Dale Chihuly Rare 1979 Signed Blanket Series Glass Cylinder All Offers Considered
Description
Artist: Dale Chihuly
Medium: Glass
Size: 8" x 4 1/2"
Year: 1979 etched into the glass
Inscription: Signed by the artist
Condition: Perfect condition with no flaws and minor handling on the base of the sculpture. Dale's signature "Chihuly" into the glass along with 1979 and Baden. Baden refers to where this was blown Baden, Austria.
These pieces were the beginning of the genius that is Chihuly. At this important time the scale of Dale's production was extremely limited making a 79 or earlier Chihuly blanket cylinder extremely hard to find.
In 1979 Chihuly dislocates his shoulder in a bodysurfing accident and relinquishes the gaffer position for good. William Morris becomes his chief gaffer for the next several years. Chihuly begins to make drawings as a way to communicate his designs. Together with Morris, Benjamin Moore, and student assistants Michael Scheiner and Rich Royal, he blows glass in Baden, Austria where this piece was completed.
The ever important Navajo Blanket series Chihuly devised a decorative technique in which he picked up patterns of colored glass threads, inspired by vintage Navajo and Pendleton trade blankets, onto the surface of a cylindrical glass vessel. This series of vessels was called the Navajo Blanket Cylinders.
Chihuly, is known especially for his fine glass work and vibrantly colored original paintings, Dale Chihuly is one of the most famous modern American artists. While his glass work is what made him famous, Chihuly is truly a master of many mediums.
An early interest in art beginning at a young age spurred Chihuly to pursue a long and varied artistic education. Born in Tacoma, Washington in 1941 the artist grew up there and studies Interior Design at the nearby University of Washington. After his graduation he enrolled in the country first glass program at the University of Wisconsin. In 1968, he received a Fulbright Scholarship to study glass blowing at the renowned Venini glass factory in Venice, Italy. A the Venini factory, Chihuly was exposed to the team approach to glass blowing that he would go on to incorporate throughout the rest of his career. He later went on to study and receive his second master’s degree from the widely respected Rhode Island School of Design. After his graduation, Chihuly was asked to create and head the school’s first glass department. During this time, he also maintained his Washington roots by beginning the Pilchuck glass school near Stanwood in 1971. It was here he first began significantly pushing the envelope of glass sculpture. He began creating the indoor and outdoor artistic installation which would later go on to become a hallmark of the artist’s work.
During 1971, Chihuly also opened his first exhibition in New York. The work showcased designs influenced by Navajo blanket patterns. The Native American population of the Northwest would go on to play a landmark role in Chihuly’s work, as he would also go on to create a series inspired by their basket work. This famous series known as Baskets and Cylinders was showcased in 1978 at the Smithsonian in Washington D.C. After this exhibit, Dale Chihuly’s career really began to take off. By 1980, he was showcasing in installations, one man shows, and art exhibits around the world including ground breaking shows in Israel and Brazil. In 1983, Chihuly began using more color and abstract shapes in his glass work. His Seaforms were the first to showcase these new techniques. Throughout the 1980s, Chihuly’s glass work expanded both literally through its immense size, and figuratively through its new techniques.
Chihuly’s multitude of artistic experience and knowledge has made him able to combine elements of many disciplines to create a truly one of a kind aesthetic. The weaving technique he uses in many of his glass sculptures is taken from his earlier educator in interior design. Similarly, he also credits his interior design background in being able to conceptualize a three dimensional work and its relationship with the space it occupies. Since the artist experienced a shoulder injury in 1979 and is no longer able to blow glass himself, the artist’s experience in painting and drawing has aided him in showing his team of glassblowers his final vision. His drawings and paintings
Medium: Glass
Size: 8" x 4 1/2"
Year: 1979 etched into the glass
Inscription: Signed by the artist
Condition: Perfect condition with no flaws and minor handling on the base of the sculpture. Dale's signature "Chihuly" into the glass along with 1979 and Baden. Baden refers to where this was blown Baden, Austria.
These pieces were the beginning of the genius that is Chihuly. At this important time the scale of Dale's production was extremely limited making a 79 or earlier Chihuly blanket cylinder extremely hard to find.
In 1979 Chihuly dislocates his shoulder in a bodysurfing accident and relinquishes the gaffer position for good. William Morris becomes his chief gaffer for the next several years. Chihuly begins to make drawings as a way to communicate his designs. Together with Morris, Benjamin Moore, and student assistants Michael Scheiner and Rich Royal, he blows glass in Baden, Austria where this piece was completed.
The ever important Navajo Blanket series Chihuly devised a decorative technique in which he picked up patterns of colored glass threads, inspired by vintage Navajo and Pendleton trade blankets, onto the surface of a cylindrical glass vessel. This series of vessels was called the Navajo Blanket Cylinders.
Chihuly, is known especially for his fine glass work and vibrantly colored original paintings, Dale Chihuly is one of the most famous modern American artists. While his glass work is what made him famous, Chihuly is truly a master of many mediums.
An early interest in art beginning at a young age spurred Chihuly to pursue a long and varied artistic education. Born in Tacoma, Washington in 1941 the artist grew up there and studies Interior Design at the nearby University of Washington. After his graduation he enrolled in the country first glass program at the University of Wisconsin. In 1968, he received a Fulbright Scholarship to study glass blowing at the renowned Venini glass factory in Venice, Italy. A the Venini factory, Chihuly was exposed to the team approach to glass blowing that he would go on to incorporate throughout the rest of his career. He later went on to study and receive his second master’s degree from the widely respected Rhode Island School of Design. After his graduation, Chihuly was asked to create and head the school’s first glass department. During this time, he also maintained his Washington roots by beginning the Pilchuck glass school near Stanwood in 1971. It was here he first began significantly pushing the envelope of glass sculpture. He began creating the indoor and outdoor artistic installation which would later go on to become a hallmark of the artist’s work.
During 1971, Chihuly also opened his first exhibition in New York. The work showcased designs influenced by Navajo blanket patterns. The Native American population of the Northwest would go on to play a landmark role in Chihuly’s work, as he would also go on to create a series inspired by their basket work. This famous series known as Baskets and Cylinders was showcased in 1978 at the Smithsonian in Washington D.C. After this exhibit, Dale Chihuly’s career really began to take off. By 1980, he was showcasing in installations, one man shows, and art exhibits around the world including ground breaking shows in Israel and Brazil. In 1983, Chihuly began using more color and abstract shapes in his glass work. His Seaforms were the first to showcase these new techniques. Throughout the 1980s, Chihuly’s glass work expanded both literally through its immense size, and figuratively through its new techniques.
Chihuly’s multitude of artistic experience and knowledge has made him able to combine elements of many disciplines to create a truly one of a kind aesthetic. The weaving technique he uses in many of his glass sculptures is taken from his earlier educator in interior design. Similarly, he also credits his interior design background in being able to conceptualize a three dimensional work and its relationship with the space it occupies. Since the artist experienced a shoulder injury in 1979 and is no longer able to blow glass himself, the artist’s experience in painting and drawing has aided him in showing his team of glassblowers his final vision. His drawings and paintings