https://www.greeradamsfineart.com/home daily 1.0 2025-06-03 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1523071985591-IQT13SWT76MEN9AJYVJV/greer-adams-fine-art-services.jpg Home https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1523849662586-JPUN30GMC05WSJQKBK59/greer-adams-fine-art-about-me.jpg Home https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1524195863378-EP0EK2T23YPX6214GE5Y/LRT_6695.jpg Home https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1523837602492-WZS53NEI6C1PUTWN6BWN/prince-of-wales-1-871x1200.jpg Home https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1524195995005-U4PIS8I8M89E13HXZH3B/LRT_6252.jpg Home https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1524183946071-FFH9I4JVZGLRCGJA2ZC1/home-page-image-5.jpg Home https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1523262333584-18WV4RT7NT5B2NNRLT1F/bblack-wooden-wall.jpg Home https://www.greeradamsfineart.com/significant-sales daily 0.75 2022-09-26 https://www.greeradamsfineart.com/significant-sales/roverthomas monthly 0.5 2022-09-29 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/76ca7d30-507c-49ea-9dc0-663e755ee670/GREER_ADAMS_220720_04_02.jpg Significant Sales - Rover Thomas (Joolama) (c.1926-1998) Kangaroo (at Barawooban), 1983 natural earth pigments on composition board 94 x 122cm (irregular) Provenance: Painted by Rover Thomas in Warmun, 1983 Collection of the late Duncan Kentish, Adelaide Here is a link to an article to read more about this work. IMAGE: © Rover Thomas/Copyright Agency 2022 https://www.greeradamsfineart.com/significant-sales/albertnamatjira monthly 0.5 2022-09-29 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/d3bdbe8e-c9ae-4db4-a2f7-f8a0e53041fb/Rose+Peel+image+.jpg Significant Sales - Albert Namatjira (1902-1959) Standley Chasm Watercolour on lightly textured light cream wove paper 53.7 x 37.6 cm Signed in ink, lower right corner Provenance: Gifted by Albert Namatjira to the late Iris Harvey (1917-2011) of the Arunta Art Gallery and Bookshop, Alice Springs Thence by descent Private Collection, Adelaide Cf. For a related, smaller example of the same subject see Standley Chasm, c.1945, 39.6 x 25.8cm, National Gallery of Australia, Canberra. Beloved Central Australian Iris Harvey was the owner of the Arunta Bookstore and Gallery in Alice Springs on Todd Street for 51 years. She was born in Adelaide in 1917 and after moving to Alice Springs, she opened the store in 1949. It is not known why she chose to name her shop ‘Arunta’ - potentially a bold, possibly political gesture that may not have been received well by some at the time. Over the years the shop, stocked with art supplies and many rare books, became a centre of attraction for locals, artists, historians and anthropologists alike, including regular visits from Sir David Attenborough and Bruce Chatwin. According to Luke Scholes, former Assistant Manager of Papunya Tula Artists, the shop was a place where the local Indigenous community were not only welcomed but encouraged to visit. It was not uncommon to see locals reading, scouring books for the photographs or purchasing art supplies. They returned with finished works that Iris would purchase and hang in her shop to sell.[1] The bookshop and Gallery was also part of the history of the early Papunya movement. School teacher Geoffrey Bardon sourced the first art supplies for the work of the Pintupi Men and it is believed the first shipment of early boards were delivered to Mrs Harvey to sell through the store, although their ultimate fate remains unknown.[2] Papunya Tula Artists continued to source art materials through Mrs Harvey until she closed the store in 2010. An avid buyer of all art Mrs Harvey was also particularly supportive of the Hermannsburg artists, developing a strong friendship with Albert Namatjira and championing his work. Ted Egan, musician and former Administrator of Northern Territory said of Iris Harvey and her relationship to Albert Namatjira: I knew Iris Harvey very well for over 50 years. As you would be aware, she ran the Arunta Gallery in Todd Street for most of that time. She was a great patron of Central Australian art for she, more than anyone else, except perhaps Mona Burns, pushed for the recognition of Albert Namatjira’s artworks in the early days when southern experts dismissed his work as mere ‘potboilers’. Iris was a good friend of Rex Battarbee, Albert’s mentor, and between them they arranged to have the best works go to good homes. I think