FREE WORLDWIDE SHIPPING
100% MONEYBACK GUARANTEE
LAYBY & PAY LATER PAYMENT OPTIONS

Scroll & click the images below to view this artwork in different rooms & settings.

How it works
  • On a tablet or mobile, click the “view in your room” button, point your camera at the wall you wish to see the artwork on. It will appear to scale on the wall, when viewed through your device.
  • On a desktop/laptop, click the same button & scan the QR code using a mobile device to view the artwork on your wall instantly.
  • Use 1 finger to move artwork to desired spot. If it disappears, close, go back & click “view in your room” button again. To resize art, pinch to zoom with 2 fingers.

Requires compatible Apple iOS 13 or Android with ARCore 1.9+


Rover Thomas / Lake Tobin (Limited Edition Screenprint)

SKU: RT-99

45cm x 65cm (image size), Original Screenprint Limited Edition - 99

View more from artist

$1,850.00

45cm x 65cm (image size), Original Screenprint Limited Edition – 99

(Sold)

Artist Profile

PRINT DESCRIPTION

Artist: Rover Thomas
Region: The Kimberley
Medium: Screenprint
Image Size: 450 mm x 650 mm
Paper Size: 600 mm x 800 mm
Edition Size: 99
Studio: Studio One and Megalo Access Arts Canberra, ACT

A tribute to the Western Australian artist Rover Thomas who died in 1998.

After a full life spent as a stockman and an important leader of ceremonial life through the Kurirr-Kurirr dance cycle in the Warmun community, in 1982 Rover began establishing a new mode of painting based on Kimberly rock art. His bold and original painting depicts the land and the massacres that took place there up to the 1950s. The National Gallery of Australia accorded him a retrospective exhibition Roads Cross in 1994.

In 1979 Rover Thomas was known throughout the Aboriginal world of the Kimberley. Not, as it may be thought, for his fame as an artist but rather as the vehicle, the Dreamer, of the Kurirr-Kurirr ceremony. This dance cycle or palga focussed on a spectral odyssey undertaken by the spirit of Rover’s classificatory mother.

Killed in a motor vehicle accident in late 1974 she appeared, in 1975, to Rover in a series of dreams. In these dreams she transmitted to him the songs and images required to present the narrative of her journey as a shade across the Kimberley landscape. Rover was to develop the verses and teach them to others; as well as instructing and supervising the creation of a series of painted boards. Each board related to an element of the cycle and they were revealed sequentially, carried by dancers accompanied by songmen and a chorus chanting the appropriate verse. The cycle itself told of her spirit journey undertaken in the company of several other spirit beings across much of the eastern and central Kimberley. One dramatic passage refers to the spirits stopping and, from Kelly’s Knob in Kununurra, looking far to the northeast to see Cyclone Tracy (itself a manifestation of the rainbow serpent), destroying the city of Darwin.

Initially, the cycle did not generate much public interest. By 1979, after Rover laboured, reworking the entire sequence, the Kurirr-Kurirr was enthusiastically received by the entire Warmun Community. This palga was to become a cultural icon for the Miriwung and Kija people of Turkey Creek.

The dramatic artworks, integral to the success of the palga, were originally executed by a number of artists, the most noted being Paddy Jaminji. While directing the imagery to be used on the boards, Rover himself did not commence painting until 1982.

Promoted by Perth gallery manager Mary Macha, Rover’s work became rapidly sought after by discerning collectors. Strangely, a number of public galleries did not, in the mid-1980s, find that his work or indeed that of any of the Warmun artists merited inclusion in their collections.

By the 1990s however, works by Jaminji, Rover, and many of the other highly competent artists of the Turkey Creek or Warmun School of painting as the movement came to be called, were eminently desirable additions to any collection. The interest in this art led to a dramatic rise in the number of commercially oriented outlets and entrepreneurs focussing on Warmun and other east Kimberley centres. A regional explosion of production and marketing ultimately resulted in an unparalleled output of works in a variety of media.

Rover himself was born deep in the Great Sandy Desert of Western Australia in about 1926. Leaving the desert in his youth he was thrust into the world of the Kimberley stock camps and worked on a number of cattle stations. Stock work and other station-related activities took him to many parts of the Kimberley and the adjacent Northern Territory. In 1975 he became a permanent member of the Warmun Community, resident at Turkey Creek in the east Kimberley.

Rover’s presentation of sites and landscapes in this genre was a radical innovative move and one in which, at one stroke he not only redefined the conceptual framework by which Aboriginal art is to be considered, but also created an entirely original mode of depicting the land. This form of landscape painting became the basis, with various individual innovations, of the style now recognised as the Turkey Creek or Warmun School of Australian art.

