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Dale Chihuly
BASKET DRAWING Signed Lithograph Free-form Abstract Drawing Graphite Pearl Blue

1996

About the Item

BASKET DRAWING, by Dale Chihuly(American b.1941) renowned glass sculpture artist depicts one of his signature abstract basket forms. This limited edition lithograph was printed in 8 colors on archival printmaking paper 100% rag. BASKET DRAWING is expressed as a free form abstract depiction of baskets using intricate interwoven dark graphite gray and black lines accented with pearlized drops, pearlescent blue rims, and a small circle of rose red near the signature. Dale Chihuly is recognized as the leader of a worldwide renaissance in glassblowing as a fine art. He is also considered the movement’s greatest innovator, pushing the limitations of the medium and constantly pursuing new forms and techniques. His work as a teacher and team director has helped to inspire a new generation of artists. Print size - 30 ¼ x 22 inches, unframed, mint condition, pencil signed by Dale Chihuly Edition Size - 150, plus proofs Year Published - 1996 Printer - JK Fine Art Editions Co. ABOUT THE ARTIST- Dale Chihuly, (born September 20, 1941, Tacoma, Washington, U.S.), American artist whose glass sculptures—often presented in complex and dynamic public projects—led to a resurgence of interest in that medium. Chihuly studied interior design at the University of Washington in Seattle (B.A., 1965) and received an M.S. in sculpture from the University of Wisconsin, where he studied glassblowing under Harvey Littleton. In 1968 he received an M.F.A. in ceramics from the Rhode Island School of Design (RISD). That same year he traveled to Italy on a Fulbright scholarship and a Louis Comfort Tiffany Foundation grant and worked at Venini Fabrica, the renowned glassblowing workshop in Murano, an island in the Venice Lagoon. Returning to the United States in 1969, he established the RISD glassblowing program and founded (1971) the influential Pilchuck Glass School north of Seattle. There he created the first of a number of environmental installations—a group of clear glass bulbs floating on Pilchuck Pond. He continued to teach at RISD until 1980. In 1976 an automobile accident left Chihuly blind in one eye, and thereafter he was dependent on assistant gaffers (glassblowers) to execute his distinctive designs. Chihuly’s works in glass both echo and extend glass’s historical relationship with functionality. Vase, basket, bowl, and other vessel forms dominated many of his individual pieces, though enlivened with rhythmic tempos and curvaceous motifs far removed from domestic use. In 1996 he completed Chihuly over Venice, a collaborative international undertaking involving glassblowers from Finland, Ireland, and Mexico. That project included Chandeliers (an enduring theme), which were installed around the city and lit by natural light, and numerous other glass forms that were released to float freely along the Venetian canals. In 2002 his Chihuly Bridge of Glass accompanied the opening of the Museum of Glass in his native Tacoma, Washington. Chihuly’s vibrantly colored organic glass creations were immediately recognizable. His technical innovations enabled the production of a tremendous range of patterns, colors, and textures. Among his several extended series were Blankets, for which he used cylindrical forms covered with patterns derived from Native American blankets; Seaforms, shapes evoking sea urchins, shells, and other marine life; and Chandeliers, large-scale hanging sculptures illuminated by natural light sources. Variations in scale made it possible for onlookers to experience his pieces as intimate personal objects or to be completely immersed in them, as in his prismatic interior installations in a variety of public spaces. Notable among the latter were a ceiling sculpture made of more than 2,000 handblown floral shapes, installed in the lobby of the Bellagio Resort in Las Vegas, and the Light of Jerusalem project (1999–2000), a large-scale exhibition in the courtyard of the Tower of David Museum that dramatically juxtaposed more than a dozen of Chihuly’s glass installations with the timeworn rough-textured stone of the ancient site. In 2007 Chihuly created six large works as the stage set for the Seattle Symphony’s production of Béla Bartók’s opera Bluebeard’s Castle. Over the course of several years, the set traveled to appear in productions in Tel Aviv; Nashville; Milwaukee, Wisconsin; Norfolk, Virginia; and Wichita, Kansas. In 2010 the Morean Art Center in St. Petersburg, Florida, opened the Chihuly Collection, a space designed by architect Albert Alonso, housing a permanent collection of Chihuly’s work. Two years later the Chihuly Garden and Glass museum opened in Seattle and quickly became one of the city’s most popular tourist destinations. Artist Bio - James W. Yood, The Editors of Encyclopaedia Britannica
  • Creator:
    Dale Chihuly (1941, American)
  • Creation Year:
    1996
  • Dimensions:
    Height: 30.25 in (76.84 cm)Width: 22 in (55.88 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
    Pristine condition, hand deckled edges, pencil signed inscribed P.P.(printers proof) aside from the edition of 150, printers chop mark embossed on lower left corner, from the master printers private collection, print documentation provided.
  • Gallery Location:
    Union City, NJ
  • Reference Number:
    1stDibs: LU832314052382
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