Fine Art Poster
From $29
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Zebra and Parachute - Christopher Wood
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
Secure checkout
Made to order
Description
Christopher Wood's 'Zebra and Parachute' presents a surreal scene with a restrained colour palette. The juxtaposition of the zebra and parachute creates an unsettling and dreamlike quality.
Christopher 'Kit' Wood (1901-1930) was a British painter known for his association with the avant-garde art scene between the wars. His style blended influences from various sources, including folk art, Cubism, and the work of the School of Paris. Wood's life was tragically cut short, but his artistic output remains a significant contribution to British modernism. 'Zebra and Parachute' exemplifies Wood's distinctive approach. The painting depicts a zebra standing in what appears to be a stark, almost industrial setting, with a parachute and figure descending in the background. The colour palette is restrained, dominated by whites, greys, and browns, which lends the scene a somewhat dreamlike quality. The juxtaposition of the exotic zebra with the modern parachute creates a surreal and unsettling effect. The architectural elements are simplified, almost abstracted, contributing to the overall sense of unease and mystery. The painting's composition is carefully balanced, with the zebra acting as a central anchor, drawing the viewer's eye across the canvas.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Complete The Look
Zebra and Parachute - Christopher Wood
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Christopher Wood
Christopher Wood died at 29, throwing himself in front of a train at Salisbury station on 21 August 1930. The tragedy cut short one of the most distinctive careers in British modernism: a painter who had charmed Picasso and Diaghilev in Paris, spent summers chasing paintable light along the Breton coast, and co-discovered the self-taught mariner Alfred Wallis in a St Ives backstreet.
Born in Knowsley, Liverpool in 1901, Wood abandoned medicine to study at the Académie Julian in Paris from 1921. The social world he entered was remarkable: he moved through Cocteau's circle and was taken up by Diaghilev's Ballets Russes, even designing sets for a production that was never staged. By the mid-1920s he had joined both the London Group and the Seven and Five Society, painting alongside Ben and Winifred Nicholson.
His breakthrough came partly through patronage. Lucy Wertheim began buying his work after his 1929 solo exhibition at Tooth's Gallery on Bond Street and was planning his first major retrospective for October 1930 when he died. His final summers in Brittany produced some of his finest paintings: harbour scenes and chapels rendered with a directness that owed something to Wallis, something to Post-Impressionism, and a great deal to his own particular handling of colour.
Wood never lived to see how thoroughly his reputation would hold. Posthumous exhibitions followed in 1931 and 1932, and works appeared in the 1938 Venice Biennale. His gravestone at Salisbury was carved by Eric Gill. Today his Breton coastal scenes command six-figure sums at auction, reflecting the sustained appeal of that short, fractured career.
Born in Knowsley, Liverpool in 1901, Wood abandoned medicine to study at the Académie Julian in Paris from 1921. The social world he entered was remarkable: he moved through Cocteau's circle and was taken up by Diaghilev's Ballets Russes, even designing sets for a production that was never staged. By the mid-1920s he had joined both the London Group and the Seven and Five Society, painting alongside Ben and Winifred Nicholson.
His breakthrough came partly through patronage. Lucy Wertheim began buying his work after his 1929 solo exhibition at Tooth's Gallery on Bond Street and was planning his first major retrospective for October 1930 when he died. His final summers in Brittany produced some of his finest paintings: harbour scenes and chapels rendered with a directness that owed something to Wallis, something to Post-Impressionism, and a great deal to his own particular handling of colour.
Wood never lived to see how thoroughly his reputation would hold. Posthumous exhibitions followed in 1931 and 1932, and works appeared in the 1938 Venice Biennale. His gravestone at Salisbury was carved by Eric Gill. Today his Breton coastal scenes command six-figure sums at auction, reflecting the sustained appeal of that short, fractured career.
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Made to order
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Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From $89
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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Artist Biography
Christopher Wood
Christopher Wood died at 29, throwing himself in front of a train at Salisbury station on 21 August 1930. The tragedy cut short one of the most distinctive careers in British modernism: a painter who had charmed Picasso and Diaghilev in Paris, spent summers chasing paintable light along the Breton coast, and co-discovered the self-taught mariner Alfred Wallis in a St Ives backstreet.
Born in Knowsley, Liverpool in 1901, Wood abandoned medicine to study at the Académie Julian in Paris from 1921. The social world he entered was remarkable: he moved through Cocteau's circle and was taken up by Diaghilev's Ballets Russes, even designing sets for a production that was never staged. By the mid-1920s he had joined both the London Group and the Seven and Five Society, painting alongside Ben and Winifred Nicholson.
His breakthrough came partly through patronage. Lucy Wertheim began buying his work after his 1929 solo exhibition at Tooth's Gallery on Bond Street and was planning his first major retrospective for October 1930 when he died. His final summers in Brittany produced some of his finest paintings: harbour scenes and chapels rendered with a directness that owed something to Wallis, something to Post-Impressionism, and a great deal to his own particular handling of colour.
Wood never lived to see how thoroughly his reputation would hold. Posthumous exhibitions followed in 1931 and 1932, and works appeared in the 1938 Venice Biennale. His gravestone at Salisbury was carved by Eric Gill. Today his Breton coastal scenes command six-figure sums at auction, reflecting the sustained appeal of that short, fractured career.
Born in Knowsley, Liverpool in 1901, Wood abandoned medicine to study at the Académie Julian in Paris from 1921. The social world he entered was remarkable: he moved through Cocteau's circle and was taken up by Diaghilev's Ballets Russes, even designing sets for a production that was never staged. By the mid-1920s he had joined both the London Group and the Seven and Five Society, painting alongside Ben and Winifred Nicholson.
His breakthrough came partly through patronage. Lucy Wertheim began buying his work after his 1929 solo exhibition at Tooth's Gallery on Bond Street and was planning his first major retrospective for October 1930 when he died. His final summers in Brittany produced some of his finest paintings: harbour scenes and chapels rendered with a directness that owed something to Wallis, something to Post-Impressionism, and a great deal to his own particular handling of colour.
Wood never lived to see how thoroughly his reputation would hold. Posthumous exhibitions followed in 1931 and 1932, and works appeared in the 1938 Venice Biennale. His gravestone at Salisbury was carved by Eric Gill. Today his Breton coastal scenes command six-figure sums at auction, reflecting the sustained appeal of that short, fractured career.
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