Goblet Vase

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Object Name: 
Goblet Vase
Accession Number: 
Overall H: 20.1 cm, Diam (max): 13.5 cm; Rim Diam: 7 cm; Foot Diam: 8 cm
Not on Display
Primary Description: 
Goblet vase. Colorless, with opaque white filigrana ribbons. Blown, mold-blown; tooled. Almost spherical bowl with slightly flaring, fire-polished rim, supported by five knobbed stem that ends at top and bottom in colorless glue-bit; conical, flaring foot with rim strengthened by applied ribbon of colorless glass. Bowl is decorated with opaque white vetro a fili canes and mold-blown with frieze depicting two pairs of lions between bands, flanking undecorated cartouche. Stem and foot are made of opaque white vetro a retorti canes with vertical filigrana ribbons; at stem, vertical ribbons alternate with groups of three threads, slightly swirling at knobs; at foot, swirling ribbons alternate with bands of crossed threads. Top and bottom parts of bowl are gadrooned.
Arthur Churchill (Glass) Ltd., Source
Metropolitan Museum of Art 2014-12-09 through 2015-04-13
Corning Museum of Glass 2015-05-16 through 2016-01-04
At the end of the first century B.C., glassmakers working in the environs of Jerusalem made a revolutionary breakthrough in the way glass was made. They discovered that glass could be inflated at the end of a hollow tube. This technical achievement—glassblowing—made the production of glass vessels much quicker and easier, and allowed glassmakers to develop new shapes and decorative techniques. One technique, inflating glass in molds carved with decorative and figural designs, was used to create multiple examples of a variety of vessel shapes with high-relief patterns. The molds used to shape this ancient glass were complex in their design, and the mold-blown glass vessels of ancient Rome tell a wealth of stories about the ancient world, from gladiators to perfume vessels, from portraits of a Roman empress to oil containers marked with the image of Mercury, Roman god of trade. Among the earliest workshops to design and create mold-blown glass was one in which a man named Ennion worked. Ennion was the first glassmaker to sign his glass objects by incorporating his name into the inscriptions that formed part of the mold’s design, and thus he stands among a small group of glass workers whose names have come down to us from antiquity. On view through January, 4, 2016, Ennion and His Legacy, is composed of mold-blown master works by Ennion and other Roman glassmakers. The works are drawn from the Corning Museum’s collection of Roman glass, one of the finest in the world. Within the larger exhibit is a smaller exhibit organized by The Metropolitan Museum of Art, Ennion: Master of Roman Glass, which focuses specifically on works made by Ennion. Composed of loans from a number of international institutions and private collections this exhibit within an exhibit brings together many of the known examples of Ennion’s wares and will be on view through October 19, 2015.
The Triumph of humanism: a visual survey of the decorative arts of the Renassaince
California Palace of Legion of Honor 1977-10-22 through 1978-01-08
Islam and the Medieval West
University Art Museum, Binghamton 1975 through 1975
Il Vetro Veneziano (1982) illustrated, p. 98, fig. 87; BIB# 30775
The Triumph of Humanism (1977) p. 90, #199; BIB# 21145
Islam and the Medieval West (1975) illustrated, no. G32; BIB# 18974
Glass Through The Ages (Rev. Ed.) (1969) illustrated, pl. 24d;
Glass Through the Ages (Revised) (1959) illustrated, pl. 24d; BIB# 65361
Three Great Centuries of Venetian Glass (1958) illustrated, #69; BIB# 63296
Glass Through the Ages (1st Ed.) (1948) illustrated, p. 75 and pl. 16d; BIB# 18668