(b San Sebastian, Spain, 1924; d San Sebastian, 2002) Spanish Sculptor. Eduardo Chillida's art is one of timeless grace and seemingly effortless simplicity. Using space as what he described as "a very quick material, so quick that you think there's nothing there" in conjunction with "slow" materials like stone or clay. Chillida's works express an interaction that takes place between the Einsteinian notion of space-time and the tangible and temporal material reality of form. Describing himself as an "architect of the void," Chillida attempted to shape each of these elements so that collectively they express a point of union between them all, a meeting point that is ultimately an expression of the human being's existential position in the world, a totem of identity. Proudly Basque and strongly affiliated with the unique properties of his homeland, Chillida's art blends strength and grace into an articulate expression of a specific sense of place and of a rooted belonging to the world. (Credit: Christie’s, London, Post-War and Contemporary Evening Sale, February 4, 2004, Lot 21)
Eduardo Chillida Ikaraundi Geschmiedetes Eisen / Forged iron 1957 48x141x68 cm / 48x141x68 cm Signatur / Signature Mit eingeschlagenem Monogramm With stamped monogram Werkverzeichnis / Catalogue Raisonné Ignacio Chillida/Alberto Cobo, Eduardo Chillida, Catalogue Raisonné of Sculpture, San Sebastián, 2014, Nr. 1957001, das dort erwähnte Exemplar (in Eisen) Wir danken dem Archiv Chillida, Hernani, namentlich Alberto Cobo, für die freundliche Auskunft Ignacio Chillida/Alberto Cobo, Eduardo Chillida, Catalogue Raisonné of Sculpture, San Sebastián, 2014, no. 1957001, where the present copy is mentioned (in iron) We would like to thank the Chillida Archive, Hernani, especially Mr. Alberto Cobo, for the kind information Provenienz / Provenance Galerie Maeght, Paris, dort wohl 1961 erworben von Slg. Ida Chagall und Franz Meyer jun., durch Erbschaft an Privatsammlung Schweiz Galerie Maeght, Paris, probably there acquired in 1961 by Collection Ida Chagall and Franz Meyer Jr., by inheritance to Private collection Switzerland Literatur / Literature Pierre Volboudt, Chillida, Paris 1967, Kat. Nr. 19 Claude Esteban, Chillida, Paris 1971, Kat. Nr. 7 Santiago Azarna, La aventura espacial de Chillida, Gure Lur 1, San Sebastián 1973, S. 94 Kosme de Barañano y Letamendía, La obra artística de Eduardo Chillida, Bilbao 1988, S. 13 Octavio Paz, Eduardo Chillida, and Gisèle Michelin, Chillida, Paris 1979, Kat. Nr. 49 Christa Lichtenstern, Barbara Münkner, Mario Terés, Chillida und die Musik, Köln 1997, S. 14 Carla Schulz-Hoffmann, Thomas W. Gaehtgens, Eduardo Chillida, Buscando la luz, München 2002, Kat. Nr. 8 Klaus Bussmann, Chillida, Hauptwerke, München 2003, S. 30 Rosalía Torrent Esclapés, Enriqueta Antolín, Luis González Robles, Un siglo de arte español en el exterior, España en la Bienal de Venecia 1895-2003, Madrid 2003, S. 135 Pierre Volboudt, Chillida, Paris 1967, cat. no. 19 Claude Esteban, Chillida, Paris 1971, cat. no. 7 Santiago Azarna, La aventura espacial de Chillida, Gure Lur 1, San Sebastián 1973, p. 94 Kosme de Barañano y Letamendía, La obra artística de Eduardo Chillida, Bilbao 1988, p. 13 Octavio Paz, Eduardo Chillida, and Gisèle Michelin, Chillida, Paris 1979, cat. no. 49 Christa Lichtenstern, Barbara Münkner, Mario Terés, Chillida und die Musik, Cologne 1997, p. 14 Carla Schulz-Hoffmann, Thomas W. Gaehtgens, Eduardo Chillida, Buscando la luz, Munich 2002, cat. no. 8 Klaus Bussmann, Chillida, Hauptwerke, Munich 2003, p. 30 Rosalía Torrent Esclapés, Enriqueta Antolín, Luis González Robles, Un siglo de arte español en el exterior, España en la Bienal de Venecia 1895-2003, Madrid 2003, p. 135 Ausstellungen / Exhibitions Da bereits kurz nach Erschaffung der Eisenplastik vier Bronzen davon gegossen wurden, kann auch mit Unterstützung des Archivs Chillida, Hernani, nicht immer klar festgestellt werden, ob das Eisenoriginal oder einer der Güsse in den Ausstellungen vertreten war. Venedig 1958, XXIX Biennale d'arte di Venezia, Giardini della Biennale, S. 331, Eisen Paris 1961, Galerie Maeght, Chillida, Sculptures récentes, Kat. Nr. 11, Eisen Basel 1962, Kunsthalle, Eduardo Chillida, Kat. Nr. 16, Eisen New York 1964, New York World's Fair, Contemporary Sculptors of Spain at the New Yorker world's Fair, Kat. Nr. 5 London 1965, McRoberts & Tunnard Gallery, Chillida, Kat. Nr. 8 Duisburg 1966, Wilhelm-Lehmbruck-Museum, Eduardo Chillida, Kat. Nr. 16, Eisen Houston 1966, Museum of Fine Arts, Eduardo Chillida, Kat. Nr. 13, Eisen Zürich 1969, Kunsthaus, Eduardo Chillida, Plastik, Zeichnungen, Graphik, Kat. Nr. 3, Eisen Amsterdam 1969, Stedelijk Museum, Eduardo Chillida, Kat. Nr. 18, Eisen Mexiko Stadt 1970, Galerías del Palacio de Bellas Artes, Pintura y escultura vasca contemporáneas, S. 15 Strassburg 1971, Ancienne Douane, Musée d'Art Moderne, Agora l, Kat. Nr. 19 Treigny-Perreuse-Sainte-Colombe 1974, Château de Ratilly, Chillida, Kat. Nr. 6, Eisen Pittsburgh 1979, Carnegie Museum of Art, Chillida, de Kooning, Kat. Nr. 49 Madrid 1980, Palacio de Cristal, Exposición antológica de Eduardo Chillida, Kat. Nr. 49 Basel 1982, Galerie Beyeler, Eduardo Chillida, Kat. Nr. 7, Eisen Pforzheim 1987, Stadtmuseum, Eduardo Chillida, Kat. Nr. 4 Venedig 1990, Galleria Internazionale d'Arte Moderna di Ca' Pesaro, Omaggio a Eduardo Chillida, S. 58/59 Gijón/Bilbao/Caracas 1991/1992, Palacio Revillagigedo/Sala Rekalde/Centro Cultural Consolidado de Caracas, Chillida, Escala humana, Kat. Nr. 152 Donostia-San Sebastián 1992, Palacio de Miramar, Chillida en San Sebastián, Kat. Nr. 78 Frankfurt am Main 1993, Schirn Kunsthalle, Eduardo Chillida, Eine Retrospektive, Kat. Nr. 11 Lissabon 1995, Fundação Calouste Gulbenkian, Chillida, Balerdi, Larrea, S. 29 Burgos 1996, Casa del Cordón, Chillida, S. 64 Barcelona 1997, La Pedrera, Chillida-Leku, S. 35 Madrid/Bilbao 1998/1999, Museo Nacional Centro de Arte Reina Sofía/Museo Guggenheim, Chillida 1948-1998, Kat. Nr. 11 Valencia 1998, IVAM Centre Julio González, Eduardo Chillida, Elogio del Hierro, S. 64/65 Barcelona 2003, Fundació Joan Miró, Chillida, S. 73 Donostia-San Sebastián 2014, Sala kubo-kutxa Aretoa, Eduardo Chillida, Bideak, Caminos, S. 166/196 Since four bronzes