Iris herself would have retained some of Namatjira’s works. She was of the opinion that Claude Pannka was about as good as Albert. To my knowledge, Iris was more appreciative of the first Australian water colourists rather than the later dot painters, although she may have come to appreciate the dot style in later years. She was a great mate of Bill Harney, ranger at Uluru, and himself a great raconteur. She always had portraits of Harney and Namatjira within hand’s reach in the gallery, and she liked to regale her customers with stories about the two great men. It was wonderful to see the three of them together. By and large, Iris was a very discerning gallery owner and did not accept inferior work from anyone.[3] The family of Mrs Harvey recall that this painting of Standley Chasm was pride of place at the entrance to the store with a clear sign ‘Not for sale’ (the original sign is on the back of the frame). According to her grandson William, Iris adored the work. She resisted requests to reproduce it as she believed that this increased its rarity and value.[4] [1] Correspondence (May 2022) [2] Vivien Johnson, ‘So Beautiful’ in Once Upon a Time in Papunya, New South Wales: Sydney, 2010, p. 45. [3] Legislative Assembly of the Northern Territory. "2011-11-23". accessed 8 March 2021. [4] Correspondence with Iris’s extended family (2022) IMAGE: © Namatjira Legacy Trust/Copyright Agency 2022 https://www.greeradamsfineart.com/significant-sales/jarinyanu-david-downs-spirit-in-valley monthly 0.5 2022-09-26 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1576194090978-54IDBRND8CQGBW8SHNNL/Jarinyanu+David+Downs.jpg Significant Sales - Jarinyanu David Downs (c.1925 – 1995) Cat.no.1 of 23 works SOLD TO THE MUSEUM AND ART GALLERY OF THE NORTHERN TERRITORY The Spirit in the Valley, c.1982 Synthetic polymer paint, natural earth pigments and natural binder on canvas Bears artist’s first name, dimensions, title and medium on a label attached to the stretcher and inscribed ‘Property of Lord McA. No. 57’ on the reverse of the stretcher 99 x 91.5 cm Provenance: Painted c.1981 Lord McAlpine of West Green The late Mary Macha, Perth The Estate of Duncan Kentish Duncan Kentish believed that the works by Jarinyanu in the McAlpine Collection were the first paintings on canvas executed and he was delighted to finally acquire them from him in 1990. Here is a link to an article to read more about this sale. https://www.greeradamsfineart.com/significant-sales/luurn monthly 0.5 2022-09-26 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/4a395b29-06ee-40a0-80b1-2f38efebb314/luurn Significant Sales - Jarinyanu David Downs (c.1925-1995) Luurn, c.1992 Natural earth pigments and synthetic polymer paint on Belgium linen Bears artist’s signature on the reverse 112 x 84 cm Provenance: Private Collection of the late Duncan Kentish, Adelaide. Exhibited: Entwined Belief: Two Collections from the work of Jarinyanu David Downs, Campbell’s Stores, Hickson Road, The Rocks, Sydney, 31 October – 7 November https://www.greeradamsfineart.com/significant-sales/nags-ngak-announces-the-exhibition-ac9ty monthly 0.5 2022-09-26 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/db000f03-171d-4621-bef6-4c4aefbddacb/Jarinyanu Significant Sales - Jarinyanu David Downs (c.1925-1995) Snake been tell ‘im Eve - Star and Sky and Garden and Tree, 1991 Natural earth pigments and synthetic polymer paint on Belgium linen Bears Flinders University Art Museum exhibition label on the reverse of the backing board 112 x 84 cm Provenance: Private Collection of the late Duncan Kentish, Adelaide. Exhibited: Holy Holy Holy, 13 Contemporary artists explore the interaction between Christianity and Aboriginal Culture, Flinders University City Gallery, State Library of South Australia, Adelaide, 20 February - 18 April 2004; Hazelhurst Regional Gallery and Arts Centre, Sydney, 5 June - 1 August 2004; Brisbane City Hall Gallery, Brisbane, 10 September - 14 November 2004; New England Regional Art Museum, South Hill, 26 November 2004 - 9 January 2005; Gladstone Regional Art Gallery and Museum, Gladstone, 20 January - 12 March 2005; The Araluen Centre for Arts and Entertainment, Alice Springs, 26 March - 1 May 2005; The Ian Potter Museum of Art, Melbourne, 21 May - 7 August 2005, Gippsland Regional Gallery, Gippsland, 20 August - 28 September 2005. Entwined Belief: Two Collections from the work of Jarinyanu David Downs, Campbell’s Stores, Hickson Road, The Rocks, Sydney, 31 October – 7 November Literature: Stephanie Radok (ed.), Holy Holy Holy, 13 Contemporary artists explore the interaction between Christianity and Aboriginal Culture, exh. cat., Adelaide: Flinders University City Gallery, State Library of South Australia, 2004, p.105. https://www.greeradamsfineart.com/significant-sales/mara-country-chh7s monthly 0.5 2022-09-26 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/96c5fa88-1bd4-44ed-8abd-d130009d5599/image001.jpg Significant Sales - Ginger Riley Munduwalawala (c.1936 – 2002) Ngak Ngak Announces the Exhibition, 1996 Synthetic polymer paint on canvas Bears Alcaston Gallery catalogue number AK3409 on the reverse and the NGV exhibition label on the reverse of the stretcher 200 x 219 cm Provenance: Commissioned by the National Gallery of Victoria and painted Melbourne in 1996 for the artist’s retrospective exhibition; Alcaston Gallery, Melbourne (AK3409) Private collection Cf. For an early, related example see Ngak Ngak, Sea Eagle, 1988 in in The National Gallery of Australia, Canberra, illustrated in Judith Ryan, Mother in Mind: The Art of Ginger Riley Munduwalawala, Melbourne: National Gallery of Victoria, 1997, p. 45. Solo Exhibitions: Artist’s Retrospective: Mother in Mind: The Art of Ginger Riley Munduwalawala, National Gallery of Victoria, Melbourne, VIC, 17 July – 22 September 1997 The Boss of Colour, Castlemaine Art Gallery and Historical Museum, Castlemaine, VIC, 15 January – 8 March, 2015 Group Exhibition: Beyond the Pale, 2000 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide Literature: Judith Ryan, Mother in Mind: The Art of Ginger Riley Munduwalawala, Melbourne: National Gallery of Victoria, 1997, p. 3 and p. 32 (colour illus.). Ginger Riley: The Boss of Colour, Castlemaine: Castlemaine Art Gallery and Historical Museum, 2015, exhibition catalogue, plate. 23. (colour illus). https://www.greeradamsfineart.com/significant-sales/mara-country monthly 0.5 2022-09-26 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1543294383730-26FOKH7N5SUAEALIE66H/1_Mara-Country_1988_1200x856.jpg Significant Sales - Ginger Riley Munduwalawala (c.1936 – 2002) Mara Country, 1988 Synthetic polymer paint on canvas 185 x 260cm Provenance: Gallery Gabrielle Pizzi, Melbourne Private Collection Solo Exhibition: Artist’s Retrospective Exhibition: Mother in Mind: The Art of Ginger Riley Munduwalawala, National Gallery of Victoria, Melbourne, VIC, 17 July – 22 September 1997 Group Exhibition: Artist’s second group show: Ngukurr, Gallery Gabrielle Pizzi, Melbourne in conjunction with Open College Tafe (via Katherine), 1988 Aboriginal Art and Spirituality, High Court & Parliament House, Canberra February 27-March 14 1991; Exhibition Gallery, Waverley Centre, March 24- May 5 1991; The Ballarat Fine Art Gallery, Ballarat, May 24- July 1991. Porta Oberta al Dreamtime: Art Aborigen Contemporani d’Australia (Open Door to Dreamtime, native Contemporary Art of Australia), 1971-2003, Fundació Caixa de Girona, Girona, Spain, 24 September - 14 November 2004, Fundació Caixa de Terrassa, Barcelona, Spain, 20 November 2004 - 9 January 2005. Literature: Judith Ryan, Mother in Mind: The Art of Ginger Riley Munduwalawala, Melbourne: National Gallery of Victoria, 1997, p.50 (colour illus.). Rosemary Crumlin, Aboriginal Art and Spirituality, North Blackburn: Collins Dove, 1991, cover image, p. 94, p.94-95 (colour illus.) G. Planella. (ed.), Porta Oberta al Dreamtime: Art Aborigen Contemporani d'Austràlia , 1971-2003, Fundació Caixa de Girona, 2004. Mara Country, 1988 is considered one of Riley’s most significant masterworks, positioning him as one of Australia’s great contemporary artists. The early example of heroic scale tells or recreates the artist’s entire story for which he is responsible – his mother’s country around the Limmen Bight and Limmen Bight River in the Northern Territory of Australia. While the painting is sacred and therefore, layers of the story remain secret, there is much we can decipher. In one painting, Riley has drawn together many of the vibrant icons of his country: Bulukbun the fierce fire breathing serpent-dragon, Ngak Ngak the white-breasted sea eagle, the shark’s liver tree, Jatukal (plains kangaroo) and Yulmunji the shark. Bulukbun, the fiery serpent-dragon is a focal point of the composition. Identified by his forked tongue and protruding horn, he is considered the angry version of the creator-snake who emerges out of the ocean to murder people. In the 1991 exhibition, Aboriginal Art and Spirituality, Knight and Crumlin share a deeper reading of the narrative stating, “The myth as told by Ginger Riley, has not received close study by scholars but it may be that the dragon who rises from the sea to kill people and the cave that contains the bones of 200 people refer to the numerous massacres by the white invaders in the thirty years before the establishment of the mission [at Ngukurr] in 1908.”