Later works by Rover referred to the murderous clashes that occurred as Aboriginal lands were absorbed by the expanding pastoral industry in the first half of the 20th Century, as well as to landscapes unrelated to those depicted in the Kurirr-Kurirr. In 1995 he made a return visit to the country of his birth at Kunawarriji, Well 33 on the Canning Stock Route. This trip resulted in a series of works exhibited in Melbourne in 1996. After this last exhibition, Rover painted only sporadically and usually only at the instigation of other people. Illness and failing sight took their toll although his ready wit and enjoyment of company never faltered.

If there is another element that gave strength to the original freshness of the early works of Rover and others that emanated from Warmun and the east Kimberley, it must be the textural qualities derived from their creation within a camp environment. The use of thick layers of traditional pigments affixed with natural resin binders was but a base upon which other events occurring at the moment of painting were forensically embedded. Dust, dog hair, sugar or fats, derived from pannikins and meat tins used to hold water or in which ochres were mixed, all left their traces on these early works. Further charm and strength is to be found in the fortuitous changes of hue that occurred with the use of natural pigments.

Rover received due recognition as an artist by the mid-1980s. Annually, from 1987 until his death in 1998, he had been represented in group exhibitions throughout Australia. In 1990 he received the Patrick McCaughey Prize and was one of the first two Aboriginal artists representing Australia at the 44th Biennale di Venizia. In 1994, The National Gallery of Australia held the solo exhibition Roads Cross. This exhibition located him and his work within the cultural and historical framework of the Kimberley.

Rover died on Easter Sunday, 11th of April 1998. As an artist he took the experiences of a rich and varied life and, drawing on the cosmological and historical references that so vividly underpin the lives of Aboriginal peoples throughout Australia, presented us all with a new and profound view of the land we occupy.

Author: Mr Kim Akerman

Print Description

Lake Tobin, between Wells 38 and 39, on the Canning Stock Route, is part of an ancient river system and is the largest chain of lakes, known as the Percival Lakes. The Shoesmith Cliffs nearby, provide the runoff water for the system. With large stands of desert oaks providing shade, it is a popular stopping place for the sun-drenched desert traveller. Rover depicts the trees interspersed with large termite mounds along the high watermark.

Shipping, Returns & Exchanges
Shipping:

Shipping & Insurance is 100% Free Worldwide

Note: Some countries & local jurisdictions may charge import customs fees. Please check with your local customs office. Free shipping does not include any additional import duties, taxes or fees.

Guarantee & Refunds:

All artworks come with a 30-day 100% money back guarantee.

If, for whatever reason, on delivery of your artwork(s), you are not satisfied with your acquisition, you may return the artworks(s) for a full refund of the purchase price.

When requesting a refund all return shipping charges are to be borne by the customer and as all goods are the responsibility of the customer until they are received by us, we highly recommend that you insure the goods to be returned to the value of the purchase price.

This can usually be done easily through your local postage service or courier.

Exchanges:

The Artlandish 30-day exchange program means you may also swap your artwork(s) with something else up to the value of the originally purchased painting(s).

Simply notify Artlandish within 30 days of receiving your artwork that you wish to exchange it for another piece and then return the artwork to be exchanged.

The new artwork(s) chosen via exchange also enjoy Free worldwide shipping! You will only have to cover the return shipping costs of the artwork you wish to exchange.

How Artworks Are Sent:

All ochre artworks are delivered stretched on canvas ready to hang unless stated otherwise and all acrylic artworks are delivered un-stretched on canvas in a post pack tube unless stated otherwise.

If you have any other questions or concerns, please don’t hesitate to contact us at any time.

For more information and full details please see our refunds and returns policy page, money back guarantee page and our shipping page

Rover Thomas / Lake Tobin (Limited Edition Screenprint) (Sold)
700 FIVE STAR REVIEWS ON GOOGLE, FACEBOOK & TRIPADVISOR!

Click for Google reviews
Click for Facebook reviews
Click for Trip Advisor reviews
Gail Walls

Amazing. .wonderful paintings…love the stories told with each..beautiful works by all..look forward each day to see what is next to come…a big thank you to all for your beautiful pieces

Alli Lou

If there was an option to, I’d give a 100 star rating

Gheorghe Taralunga – Craiova

C EST MAGNIFIQUES CETTES OEUVRE !!!!!!!!!!

Katherine Chandler Ferguson – Fitzroy Crossing

I’ve not been able to visit for a while but love the work here! I think I’m due a trip with the boys soon!

Greg Ambrose-Pearce – Darwin

Seamless purchase great people to deal with would love to buy more!

Sue Candy

Just exquisite work, the detail, the colour and the stories. I’m in love with Artlandish Art!

Raye Stratford

Loving how Kirstie finds brilliant artists and shares not only the artwork, but the back story of both the piece AND the artist. You can tell she absolutely loves Aboriginal art, and she has such great rapport with the artists.

Mark Carroll – London

Best place to buy genuine, quality art from. On my 10th purchase and counting.

Hayley Beaver – London

Beautiful art work….. Love it!

Your Cart