of the iron sculpture were cast shortly after its creation, it cannot always be clearly determined, even with the support of the Chillida Archive, Hernani, whether the iron original or one of the casts was represented in the exhibitions. Venice 1958, XXIX Biennale d'arte di Venezia, Giardini della Biennale, p. 331, Iron Paris 1961, Galerie Maeght, Chillida, Sculptures récentes, cat. no. 11, Iron Basel 1962, Kunsthalle, Eduardo Chillida, cat. no. 16, Iron New York 1964, New York World's Fair, Contemporary Sculptors of Spain at the New Yorker world's Fair, cat. no. 5 London 1965, McRoberts & Tunnard Gallery, Chillida, cat. no. 8 Duisburg 1966, Wilhelm-Lehmbruck-Museum, Eduardo Chillida, cat. no. 16, Iron Houston 1966, Museum of Fine Arts, Eduardo Chillida, cat. no. 13, Iron Zurich 1969, Kunsthaus, Eduardo Chillida, Plastik, Zeichnungen, Graphik, cat. no. 3, Iron Amsterdam 1969, Stedelijk Museum, Eduardo Chillida, cat. no. 18, Iron Mexico City 1970, Galerías del Palacio de Bellas Artes, Pintura y escultura vasca contemporáneas, p. 15 Strasbourg 1971, Ancienne Douane, Musée d'Art Moderne, Agora l, cat. no. 19 Treigny-Perreuse-Sainte-Colombe 1974, Château de Ratilly, Chillida, cat. no. 6, Iron Pittsburgh 1979, Carnegie Museum of Art, Chillida, de Kooning, cat. no. 49 Madrid 1980, Palacio de Cristal, Exposición antológica de Eduardo Chillida, cat. no. 49 Basel 1982, Galerie Beyeler, Eduardo Chillida, cat. no. 7, Iron Pforzheim 1987, Stadtmuseum, Eduardo Chillida, cat. no. 4 Venice 1990, Galleria Internazionale d'Arte Moderna di Ca' Pesaro, Omaggio a Eduardo Chillida, p. 58/59 Gijón/Bilbao/Caracas 1991/1992, Palacio Revillagigedo/Sala Rekalde/Centro Cultural Consolidado de Caracas, Chillida, Escala humana, cat. no. 152 Donostia-San Sebastián 1992, Palacio de Miramar, Chillida en San Sebastián, cat. no. 78 Frankfurt am Main 1993, Schirn Kunsthalle, Eduardo Chillida, Eine Retrospektive, cat. no. 11 Lisbon 1995, Fundação Calouste Gulbenkian, Chillida, Balerdi, Larrea, p. 29 Burgos 1996, Casa del Cordón, Chillida, p. 64 Barcelona 1997, La Pedrera, Chillida-Leku, p. 35 Madrid/Bilbao 1998/1999, Museo Nacional Centro de Arte Reina Sofía/Museo Guggenheim, Chillida 1948-1998, cat. no. 11 Valencia 1998, IVAM Centre Julio González, Eduardo Chillida, Elogio del Hierro, p. 64/65 Barcelona 2003, Fundació Joan Miró, Chillida, p. 73 Donostia-San Sebastián 2014, Sala kubo-kutxa Aretoa, Eduardo Chillida, Bideak, Caminos, p. 166/196 Zustand / Condition Das Eisen mit wunderbar rot-brauner Patina. In sehr schönem Zustand The iron with wonderfully red-brown patina. In fine condition Erläuterungen / Comments Mit der Rückkehr ins Baskenland Anfang der 1950er-Jahre vollzog Eduardo Chillida einen entscheidenden Wendepunkt in seinem künstlerischen Schaffen. Nach ersten Jahren in Paris, wo er sich mit figurativen Arbeiten aus Gips und Ton beschäftigte, fand er in der Arbeit mit geschmiedetem Eisen zu jener eigenständigen Ausdrucksform, die sein späteres Werk prägen sollte. In seinem Atelier in Hernani, das über eine eigene Schmiede verfügte, entstanden die ersten grossen Experimente mit dem Material. Hier entwickelte er die charakteristische Verbindung von Kraft, Bewegung und räumlicher Spannung, die sein Œuvre unverwechselbar macht. Die 1957 entstandene Skulptur "Ikaraundi" nimmt innerhalb dieser Werkphase eine besondere Stellung ein. Sie gehört zu den wenigen Eisenarbeiten, die später zusätzlich in einer kleinen Bronzeedition vervielfältigt wurde. Das vorliegende Werk ist die ursprüngliche, vom Künstler geschmiedete Eisenfassung und damit Ausgangspunkt der vier Bronzeabgüsse. Der Titel lässt sich aus dem Baskischen mit "Grosses Zittern" übersetzen und verweist auf die bewegte, beinahe pulsierende Wirkung der Form. Die Skulptur besteht aus einem einzigen Metallband, das durch Schneiden, Biegen und Schmieden in ein komplexes Geflecht aus Linien, Flächen und Winkeln verwandelt wurde. Trotz ihrer materiellen Schwere vermittelt die Arbeit eine überraschende Leichtigkeit und Dynamik. Die geschwungenen und gegeneinander versetzten Elemente scheinen den umgebenden Raum in Schwingung zu versetzen und machen ihn als aktiven Bestandteil der Komposition erfahrbar. Chillida formulierte dies so: "Die Skulptur ist eine Funktion des Raums. Ich meine damit nicht den Raum ausserhalb der Form, der das Volumen umgibt und in dem die Formen existieren, sondern den Raum, der von den Formen erzeugt wird, der in ihnen existiert und der umso wirkungsvoller ist, je unauffälliger er wirkt. Man könnte ihn mit dem Atem vergleichen, der Formen ausdehnt und zusammenzieht, der ihren Raum […] für den Blick öffnet. Ich betrachte ihn nicht als etwas Abstraktes, sondern als eine Realität, die so greifbar ist wie das Volumen, das ihn umhüllt." (zitiert aus: Ausstellungskatalog Madrid/Bilbao 1998/1999). In diesen Jahren entwickelte Chillida eine Bildsprache, die sich bewusst von jeder gegenständlichen Darstellung löste. Statt Figuren oder Erzählungen interessierten ihn die Möglichkeiten des Materials und die Beziehung zwischen Form und Leere. Der Kunsthistoriker Kosme de Barañano y Letamendía beschreibt diese Haltung 1999 im Ausstellungskatalog Madrid/Bilbao 1998/1999 treffend: "Chillida zeigt, dass eine Skulptur auch ein inneres Feuer braucht, um eine eigene Musik zu vermitteln und ihren Raum zu schaffen. Ein klares Beispiel ist die Plastik "Ikaraundi" von 1957, eine gebrochene Linie wie eine Partitur, die aus dem Feuer hervorgeht. Bachs Akkorde sind hier auf dem gut gestimmten Eisen gemeisselt." James Johnson Sweeney erkannte in den Arbeiten der 1950er-Jahre eine neue künstlerische Freiheit. Er sah darin "eine Ausdrucksweise, die seinem Temperament besonders entsprach, vielleicht nicht nur seinem persönlichen Temperament, sondern sogar dem spanischen Temperament: ein Ausdruck des Kontrasts zwischen Extremen […] wir sehen dies beispielsweise in "Ikaraundi" von 1957 und in den Werken, die in den folgenden drei Jahren darauf folgten. Wir sehen, wie er ein einzelnes Stück Metall oder später einen Metallstab nimmt, es schneidet und so biegt, dass der Formfluss ununterbrochen bleibt und die Einheit der Gestaltung durch den Kontrast zwischen der daraus resultierenden Vielfalt der Formen und unserem Bewusstsein für