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Lucy Napanangka Yukenbarri

AKA Yukenbarri

119 Career Overall Rank

116 2016 Market Rank

  • Born: 1934 - 2003
  • Active: 1989-2003

  • Region: East Kimberley, WA
  • Community: Balgo Hills, Kiwirrkura
  • Language: Wangkajunga

A detailed market analysis will be available shortly

Lucy Napanangka Yukenbarri - Lankin, 2000

Lankin, 2000
Sold by Lawson~Menzies, Sydney on 22/11/2006 for $7,200.00
Size: 120 x 80 cm

Lucy Napanangka Yukenbarri - Purrpunpa

Purrpunpa
Sold by Sotheby's Australia Pty. Ltd., Sydney on 25/11/2007 for $7,200.00
Size: 120 x 80 cm

Lucy Napanangka Yukenbarri - Tjuwiltjarra 2002

Tjuwiltjarra 2002
Sold by Sotheby's Australia Pty. Ltd., Melbourne on 31/10/2006 for $6,000.00
Size: 120.5 x 79.5 cm

The first painters from the remote community of Wirrimanu (Balgo) were all raised in the bush. They were the last generation to undergo full initiation and live the traditional nomadic life. Inspiration and subject matter were drawn from the Dreaming stories that underpin the cultural framework that once allowed desert tribes to exist in this remote and arid country. Balgo itself lies at the meeting of three great deserts (The Great Sandy, The Tanami and The Gibson Deserts) and several different tribal groups. Desert tribes came to the Catholic mission (established in 1942), driven from their traditional lands by European prospectors, and a severe drought that made food and water even more difficult to find. Unlike in some others places of refuge the Palatine priests were sympathetic to Aboriginal culture and encouraged a degree of self reliance in their converts, possibly later influencing the exuberant art style that was to emerge at Balgo.
 
Lucy Yukenbarri is considered to be one of the most innovative and daring of Balgo painters, laying down fields of intense colour with a thick, painterly texture. Her primary brushstroke has been referred to as ‘the splodge’. They are actually merged dots that she refers to as ‘kinti kinti’ (close, close). They dry quickly in the intense heat, building up with a chromatic density that has no time for gentle gradations or blended hues. The result is a rich immediacy of contrast and resonance, likened by writer James Cowan to the magic of the Persian carpet that also originates from a desert land. Lucy Yukenbarri worked in a state of contemplative reverie, traversing an imaginary landscape, often singing quietly her traditional songs. Alongside the traditional domestic activities of gathering bush food and building camp, her ever-present subject is 'living' or spring water and the landmarks or stories that surround it. These water sources are depicted with dark colours and surrounded by bright areas of vivacious abstract composition, celebrating life’s continuance. Lucy’s distinctive style has left a lasting influence on Balgo painting.
 
When Papunya painting started receiving public acclaim in the late 1970s, Balgo artists expressed concern about revealing sacred cultural designs or secret (initiate only) knowledge. Conflict between the two closely tied communities arose and the need/demand for some form of iconic veiling, abstraction or disguise was soon established throughout all Western Desert art projects. This had varying effects in different communities but when acrylic colours and canvas were introduced into Balgo’s adult education classes in the early 1980s, the explosion of raw spirit and joyful colour took everyone by surprise. By the end of that decade, creativity was at a peak and a distinct Balgo style had emerged: bright, bold and innovative. Women as well as men were active in these foundational years, including Lucy, sometimes working in conjunction with her artist husband Helicopter Tjungurrayi. “There is nothing in the world of contemporary art that can match the work of these artists”, wrote art critic John McDonald in 1995 (Sydney Morning Herald). Balgo was at the forefront of a major art movement.
 
With her prodigious output and enthusiasm for art making, Lucy remained a quiet but leading figure at Warlayirti Artists. She was a senior law woman with an irreplaceable knowledge of the ancient places, ceremonies and narratives. In 2000, the documentary film 'Painting Country' followed the now elderly artists, including Lucy and Helicopter, on a long road trip back to their homelands near Lake Mackay and Jupiter Wells deep in the Gibson Desert. Their internalised knowledge and spiritual connection to this land of spinifex, sandhills and rocky outcrops was as strong as ever and plain to see. It is this that sustained them through many long years of loss and displacement and provided the wellspring of a formidable creative force, still vibrant and strong today.
 
 
Profile author: Sophie Pierce


Collections
ArtBank, Sydney.
Berndt Museum of Anthropology, University of Queensland.
Campbelltown City Art Gallery.
National Gallery of Australia.
National Gallery of Victoria.
The Holmes a Court Collection.
Laverty Collection.
Kluge Ruhe Collection, USA.
Parliament House Art Collection.
Alice Springs Art Foundation, Araluen Centre.
Ken Thompson and Pierre Marecaux Collection.


Individual Exhibitions
2003, Always Together Painting, Alcaston Gallery, Melbourne.
1999, Tjurrnu: Living Water, Alcaston Gallery, Melbourne.


