EDUARDO CHILLIDA - Hommage a Sir. Roland Penrose 1981 Etching and aquatint

Number 180 from an edition of 200 plus one prototype. Essays by Carlos Fuentes and John Berger; translations by Professor Alfred MacAdam and photographs by Ferdinando Scianna...

Signed, dated and numbered, 1981 aquatint and color etching on Rives BFK paper- Periscope, by iconic American artist, Jasper Johns (b. 1930). Marked 22 /88 on the lower left. Signed ...

Selection of Mid-Century Modern Abstract Lithographs, recently professionally framed in vintage gilt wood frames under UV resistant glass. They are priced at $575 each or $2000 for all four works. From left to right, as seen in the first photo, they are: 1) Abstract lithograph by Raoul Ubac, from the limited edition portfolio Le Derriere Miroir...

Two Prints of Eduardo Chillida’s "Mármol y Plomo" We are offering two prints of Eduardo Chillida’s art works "Mármol y Plomo," created during the 1980s as part of a special edition ...

Vivid color and intricate design are the focal points of this aquatint colored etching print numbered 2 of 4. Signed I.P.I.

"Primal Sign V (Copper)" aquatint and etching from one zinc plate by Robert Motherwell (American. 1915-1991) Numbered 18/28 with 7 artist proofs in edition. Archival framed using mus...

Eduardo Chillida Lithograph on cardboard Number T 169/1000 The work is signed by the artist and individually numbered (pencil) Work dimensions 47/34 The work is framed Eduardo Chillida(1924 - 2002). He was a Spanish artist. He began his career in 1943, studying architecture at the University of Madrid, but in 1947 he took up drawing and sculpture. In 1948 he moved to Paris, then the world capital of art. Although he dropped out of college, his work betrays his architectural training, revealing an underlying sense of structural organization as well as material discipline, planning spatial relationships, and scaling elements. For years, the artist used materials that were the basis for his research on conceptual and metaphysical issues. Chillida's early efforts in stone and plaster oscillated between humans and the natural world. His return to the Spanish Basque country in 1951 initiated a change of vision, focusing more on the metamorphosis of space and the definition of spatial volume through form. Chillida soon abandoned the plaster he had used in his Paris works in favor of iron, then wood and steel. These materials represent Basque traditions in industry, architecture and agriculture, and recall the landscape and black light of the region. Chillida began using alabaster for its illuminated but veiled appearance, he used it in the sculpture How Deep is the Air (1996). Despite his use of a variety of media, Chillida's intentions for simplicity and balance never allowed the material to take on a form alien to its nature. He was consistently guided by the quality of space, density and rhythm. Major retrospectives of Chillida's graphic and sculptural works have been exhibited by the Museum of Fine Arts, Houston (1966), the Carnegie Institute, Pittsburgh (1979), the National Gallery of Art, Washington, D.C. (1979), the Guggenheim Museum (1980), the Palacio de Miramar, San Sebastián (1992), and Museo nacional centro de arte Reina Sofía, Madrid (1999). Chillida's monumental sculptures designed for urban and more remote spaces are permanently installed internationally and constitute a central aspect of his artistic production. Chillida has received numerous awards, including the Grand International Sculpture Prize at the Venice Biennale (1958), the Kandinsky Prize (1960), the Carnegie Prize for Sculpture (1964), the Andrew Mellon...

Featuring a typical monochrome and abstract design, this beautiful poster advertises Eduardo Chillida's exhibition at the Galerie Lelong in Paris, France. Running from October to Nov...

Titled, "Black Mountain, State II", 1983 etching and aqautint in red and blue. Numbered 29/32 and pencil-signed Motherwell lower right. Thick black lines on a brilliant red field. Am...

Robert Mangold "Distorted Square Within a Circle", 1973 Aquatint etching, Roman Numeral edition of 10 aside from the numbered edition of 50. Full sheet. Signed dated and numbered in...