Dale Chihuly Imperial Iris Persian Portland Press Signed Edition Handblown Glass

Artist: Dale Chihuly
Title: Imperial Iris Persian
Medium: Hand Blown Glass Sculpture
Persian Size: 7.5"h × 13.75"w × 11"d
Element Size: 2" x 4.5" x 4.5"
Year: 1999
Inscription: Signed and dated "Chihuly PP 99" For Portland Press 1999
Documentation: Gallery Certificate of Authenticity

"Imperial Iris Persian" exemplifies Dale Chihuly's sustained exploration of form, color, and movement within his celebrated Persian series, a body of work that emerged in the late 1980s and remains central to his artistic legacy. Characterized by exuberant profiles, undulating rims, and layered chromatic effects, the Persian works reflect Chihuly's interest in historical glass traditions while asserting a distinctly contemporary visual language.

Created in 1999, "Imperial Iris Persian" belongs to a period in which Chihuly had fully embraced a collaborative studio model, directing teams of skilled glassblowers to realize increasingly ambitious works. This approach enabled the production of technically complex forms that would be difficult for a single artist to execute alone, aligning Chihuly's practice with historical workshop traditions while challenging conventional notions of authorship in studio glass.

"Imperial Iris Persian" is a hand blown glass sculpture measuring 7 1/2 by 13 3/4 by 11 inches. It is signed and dated "Chihuly PP 99", indicating its creation under the Portland Press designation used for Chihuly's studio glass editions at the time. The work is accompanied by a gallery issued Certificate of Authenticity. Through its commanding form and vibrant surface, this sculpture exemplifies Chihuly's ability to transform molten glass into a medium of expressive, sculptural intensity.

About Dale Chihuly

Dale Chihuly is an American artist internationally recognized for transforming the field of contemporary glass through large scale installations, innovative forms, and a collaborative studio practice that has reshaped perceptions of the medium. Born in 1941 in Tacoma, Washington, Chihuly emerged as a central figure in the Studio Glass movement, a movement that emphasized glass as a primary artistic medium rather than a decorative or industrial craft. Over the course of his career, Chihuly has expanded the expressive and architectural potential of glass, positioning it firmly within the canon of fine art.

Chihuly studied interior design and sculpture before earning degrees in glass from the University of Wisconsin Madison and the Rhode Island School of Design. He later studied at the Venini glass factory in Murano, Italy, where he was exposed to traditional Venetian glassblowing techniques and the collaborative workshop model that would profoundly influence his practice. In 1971, Chihuly co founded the Pilchuck Glass School in Stanwood, Washington, which became a pivotal institution for the education and advancement of glass artists worldwide.

Early in his career, Chihuly explored vessel forms, baskets, and architectural compositions, gradually moving away from functional objects toward sculptural abstraction. His work became increasingly ambitious in scale and complexity, incorporating bold color, fluid line, and organic forms inspired by natural phenomena such as sea life, flowers, and landscapes. Series such as Baskets, Seaforms, Persians, Macchia, and Chandeliers exemplify his ability to combine technical virtuosity with expressive freedom, often resulting in immersive environments rather than isolated objects.

A turning point in Chihuly's career occurred in 1976, when a car accident left him blind in one eye, followed shortly by a shoulder injury that limited his ability to physically blow glass. These events prompted a shift toward a fully collaborative studio model in which Chihuly assumed the role of designer and director, working closely with teams of skilled artisans to realize his vision. This approach challenged traditional notions of authorship in glassmaking and aligned his practice more closely with historical models of artistic production found in architecture and large scale sculpture.

In addition to glass sculpture, Chihuly has produced significant bodies of work in drawing, painting, and printmaking, often using these media as tools for experimentation and conceptual development. His paintings and works on paper reveal the gestural energy and color sensibility that underpin his glass installations, offering insight into his creative process.

Through innovation, scale, and sustained experimentation, Dale Chihuly has redefined the possibilities of glass as an artistic medium. His work continues to occupy a prominent place in contemporary art, bridging craft traditions and fine art discourse while reaching a broad international audience.