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Antonio Yera

This original print titled Beltza-Txiki (1969) is an  example of Eduardo Chillida’s engagement with graphic art. Executed as a woodcut on Richard de Bas handmade quality paper, this piece reflects Chillida's exploration of spatial rhythm, structure, and form. concepts that also define his monumental sculptures.


This is a typical and representative work by Chillida, where the woodcut technique is so tactile and precisely executed that it almost feels like a relief. very much in line with his artistic language. It is a very elegant and high-quality piece.

The abstract composition demonstrates Chillida’s minimal yet deeply expressive visual language, where voids and solid forms interact in a delicate architectural balance. 
The print is signed and numbered in pencil (56/75).

Eduardo Chillida is widely regarded as one of Spain’s most important sculptors of the 20th century, a Chillida’s oeuvre bridges Basque identity and modernist abstraction, often in conversation with contemporaries such as Henry Moore, Barbara Hepworth, Jorge Oteiza, Lucio Fontana, Antoni Clavé, Manolo Millares, Antoni Tàpies, Joan Miró, Pablo Palazuelo, Hans Arp, Pierre Soulages, Victor Vasarely, Jesús Rafael Soto, and Yves Klein. His graphic works share affinities with those of Pierre Alechinsky, Robert Motherwell, Antoni Tàpies, Richard Serra, and Hans Hartung, emphasizing gestural balance and material sensitivity.

Chillida’s formal language resonates across the work of numerous modern and post-war artists including Alberto Giacometti, Constantin Brâncuși, Julio González, David Smith, Isamu Noguchi, Alexander Calder, Jean Dubuffet, Donald Judd, Carl Andre, Tony Smith, Sol LeWitt, Ellsworth Kelly, Mark Rothko, Barnett Newman, Ad Reinhardt, Frank Stella, Kenneth Noland, Günther Förg, Gotthard Graubner, Imi Knoebel, Blinky Palermo, Walter Stöhrer, Ernst Wilhelm Nay, Emil Schumacher, Georg Baselitz, Anselm Kiefer, Sigmar Polke, Gerhard Richter, Jean Arp, Eduardo Paolozzi, Lynn Chadwick, Marino Marini, Lucio Muñoz, Eusebio Sempere, Pablo Serrano, Ángel Ferrant, Jorge Castillo, Baltasar Lobo, Agustín Ibarrola, Remigio Mendiburu, Nacho Criado, Susana Solano, Cristina Iglesias, Jaume Plensa, Miquel Barceló, and Juan Muñoz.

His explorations in sculpture and printmaking also find parallels in the practices of artists such as Louise Nevelson, Beverly Pepper, Richard Deacon, Tony Cragg, Anish Kapoor, Rachel Whiteread, William Tucker, James Turrell, and Richard Long. Chillida’s minimalist structures and tactile sensitivity align him with modernist traditions and conceptual approaches seen in the works of Joseph Beuys, Bruce Nauman, Eva Hesse, Agnes Martin, Dan Flavin, and Carl Andre.

Condition:
Good condition overall.
– Slight staining and minimal discolouration throughout.
– Slight rubbings to the depicted area.
– Verso shows some mild staining and minor spots of discolouration, along with traces of previous mounting.
– Sheet edges deckled, as typical for Richard de Bas paper.

The work is presented framed under glass, offering both preservation and a clean, museum-quality presentation suited for collectors.

Specifications:

Artist: Eduardo Chillida (1924–2002)
Title: Beltza-Txiki
Date: 1969
Technique: Woodcut on Richard de Bas paper (with watermark)
Sheet dimensions: 33 × 26 cm
Edition: 56/75
Signature: Hand-signed and numbered in pencil
Publisher: Ediciones Polígrafa, Barcelona
Provenance: Private collection
Condition: Good


Literature:
- Koelen, Martin van der: Eduardo Chillida - Opus P.I, catalogue raisonné of prints 1959-1972, Mainz/Munich 1999, cat. rais. no. 69009.

木刻版畫 - Hand signed - 1969

Eduardo Chillida (1924-2002) - Beltza-Txiki

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Eduardo Chillida (1924-2002) - Beltza-Txiki

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