das einzelne, ununterbrochene Stück, aus dem sie stammen, betont wird." (Ausstellungskatalog Valencia 1998). Carola Giedion-Welcker charakterisierte die Arbeit im Ausstellungskatalog Zürich 1969 als "das Fortissimo einer Schwingung, die aus einem tiefen Reservoir in der Erde aufsteigt und als rhythmisch organisierte Bewegung im Raum weitervibriert." Damit beschreibt sie treffend die besondere Qualität von "Ikaraundi": eine Skulptur, die Masse und Leere, Spannung und Harmonie, Material und Raum in ein aussergewöhnliches Gleichgewicht bringt. Das Werk zählt heute zu den Schlüsselarbeiten und wird von einigen Autorinnen und Autoren sogar als Hauptwerk der frühen Schaffensphase Chillidas bezeichnet und markiert einen wichtigen Moment in der Entwicklung der modernen Skulptur. With his return to the Basque Country at the beginning of the 1950s, Eduardo Chillida underwent a decisive turning point in his artistic career. After his early years in Paris, where he worked on figurative pieces in plaster and clay, he discovered, through working with forged iron, the independent form of expression that would shape his later work. In his studio in Hernani, which had its own forge, the first major experiments with the material took place. Here he developed the characteristic combination of strength, movement, and spatial tension that makes his oeuvre unmistakable. The sculpture "Ikaraundi", created in 1957, occupies a special position within this creative period. It is one of the few iron works that was later also reproduced in a small bronze edition. The present work is the original iron version forged by the artist and thus the starting point for the four bronze casts. The title can be translated from Basque as "Great Tremor" and refers to the animated, almost pulsating effect of the form. The sculpture consists of a single metal band, which, through cutting, bending, and forging, was transformed into a complex network of lines, surfaces, and angles. Despite its material weight, the work conveys a surprising lightness and dynamism. The curved and staggered elements seem to set the surrounding space into vibration, making it an active component of the composition. Chillida put it this way: "The sculpture is a function of space. By this I do not mean the space outside the form, which surrounds the volume and in which the forms exist, but rather the space generated by the forms, which exists within them and which is all the more effective the more inconspicuous it appears. One might compare it to breath, which expands and contracts forms, opening up their space […] to the gaze. I do not regard it as something abstract, but as a reality as tangible as the volume that envelops it. During these years, Chillida developed a visual language that consciously broke away from any representational depiction. Instead of figures or narratives, he was interested in the possibilities of the material and the relationship between form and void. The art historian Kosme de Barañano y Letamendía aptly described this attitude in 1999 in the exhibition catalogue Madrid/Bilbao 1998/1999: "Chillida demonstrates that a sculpture also needs an inner fire to convey its own music and create its own space. A clear example is the 1957 sculpture ‘Ikaraundi’, a broken line like a musical score emerging from the fire. Bach’s chords are chiselled here into the well-tuned iron." James Johnson Sweeney recognized a new artistic freedom in the works of the 1950s. He saw in them "a style of expression that was particularly in keeping with his temperament – perhaps not only his personal temperament, but even the Spanish temperament: an expression of the contrast between extremes […] we see this, for example, in ‘Ikaraundi’ from 1957 and in the works that followed over the next three years. We see how he takes a single piece of metal – or, later, a metal rod – cuts it and bends it in such a way that the flow of form remains unbroken, and the unity of the design is emphasised by the contrast between the resulting diversity of forms and our awareness of the single, unbroken piece from which they originate." (Exhibition catalogue Valencia 1998). Carola Giedion-Welcker characterized the work in the Ausstellungskatalog Zürich 1969 as "the fortissimo of a vibration that rises from a deep reservoir within the earth and continues to reverberate through space as a rhythmically organised movement." This aptly describes the special quality of "Ikaraundi": a sculpture that brings mass and void, tension and harmony, material and space into an extraordinary balance. Today, the work is considered one of the key pieces and is even described by some authors as the main work of Chillida's early creative phase, marking an important moment in the development of modern sculpture. Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 11.09.2026; 15:25 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Auf Anfrage / On request
Eduardo Chillida Homenaje a J.M. Barandiarán II Siebdruck auf Eskulan-Papier, auf an Schnüren befestigter Eskulan-Unterlage / Screen print on Eskulan paper, on Eskulan support attached with strings 1994 63x53,5 cm, Blattgrösse / 63x53.5 cm, sheet size Signatur / Signature Oben rechts vom Künstler in Bleistift signiert "Chillida", auf der Unterlage unten links nummeriert "36/50", daneben mit dem Blindstempel des Druckers Upper right signed by the artist in pencil "Chillida", on the support lower left numbered "36/50", next to it with the printer's blindstamp Werkverzeichnis / Catalogue Raisonné Koelen 94017 Koelen 94017 Provenienz / Provenance Galerie Lelong, Paris, dort 1995 erworben von Galerie Kornfeld, Bern, dort erworben von Internationale Privatsammlung Galerie Lelong, Paris, acquired there in 1995 by Galerie Kornfeld, Bern, acquired there by International private collection Zustand / Condition Tadellos in der Erhaltung Impeccable condition Erläuterungen / Comments José Miguel Barandiarán Aierbe (1889-1991), auch bekannt als On Joxemiel Barandiarán, war ein baskischer Anthropologe, Ethnograf und Priester. Ediert von Diputación Foral de Guipúzcoa, gedruckt von Manuel Bello Sanchez. José Miguel Barandiarán Aierbe (1889-1991), also known as On Joxemiel Barandiarán, was a Basque anthropologist, ethnographer, and priest. Edited by Diputación Foral de Guipúzcoa, printed by Manuel Bello Sanchez. MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 10.09.2026; 15:35 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 200.- Europa / Europe: CHF 300.- Übrige Länder / Other countries: CHF 390.-