[1] Another of Riley’s distinctive icons, Ngak Ngak the totemic white-breasted sea eagle, is shown in the bottom right quadrant. When asked why he often painted the bird green Riley stated, “I know it should be white but it looks better in green.”[2] Ngak Ngak is the caretaker and protective spirit who looks after country. According to Beverly Knight, who represented the artist during most of his career, “Munduwalawala explained that there is an island near the mouth of the Limmen Bight River which, was formed when Ngak Ngak flew over it.”[3] Riley refers to Yumunkuni or Beatrice Island that is associated with Bulukbun’s punishment of the misbehaving boys undergoing initiation. It’s also a very important site for Yulmunji (shark), Riley’s mother’s dreaming. The totem is visible next to Ngak Ngak in the painting. Many of Riley’s paintings include the shark’s liver trees also seen in Mara Country, 1988. The tree, painted dead or alive are man-made totems. They are named as such because according to Riley, the shark offered his liver to make these sacred totems.[4] Riley includes a message stick in the bottom left quadrant that is flanked by two guardian creator snakes reinforcing the importance of ceremony in the work. He regularly painted ceremonial boards in other works and Judith Ryan suggests they may have been associated with the announcement of “…a circumcision ceremony…[or] inviting other’s to come down for ceremony.”[5] The inclusion of the plains kangaroo (Jatukal) in the image may reference the site of Nyamiyukanji and the narrative associated with Bandian, the king brown snake who formed part of Riley’s mother’s country. Judith Ryan advises, “Nyamiyukanji is not explicitly painted or discussed. According to Riley, the plains kangaroo travelled towards the mouth of the Limmen Bight River in search of a woman. Failing to find one he was advised by Bandian [the king brown snake, Riley’s father’s mother’s Dreaming] who was resting in a nearby waterhole, to look for a young girl instead. Riley says that Jatukal, ‘the first being’, needed a mate and the sexual act took place at Nyamiyukanji.”[6] The depiction of the plains kangaroo is also a rarity in the artist’s images as Ryan further states, “Riley is jungkayi [custodian] for Bandian, but the King brown snake and the plains kangaroo are much less visible in his works.”[7] Riley was granted Native Title to his Mother’s Country in 2000. Mara Country, 1988 was integral to this process of working with lawyers to build a case, as were other works he painted of Limmen Bight River Country. [1] Rosemary Crumlin, Aboriginal Art and Spirituality, North Blackburn: Collins Dove, 1991, p.142 [2] Judith Ryan, Mother in Mind: The Art of Ginger Riley Munduwalawala, Melbourne: National Gallery of Victoria, 1997, cover image and p. 48 (colour illustration), p.30. [3] Beverly Knight, Biography of Ginger Riley MUnduwalawala, 2018 [4] Judith Ryan, Mother in Mind: The Art of Ginger Riley Munduwalawala, Melbourne: National Gallery of Victoria, 1997, cover image and p. 48 (colour illustration), p.31. [5] Ibid., p. 31 [6] Ibid., p. 31 [7] Ibid., p. 30. https://www.greeradamsfineart.com/significant-sales/tommy-watson monthly 0.5 2018-11-27 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1523840589544-T8CRD5CRHDUMR2PI9Q54/tommy-watson-1200x800.jpg Significant Sales - Tommy Watson (born c.1935) Waltjitjarata, 2003 Synthetic polymer paint on canvas 134 x 182cm Provenance: Painted in 2003 Irrunytju Arts, Western Australia Aboriginal and Pacific Art, Sydney Private Collection, Sydney https://www.greeradamsfineart.com/significant-sales/charlie-wartuma-tjungurrayi monthly 0.5 2018-04-23 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1523841995500-2YKPJEVLFMT9RO2T0TUD/charlie-wartuma-973x1200.jpg Significant Sales - Charlie Wartuma Tjungurrayi (circa 1921-1999) Emu Dreaming, 1972 Synthetic polymer paint on composition board 60 x 40cm Provenance: Painted at Papunya in 1972 Painting 11 in consignment 19 to the Stuart Art Centre, Alice Springs Tim Guthrie, Melbourne Sotheby’s, Important Aboriginal Art, Melbourne, 30 June 