Lot 68
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68
Eduardo Chillida
Lurra G-242, 1992.
Fireclay
Estimation: € 100,000 / $ 107,000
Lurra G-242. 1992.
Fireclay.
With the artist's signet. Unique object. 17 x 20 x 21.5 cm (6.6 x 7.8 x 8.4 in).
• An incredibly compact and fascinating unique piece from the "Lurra" series.
• Chillida's formally reduced pieces from this series are especially inspiring for their archaic character.
• Part of a German private collection for almost 30 years.
• The year the work was made, his hometown San Sebastián presented the artist's first major retrospective with over 300 works.
• Eduardo Chillida is recognized as one of the most important sculptors of the 20th century.
• January 2024 marked the 100th anniversary of the artist's birth; which numerous museums and institutions celebrate with exhibitions and events.
PROVENANCE: Galerie Biedermann, Munich.
Private collection Southern Germany (acquired from the above in 1996).
LITERATURE: Ignacio Chillida, Alberto Cobo, Eduardo Chillida. Catálogo razonado de escultura, vol. IV (1991-2002), Donostia-San Sebastián 2022, no. 1992012 (illu. in color).
"I could use the clay to produce much bigger pieces, bigger and lighter, but that's not what matters to me. I don't want my creations to just look big, I also want them to retain their power, this power that emanates something beyond reach."
Eduardo Chillida, 1994/95, quoted from: Sigrid Barten, Eduardo Chillida. Skulpturen aus Ton, Zürich 1996, p. 28.
Called up: June 7, 2024 - ca. 19.14 h +/- 20 min.
Fireclay.
With the artist's signet. Unique object. 17 x 20 x 21.5 cm (6.6 x 7.8 x 8.4 in).
• An incredibly compact and fascinating unique piece from the "Lurra" series.
• Chillida's formally reduced pieces from this series are especially inspiring for their archaic character.
• Part of a German private collection for almost 30 years.
• The year the work was made, his hometown San Sebastián presented the artist's first major retrospective with over 300 works.
• Eduardo Chillida is recognized as one of the most important sculptors of the 20th century.
• January 2024 marked the 100th anniversary of the artist's birth; which numerous museums and institutions celebrate with exhibitions and events.
PROVENANCE: Galerie Biedermann, Munich.
Private collection Southern Germany (acquired from the above in 1996).
LITERATURE: Ignacio Chillida, Alberto Cobo, Eduardo Chillida. Catálogo razonado de escultura, vol. IV (1991-2002), Donostia-San Sebastián 2022, no. 1992012 (illu. in color).
"I could use the clay to produce much bigger pieces, bigger and lighter, but that's not what matters to me. I don't want my creations to just look big, I also want them to retain their power, this power that emanates something beyond reach."
Eduardo Chillida, 1994/95, quoted from: Sigrid Barten, Eduardo Chillida. Skulpturen aus Ton, Zürich 1996, p. 28.
Called up: June 7, 2024 - ca. 19.14 h +/- 20 min.
January 2024 marked the 100th anniversary of the Basque sculptor Eduardo Chillida's birth. Numerous museums and institutions celebrate this anniversary with exhibitions and events dedicated to his work. Born in San Sebastián in 1924, the artist gained international recognition at an early stage with spacious sculptures made of iron, a traditional material in his native Basque country. However, his small-format clay sculptures, most of which are privately owned and seldom make it on the German auction market, are also an integral part of an oeuvre that includes more than 500 works.
When Eduardo Chillida first came into contact with clay at the beginning of his career, he was not so fond of the smooth and soft material at all. It was not until the 1970s that he came across the harder and more fireproof fireclay in the studio of Fondation Maeght in the south of France. An experience that entirely changed his mind about the previously disliked material. He soon created his first clay sculptures in collaboration with the German ceramist Hans Spinner, creations that can be divided into two main groups: the "Óxidos" and the "Lurras", of which the present work is a prime example.
Despite their small format, the earthy, monochrome, and extremely compact “Lurras” exude immense energy and arcane aura. They bear the name of the Basque word for earth, a word that does justice to their original character like no other. In this work series, the characteristic gashes and squares cut and pressed into the block usually extend across all five visible sides of the sculpture, so that a main perspective to view the pieces is difficult to identify. As a result, the block, which initially appears so static, invites the observer to move around. The clay sculptures will only reveal their secret spaces, different levels, and balance of power when they are explored from different angles.