Eduardo Chillida Aizatu I Radierung auf Velin BFK Rives mit Wasserzeichen / Etching on BFK Rives wove paper with watermark 1987 68x103 cm [sic!], Plattenkante; 74x98 cm, Blattgrösse / 68x103 cm [sic!], Plate mark; 74x98 cm, sheet size Signatur / Signature Unten links vom Künstler in Bleistift signiert "Chillida", rechts nummeriert "16/25" Lower left signed by the artist in pencil "Chillida", right numbered "16/25" Werkverzeichnis / Catalogue Raisonné Koelen 87015 Koelen 87015 Zustand / Condition Tadellos in der Erhaltung Impeccable condition Erläuterungen / Comments Ediert von der Galerie Lelong, Zürich, in einer Gesamtauflage von 35 Exemplaren, gedruckt im Atelier Taller Hatz, San Sebastián. Edited by Galerie Lelong, Zurich, in a total edition of 35 copies, printed at Atelier Taller Hatz, San Sebastián. Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 10.09.2026; 15:35 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Auf Anfrage / On request
EDUARDO CHILLIDA JUANTEGUI (San Sebastián, 1924–2002). Untitled, 1975. Silkscreen print, edition 401/500. Signed on the screen, hand-registered. Measurements: 13 x 13 cm. This silkscreen print exemplifies Eduardo Chillida’s abstract and essential artistic language; it was created in 1975, during the artist’s period of full creative maturity. The work is structured around bold black forms with organic and angular contours, arranged against a white background with a precise balance between mass and void. The composition addresses one of Chillida’s central concerns: the relationship between form and space, where void acquires a structural value equivalent to that of matter. The figures seem to interlock and engage in a dialogue with one another, generating internal tensions and a sense of restrained rhythm—a hallmark of his graphic and sculptural work. The absence of a title reinforces the artist’s intention to avoid literal interpretation, inviting a direct perceptual experience. The forms evoke primary, almost architectural structures, in which one can perceive the influence of philosophical thought and the Basque constructive tradition—constant elements throughout his career. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts, and the Prince of Asturias Award for the Arts. He was also a member of the San Fernando Academy, a member of the American Academy of Arts and Sciences, an Honorary Member of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross of Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, his work is represented in museums and collections around the world, such as the Guggenheim in Bilbao, the MoMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London, and the Neue Nationalgalerie in Berlin.
1924 San Sebastian - 2002 ebd. Lithogr. Nach einer Tuschzeichnung 'Hommage à Braque' Aus: Derriere le Miroir, Nr. 144/145/146, Maeght, Paris. 1964. Im Stein sign. u. bet. (Mittig Falz). 38 x 56 cm. (46 x 65,5 cm). R. Lit.: 1,14.
1924 San Sebastian - 2002 ebd. Lithogr. 'Idazki'. 1971. Im Stein sign. Hrsg: Maeght, Éditeur Paris. Erschien als Beilage zu der Monographie von Claude Esteban: Chillida. Blattgr.: 65 x 50,5 cm. (66 x 51 cm). R. Lit.: 1,14.
1924 San Sebastian - 2002 ebd. Radierung. 'Aurrera'. 1967. U.r. mit Bleistift sign. U.l. 43/50 num. (Leicht fleckig am unteren Blattrand). 13 x 20 cm. (53 x 58 cm). Pass. R. Lit.: 1,14.
1924 San Sebstian - 2002 ebd. Lithogr. Ohne Titel. 1980. Aus Derriere le Miroir Nr. 242, Maeght Editeur, Paris. Blattgr.: 38 x 27,5 cm. (41 x 30,5 cm). R. Lit.: 1,14.
Eduardo Chillida (1924-2002) Ibili I Etching, 1963, signed in pencil, numbered from the edition of 50, published by Maeght, Paris, on BFK Rives paper, with full margins, 625 x 448mm (24 5/8 x 17 5/8in) (framed) Frame dimensions: 455 x 560mm
EDUARDO CHILLIDA JUANTEGUI (San Sebastián, 1924–2002). “Korapillo I, 1982. Drypoint engraving on paper. Print no. 27/50. Work reproduced in Van der Koelen. 82002. Signed and numbered by hand. Measurements: 13.5 x 15.5 cm; 65 x 50 cm (paper). The term Korapillo means “knot” in Basque, a word that precisely captures the essence of this work and, at the same time, one of the fundamental concerns of Eduardo Chillida’s artistic thought. Far from depicting a recognizable object, the artist constructs an image in which the line becomes the absolute protagonist, unfolding across the paper in a continuous path that intertwines, folds back on itself, and seems to knot itself in a balance as complex as it is harmonious. This composition is part of a series of graphic works in which Chillida explores the expressive power of the line as an element that generates space. What at first glance might be interpreted as a simple formal exercise reveals, upon closer inspection, a profound reflection on concepts that accompanied the artist throughout his career: the relationship between interior and exterior, between boundary and openness, between the physical trajectory of form and the intangible dimension of emptiness.The linear structure of *Korapillo* evokes a continuous, almost organic movement that seems to unfold without a defined beginning or end. Chillida began studying drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he created his first plaster sculptures, inspired by the archaic Greek sculptures at the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951, he returned permanently to San Sebastián and created his first work in iron, the material with which he would work for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts, and the Prince of Asturias Award for the Arts. He was also a member of the San Fernando Academy, a member of the American Academy of Arts and Sciences, an Honorary Member of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, his work is represented in museums and collections around the world, such as the Guggenheim in Bilbao, the MoMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London, and the Neue Nationalgalerie in Berlin.