1997, lot 18 Private collection, Sydney Exhibited: Tjukurrtjanu: Origins of Western Desert Art, The Ian Potter Centre: NGV Australia, Melbourne, 30 September 2011 - 12 February 2012 Aux Sources de la Peinture: Aborigene, Musee du quai Branly, Paris, 9 October 2012 - 20 January 2013 Literature: Sotheby’s, Important Aboriginal Art, Melbourne, 30 June 1997, lot 18, p.20 (illus.). Geoffrey Bardon, and James Bardon, Papunya, A Place Made After the Story: The Beginnings of the Western Desert Painting Movement, Melbourne: The Miegunyah Press, 2004, p.350, ptg.300 (Attributed: Emu Spirit Dreaming with Home). Judith Ryan, Philip Batty et al, Tjukurrtjanu: Origins of Western Desert Art, National Gallery of Victoria, Melbourne, 2011, p.219 (illus.)., p.303. Judith Ryan and Philip Batty et al, Aux Sources de la Peinture: Aborigene, Musee du quai Branly, Paris, 2012 Aux Sources de la Peinture: Aborigene, Beaux Arts editions, Paris, 2012. Cf. For a related painting depicting the journey of the ancestral emu see Emu Dreaming, May 1972 (Bardon and Bardon, 2004, p.350, ptg. 299). https://www.greeradamsfineart.com/significant-sales/prince-of-wales-midpul-2 monthly 0.5 2018-05-02 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1523844016993-A3CMOB0GOP5IJ48QLGEO/prince-of-wales-1-871x1200.jpg Significant Sales - Prince of Wales (Midpul) (c.1937-2002) Body Marks, 2001 Bears Karen Brown Gallery catalogue number KB4542 on the reverse Synthetic polymer paint on canvas 170 x 125cm Provenance: Painted in Darwin in early 2001 Karen Brown Gallery, Darwin Private collection https://www.greeradamsfineart.com/significant-sales/prince-of-wales-midpul-1 monthly 0.5 2018-05-02 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1523844398306-3KIXM0US5FUCD9Z4PSC8/prince-of-wales-2-968x1200.jpg Significant Sales - Prince of Wales (Midpul) (c.1937-2002) Body Marks, early 2001 Bears Karen Brown Gallery catalogue number KB 4541 on the reverse Synthetic polymer paint on canvas 150 x 120cm Provenance: Painted in Darwin in early 2001 Karen Brown Gallery, Darwin Private collection https://www.greeradamsfineart.com/significant-sales/saltwater-country monthly 0.5 2021-10-19 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1543294115726-CF6ZHARBNN1P5CKDBBSN/2_Saltwater-Country_1988_1302x856.jpg Significant Sales - Ginger Riley Munduwalawala (c.1936 – 2002) Saltwater Country, 1988 (previous title, Yellow Rain) Synthetic polymer paint on canvas 164.2 x 247.5cm Provenance: Anthony Knight purchased directly from the artist at Ngukurr Private Collection Solo Exhibition: Artist’s Retrospective Exhibition: Mother in Mind: The Art of Ginger Riley Munduwalawala, National Gallery of Victoria, Melbourne, VIC, 17 July – 22 September 1997 Group Exhibition: Government House, Melbourne, VIC, 1993-1997 Literature: Judith Ryan, Mother in Mind: The Art of Ginger Riley Munduwalawala, Melbourne: National Gallery of Victoria, 1997, cover image and p. 48 (colour illustration) and p.29. Saltwater Country, 1988 held a special place in Riley’s heart. In fact, when it was returned from Melbourne’s Gallery Gabrielle Pizzi in 1988 for not being ‘exhibition worthy’, instead of disposing of the work, the artist chose to treasure it under his bed. Many years later this exact work adorned the cover of the artist’s retrospective catalogue at the National Gallery of Victoria, Melbourne. It finally achieved the recognition it deserved. Created in the second year that the artist began painting with acrylics, Saltwater Country was one of Riley’s first heroic landscapes capturing his Mother’s Country for which he was caretaker. This area around Limmen Bight and the Limmen Bight River in the Northern Territory of Australia includes the land formation, the Four Archers located approximately 55 kilometres inland as well as the Maria and Beatrice Islands at the mouth of the River. Almost as a homage to his mother, Riley represents her in Saltwater Country as the cloud and the sun which lights up the sky.[1] The vastness in the topography of this country is captured in Saltwater Country, 1988. In the 1997 retrospective catalogue, Curator Judith Ryan states, “To the left is the coastal salt water flowing into the mouth of the Limmen Bight River, which flows through mudflats, broadening and narrowing in a winding course through Mara Country until it reaches Barrkuwirriji, the ravine in the middle of the Four Archers. The Limmen Bight River, like a clear, blue, undulating Ribbon from the air is a dramatic visual accent in much of Riley’s work, serving to anchor it on his mother’s country. A previous title for the painting, Yellow Rain, indicates the most striking features of the wet season composition: a bright yellow sky heavy with a build-up of blue rain clouds and drops of rain.”