As is the case so often, the artist himself finds the aptest words to describe the effect of his “Lurras”. In an interview with Mario Terés, Eduardo Chillida explained: “I could use the clay to produce much bigger pieces, bigger and lighter, but that's not what matters to me. I don't want my creations to just look big, I also want them to retain their power, this power that emanates something beyond reach.” [AR]
When Eduardo Chillida first came into contact with clay at the beginning of his career, he was not so fond of the smooth and soft material at all. It was not until the 1970s that he came across the harder and more fireproof fireclay in the studio of Fondation Maeght in the south of France. An experience that entirely changed his mind about the previously disliked material. He soon created his first clay sculptures in collaboration with the German ceramist Hans Spinner, creations that can be divided into two main groups: the "Óxidos" and the "Lurras", of which the present work is a prime example.
Despite their small format, the earthy, monochrome, and extremely compact “Lurras” exude immense energy and arcane aura. They bear the name of the Basque word for earth, a word that does justice to their original character like no other. In this work series, the characteristic gashes and squares cut and pressed into the block usually extend across all five visible sides of the sculpture, so that a main perspective to view the pieces is difficult to identify. As a result, the block, which initially appears so static, invites the observer to move around. The clay sculptures will only reveal their secret spaces, different levels, and balance of power when they are explored from different angles.
As is the case so often, the artist himself finds the aptest words to describe the effect of his “Lurras”. In an interview with Mario Terés, Eduardo Chillida explained: “I could use the clay to produce much bigger pieces, bigger and lighter, but that's not what matters to me. I don't want my creations to just look big, I also want them to retain their power, this power that emanates something beyond reach.” [AR]
68
Eduardo Chillida
Lurra G-242, 1992.
Fireclay
Estimation: € 100,000 / $ 107,000
Commission, taxes et droit de suite
Cet objet est offert avec imposition régulière ou avec imposition différentielle.
Calcul en cas d'imposition différentielle:
Prix d'adjudication jusqu'à 800 000 € : 32 % de commission.
Prix d'adjudication supérieur à 800 000 € : montants partiels jusqu'à 800 000 € 32 % de commission, montants partiels supérieurs à 800 000 € : 27 % de commission.
La commission comprend la TVA, laquelle ne figure cependant pas sur la facture.
Calcul en cas d'imposition régulière:
Prix d'adjudication jusqu'à 800 000 € : 27 % de commission majorée de la TVA légale
Prix d'adjudication supérieur à 800 000 € : montants partiels jusqu'à 800 000 € 27 % de commission, montants partiels supérieurs à 800 000 € : 21 % de commission, à chaque fois majorés de la TVA légale.
Prix d'adjudication supérieur à 4.000 000 € : montants partiels supérieurs à 4.000 000 € : 15 % de commission, à chaque fois majorés de la TVA légale.
Si vous souhaitez appliquer l'imposition régulière, merci de bien vouloir le communiquer par écrit avant la facturation.
Calcul en cas de droit de suite:
Concernant les objets réalisés par un artiste dont le décès remonte à moins de 70 ans, des droits de suite seront facturés qui s'élèvent à 2,4 % de la TVA légale incluse.
Calcul en cas d'imposition différentielle:
Prix d'adjudication jusqu'à 800 000 € : 32 % de commission.
Prix d'adjudication supérieur à 800 000 € : montants partiels jusqu'à 800 000 € 32 % de commission, montants partiels supérieurs à 800 000 € : 27 % de commission.
La commission comprend la TVA, laquelle ne figure cependant pas sur la facture.
Calcul en cas d'imposition régulière:
Prix d'adjudication jusqu'à 800 000 € : 27 % de commission majorée de la TVA légale
Prix d'adjudication supérieur à 800 000 € : montants partiels jusqu'à 800 000 € 27 % de commission, montants partiels supérieurs à 800 000 € : 21 % de commission, à chaque fois majorés de la TVA légale.
Prix d'adjudication supérieur à 4.000 000 € : montants partiels supérieurs à 4.000 000 € : 15 % de commission, à chaque fois majorés de la TVA légale.
Si vous souhaitez appliquer l'imposition régulière, merci de bien vouloir le communiquer par écrit avant la facturation.
Calcul en cas de droit de suite:
Concernant les objets réalisés par un artiste dont le décès remonte à moins de 70 ans, des droits de suite seront facturés qui s'élèvent à 2,4 % de la TVA légale incluse.