Core-Formed Vase

Notice of Upcoming Content and Access Change

The Museum is working on the future of our online collections access. A new version will be available later in 2023. During this transition period, the current version of the Collections Browser may have reduced functionality and data may be not be updated. We apologize for any inconvenience this may cause. For any questions or concerns, please contact us.

What is AAT?

The Art & Architecture Thesaurus (AAT) (r) is a structured vocabulary for generic concepts related to art and architecture. It was developed by The Getty Research Institute to help research institutions become consistent in the terminology they use.Learn More

Object Name: 
Core-Formed Vase
Place Made: 
Accession Number: 
Overall H: 10.7 cm; Shoulder Diam: 5 cm
Not on Display
probably 1400-1300 BCE
Credit Line: 
The Corning Museum of Glass
Web Description: 
The technique of core forming, which was introduced around the middle of the 16th century B.C., was used to fashion some of the first glass vessels. Core forming involves the application of glass to a removable core supported by a rod. There is no consensus about how this was accomplished. Some scholars believe that the glassmaker wound trails (strands) of molten glass around the core or dipped the core into molten glass. Others suggest that a paste of powdered glass was applied to the core and fused with heat. After forming, the object was removed from the rod and annealed (slowly cooled to room temperature). When the object had been annealed, the core was removed by scraping.
Sangiorgi, Giorgio (Italian, 1886-1965), Former Collection
Sangiorgi, Sergio (Italian), Source
Primary Description: 
Core-Formed Vase. Turquoise glass matrix with applied and marvered threads of opaque cobalt blue, opaque yellow, and opaque white glass; core-formed, trail decorated and tooled. Rim flared out by tooling, decorated with two thin trails of applied translucent cobalt blue glass which had been reheated to flow together, short wide cylindrical neck spreads out into inverted long ovoid body with greatest diameter just below the shoulder; a heavy trail of yellow glass spirally wound with white and cobalt blue is placed in relief at the point where the neck spreads out to form the body which tapers toward the foot and is decorated with two registers of trails, the upper one beginning just above the greatest diameter and accenting this area with nine trails beginning with yellow and alternating with a blue trail, ending the register in a single white trail which has been carefully applied; the vessel bottom repeats this pattern, leaving a register in the center of the vessel undecorated; the lower register is smaller beginning with a yellow trail, two blue trails, one white, one blue, and ending with a second yellow trail; both areas have been dragged alternately up and down 19 times in order to create an elaborate feathered or festooned pattern; two small trail handles of yellow glass were applied over the pattern on the shoulder, almost directly opposite each other but are now missing; the transition at the bottom of the vessel is accented by a trail of opaque white glass spirally wound with transparent turquoise and left in relief as the trail around the neck; the base is tooled and pulled out from the body of the vessel and the rounded edge is highlighted with a trail of cobalt blue glass.
A Wonder to Behold: The Power of Craftsmanship and the Creation of Babylon’s Ishtar Gate
Institute for the Study of the Ancient World 2019-11-06 through 2020-05-24
"A Wonder to Behold: Craftsmanship and the Creation of the Ishtar Gate at Babylon" will examine the skilled and ritually transformative power of craftsman in the ancient Near East through the lens of the Ishtar Gate. Built by Nebuchadnezzar II (ruled 604 -- 562 B.C.) as a monumental entry way into the capital city of Babylon, the Ishtar Gate is composed of individually molded, colorful glazed ceramic bricks. Technologies of glaze and glass were intricately linked at this time, with the materials and their craftsman consider the most magical or alchemical for their ability to transform mundane raw materials of clay and sand into luminous objects. Along with surviving pieces of the Ishtar Gate and archival materials from its excavation, the exhibition will feature inscribed, stamped, and glazed bricks, clay and glass figurines, ancient glass objects, materials in their raw forms, and examples of modern craft traditions of mudbrick and glass.
