Dale Chihuly

Dale Chihuly Early Cerulean Sand Basket Signed 1979 Hand Blown Glass

$6,900.00
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Description

Artist: Dale Chihuly
Title: Cerulean Sand Basket
Medium: Hand Blown Glass
Size: 6.25" x 8" x 7.625"
Inscription: Signed on bottom "Chihuly 79"
Year: 1979
Documentation: Includes Gallery Certificate of Authenticity

Created in 1979, "Cerulean Sand Basket" represents a significant moment in Dale Chihuly's early exploration of form and surface within his celebrated Basket series. Drawing inspiration from the slumped and time-worn forms of Native American baskets, Chihuly translated these influences into glass, experimenting with gravity, heat, and pliability to achieve organic structures that appear both delicate and enduring.

The work is distinguished by its unusual color palette. While many of Chihuly's Basket series works from this period emphasize subdued earth tones that echo the natural materials of their inspirations, "Cerulean Sand Basket" introduces a striking departure. Around the lip of the vessel, a vivid band of cerulean blue offers a bold contrast to the otherwise sandy, earth-toned body. This same cerulean is echoed in subtle exterior detailing, lending the piece both rhythm and visual tension. The juxtaposition between muted and vibrant tones underscores Chihuly's sensitivity to color as a primary expressive tool, even in his early works.

Measuring just over six inches tall, the piece balances intimacy of scale with a sculptural presence characteristic of Chihuly's hand-blown glass forms. The fluid asymmetry and nuanced surface treatment highlight the artist's experimental approach, allowing the natural processes of heat and gravity to play a central role in shaping the final work.

Inscribed on the underside "Chihuly 79" and accompanied by a gallery Certificate of Authenticity, "Cerulean Sand Basket" embodies both the earth-inspired aesthetic of Chihuly's early practice and the daring use of color that would later define his modern era.


About Dale Chihuly

Dale Chihuly (b. 1941) is an American artist recognized internationally for his pioneering work in glass. Born in Tacoma, Washington, Chihuly initially studied interior design and architecture at the University of Washington, where he was introduced to glassblowing in the early 1960s. His interest in the medium led him to continue his studies at the Rhode Island School of Design (RISD), earning an MFA in sculpture in 1968. That same year, he received a Fulbright Fellowship to study in Venice at the Venini glass factory, where he was exposed to the traditions of Murano glassmaking. His time in Italy reinforced the collaborative approach that would later become central to his practice.

In 1969, Chihuly co-founded the Pilchuck Glass School in Stanwood, Washington, with support from patron Anne Gould Hauberg and philanthropist John Hauberg. Pilchuck quickly became an influential center for glass education and experimentation, attracting artists from around the world. Chihuly's leadership there helped establish the Pacific Northwest as a major hub for glass art.

Chihuly's own work is distinguished by its scale, color, and sculptural innovation. Departing from functional forms, he developed complex installations that transformed glass into immersive environments. Notable series include Cylinders, Baskets, Seaforms, Macchia, Persians, and Chandeliers. His Navajo Blanket Cylinders of the 1970s, which incorporated patterns inspired by Native American textiles, marked an early integration of cultural references into his work. By the 1980s and 1990s, Chihuly increasingly pursued large-scale projects, such as the monumental chandeliers and site-specific exhibitions at venues including the Victoria and Albert Museum in London, the de Young Museum in San Francisco, and the Chihuly Garden and Glass in Seattle.

In 1976, a car accident left Chihuly blind in one eye, and in the 1970s he sustained an injury that limited the use of his shoulder. These circumstances led him to shift away from direct glassblowing toward a more collaborative model, directing teams of skilled assistants to execute his designs. This approach not only enabled the ambitious scale of his work but also redefined the possibilities of glass as a medium of contemporary art.

Chihuly's contributions have been both celebrated and debated within the field of contemporary art. While some critics emphasize the spectacle and accessibility of his work, others underscore its role in challenging the boundaries between craft, design, and fine art. His exhibitions have attracted record-breaking audiences, and his influence has extended into architecture, design, and public art.

Today, Chihuly remains a central figure in contemporary glass. His practice combines technical innovation, collaborative processes, and a commitment to transforming glass into a sculptural and environmental medium. By expanding the scale and context in which glass can be experienced, he has significantly shaped both the perception and practice of studio glass on an international level.

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