International Postwar Chillida, Eduardo Bikoiztasun (Dualität). 1996. Radierung mit Aquatinta auf Eskulan gris. 10 x 14,7 cm (65 x 50,5 cm). Signiert, mit Künstlersignet und nummeriert. - Geglättete Knickspur im linken unteren Randbereich, verso Spuren eh. Montierung, teils mit oberflächlichem Papierabrieb, insgesamt sehr gut und ausgesprochen schön. Prachtvoller, tiefschwarzer und herrlich gratiger Druck intimen Formates, die Plattenkante das Motiv konturierend und nach verso ein klares Relief zeichnend, mit sehr breitem Rand, rechts mit dem Schöpfrand. Van der Koelen 96007. - Eines von 50 Exemplaren. - Druck bei Taller Hatz, San Sebastian. - Hrsg. v. Galerie Lelong, Paris. Etching and aquatint on Eskulan gris. Signed, with artist's signet and numbered. - Smoothened crease mark in left lower margin area, verso traces from previous mounting, partly with superficial paper abrasion, all in all very good and impeccably nice. Splendid, deep-black an wonderfully burr-like impression, the plate mark outlining the motif and showing a clear relief onto verso, with very wide margin, deckle edge on the right. - One of 50 copies. - Print by Taller Hatz, San Sebastian. - Publ. by Galerie Lelong, Paris. *Dieses Los ist regelbesteuert. Auf den Zuschlagspreis fallen 24,95% Aufgeld sowie auf den Rechnungsendbetrag 7% (Bücher, Kunst) bzw. 19% Mehrwertsteuer (Manuskripte, Siebdrucke, Offsetdrucke Photographien) in der Europäischen Union an. This work is subject to the regular margin scheme. There is a 24.95% buyer's premium on the hammer price and 7% (Books and Art) or 19% VAT (Manuscripts, Screenprints, Offsetprints and Photographs) on the final invoice amount in the European Union.
International Postwar Chillida, Eduardo Atzapar (Klaue). 1973. Radierung auf festem Velin. 39,7 x 29,5 cm (79,2 x 60 cm). Signiert, mit Künstlersignet und nummeriert. - Sehr wenige, sehr leichte Griffspuren in Rändern, untere linke Ecke mit leichter Knickspur, winzige, blassbraune Flecken im rechten äußersten Rand, insgesamt sehr gut und ausgesprochen schön. Prachtvoller, kontrastreicher und herrlich texturierter Druck mit sehr breitem Rand, rechts mit dem Schöpfrand. Van der Koelen 73023. - Eines von 50 Exemplaren. - Druck im Atelier Morsang, Paris. - Hrsg. v. Maeght, Éditeur, Paris. - Chillidas imaginatives Verständnis von Form, Fläche und Raum, das er in seinen plastischen Arbeiten virtuos zum Ausdruck bringt, findet in seinem graphischen Werk eine konsekutive Fortsetzung. Im Spiel mit abstrakten Formen, der Reduzierung auf die Farbe Schwarz und Fokus auf Materialitäten schafft er in Arbeiten wie "Atzapar" Graphiken höchst eigenen, besonderen Reizes. Er hält seine Bildfindungen in einer für ihn charakteristischen, reliefartigen Formenstruktur fest, die bewusst gesetzte, feinsinnige Linienführung ist als plastische Übersetzung seiner raumgreifenden Arbeiten zu verstehen. Das Schwarz und Weiß stets wirkungsvoll konturierend, eröffnet er ein wechselvolles Verhältnis von Schwere und Leichtigkeit. Etching on strong wove paper- Signed, with artist's signet and numbered. - Very few, very slight handling traces in margins, lower left corner with slight crease mark, tiny, faint-brown stains in outermost right margin, all in all very good and impeccably nice. Splendid, contrast-rich and wonderfully textured impression with very wide margin, deckle edge on the right. One of 50 copies. - Printed by Atelier Morsang, Paris. - Publ. by Maeght, Éditeur, Paris. - Chillida's imaginative understanding of form, surface, and space, which he masterfully expresses in his sculptural works, finds a natural continuation in his graphic work. By playing with abstract forms, reducing his palette to the color black, and focusing on materiality, he creates graphic works such as "Atzapar" that possess a charm of their very own. He captures his visual concepts in a relief-like structural form that is characteristic of his style. The deliberately placed, subtle lines can be understood as a sculptural translation of his spatially expansive works. By effectively contrasting black and white, he creates a dynamic interplay between heaviness and lightness. *Dieses Los ist regelbesteuert. Auf den Zuschlagspreis fallen 24,95% Aufgeld sowie auf den Rechnungsendbetrag 7% (Bücher, Kunst) bzw. 19% Mehrwertsteuer (Manuskripte, Siebdrucke, Offsetdrucke Photographien) in der Europäischen Union an. This work is subject to the regular margin scheme. There is a 24.95% buyer's premium on the hammer price and 7% (Books and Art) or 19% VAT (Manuscripts, Screenprints, Offsetprints and Photographs) on the final invoice amount in the European Union.
Eduardo Chillida, Spanish 1924-2002, Ze VI, 1970; etching on Arches wove, signed and numbered 39/50 in pencil, published by Maeght Editeur, Paris, sheet: 43.5 x 33cm, (framed) (ARR) Provenance A Private Collector of Art & Studio Pottery
EDUARDO CHILLIDA San Sebastián 1924-2002 Chillida Leku Museum. 2001 Deck of cards with publisher's stamp Edition unknown Dimensions 9.5 x 7 x 2 cm Made by Naipes Fournier, Vitoria Published by Chillida Leku Museum, San Sebastián 2001 Booklet with images of the deck included + Original case with Fournier stamp Based on the artist's work on paper, it reflects different stages and styles. Engravings on spades, hands on clubs, human figures on hearts, and drawings on diamonds.
EDUARDO CHILLIDA San Sebastián 1924-2002 The Unstoppable Stillness II. 1998 Etching on Eskulan paper Signed in pencil Numbered XX/XX Dimensions 7.5 x 7.5 cm (image); 43 x 35 cm (paper) Published by Boza Editor, Barcelona 1998 BIBLIOGRAPHY Martin van der Koelen, "Eduardo Chillida. Opus IV. Complete Catalogue of Graphic Works 1996-2001", Chorus-Verlag, Munich 2005, cat. no. 98010. Page 83
(San Sebastian 1924–2002 San Sebastian) Bi-Aizatu. 1988. Aquatintaradierung. 22/50. Mittig rechts in Bleistift signiert. Blattgrösse 137x97 cm. Gerahmt. - Diese Graphik wurde nicht ausgerahmt. Blatt minimst gebräunt. Glas von innen beschlagen. Literatur: - van der Koelen Bd. III, cat. no. 88011, S. 126-127 m. Abb.