[2] Yellow rain was a working title Judith Ryan gave the painting for the retrospective. While Riley initially accepted the name, he decided to retitle it Saltwater Country because he felt it was milestone work depicting country and he wanted to assert the significance of what was being represented. [1] Beverly Knight, Biography of Ginger Riley Munduwalawala, 2018. According to Beverly “…the artist’s mother is the cloud and the sun, and his paintings often depict heavy rain-filled clouds or fine rain and bright sunlight, his creation story.” [2] Judith Ryan, Mother in Mind: The Art of Ginger Riley Munduwalawala, Melbourne: National Gallery of Victoria, 1997, p.29. https://www.greeradamsfineart.com/significant-sales/jarinyanu-david-downs monthly 0.5 2020-07-31 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1523843935616-8548V60PYEMS2L17R77Q/jarinyanu-david-downs Significant Sales - Jarinyanu David Downs (c.1920-1995) https://www.greeradamsfineart.com/significant-sales/pijaji-peter-skipper monthly 0.5 2018-05-02 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1523843794588-RU1ZZ6C4YUOREM0DEYOL/peter-skipper_jila-japirnka-1987-802x1200.jpg Significant Sales - Pijaju Peter Skipper (c.1929-2007) Jila Japirnka, 1987 Bears artist’s signature, date and Dreamings, The Art of Aboriginal Australia exhibition catalogue number 66 on the reverse Synthetic polymer paint on linen 183 x 122cm Provenance: Painted in Fitzroy Crossing, Western Australia in 1987 Commissioned by Duncan Kentish Duncan Kentish Fine Art, Adelaide Private Collection of the late Duncan Kentish, Adelaide Exhibited: Dreamings. The Art of Aboriginal Australia, The Asia society Galleries, New York, 6 October – 31 December 1988, further tours to Chicago, USA; lowa,USA; Melbourne, Australia and the South Australian Museum, Australia, 10 February – 16 April 1990 Literature: Peter Sutton (ed.), Dreamings. The Art of Aboriginal Australia, Melbourne: Viking, New York: Asia Society Galleries, 1988, pp.100-101 & 227, p.100 (illus.). Kay Larson, ‘Their Brilliant Careers’, in New York Magazine, 24 October, 1990, pp. 148- 150, p. 148 (illus.). https://www.greeradamsfineart.com/significant-sales/anatjari-yanyatjarri-tjakamarra monthly 0.5 2018-04-23 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1523846234280-DNL4T8NLABPIUVOTZU1D/anatjari_1987-800x1200.jpg Significant Sales - Anatjari (Yanyatjarri) Tjakamarra (c.1930-1992) The Tingari at Yawulywurru, 1987 Bears ‘East to West’ exhibition details, catalogue number 95, location (Tandanya 1990) and title on the reverse of the stretcher and Papunya Tula Artists catalogue number AT870668 on the reverse Synthetic polymer paint on canvas 183 x 121cm Provenance: Commissioned by Duncan Kentish in Docker River, Northern Territory Papunya Tula Artists, Alice Springs Private collection Exhibited: East to West: Land in Papunya Tula Painting, curated by John Kean, Tandanya National Aboriginal Cultural Institute, Adelaide, 4 March to 3 June, 1990, cat. No.95 Cf. For a stylistically similar painting see Tingari Cycle Dreaming at Paratjakutti,1989 in the collection of the Metropolitan Museum of Art, New York. For another work by the artist produced around the same period see Women’s Dreaming Near Kiwirrkura, 1989 in the Kluge-Ruhe Collection in Hetti Perkins and Hannah Fink, Papunya Tula: Genesis and Genius, Sydney: Art Gallery of New South Wales, 2000, p.106 and Howard Morphy and M. Smith Boles (eds.), Art from the Land: Dialogues with the Kluge-Ruhe Collection of Australian Aboriginal Art, Charlottesville USA: University of Virginia, 1999, p.242, pl.8.30. Acquired: National Museum of Australia, Canberra https://www.greeradamsfineart.com/significant-sales/tommy-lowry-tjapaltjarri monthly 0.5 2018-04-23 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1523843555133-8NXRDLVYR4XACG6HM6NV/tommy-lowry-1000x1200.jpg Significant Sales - Tommy Lowry Tjapaltjarri (c.1935-1987) Untitled (Ngamurangya Rockhole and Cave Site), 1984 Bears Papunya Tula Artists catalogue number TL840444 twice on the reverse Synthetic polymer paint on linen 152.5 x 183cm Provenance: Painted at Kiwirrkura, Western Australia in 1984 Papunya Tula Artists, Alice Springs (TL 840444) Private Collection, Adelaide