects and representations from Ramingining, Arnhem Land, Museum of Contemporary Art, Sydney, 1999, p.66

Naturalistic mortuary figures or mokuy made on Milinigimbi after 1946 are derived from square-sectioned post-like grave posts, a form of sculpture influenced by the Macassans who regularly visited the shores of Arnhem Land for some 300 years up to the beginning of the 20th century. This figure features a pointed chin characteristic of Macassan beards or goatees, raised 'ears', ceremonial markings across the face, the torso covered in ritual designs which terminate above the protruding knees. The body painting patterns are composed in bands of miny'tji or clan designs. The black rectangle painted on the figure's chest most likely represents a clan waterhole and emphasises the connection between the person represented and the traditional lands from which their spiritual identity emanates; the clan waterhole is not only the repository of the souls of yet-to-be-born clan members, but also of their spirit after death