ALI MILLER MUNGATOPI

The bark is in very good condition for its age. It has some fraying at the bottom left hand corner and edge, some very minor hair line cracks and very small areas of pigment loss in some areas of the surface. The remaining pigments appear stable and the bark does not appear to have any repairs or restoration
"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 related paintings see Adultery and Death – The Purukupali Story, c.1965, and Homes of the Rainbow Snake – Maratji Myth, 1964, both in the collection of the Art Gallery of Western Australia, in O'Ferrall, M.A., Keepers of the Secrets: Aboriginal Art from Arnhemland in the Collection of the Art Gallery of Western Australia, Art Gallery of Western Australia, Perth, 1990, p. 36, pl,36, and p.37, pl.37 respectively, where the artist is referred to by one of his alternate names, Oruputuwaie; and The Crocodile Dance, 1960s, and The Soul-Catcher Spider Web, 1960s, in Allen, L. A., Time Before Morning: Art and Myth of the Australian Aborigines, Thomas V. Cromwell, New York, 1975, pp.197, 204, respectively, illus.

The label on the reverse reads as follows: "Pukamani Ceremony: In the Tiwi Dreamtime nobody died, until the Tiwi goddess Wai-ai broke the law by making love with Tapara, the Moon Man her husband's brother, which caused the death of Jinaini, her baby son. Purakapali, father of the dead child, made a Pukamani ceremony for his dead son. This was the first death".

Although the work is dated on the back as having been painted in 1959 it is more probable that it dates from the 1960s.