LIPUNDJA

Painted at Milingimbi, Central Arnhem Land
Dorothy Bennett, Darwin
The Barnett Collection at Columbia University, New York
The Australia Gallery, New York
Private collection, Queensland

Painting is framed in a contemporary blondwood frame on a white mount behind glass. Bark and pigment appear to be in stable condition with only very minor pigment losses and scuffed top left hand corner.
"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."

The label on the reverse reads: The central totem represents the Birrkurda ceremony from the Gupapuyngu Yirritja Narra cycle. It represents a tree in cross section showing inside the hive of the wild honey bee. The diamond shapes are the cells and the cross hatching the wax, honey, etc. The two smaller totems are the message sticks sent to neighbouring tribes to invite them to the ceremony.

The man is Yaolngura, who followed a yam leaf to the island where the morning star lived and persuaded the old woman who kept it in a basket to let it fly over to Melville Bay each morning. The snake and jabiru birds are the sacred totems of the Yaolngura'.