The Poggianti-Schulman Wall exhibits all the key elements of Chihuly’s architectural Persian wall sculptures of the period 1988 to 1992: limit-defying scale, elastic form, vibrant concentric layers of color complimented with lip wraps, and integral lighting producing exaggerated colored shadows.

An Exceptional Persian Installation

The Poggianti-Schulman Wall

Chihuly developed his Persian series in the 1980s and it has since become one of the most evocative of his prodigious career. He describes Persian as “the most difficult series to describe,” as it began as an exploration of geometric forms, but, along the way, took on the organic, undulating shapes for which Chihuly is celebrated. The Persian series reached its mature point, after nearly a decade of experimentation, around the time when the present lot was created. Chihuly’s works are inspired by but do not directly quote nature’s forms, and instead push them to imaginative realms. The radiating lines and saturated colors in the Persian series recalls the repetition and density of decoration found in Persian miniatures and tiles, as well as the magnificent Safavid mosques of the 16th and 17th century; the accumulation of line, form and color combine to create transformational spaces. The end result of these explorations are distinctly Chihuly: the three rondels, massive in scale, nested and swelling, protrude from the wall and are lit from behind, casting an ethereal presence.

Commissioned in 1991, the Persian Installation from the Poggianti-Schulman Wall scales these stunning scenes into an intimate encounter with the artistry and ambition inherent in Chihuly’s work.

The Persian series is important in Chihuly’s body of work and has become a spectacular mainstay of his museum exhibitions (most similar to the present lot is the Venturi Window at the Seattle Art Museum, 1992). Commissioned in 1991, the Persian Installation from the Poggianti-Schulman Wall scales these stunning scenes into an intimate encounter with the artistry and ambition inherent in Chihuly’s work.

I take this ancient material, which is blown with human breath—this magical material—to some new place.

Dale Chihuly

Dale Chihuly b. 1941

American glass sculptor and entrepreneur Dale Chihuly is among the most well-regarded glass artists of the 20th and 21st Century.

Dale Chihuly’s academic career began at the University of Washington where he earned a BA in Interior Design in 1965. He then went on to attend the University of Wisconsin-Madison, where he studied under Harvey Littleton, founder of the first formal glass program in the United States. He graduated in 1967 with a Master of Science in Sculpture before moving on to the Rhode Island School of Design (RISD) where he received a Master of Fine Arts in Sculpture in 1968. He would later return to RISD to establish a glass program and teach for many years.

After earning his third degree, Chihuly sojourned in Venice where he worked in the factory of Paolo Venini, a key architect of the 20th century design aesthetic and one of the leading producers of mid-century Murano glass. It was in Venini’s studio on the island of Murano that Chihuly first witnessed the team approach to blowing glass, a practice that would become an integral part of his work in the years to come. Though he returned to the United States to teach, Chihuly continued to travel the world to meet and learn from like-minded artists.

In 1976, Chihuly was involved in an auto accident that resulted in the loss of his left eye, greatly limiting his sense of visual depth. Chihuly’s ability to create was further impaired by a bodysurfing accident in 1979 that left him unable to hold the glassblowing pipe. The injuries sustained in these two incidents forced Chihuly to hire others to assist. In a 2006 interview Chihuly explained, "Once I stepped back, I liked the view." This new perspective allowed Chihuly to anticipate problems sooner and work more efficiently. Additionally, working with a team of master glassblowers enabled Chihuly’s studio to produce glass art on a scale and quantity that would be inconceivable for a single artist working alone.

Though Chihuly has worked in multiple mediums including charcoal, acrylic, and graphite, it is his large and vibrantly colored glass sculptures and installations for which he is best known. These include his “Seafoam Series,” of thin, wavy translucent glass forms sporting bold bands and splashes of color, his “Ikebana Series” of naturally inspired ‘glass flowers,’ and his series of massive and stunningly intricate chandeliers.