LIPUNDJA

Executed in the Milingimbi area, Central Arnhem Land in the  1960's
Jerone Gould, Los Angeles
Private collection

The figure appears to have had no repairs or restoration. There is a fine crack approximately 10 mm deep in the area of the central forhead and a few fine hair line cracks in the chest. There are further cracks running down the back of the head and the neck which have been infilled with an adhesive. There are several other scuffs and scratches and areas of pigment loss and smudging in many areas on the surface, which should be evident in the catalogue and internet illustrations
"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. Hoff, J. A., 'Aboriginal Carved and Painted Human Figures in North-East Arnhem Land', in Ucko, P.J., Form in Indigenous Art: Schematisation in the art of Aboriginal Australia and prehistoric Europe, Australian Institute of Aboriginal Studies, Canberra, 1973, pp.156-157

With regard to a closely related figure Hoff writes: "The carved form of the Mureianas is quite distinctive, being flattened from front to back with very unusual 'notches' in the upper legs. Both the eyes and ears are carved in relief and the shape of the face is noticeably triangular. The legs are much broader than is usual among carved mogwoi figures and the lower legs are not reduced to pointed tips, indicating a departure from traditional ritualuse when they were laced upright in the ground.

'The faces vary from being flattened with a greatly reduced chin to others which have a smoothly curving face and smaller features similar to the head conformation of the Archaic Ganalbingu type.

'The painted decoration of these figures consists of a jiridja sugarbag design on the chest and a yellow outline around the face, while the rest of the mogwoi is painted with a black ground colour.

'All of these Mureiana mogwois were executed by Lipundja I at Milingimbi. While other Aboriginal artists have produced Mureiana figures, it is believed that this distinctive type of Mureiana was developed by Lipundja who rigidly adhered to this artistic formula for the jiridja Mureiana mogwoi." (ibid)

This sculpture is sold with a photocopy of Jerome Gould's catalogue notes regarding this figure together with a colour transparency and a photograph of the work as it was previously mounted. Gould's documentation reads in part: "The diamond design pattern is Jaridja (sic), the sugar bag or wild bee totem. The pointed chin (beard) is suggestive of the bearded Macassam mortuary Tiwi grave poles. The representation here is of Murayana - the cheerful spirit at the mortuary rites ceremony. The happy smile is to cheer up the mourners".