Cf. For other significant examples by the artist painted during the 1980s see Two Men Dreaming at Kuluntjarranya, 1984 and 1983 in the private collection of John and Barbara Wilkerson, USA and Holmes à Court, Perth respectively (Hetti Perkins and Hannah Fink, Papunya Tula: Genesis and Genius, Sydney: Art Gallery of New South Wales, 2000, pp.94 and 95); Tingari Dreaming, 1986 in the private collection of the late Gabrielle Pizzi (R. Crumlin and A, Knight, Aboriginal Art and Spirituality, Melbourne: Dove Publications, 1995, p.78) and Warrmala the Serpent, 1986 and the Voice of the Moon, 1987 in Jennifer Isaacs, Australian Aboriginal Paintings, NSW: Weldon Publishing, 1989, pp. 43 and 45 respectively. https://www.greeradamsfineart.com/significant-sales/janangoo-butcher-cherel-1 monthly 0.5 2018-05-02 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1523843413724-ZQ2D5BKDLU0O2WAUJN3D/butcher-cherel-894x1200.jpg Significant Sales - Janangoo Butcher Cherel (c. 1920-2009) Untitled, 1991 Bears artist’s signature, dimensions, Duncan Kentish catalogue number 040/91 and ‘Commissioned by Duncan Kentish’ on the reverse Synthetic polymer paint on linen 137 x 101.5cm Provenance: Painted in Fitzroy Crossing, Western Australia in 1991 Commissioned by Duncan Kentish Duncan Kentish Fine Art, Adelaide Private Collection of the late Duncan Kentish, Adelaide Acquired: Art Gallery of Western Australia, Perth, Western Australia https://www.greeradamsfineart.com/significant-sales/janangoo-butcher-cherel-2 monthly 0.5 2018-04-23 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1523843243564-KJG8E2ZUAW5I4LUUHQ3W/butcher-2-895x1200.jpg Significant Sales - Janangoo Butcher Cherel (c. 1920-2009) Untitled - Moorroo (Hunting Sticks), Garroona (Shields) and Snake Skin, 1989 Bears artist’s signature, dimensions, Duncan Kentish catalogue number 078/89 and ‘Commissioned by Duncan Kentish’ on the reverse Synthetic polymer paint on linen 137 x 101.5cm Provenance: Painted in Fitzroy Crossing, Western Australia in 1991 Commissioned by Duncan Kentish Duncan Kentish Fine Art, Adelaide Private Collection of the late Duncan Kentish, Adelaide The four painted shields called garroona are employed in open ceremony and used whilst dancing. The skill of the performer is gauged by the extent of vibration in the shield. This is called igabayi. The central panel is the underbelly skin of the junggurra snake (black head python). The white bands on the side of the scales are the fat from the snake. (Interpreted by Clayton Cherel and Edna Shaw in conversation with Karen Dayman, August 2014). Cf. For a related work representing the concept of Igabayi see Igabayi, 1992 (PC 22/92) in the collection of the Marra Worra Worra Resource Agency, Fitzroy Crossing. https://www.greeradamsfineart.com/significant-sales/janangoo-butcher-cherel-3 monthly 0.5 2018-04-23 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1523843018764-1KXJN9642AHP7EMY6D3C/janangoo-butcher-cherel-1419x1200.jpg Significant Sales - Janangoo Butcher Cherel (c. 1920-2009) Untitled, 1992 Bears artist’s name, date, dimensions and Mangkaja Arts Resource Agency catalogue number PC 623/92 on the reverse Synthetic polymer paint on canvas 153.5 x 180cm Provenance: Painted in September 1992 Mangkaja Arts Resource Agency, Fitzroy Crossing, Western Australia Private collection Exhibited: On loan to the Art Gallery of Western Australia, Perth from 1996-2006 Loan to the St John of God, Murdoch Hospital, Perth from 2011-2014 Private collection, Perth https://www.greeradamsfineart.com/significant-sales/gulumbu-yunupingu monthly 0.5 2018-05-02 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1523842900230-O7I889RI4FZZS2IXH10Q/gulumbu-yunupingu-540x1200.jpg Significant Sales - Gulumbu Yunupingu (c. 1943-2012) Gan'yu, 2003 Natural earth pigments on eucalyptus bark 80 x 180cm Provenance: Buku-Larrnggay Mulka Centre, Yirrkala, Northern Territory (cat. no. 23690) Private collection Exhibited: 20th Telstra National Aboriginal & Torres Strait Islander Art Award, Museum and Art Gallery of the Northern Territory, Darwin, 16 August – 7 December 2003 https://www.greeradamsfineart.com/significant-sales/shorty-lungkata-tjungurrayi monthly 0.5 2018-04-23 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1523842739331-EWXE1NTTX94MTP9MCVU1/shorty-lungkata-830x1200.jpg Significant Sales - Shorty Lungkata Tjungurrayi (circa 1920-1987) Snake Dreaming at Lampintjanya, 1972 Synthetic polymer powder paint on composition board 64 x 44cm Provenance: Painted at Papunya during May-July 1972 Consigned ‘unmarked’ to the Stuart Art Centre, Alice Springs Tim Guthrie, Melbourne Sotheby’s, Important Aboriginal Art, Melbourne, 30 June 1997, lot 22 Private collection, Sydney Exhibited: Tjukurrtjanu: Origins of Western Desert Art, The Ian Potter Centre: NGV Australia, Melbourne, 30 September 2011 - 12 February 2012 Aux Sources de la Peinture: Aborigene, Musee du quai Branly, Paris, 9 October 2012 - 20 January 2013 Literature: Sotheby’s, Important Aboriginal Art, Melbourne, 30 June 1997, lot 22, p.24 (illus.). Geoffrey Bardon, and James Bardon, Papunya, A Place Made After the Story: The Beginnings of the Western Desert Painting Movement, Melbourne: The Miegunyah Press, 2004, p.344, ptg.292 (illus.). https://www.greeradamsfineart.com/significant-sales/category/Significant+Sales monthly 0.5 https://www.greeradamsfineart.com/news daily 0.75 2022-09-28 https://www.greeradamsfineart.com/news/roverthomaskangaroo monthly 0.5 2022-09-29 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1664092961180-QRNT2WUKYS9NFRK3ZGCR/GREER_ADAMS_220720_04_02.jpg News - Finding the lost Rover Thomas https://www.greeradamsfineart.com/news/jarinyanudaviddowns monthly 0.5 2022-09-29 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1543292535699-EJ3FJIGDS3JC1IM3SK66/11a_798x1200.jpg News - Major Kimberley Aboriginal Art Collection sold to Australian Public Institution https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1543292542236-T0O8D4FTS9YM80N3Q9T3/McAlpine1_1600x1200.jpg News - Major Kimberley Aboriginal Art Collection sold to Australian Public Institution https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1543292536678-DV9QFJZ5GG2R5T05ILVT/JDD7_890x1200.jpg News - Major Kimberley Aboriginal Art Collection sold to Australian Public Institution https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1543292542249-2E90FVGCCCV1SFUXFS6W/McAlpine2_1602x1200.jpg News - Major Kimberley Aboriginal Art Collection sold to Australian Public Institution https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1543292544673-CU9DV8GSREF2O8VL6QLU/McAlpine4.jpg News - Major Kimberley Aboriginal Art Collection sold to Australian Public Institution https://www.greeradamsfineart.com/news/recent-major-sale-for-the-boss-of-colour monthly 0.5 2022-09-29 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1543293091061-MTHZ0A5Y2XIN0MRRRMMU/2_Saltwater-Country_1988_1302x856.jpg News - Recent Major Sale for the Boss of Colour – Ginger Riley Munduwalawala (C.1936-2002) https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1543293145925-B9AASOF1KECHVQNKK01D/3_Ngak-Ngak-and-the-Four-Archers_1990_1342x856.jpg News - Recent Major Sale for the Boss of Colour – Ginger Riley Munduwalawala (C.1936-2002) https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1543293050636-149T6AS2WD3CSH674HC4/1_Mara-Country_1988_1200x856.jpg News - Recent Major Sale for the Boss of Colour – Ginger Riley Munduwalawala (C.1936-2002) https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1543293178445-7FGGINT8BJ6X8C1P2DE7/4_Ngak-Ngak-and-the-owl-at-night_1997_1702x856.jpg News - Recent Major Sale for the Boss of Colour – Ginger Riley Munduwalawala (C.1936-2002) https://www.greeradamsfineart.com/news/exporting-aboriginal-art monthly 0.5 2018-12-17 https://www.greeradamsfineart.com/about-greer-adams daily 0.75 2025-06-03 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1523849703230-1EJY8T4DRD3X6ALR38QF/greer-adams-fine-art-about-me-page.jpg About https://www.greeradamsfineart.com/collection-management daily 0.75 2025-06-03 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1524196800351-X734OM356ZE92UKTPXV0/Greer+Adams Collection Management https://www.greeradamsfineart.com/contact daily 0.75 2022-09-29 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/6828cd3c-0f3d-4378-8a28-b4da83592d6d/Contact_Greer.jpeg Contact https://www.greeradamsfineart.com/valuations daily 0.75 2025-06-03 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1524445333196-D64YIH2T3U0B78UU4XY6/selling-advice.jpg Valuations https://www.greeradamsfineart.com/catalogues daily 0.75 2025-02-18 https://www.greeradamsfineart.com/advice daily 0.75 2025-06-03 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1524445234791-BIJNFOHYX9LN7HLN77L8/LRT_6733.jpg Advice https://www.greeradamsfineart.com/testimonials daily 0.75 2020-08-13 https://images.squarespace-cdn.com/content/v1/5ac320c696d4557e4496bf20/1524198231447-EJLI8UL86WGDPCXHR02P/LRT_6499.jpg Testimonials