A Charles Schneider glass vase, France, 1920s, a blown vase of…
click the photo to enlarge
A Charles Schneider glass vase, France, 1920s, a blown vase of ovoid form with a short neck and a wide flat rim in orange with inclusions and striations in brown, purple and buff, with a ground pontil and the etched signature of Schneider to lower bowl. Height 23 cm

You must be a subscriber, and be logged in to view price and dealer details.

Subscribe Now to view actual auction price for this item

When you subscribe, you have the option of setting the currency in which to display prices to $Au, $US, $NZ or Stg.

This item has been sold, and the description, image and price are for reference purposes only.
  • Inclusions - Inclusions in glass objects refer to small, often irregularly shaped particles or bubbles that are trapped within the glass during the manufacturing process. These inclusions can be intentional or unintentional, and can range in size, shape, and composition.

    Intentional inclusions are often added to the glass for decorative purposes, and can include materials such as colored glass, metallic foils, or even small mementos like photographs or other objects. These intentional inclusions are typically added to the glass while it is still in a molten or semi-molten state and are then moulded or blown into the final shape of the object.

    Unintentional inclusions, on the other hand, are typically the result of impurities or air bubbles that become trapped within the glass during the manufacturing process. These inclusions can be seen as small specks or bubbles within the glass, and can sometimes be a sign of poor quality control during production.

    While intentional inclusions can be a desirable feature of some glass objects, unintentional inclusions can sometimes be seen as a defect, and can reduce the value of a piece. However, in some cases, certain types of unintentional inclusions can actually increase the value of a piece, such as with antique glass that contains bubbles or other imperfections that are characteristic of the time period in which it was made.
  • Pontil Mark - A pontil mark, also known as a pontil scar, is a distinctive mark or scar found on the base of certain types of glass. It is a remnant of the glassblowing process and is particularly associated with handcrafted items made prior to the widespread use of automated manufacturing.

    The pontil mark is created during the final stages of production. After the glassblower has shaped and formed the glass object, it is removed from the blowing iron. At this point, the glass object is often attached to a solid rod called a pontil rod or punty for further shaping, finishing, or attaching additional components. The attachment point is typically at the base of the object.

    Once the glass item is complete, it is detached from the pontil rod, leaving behind a mark or scar on the base. This mark can take various forms, such as a rough or irregular surface, a concave or slightly recessed area, or a small circular scar. The presence of a pontil mark indicates that the item was handcrafted rather than mass-produced.

    Collectors and historians often use pontil marks as clues to determine the age, authenticity, and production methods of glass or ceramic pieces. Different types of pontil marks may suggest different techniques used in the production process. For example, an open pontil mark is one where the scar is left as an exposed, roughened area, while a closed pontil mark occurs when the scar is smoothed or covered in some way. It's important to note that not all handcrafted glass items have pontil marks, as some artisans developed alternative methods for finishing their work. In Edwardian times the pontil mark was oftern ground off leaving a concave circle in the centre of the base of the object.

    The use of pontil marks diminished with the advent of industrialization and automated manufacturing processes in the 19th and 20th centuries.

  • Etched - Glass decorated with an etched design, which is achieved through marking out the pattern, protecting the area that is not be etched, and then immersing the object in acid to dissolve the surface of the unprotected area. With some glass objects, such as cameo glass, there may be several layers of different coloured glass, and part of the top layer is dissolved leaving the bottom layer as the background. The longer the time of exposure of the object to acid, the deeper the etching.

    The word etching is also sometimes used to describe another method of decoration, where wheel grinders were used decorate the surface, but this technique is usually known as engraving.
  • Oviform /ovoid - The outline loosely resembling the shape of an egg.

This item has been included into following indexes:

Visually similar items

Large Royal Doulton 'Flambe Viened' vase, of handsome proportions, with baluster body, decorated with black swirls on a red ground,

Sold by in for
You can display prices in $Au, $US, $NZ or Stg.

A Vibrant cased glass Art Deco vase by Degue, circa 1930s, the slender barrel shaped vase with a compressed rim, in molten mid green colours flowing to tangerine and deep orange, with a polished pontil, etched Degue to the lower body, height 36.5 cm

Sold by in for
You can display prices in $Au, $US, $NZ or Stg.

A Royal Doulton flambe baluster shape vase, circa 1925, by Fred Moore, stamped Royal Doulton England, Flambe, Made in England, F.M, 16 cm high

Sold by in for
You can display prices in $Au, $US, $NZ or Stg.

Len Castle shino glazed vase, rope impressed decoration, impressed potter's mark, c.1970. Height 22 cm

Sold by in for
You can display prices in $Au, $US, $NZ or Stg.