Eduardo Chillida's Abstract Odyssey: "Untitled" Lithography, 1999

This extraordinary small lithograph by Eduardo Chillida, created in 1975, was originally produced as an invitation for one of the artist’s exhibitions. The piece is part of a rare Ep...

Timeless Legacy: Eduardo Chillida's Original Historic Poster for Sala Gaspar Manufactured in Spain, circa 1971. In original condition with minor wear consistent of age and use, pre...

Alfaro Color Abstract Lithography on Paper, 1999 Limited edition, numbered in pencil and signed in the stone. Printed by Poligrafa Barcelona in 1999 for Galeria d'arte contemporaneo...

Lithography by Javier Mariscal. Limited edition, numbered in pencil and signed in the stone. Printed by Poligrafa Barcelona in 1999 for Galeria d'arte contemporaneo. In good origina...

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...

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...

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...

Sonia Delaunay, "Untitled composition", 1969 Lithograph in colors on wove paper by Ukrainian born French artist Sonia Delaunay ( 1885-1979 ). Signed in pencil lower right edge; n...