Artist: Dale Chihuly
Title: Harbor Blue Macchia with Tangerine Orange Lip Wrap
Medium: Hand Blown Glass
Size: 28.5" x 18" x 16"
Inscription: Signed and dated "Chihuly 1984"
Year: 1984
Documentation: Includes a Gallery Certificate of Authenticity
Provenance: From the collection of Richard Simmons
Created in 1984, Dale Chihuly's immersive "Harbor Blue Macchia with Tangerine Orange Lip Wrap" is a significant example of the Macchia series, which he began in the 1980s. The work measures 28 1/2 inches across, an unusually large size for this period in Chihuly's career. At that time, his studio operated with much smaller glassblowing teams than those that support his monumental works today. The technical challenges of producing glass on this scale with limited assistance underscore the rarity and importance of this piece within the artist's early body of work.
The Macchia series is characterized by Chihuly's exploration of vibrant, layered colors, achieved through experimental glassblowing techniques. In this example, the interior radiates with shades of harbor blue, contrasted by an exterior palette of soft golds and creams. The composition is punctuated by a striking tangerine lip wrap, which defines the undulating, organic rim and highlights the artist's distinctive approach to color and form.
With its scale, palette, and documentation, this work exemplifies both the innovation and ambition of Chihuly's early practice. Coming from the collection of Richard Simmons, it carries provenance that further situates it within the legacy of private collecting of contemporary glass.
About Dale Chihuly
Dale Chihuly (b. 1941) is an American artist whose career has been central to the development of glass as a contemporary art medium. Born in Tacoma, Washington, Chihuly pursued an early interest in design before turning to glass. He studied interior design at the University of Washington, where he first experimented with glassblowing in 1961. After completing a Bachelor of Arts degree in 1965, he enrolled at the University of Wisconsin–Madison, which housed one of the first glass programs in the United States under Harvey Littleton. There, Chihuly earned a Master of Science in sculpture. He continued his training at the Rhode Island School of Design (RISD), receiving a Master of Fine Arts in 1968.
That same year, Chihuly received a Fulbright Fellowship to work at the Venini glass factory in Murano, Italy. This experience introduced him to the traditions of Venetian glassmaking and to the collaborative studio model, which would become a hallmark of his practice. Upon returning to the United States, Chihuly co-founded the Pilchuck Glass School in Stanwood, Washington, in 1971 with Anne Gould Hauberg and John Hauberg. Pilchuck grew from an experimental summer workshop into a leading center for glass education and innovation, attracting artists from around the world.
Chihuly's own work is distinguished by its exploration of organic form, scale, and color within glass. Beginning in the 1970s, he created series such as Cylinders and Baskets, which demonstrated his interest in pushing glass beyond functional objects toward sculptural expression. Later series, including Seaforms, Macchia, Persians, and Ikebana, further developed these ideas, often inspired by natural systems, botany, and global craft traditions. The Chandeliers and Installations of the 1980s and 1990s brought monumental scale to his work, often filling architectural spaces with suspended or sprawling glass structures.
A significant moment in Chihuly's career came after an accident in 1976, in which he lost sight in his left eye. A subsequent shoulder injury limited his ability to blow glass directly. These changes led him to adopt a team-based approach in the studio, working with assistants to realize his designs. This method allowed Chihuly to increase the scale and ambition of his projects, emphasizing the role of collaboration in contemporary glass practice.
Chihuly's work has been exhibited widely in museums, galleries, and site-specific installations. His projects include displays in historic venues such as the Victoria and Albert Museum in London and the Louvre in Paris, as well as outdoor installations in botanical gardens across the United States and abroad. In 1992, his Chihuly Over Venice project involved the creation of glass sculptures in collaboration with glassblowers in Finland, Ireland, and Mexico, culminating in their installation throughout Venice. In 1999, Chihuly in the Light of Jerusalem drew international attention with large-scale outdoor glass installations.
In addition to his work in glass, Chihuly has engaged in drawing and painting, often as part of his design process. His two-dimensional works, executed in acrylic, watercolor, and mixed media, are valued both as independent artworks and as extensions of his sculptural practice.
Chihuly's influence extends beyond his individual achievements. Through Pilchuck and his collaborative model, he has helped shape the trajectory of contemporary glass, supporting its recognition as a significant medium within modern and contemporary art. His work is represented in numerous public and private collections, including the Smithsonian American Art Museum, the Metropolitan Museum of Art, and the Corning Museum of Glass.
Today, Chihuly continues to live and work in Seattle. His career demonstrates the integration of traditional glassmaking techniques with experimental approaches, situating him as a key figure in the history of late 20th- and early 21st-century art.
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