EDUARDO CHILLIDA (1924 San Sebastián 2002) Homenaje a Rembrandt. 1976. Etching. 8/9. Signed in pencil lower left: Chillida, as well as with the artist’s signet. Image 121 × 119 cm on wove paper by Arches 159 × 119 cm. Published by Maeght Éditeur, Paris (with the watermarks). Printed by Atelier Maeght, Saint-Paul-de-Vence. Provenance: - Artist’s studio. - Galerie Buchholz, München. - Private collection, Germany. Catalogue raisonné:: Van der Koelen, no. 76004. ------------------------------------------------- EDUARDO CHILLIDA (1924 San Sebastián 2002) Homenaje a Rembrandt. 1976. Radierung. 8/9. Unten links mit Bleistift signiert: Chillida, sowie mit dem Künstlersignet. Darstellung 121 × 119 cm auf Vélin von Arches 159 × 119 cm. Erschienen bei Maeght Éditeur, Paris (mit den Wasserzeichen). Gedruckt bei Atelier Maeght, Saint-Paul-de-Vence. Provenienz: - Künstlerstudio. - Galerie Buchholz, München. - Privatsammlung Deutschland. Werkverzeichnis: Van der Koelen, Nr. 76004.
EDUARDO CHILLIDA (1924 San Sebastián 2002) Zur III (Homenaje a Orixe). 1972. Woodcut. 40/50. Signed in pencil lower left: Chillida, as well as with the artist’s signet. Image 14.8 × 12.7 cm on sturdy wove paper by Auvergne (with the watermark) 36.8 × 32 cm. Published by Maeght Éditeur, Paris. Printed by Fequet et Baudier, Paris. Catalogue raisonné:: Van der Koelen, no. 72003. ------------------------------------------------- EDUARDO CHILLIDA (1924 San Sebastián 2002) Zur III (Homenaje a Orixe). 1972. Holzschnitt. 40/50. Unten links mit Bleistift signiert: Chillida, sowie mit dem Künstlersignet. Darstellung 14,8 × 12,7 cm auf festem Vélin von Auvergne (mit dem Wasserzeichen) 36,8 × 32 cm. Erschienen bei Maeght Éditeur, Paris. Gedruckt bei Fequet et Baudier, Paris. Werkverzeichnis: Van der Koelen, Nr. 72003.
EDUARDO CHILLIDA (1924 San Sebastián 2002) Esku IV. 1972. Etching. H.C., artist’s proof outside the edition of 50. Signed in pencil lower left: Chillida, as well as with the artist’s signet. Image 17.9 × 15 cm on wove paper by Auvergne (with the watermark) 66.5 × 51 cm. Published by Maeght Éditeur, Paris. Printed by Arte, Paris. Catalogue raisonné:: Van der Koelen, no. 72030. ------------------------------------------------- EDUARDO CHILLIDA (1924 San Sebastián 2002) Esku IV. 1972. Radierung. H.C., Künstlerexemplar ausserhalb der Auflage von 50. Unten links mit Bleistift signiert: Chillida, sowie mit dem Künstlersignet. Darstellung 17,9 × 15 cm auf Vélin von Auvergne (mit dem Wasserzeichen) 66,5 × 51 cm. Erschienen bei Maeght Éditeur, Paris. Gedruckt bei Arte, Paris. Werkverzeichnis: Van der Koelen, Nr. 72030.
Eduardo Chillida (Spanish, 1924-2002) Euzkadi VII (Basque Country / Baskenland) (Koelen 76013) Etching, 1976, on Arches wove paper, titled, dated and inscribed 'État de travail avant réduction de la plaque à gauche d'après réduction à droite | Pas de tirage', (a working proof before changes to the plate), printed by Atelier Maeght, Saint-Paul-de-Vence, published by Maeght Éditeur, Paris, with their blindstamp, the full sheet, unframed Sheet 1205 × 1200mm (47 1/2 × 47 1/4in)
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002). S/t. 1978. Woodcut on paper. Exemplary 27/50. Work reproduced in Opus I, p. 350, Nº 78008. Printer: Gustavo Gili (Barcelona). Publisher: Calart Actual Gallery - Genève. Measurements: 60 x 58 cm; 91 x 113 cm (frame). This work condenses some of the essential concerns that ran through Chillida's entire artistic career: the tension between emptiness and matter, the balance between geometric rigor and organic gesture, and the exploration of space as an active element of the composition. Although Chillida is internationally recognized for his monumental sculptures in iron and steel, his graphic production occupies a fundamental place in his aesthetic research, for in it he developed with a singular freedom the same formal problems that articulate his sculptural work. In this 1978 piece, made at a moment of full creative maturity, the artist reduces the visual language to a structure of black planes interrupted by irregular white lines that seem to open cracks or interior paths in the compact mass of the image. The composition evidences the influence of geometric abstraction and post-war European informalism, although Chillida avoids any rigid rationalism. The forms, apparently constructed from rectangular modules, subtly shift and unbalance, generating a sense of internal vibration. White does not function here as a simple background, but as an active space that penetrates the darkness and defines the visual architecture of the work. This relationship between full and empty refers directly to one of the artist's great obsessions: to make space visible. In Chillida, emptiness is never an absence; it is a sculptural element, an invisible matter that shapes the form as much as iron, stone or ink. The material treatment of the surface is also significant. The black areas present irregularities, traces and textures that reveal the manual printing process and underline the tactile dimension of the work. Far from mechanical perfection, Chillida preserves the accident and roughness as an essential part of the plastic language. This quality brings the work closer to an almost architectural sensibility, but also human, where the imperfection of the gesture introduces rhythm and temporality. By the late 1970s, Chillida was already a central figure in international contemporary art, recognized for having transformed modern sculpture from a deeply personal poetic and philosophical perspective. His prints and works on paper, such as this one, provide access to a more intimate record of his visual thinking. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections around the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofia in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin. Work reproduced in Opus I, p. 350, No. 78008.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002). "Le Poème de Parménide", 1999. Six engravings in hollow relief (embossed) on handmade paper, copy 82/100. Signed and justified. With its wooden box. Translated by Jean Beaufret. Art of This Century Edition, 1999. Measurements: 40 x 30 cm. "Le Poème de Parménide" by Eduardo Chillida is a graphic work very representative of his artistic universe, made in dialogue with the philosophical text of Parmenides, where the artist uses abstract forms, forceful strokes and wide empty spaces to reflect on concepts such as being, limit and infinity. The composition conveys a great sense of balance and silence, turning emptiness into an element as important as the form itself, something essential in all of Chillida's work. Chillida began drawing at the Círculo de Bellas Artes in Madrid, and little by little his interest in sculpture grew. It was during his years in Paris when he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. In the French capital he held his first sculpture exhibition in 1950. In 1951 he returned definitively to San Sebastian, and made his first work in iron, the material with which he would work for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation of the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts of London and of the Imperial Order of Japan, and received the Grand Cross for Humanitarian Merit from the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections around the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofia in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002). "Aldikatu V".1972 Etching and aquatint on paper, P.A. copy. Signed and justified in pencil. Measurements: 76 x 100 cm.(print); 91,5 x 115 cm.