Group Exhibitions
1989, The Sixth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin.
1990, Warlayirti Artists, Birukmarri Gallery, Freemantle, WA.
1991, Paintings by Senior Women from the Western Desert, Vivien Anderson Gallery, Melbourne, Victoria.
1993, Aboriginal Art Exhibition, Kung Gubunga,Oasis Gallery, Broadbeach,Qld; 1993, Images of Power, Aboriginal Art of the Kimberley, National Gallery of Victoria, Melbourne.
1994, Power of the Land, Masterpieces of Aboriginal Art, National Gallery of Victoria.
The Eleventh National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin.
1997 - L'Art des Aborigenes d'Australie, Arts d'Australie Stephane Jacob / Galerie de Stassart, Bruxelles.
L'Art des Aborigenes d'Australie, Arts d'Australie Stephane Jacob / Espace Paul Riquet, Beziers.
1999 - Australie - Art, Arts d'Australie Stephane Jacob / J.L. Amsler - Bastille, Paris.
2002 - An Artists Survey, Balgo Hills, at Hogarth Galleries, Paddington

Awards
1999, 1999 Waringarri Arts Award, East Kimberley Art Awards, Kununurra Arts Council
2000, Highly Commended, 31st Alice Prize, Araluen Centre, Alice Springs


Bibliography
2001, Finnane, K, Alice Prize: 'Immense diversity of humanity', Alice Springs News, Vol 8, issue 40, Nov 7, Pg3
1994, Johnson, V, The Dictionary of Western Desert Artists, Craftsman House, East Roseville, NSW
 

Profile References

Discovery Media. current. NATSIVAD. Melbourne. Documentation Pty Ltd.
Cowan, J. 1994. Wirrimanu: Aboriginal Art From The Balgo Hills. Australia. G+B Art international.

Lucy Napanangka Yukenbarri - Pawalla 2004

Pawalla 2004
Sold by Joel Fine Art, Melbourne on 03/06/2008 for $10,800.00
Size: 180 x 120 cm

Lucy Napanangka Yukenbarri - Lankin, 2000

Lankin, 2000
Sold by Lawson~Menzies, Sydney on 22/11/2006 for $7,200.00
Size: 120 x 80 cm

Lucy Napanangka Yukenbarri - Tjuwiltjarra 2002

Tjuwiltjarra 2002
Sold by Sotheby's Australia Pty. Ltd., Melbourne on 31/10/2006 for $6,000.00
Size: 120.5 x 79.5 cm

Sites

Subjects

Goanna, Rocks (Puli), Tingari , Bush Turkey, Bush Food

Medium

Synthetic Polymer Paint on Linen and Canvas

Regional Map

Note: This map is a representation and not accurate. Some sites are sacred and therefore not shown.

Market Performance

Career Totals

AIAM100 Rank
119
AIAM100 Rating
1.3921
Sold/Offered
45/73
Clearance Rate
62%
Average Price
$5,183
Total Price
$233,251
2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016
0.0000 0.0000 0.0000 0.0000 0.0000 0.0000 0.0000 0.0000 0.0000 0.0000 0.0000 0.0000 0.0000 0.0000 0.0000 0.0000 0.0000
2/2 0/4 4/7 1/2 4/5 5/9 3/5 2/2 2/2 4/5 4/9 0/2 0/2 3/4 2/3 4/4 2/3
$4,703 $0 $3,204 $2,760 $4,494 $6,516 $9,600 $6,600 $6,600 $4,740 $8,220 $0 $0 $3,538 $1,600 $4,919 $4,900
Yearly Market Performance Graph from 2000 - 2016

Top 10 Artworks Sold at Auction

1

Marpa, 2002

sale price: $22,800.00
auction: Deutscher and Hackett , Melbourne  lot: 22 date: 06/10/2010
180.5 x 119.5 cm Synthetic polymer paint on canvas
2

Puturr 1991

sale price: $20,400.00
auction: Sotheby's Australia Pty. Ltd., Melbourne  lot: 97 date: 25/07/2005
100 x 74 cm Synthetic polymer paint on canvas
3

Marpa 2000

sale price: $15,600.00
auction: Sotheby's Australia Pty. Ltd., Melbourne  lot: 55 date: 31/10/2006
180 x 120 cm Synthetic polymer paint on canvas
4

Pawalla 2004

sale price: $10,800.00
auction: Joel Fine Art, Melbourne  lot: 233 date: 03/06/2008
180 x 120 cm Synthetic polymer paint on canvas
5

Tjindilu Soak, Great Sandy Desert, Western Australia, 1995

sale price: $7,320.00
auction: Bonhams, Sydney  lot: 153 date: 07/06/2016
179 x 120 cm Synthetic polymer paint on linen
6

Puturr, 1991

sale price: $7,320.00
auction: Deutscher and Hackett , Sydney  lot: 95 date: 05/04/2017
100 x 75 cm Synthetic polymer paint on canvas
7

Lankin, 2000

sale price: $7,200.00
auction: Lawson~Menzies, Sydney  lot: 255 date: 22/11/2006
120 x 80 cm Synthetic polymer paint on linen
8

Purrpunpa

sale price: $7,200.00
auction: Sotheby's Australia Pty. Ltd., Sydney  lot: 107 date: 25/11/2007
120 x 80 cm Synthetic polymer paint on linen
9

Karntawarra, 2002

sale price: $7,200.00
auction: Deutscher and Hackett , Sydney  lot: 80 date: 08/03/2015
60 x 45 cm Synthetic polymer paint on linen
10

Tjalinya 1992

sale price: $6,000.00
auction: Sotheby's Australia Pty. Ltd., Melbourne  lot: 427 date: 26/07/2004
90 x 61 cm Synthetic polymer paint on canvas

Available Artworks

Sorry There are currently no artworks available for this artist.