Designs in Miniature: The Story of Mosaic Glass
Corning Museum of Glass 1995-06-03 through 1995-10-22
Treasures from The Corning Museum of Glass
Yokohama Museum of Art 1992-10-12 through 1992-12-13
Masterpieces of Glass from The Corning Museum of Glass
National Gallery of Art 1990-12-02 through 1991-04-14
The Art of Glass: Masterpieces from The Corning Museum of Glass
IBM Gallery 1989-12-12 through 1990-02-02
National Gallery of Art 1990-12-09 through 1991-04-14
Decorative and utilitarian works from the Corning Museum of Glass, surveying 35 centuries of glass-making technology and stylistic developments from ancient Egyptian, Roman, Islamic, and Asian cultures to contemporary American and European examples. The works were selected by Corning Museum staff members Dwight P. Lanmon, director and curator of European glass; David B. Whitehouse, curator of ancient and Islamic glass; Jane Shadel Spillman, curator of American glass; and Susanne K. Frantz, curator of 20th-century glass.
Nochmals über antike Glaspasten: Glas, basta (2016) illustrated, p. 311 (ABB. 2); BIB# AI102875
Fragiles y asombrosos (2014-05) illustrated, p. 39, lower;
Entrevista: Frágiles y asombrosos (2014-05) illustrated, p. 39 (bottom); BIB# AI98593
Core Formed Vase (adult) (2011)BIB# 131481
Core Formed Vase (Family) (2011)BIB# 131490
The Glassmen of Murano: "Born of Fire" (2011) illustrated
Glass, Knocking at the Door of Art (2010) illustrated, p. 19; BIB# 115616
Window, mirror, and prism (2009-01) illustrated, p. 126; BIB# AI77118
Richard La Londe and Friends (2009) illustrated, p. 16; BIB# 112312
Arte de vidriocontemporaneo usando el soplete (2006) illustrated, p. 13, top left;
Flameworking Through the Ages (2006) illustrated, p. 2 (center); BIB# 94524
Tesori del Vetro al Corning Museum of Glass (2005-12) illustrated, pp. 18-19; p. 18, fig. 2; BIB# AI67739
Glass: making use of the secrets of matter (2003) illustrated, p. 30; BIB# 76451
Richards Complete Bible Dictionary (2002) illustrated, cover; p. 167 (left center); BIB# 73428
Objects of Fantasy: Glass Inclusions of the Nineteenth Century (2001) illustrated, p. 45, #23; BIB# 68390
Beauty of Glass (2000) illustrated, p. 22; BIB# 77736
Clearly Inspired: Contemporary Glass and Its Origins (1999) illustrated, p. 14; BIB# 61797
Quick Success Stained Glass (1999) illustrated, p. 213; BIB# 66971
The Magic and Mystery of Glass (1998) illustrated, p. 65;
Contemporary Lampworking: A Practical guide to Shaping Glass in the Flame (1997) illustrated, p. 2;
Fantasy of Glass = Genso no garasu (1997) p. 7; BIB# 40979
The Ancient History of Warm Glass (1997) illustrated, p. 24;
Designs in Miniature: The Story of Mosaic Glass (1995) illustrated, p. 9, Fig. 6; BIB# 26765
Glass Act (1993-09) p. 242;
Treasures from The Corning Museum of Glass (1992) illustrated, p. 10, #1; p. 246; BIB# 35679
The Revell Bible dictionary (1990) illustrated, dust jacket; p. 167 (left center); BIB# 65501
Masterpieces of Glass: A World History From The Corning Museum of Glass (1990) illustrated, pp. 18-19, pl. 1; BIB# 33819
L'Histoire du Verre: A Travers Les Tresors du Musee de Corning (1990) illustrated, p. 56;
A Heart of Stone: A final resting place for America's nuclear waste (1989-09) illustrated, p. 8;
Yearbook of Science and the Future 1987 (1986) illustrated, p. 229; BIB# 2077
Ejiputo no kodai garasu (1985) illustrated, p. 125 (XXXVII-5a) b/w; BIB# 86735
Appointments 1982 (1981) illustrated, Front cover; p. 2; BIB# 67110
Pre-Roman and Early Roman Glass in The Corning Museum of Glass (1979) illustrated, p. 60, #26, pls. 1, 37; BIB# 29547