(frame). "Aldikatu V" belongs to one of the most solid stages of Eduardo Chillida's graphic production, when the artist explores in engraving the same spatial problems that articulate his sculpture. The title -in Basque- refers to the idea of transformation or displacement, a concept that here translates into a dynamic play of black masses that seem to expand beyond the limits of the paper. The composition is constructed by means of wide surfaces of deep black, obtained through aquatint, which contrast with incisive lines generated by etching. The forms, emphatic and almost architectural, do not describe recognizable figures: they are structures that confront and interpenetrate each other, creating tensions between weight and lightness, full and empty. As in his sculptures in iron or steel, Chillida conceives space not as a passive void, but as an active element in dialogue with matter. Presented as an artist's proof, it retains the particularly careful character and closeness to the creative process that distinguishes this type of specimens, underlining the experimental and reflexive dimension of the artist's graphic work. Throughout his life, Chillida received numerous awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation of the Arts Award and the Prince of Asturias Award for the Arts. He was an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts of London and of the Imperial Order of Japan. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections around the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofia in Madrid, the Tate Gallery in London or the Neue Nationalgalerie in Berlin.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002). "Inguru II". Etching and aquatint engraving, copy 34/50. Signed and justified by hand. Measurements: 62 x 89 cm; 83 x 108 cm (frame). "Inguru II" by Eduardo Chillida is an abstract engraving that is highly identifiable of his artistic language, in which the artist explores the relationship between form and space through compositions of dark lines and masses that transmit tension, balance and strength. As in much of his work, Chillida does not seek to represent concrete figures, but to investigate in a poetic way the emptiness, the limit and the dialogue between matter and space. Chillida began drawing at the Círculo de Bellas Artes in Madrid, and little by little his interest in sculpture grew. It was during his years in Paris when he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. In the French capital he held his first sculpture exhibition in 1950. In 1951 he returned definitively to San Sebastian, and made his first work in iron, the material with which he would work for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation of the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts of London and of the Imperial Order of Japan, and received the Grand Cross for Humanitarian Merit from the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections around the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofia in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
Eduardo Chillida (San Sebastian 1924 - San Sebastian 2002) Bilbao Mundial '82 Lithograph 94x59 cm - framed 98x63 cm 1982 Signed and numbered "Chillida 80/150"
CHILLIDA , EDUARDO 1924 San Sebastián–2002 San Sebastián Title: Aundi II. Date: 1972. Technique: Aquatint on Chiffon de Mandeure (blind stamp). Depiction Size: 100 x 109 cm. Sheet Size: 119.5 x 159 cm. Notation: Signed and numbered. Publisher: Maeght Éditeur, Paris (publisher). Number: 12/17. Frame: Framed. Not examined out of the frame. Provenance: - Private collection North Rhine-Westphalia Literature: - van der Koelen, Martin: Eduardo Chillida – Opus P.I, Werkverzeichnis der Druckgraphik 1959–1972, Mainz/Munich 1999, cat. rais. no. 70011 Estimated shipping costs for this lot: The lot is unsuitable for parcel shipping. Transport only by shipping company after consultation following the auction. additional shipping insurance Shipping insurance up to total invoice amount of 25,000 Euros: max. 41.65 Euro over a total invoice amount of 25,000 Euros: 1.8 o/oo USA by individual arrangement after the auction. #Eduardo Chillida #Abstraction #Spain #Post-War Art #Print #Shapes #Aquatint #1970s #Prints. In accordance with §26 UrhG (German Copyright Act), VAN HAM is obliged to pay a statutory resale royalty on the sale proceeds of all original works of fine art and photography whose authors have not been deceased for 70 years prior to the end of the calendar year of the sale. The buyer shall contribute 1.5% of the hammer price to this fee.
CHILLIDA , EDUARDO 1924 San Sebastián–2002 San Sebastián Title: Esku (Hand). Date: Ca. 1978. Technique: Pencil on vellum. Measurement: 21 x 27 cm. Notation: Signed lower right: Chillida. Additionally with the artist's signet. Frame: Frame. Not examined out of frame (28.5 x 34.5cm). Provenance: - Galerie Meyer-Ellinger, Frankfurt a. M. (label/acquired in 2003) - The hand as a recurring motif in the work of Eduardo Chillida - A symbol of the connection between artist and work, idea and craftsmanship - To mark the 100th anniversary of the great Spanish artist’s birth, Madriddedicates a major retrospective to him in 2026 Estimated shipping costs for this lot: Inland: 28.57 Euro plus 5.43 Euro VAT EU: 42.02 Euro plus 7.98 Euro VAT Third country: 71.43 Euro plus 13.57 Euro VAT additional shipping insurance Shipping insurance up to total invoice amount of 25,000 Euros: max. 41.65 Euro over a total invoice amount of 25,000 Euros: 1.8 o/oo USA by individual arrangement after the auction. #Eduardo Chillida #Abstraction #Spain #Post-War Art #Works on paper #Hand #1970s #Post War. In accordance with §26 UrhG (German Copyright Act), VAN HAM is obliged to pay a statutory resale royalty on the sale proceeds of all original works of fine art and photography whose authors have not been deceased for 70 years prior to the end of the calendar year of the sale. The buyer shall contribute 1.5% of the hammer price to this fee.
Stamped artist's signet verso. The present work is registered in the archive of Museo Chillida-Leku, Hernani. "The boundary is the true protagonist of space; just as the present, another limit, is the true protagonist of time.” (Eduardo Chillida, in: Chillida en San Sebastian, exhib.cat. Caja Gipuzkoa San Sebastián, San Sebastián 1992, p.29) “Chillida's development takes another new turn when in 1987 he starts to work this same fired clay in vertical planes, that is, like the woodcuts or the papers called "gravitaciones", in relief. […] Black oxide and clean cuts into the clay are not used as graphic or pictorial methods but rather as sculptural methods. They do not seek the dynamism or the discourse of the line, nor even the expressivity of Donatello, but rather the simpler and more abstract conformation of a space in relief. Chillida knows that stone, with its impenetrability refuses from the start to be transformed, to be just another medium among others, like a given color in a painting. Because of its passivity, stone demands everything for itself. Chillida shuns any attempt to make the stone speak, to make stone into an animated form. He knows that that was reserved for the gods and so has sought other materials that he has had to conform, material which themselves do not conform to another's will. […] for Chillida the strength and power of a sculpture lie in its capacity to modulate and congregate spaces.” (Kosme de Baranano, Chillida in San Sebastian, in: exhib.cat. Chillida en San Sebastian, Caja Gipuzkoa San Sebastián, San Sebastián 1992, p.30)
"EDUARDO CHILLIDA. SOBRE LO QUE NO SÉ".- B.: Ed. Planeta y Museo Chillida-Leku, 2008. Ejemplar numerado de tirada limitada. Folio mayor, 3 vols. de texto con una selección de 60 dibujos reproducidos en facsimil, y vol. de estudios. Todo contenido en estuche ed. de metal y cristal (falta llave) que es el expositor de la obra. Perfecto estado, conservado en su embalaje original.
