Eduardo Chillida Posters

Vintage, Winslow Health and Hygiene scientific insect series medical wall print, chart. "Edited by C.E.A Winslow Dr. P.H. Copy Right 1929. For explanation see manual. Published by De...

Stunning silk screen print from the limited 1990 run authorized by Lichtenstein’s estate after his iconic painting Kiss V (1964). Very good vintage condition. M...

Original English 1960's coach panel poster promoting holidays to Paris, Brittany, Belgium and Holland in continental Europe. This rare poster would ...

Original midcentury Raoul Dufy art poster from the 1950s printed by Mourlot, Paris, France. Raoul Dufy was a renowned artist that created excellent works of...

Great poster of the heavens. Original color. Good condition. Published by Alexander Gross Unframed.

Made by Th. Breidwiser and published by Gerold und son in Vienna, Austria.

Pierre Sala created contemporary art furniture. This rare poster is signed by Sala and photograph by Alain Dovifat. Unframed and will be rolled in a tube for shipping. Post modern Me...

Giclée art print by Leticia Gagetti, printed on 260g high-quality paper with a matte finish that ensures vivid and saturated colors. Crafted through g...

Brilliant poster printed on heavy plastic sheet for John F. Kennedy's presidential campaign in 1960. Reading "Kennedy for President - Leadership for the 60's" and featuring a portrai...

Eduardo Arroyo Rodríguez (26 February 1937 – 14 October 2018) was a Spanish painter and graphic artist. He was also active as an author and set designer. Arroyo, who was born in M...

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...

A print signed Squeri, numbered 1/20, and titled Kyoto, reminiscent of the work of Verner Panton.