ARTIST UNKNOWN (DOCKER RIVER, WESTERN AUSTRALIA)

Collected by a surveyor working in the Docker River region in late 1968
Private collection, Melbourne

The timber appears to be stable and have no cracking apart from one small surface crack near the figures lower back. The painted pigment is generally in good and stable condition though there have been several small areas of loss throughout the painted 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. Berndt, R.M., 1973, Australian Aboriginal Sculpture, In Berndt, R.M. and E.S. Phillips (eds), The Australian Aboriginal Heritage:  An Introduction through the Arts. Ure Smith, Sydney, pp.156-181; Berndt, R.M. 1979, Aboriginal Art of Western Australia, in 'Art and Australia. 16(4): 372-376; Dodo, J. Akerman, K. and McKelson, K., 1989, Kimberley Sculpture, Australian City Properties, Perth, WA.

This small hardwood figure of a man wearing ceremonial head-dress and richly painted, in flowing colours over a black ground, was collected at Docker River (Kaltukatjara) in 1968.

The dominant feature of the sculpture is the tall headdress that tapers from the head before expanding to a laterally flattened terminal. The face is cut into the head, creating deep-set eyes, and a nose that is flush with the plane of the forehead. The face, shoulders and upper arms and the chest of the figure, and the lower 160mm of the headdress, are painted with house-paints or acrylics. The paint is applied in sinuous bands of solid colour - red, white and yellow, each separated from the next with a narrow edge of black. On the pointed chin a triangular beard is indicated by three vertical stripes of white. Bands of yellow, red and white cross the face beneath the eyes and, again below the nose a curved band of red and white swings around the left corner of the mouth. The asymmetry fits well with the swirling colours that are relieved somewhat by a yellow, vulva-like, elliptical element situated at the back of the head. The colours and design do not reflect desert art of the period.

Initially appearing to be rather static, the stance, on reflection, in fact transforms and animates the figure. With the left hand clasping the elbow of the right from behind, (a characteristic position adopted by male Aboriginals of the recent traditional past), the figure stares impassively forward - the tension of waiting an eternity for the ritual to begin.

At first glance the style of both the sculpture and the decoration of the piece suggest a non-Western Desert origin. While it is true that naturalistic sculptural forms do occur in Western Desert art - for example the jijigarrgaly figures from Jigalong (see Sotheby's Melbourne Auction, July 2004) and other human figures collected by anthropologist Susan Woenne at Docker River also in 1969 and 1970 (see Berndt 1973: 160, Plates 120, 123-124) - they are totally at odds with the style of this particular work.

However a clue that appears to confirm a Docker River provenance is found in a reference that R.M Berndt makes to a further sculpture from Docker river that was also collected by Susan Woenne at Docker River in 1969 (Berndt 1979:376).  This work, a figure of a stockman, was carved by Pitantjatjara artist Max Brumby and is now registered as WU 2023 in the collections of the Berndt Museum, University of Western Australia, Woenne's figure is a tall (1170mm), narrow figure cut from a section of the trunk of a small mulga (Acacia aneura) tree.  The arms are reduced to mere flanges of the lighter sapwood of the tree.  A blush of sapwood is also found on the nose and down the sides of the legs.  The elongated head with deep set eyes, prominent nose and slashed mouth is slightly cocked- providing relief from the general vertical orientation of the piece and giving it the air of a quizzical moari figure from Rapa Nui.

The legs are straight and like the 1968 figure are also without feet.  It is however undecorated and was made specifically for sale.

At the time of its collection and inclusion into the Berndt Museum the figure was regarded as unusual for the region.  The associated history shows that Max Brumby had visited Darwin and suggests that he may have been influenced by innovative sculptures from Arnhem Land that he may have seen in art or craft outlets in that city.  I believe that is equally as likely that Brumby was influenced as much by sculptural forms that originated in the west as by works from Arnhem Land.

Both of these Docker River sculptures also resemple some of the sculptures that have appeared on the Dampierland Peninsula, particularly the more recent work by the Sibisados of Lombardina or the heads produced by a number of artists in the La Grange and Broome area in the 1960-1980 period (Dodo et al 1989).  The manner in which the faces have been carved and the black body painting of the 1968 figure also reinforce this resemblance.  On the other hand the painted features including the manner of depicting the facial elements and the same enigmatic stance, sugget that Brumby was the creator of both figures.

As such the 1968 piece is an important addition to our knowledge Western Desert art forms in a period, prior to the 1980s and before the creation of art centres and the general efflorescene of the production of indigenous art as commodieties. The archaic concepts of 'authenticity' that still widely prevail, must surely be challenged by the 'innovatie' sculputres from the mission and pastoral, 'post-contact' periods that are well represented by this enigmatic figure.

Sotheby's wish to thank Kim Akerman for this catalogue entry.