Chillida, Eduardo (1924-2002). Me. Etching, 1976, ±23x24 cm. (plate size), 63x45, cm. (leaf size), signed "Chillida", monogrammed and "6/50" in pencil. - Trifle yellowed. = Van der Koelen 75002. Provenance: the estate of Dick Cassée. SEE ILLUSTRATION PLATE VII.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
Chillida, Eduardo (1924-2002). Barcelona II. Silkscreen, 1973, 68x50 cm. (leaf), signed "Chillida", monogrammed and numb. "41/100" in pencil, framed. = Van der Koelen 73044. Provenance: the estate of Dick Cassée. SEE ILLUSTRATION PLATE VII.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
EDUARDO CHILLIDA (San Sebastian, 1924 - 2002). S/t, 1997. Silkscreen on Arches paper. HC copy. Current print run of 200 copies. Work reproduced in Opus II, Nº 77014. Edited by: Abel Martín. Published by: Rayuela Gallery. Measurements: 50,5 x 66 cm; 63 x 78 cm (frame). Eduardo Chillida's graphic work transfers to the two-dimensional plane the same essential principles that articulate all his sculptural production: the tension between mass and emptiness, the construction of space as active matter and the search for an almost architectural balance between opposing forces. In this lithograph, the black, dense and rotund forms are organized as interdependent structures, generating a composition of great visual intensity in which the solid seems to expand and contain itself at the same time. The figures, of irregular and organic contours, are not understood as isolated elements, but as parts of a system in which the white space acquires a fundamental structural role. Far from functioning as a neutral background, the void becomes an active component that tensions, orders and gives meaning to the masses, reinforcing the dialectic between presence and absence that defines Chillida's plastic thought. This conception of space is deeply rooted throughout his career. From his first iron sculptures in the 1950s to his great public works of maturity, Chillida developed a constant research on the relationship between matter, gravity and emptiness, understanding sculpture not as an addition of form, but as a construction of limits and spatial resonances. His work is thus part of a dialogue between the modern sculptural tradition and a philosophical sensibility close to the idea of space as experience. Throughout his career, the artist received numerous international awards, such as the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Award for the Arts, consolidating his position as one of the central figures of 20th century sculpture. He was also a member of several academies and received honorary distinctions from institutions in Europe, the United States and Japan. His legacy is today widely represented in museums of reference such as the Guggenheim in Bilbao, the MoMA in New York, the Reina Sofia Museum in Madrid, the Tate Gallery in London or the Neue Nationalgalerie in Berlin, in addition to his own museum-space, Chillida Leku, conceived as an extension of his sculptural thought in direct dialogue with the landscape.
EDUARDO CHILLIDA (San Sebastian, 1924 - 2002). "Tribute to Eusebio Sempere". 1988. Aquatint engraving, copy 21/50. Signed and justified by hand. Measurements: 32 x 26.5 cm (print); 59 x 94 cm (paper); 69 x 99 cm (frame). This graphic work by Eduardo Chillida, made in 1988, is part of his mature production, in which the artist deepens in his characteristic abstract language. Dedicated to Eusebio Sempere, a key figure in contemporary Spanish art, the piece acquires a character of homage that transcends the formal to situate itself also in the field of recognition among artists. Eduardo Chillida was one of the most important Spanish sculptors of the 20th century and a key figure in international abstract sculpture. Throughout his life, he received numerous awards, including the Carnegie Award, the Rembrandt Award, the Wolf Foundation of the Arts Award and the Prince of Asturias Award for the Arts. He was an academician of San Fernando, and member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts of London and of the Imperial Order of Japan. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections around the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofia in Madrid, the Tate Gallery in London or the Neue Nationalgalerie in Berlin.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002). "Jatorri", 1975. Xylography, copy P.A. Signed and justified in pencil. Measurements: 53 x 50 cm (paper); 60,5 x 58 cm (frame). In the work of Eduardo Chillida (1924-2002), the term Jatorri (which means "Origin" or "Source" in Basque) is not only a linguistic concept, but a profoundly philosophical and formal element that structures a large part of his thought and art. Chillida began drawing at the Círculo de Bellas Artes in Madrid, and little by little his interest in sculpture grew. It was during his years in Paris when he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. In the French capital he held his first sculpture exhibition in 1950. In 1951 he returned definitively to San Sebastian, and made his first work in iron, the material with which he would work for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation of the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts of London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections around the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofia in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
Eduardo Chillida (1924-2002) Untitled Lithograph on die-cut Guarro paper Edition: E894/1000 Signed and with the artist's device, both as part of the image at lower right: Chillida; numbered in pencil lower left; Ediciones Poligrafa, Barcelona, Spain, pub.
Esku XXXVI. Radierung. 1997. 22,5 x 11 cm. Signiert und nummeriert. (37) Ausgabe des Bandes von Jorge Semprún "La Escritura o la Vida" im Verlag von Har-El in Haifa und Boza Editor in Barcelona. - Auf Velin. - Mit dem Buch (lose Doppelbögen) in einem Leinenumschlag. - Makellos.
Antzo VI Aquatintradierung. 1985. 16,3 x 12,1 cm (31 x 20,8 cm). Signiert und nummeriert. (37) Exemplar 99/100. - Van der Koelen 85007. - Erschienen als Frontispiz zur Vorzugsausgabe des Bandes von E.M.Cioran "Face aux Instants" im Pariser Verlag von L`Ire de Vents. - Vorzüglicher Abzug auf Velin von "Arches". - Mit dem im Druckvermerk auch vom Autor signierten Buch (lose Doppelbögen im Papierumschlag). - Makelloses Exemplar.
Eduardo Chillida_Médecins du monde, etching and aquatint, 1992, signed in pencil, numbered 48/50 (there were also 25 A.P. in Roman numerals), on Arches, published by Medicos del Mundo, printed by Taller Hatz, San Sebastian, framed (not examined out of the frame)**The total bidding limit is 3,000,000 JPY. If you wish to increase your bidding limit above 3,000,000 JPY, please contact us by 6 PM two days before the auction.
Eduardo Chillida. Opus P.II: Complete catalogue of the graphic work 1973-1985, Chorus-Verlag, 1987, pp. 194, nº 79003 Dimensions: Image: 14.7 x 12 cm, paper: 52.5 x 37.5 cm
Etching on paper Signed and numbered in pencil with Roman numerals XX/XX at the bottom. From the book Clara Janes Bibliography: - "Eduardo Chillida. Opus P.IV: Complete Catalogue of Graphic Works 1996-2001", Chorus-Verlag, 2005, pp. 80, 87, no. 98014 Dimensions: Image: 10.3 x 11.5 cm, paper: 43 x 35 cm.
