Eduardo Chillida (1924-2002),"Lurra G-39", 1984, terracotta sculpture with grey patina, monogrammed,38x30x28 cm

The Chillida Leku Museum has confirmedthat the work is listed in their archives under reference number 1984.056.

Provenance: Acquired by the currentowner from the Erker Gallery in St. Gallen on 18 February 1988. 

Note: The sculpture was purchased at thegallery in the presence of the artist and his wife by the current owner.

This sculpture is a mature work. Thetitle Lurra (which means "land" in Basque) embodies the inseparablelink between art and nature that Chillida worked on all his life: A timelessform, modelled by an instinctive gesture in a natural material. Itsconstruction is demanding and technical. The result is a form that communicateswith space.

"The dialogue with the shapes ismore important than the shapes themselves".

"Terracotta has intrigued himseveral times. He used it for the first time in his youth and returned to it atthe beginning of the seventies, when he frequented the village ofSaint-Paul-de-Vence with increasing assiduity. There he learned the techniqueof firing and the use of chamotte, which has a high iron oxide content. Thishostile powdery substance, so difficult to work with, coarse and porous whenfired, and yet so compact that it resembles stone, fascinated him for a longtime "*.

"Eduardo Chillida's sculpturesreflect the artist's intense relationship with the human habitat."

The closed sculptures, with a cubicbase, are borrowed from the architect's training that the artist received inhis youth: "To build is to create in space". This is what sculptureis all about and, as a rule, sculpture is both sculpture andarchitecture". 

But these blocks also have a spiritualdimension. They also represent his inner self. The Spanish Civil War, whichleft its mark on the artist, made him evolve in his creations. As his innerdemons become more temperate, the block sculptures open up into space.

*SimonettaRasponi, Omaggio a Eduardo Chillida, exhib.cat XLIV Esposizione Internazionaled'Arte la Biennale di Venezia, Milano 1990, p.25

Eduardo Chillida (1924-2002),"Lurra G-39", 1984, terracotta sculpture with grey patina, monogrammed,38x30x28 cm

The Chillida Leku Museum has confirmedthat the work is listed in their archives under reference number 1984.056.

Provenance: Acquired by the currentowner from the Erker Gallery in St. Gallen on 18 February 1988. 

Note: The sculpture was purchased at thegallery in the presence of the artist and his wife by the current owner.

This sculpture is a mature work. Thetitle Lurra (which means "land" in Basque) embodies the inseparablelink between art and nature that Chillida worked on all his life: A timelessform, modelled by an instinctive gesture in a natural material. Itsconstruction is demanding and technical. The result is a form that communicateswith space.

"The dialogue with the shapes ismore important than the shapes themselves".

"Terracotta has intrigued himseveral times. He used it for the first time in his youth and returned to it atthe beginning of the seventies, when he frequented the village ofSaint-Paul-de-Vence with increasing assiduity. There he learned the techniqueof firing and the use of chamotte, which has a high iron oxide content. Thishostile powdery substance, so difficult to work with, coarse and porous whenfired, and yet so compact that it resembles stone, fascinated him for a longtime "*.

"Eduardo Chillida's sculpturesreflect the artist's intense relationship with the human habitat."

The closed sculptures, with a cubicbase, are borrowed from the architect's training that the artist received inhis youth: "To build is to create in space". This is what sculptureis all about and, as a rule, sculpture is both sculpture andarchitecture". 

But these blocks also have a spiritualdimension. They also represent his inner self. The Spanish Civil War, whichleft its mark on the artist, made him evolve in his creations. As his innerdemons become more temperate, the block sculptures open up into space.

*SimonettaRasponi, Omaggio a Eduardo Chillida, exhib.cat XLIV Esposizione Internazionaled'Arte la Biennale di Venezia, Milano 1990, p.25

Très bon état général


La sculpture présente plusieurs fissures qui semble résulter du processus de production de l'œuvre
Les plus marqués étant trois fissures latérales chacune sur une face et se prolongeant sous la base de la sculpture sur environ 3 cm (voir photo)   
Fissures sur le sommet de trois des éléments entrecroisés en haut de la sculpture, ces fissures sont accompagnées de manques de matières qui pourraient aussi être d'origine.  
Nous n'avons pas mis en évidence de traces de restauration. La sculpture a été acheté dans la galerie en présence de l'artiste par l'actuel propriétaire qui confirme que l'œuvre est dans son état d'origine
Présence de salissures et oxydation normale liées au temps (voir photo)