CRUSOE KUNINGBAL

Collected in Western Arnhem Land by Dorothy Bennett in 1978
Aboriginal Arts and Crafts, Adelaide, 1979
Private Collection

Both sculptures are in good condition and have purpose builts stands. The pigments are stable and do not have any repair 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. Perkins, H. (ed.), Crossing Country: The Alchemy of Western Arnhem Land Art, Art Gallery of New South Wales, Sydney, 24 September - 12 December 2004, exh. cat, p.194, for two related figures by Crusoe Kuningbal

Kuningbal was a great innovator and a profound influence on other Kuninjku artists. In the late 1960s he introduced sculpted figures of mimih for use in ceremonies. This was an innovation on traditional practice, separate from the dictates of the art market or the public domain. The first three-dimensional mimih figures were modest in scale, but Kuningbal eventually increased the size of the sculptures to a human scale and beyond. The tradition of large mimih sculptures continues today, with Kuningbal's sons and other students of his creating sculptures over three metres high