International Modern and Contemporary Art

November 2328, 2019
Auction begins to close at 3:30 pm ET

Online Auction
LOT 218

Lot 218

Lygia Clark (1920-1988)

Lygia Clark (1920-1988)
Lot 218 Details
Lygia Clark (1920-1988), Brazilian


Oil on canvas; signed and dated -52 incised in the canvas lower right
29 x 39.5 in — 73.7 x 100.3 cm

Estimate $200,000-$300,000

Lot Report

Additional Images
Lygia Clark (1920-1988)
  • Lygia Clark (1920-1988)
  • Lygia Clark (1920-1988)
  • Lygia Clark (1920-1988)
  • Lygia Clark (1920-1988)
  • Lygia Clark (1920-1988)
  • Lygia Clark (1920-1988)
  • Lygia Clark (1920-1988)

Antonio Barrozo, Filho Ltd., Rio de Janeiro stamp to the stretcher;
The Estate of Joan Constance Hunt, Toronto


Cornelia H. Butler & Luis Perez-Oramas, "Lygia Clark: The Abandonment of Art, 1948-1988", Published in conjunction with the exhibition held at The Museum of Modern Art, New York, May 10 - August 24, 2014


In 2014, the Museum of Modern Art (MOMA) mounted the first comprehensive retrospective of Lygia Clark's works in 2014. The one-person exhibition entitled “Lygia Clark: The Abandonment of Art, 1948-1988” was held from May 10 to August 24, 2014.

The catalogue for the exhibition is the most comprehensive book on Lygia Clark’s work published in English to date and includes new scholarship as well as a substantial number of previously unpublished writings by the artist. The exhibition included Clarks' entire body of work from her representational paintings and drawings of the late 1940s through her geometric abstractions of the 1950s to the works she called "propositions" produced later in the 1960s. The exhibition included nearly 300 works from the late 1940s - 1960s. The catalogue included several works from the 1952 period which are comparable in compositional elements.

A passage in the catalogue cites a reading of Clark’s work by Ferreira Gullar, poet, philosopher and author of the Manifesto neoconcreto (Neo-concretist manifesto) of 1959. Gullar proposes a narrative whereby Clark’s work emancipates itself from the limiting conventions of painting – flatness, surface, the plane, the frame. The series of paintings characterizing this “emancipation” began in 1952 with a series of abstracts with fields of reliefs and lines.

This lot, inscribed "P40" and indistinctly inscribed: "tela granceza" in pencil to the stretcher, was not exhibited in this retrospective show. It has remained in the present Private Collection in Canada until now.


For condition information please contact the specialist.

LOT 218

About Condition Ratings

  • 5 Stars: Excellent - No discernable damage, flaws or imperfections
  • 4 Stars: Very Good - Minor flaws or imperfections visible only under close inspection using specialised instruments or black light
  • 3 Stars: Good - Minor flaws visible upon inspection under standard lighting
  • 2 Stars: Fair - Exhibits flaws or damage that may draw the eye under standard lighting
  • 1 Star: Poor - Flaws or damage immediately apparent under standard lighting (examples: missing components, rips, broken glass, damaged surfaces, etc.)

Note: Condition ratings and condition details are the subjective opinions of our specialists and should be used as a guide only. Waddington’s uses due care when preparing condition details, however, our staff are not professional restorers or conservators. Condition details and reports are not warranties and each lot is sold “as is” in accordance with the buyer’s terms and conditions of sale. In all cases the prospective purchaser is responsible for inspecting the property themselves prior to placing a bid.