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Pontil mark

A pontil mark is the irregular scar or rough patch characteristically left on the base of a hand-blown glass vessel upon detachment from the pontil rod, a essential tool in traditional glassmaking for holding and manipulating the object during shaping and finishing.^[1]^[2] The pontil, also referred to as a punty, consists of a solid metal rod—often iron—tipped with a wad of hot glass that is attached to the vessel's base after the initial blowing stage on the blowpipe, enabling further refinement such as opening the mouth, adding decoration, or forming the foot.^[1]^[3] Once the piece is complete, it is scored and snapped free from the pontil, resulting in the mark's formation, which may also contribute to a stabilizing "kick" or indentation in the base to prevent cracking during annealing.^[2]^[3] Pontil marks exhibit considerable variation in form, ranging from ring-shaped or circular scars to jagged, protruding, indented, rough, or even smoothed surfaces, influenced by factors such as the attachment method, regional practices, and whether the mark was subsequently polished by reheating.^[1]^[3] For instance, in some cases, metallic residue from the rod or chips in the glass may remain visible, while larger objects might show more pronounced projections for secure handling.^[3] Historically, pontil marks trace back to ancient glassblowing techniques but became widespread in the early Islamic period (7th–8th century), continuing traditions from Byzantine and Sasanian artisans, and remained a hallmark of handmade European glass production from the medieval era through the 19th century.^[2]^[3] In contexts like Bohemian goblets or Islamic vessels, the mark's characteristics—such as depth or edge sharpness—reveal specific workshop methods, including free-blowing or reheating for attachments.^[3] Today, the presence of a genuine pontil mark serves as a diagnostic feature for identifying authentic pre-machine-era glass, distinguishing it from mass-produced items that lack such scars.^[1]^[2]

Definition and Formation

Description of Pontil Marks

A pontil mark is the irregular scar or rough patch left on the base of a blown glass vessel where the pontil rod—also known as a ponty or punty—was attached during the final shaping and then detached by breaking.^[1]^[4] This remnant serves as a direct trace of the hand-blown glassmaking process, where the pontil rod, a solid metal tool often tipped with molten glass, grips the vessel's base after initial blowing on the blowpipe to allow further manipulation and finishing.^[1] Physically, pontil marks are typically circular or ring-shaped, with diameters typically ranging from 2 to 5 cm (or up to 7 cm for larger vessels), though the exact size varies based on the vessel and attachment method.^[4] Their surfaces often appear rough and uneven, featuring glassy fragments, sharp edges, oxidation, or discoloration from the detachment; in some cases, embedded iron oxide residue or scattered sand grains may be present if alternative tipping materials were used on the rod. However, these marks may be subsequently smoothed through fire-polishing or grinding, resulting in a less rough appearance.^[4]^[5] These characteristics distinguish pontil marks from other base features, such as mold seams—which are linear traces from mold alignment—or kick-up bases, which are intentional indentations for stability formed during molding rather than from manual rod detachment.^[4]^[6] The terms "pontil scar" and "pontil mark" are frequently used interchangeably in glassmaking literature to describe this basal remnant, though "scar" may emphasize the raw, broken appearance immediately after detachment, while "mark" refers more broadly to the finished, visible trace on the cooled vessel.^[1]^[4]

Process of Formation in Glassblowing

In traditional hand-blown glass production, the process begins with the glassblower gathering a portion of molten glass from the furnace onto the end of a blowpipe, a long metal tube. This gather is then blown into a preliminary bubble shape through controlled bursts of air, while the glass is periodically reheated in the glory hole to maintain plasticity and manipulated using tools such as jacks to refine the form. Once the upper portion of the vessel is sufficiently shaped, the piece requires transfer to allow work on the base and further detailing.^[7]^[5] The attachment of the pontil rod occurs at this transfer stage. The base of the hot vessel is reheated to ensure it is soft and adhesive, after which a solid metal rod—typically made of iron and often tipped with a fresh gather of molten glass—is pressed firmly against it. This molten gather acts as a glue, fusing the rod to the base and providing a secure hold, enabling the glassblower to remove the blowpipe from the opposite end by cracking it off, often aided by a swift reheating or cooling to induce a clean break. With the vessel now supported solely by the pontil rod, the glassblower can rotate it for additional shaping, such as opening the base, adding handles, or refining the rim, all while the piece is reheated as needed to counteract cooling.^[8]^[5]^[9] Detachment follows completion of the shaping. The connection between the vessel and the pontil rod is typically broken by allowing it to cool slightly to create thermal stresses that facilitate a snap, or by reheating the joint to soften the glass and then applying a twisting or tapping motion to separate them. This abrupt break leaves a rough scar on the base due to the uneven fracture of the molten glass gather, resulting from the differential contraction between the cooling glass and the metal rod. In some cases, the pontil rod may be used without a glass gather, directly affixing via the heated metal to produce variations in the mark's appearance, though the core mechanic remains the thermal manipulation for secure holding and release. This technique was predominant in pre-industrial glassmaking, where manual control over the viscous molten material defined the craft.^[7]^[8]^[5]

Historical Development

Origins and Early Use

The origins of the pontil mark trace back to the invention of glassblowing in the 1st century BCE along the Syro-Judean coast, where this technique revolutionized glass production by allowing for faster and more versatile vessel creation compared to earlier core-forming methods.^[7] Excavated Roman vessels from the mid-1st century CE onward frequently exhibit pontil-like scars on their bases, resulting from the attachment and subsequent removal of a metal rod used to manipulate the molten glass after it was detached from the blowpipe.^[8] This marked a pivotal transition from labor-intensive core-forming, which involved wrapping molten glass around a core on a rod, to free-blowing, enabling the production of thinner, more intricate forms like bottles and bowls without molds.^[7] This Roman innovation continued into the Byzantine Empire (4th–15th centuries CE), where glassblowing techniques, including the use of the pontil rod, persisted in production centers such as Constantinople and Syria. Byzantine vessels often feature pontil scars similar to Roman examples, supporting the ongoing tradition of free-blowing for tableware, lamps, and decorative items that influenced subsequent Islamic artisans.^[2]^[10] By the early Islamic period (7th–8th centuries CE), the pontil rod became a standard tool in glassblowing across the Middle East, facilitating the creation of complex shapes such as goblets and bottles with applied decorations.^[2] In Islamic glass centers, particularly in regions like Syria and Egypt, the pontil left characteristic irregular ring-shaped marks on vessel bases, distinguishing these blown pieces from earlier molded or non-intaglio forms.^[2] This adoption spread through trade routes, influencing glass production up to the 15th century and enabling innovations like enameled mosque lamps and trailed bottles that showcased advanced decorative techniques.^[2] In medieval Europe, pontil marks appeared widely in both Venetian and northern glass production from the 8th to 15th centuries, underscoring the technique's role in reviving and expanding glassblowing after the Roman decline.^[11] Venetian artisans, relocating to Murano by the 13th century to centralize and protect their craft, used the pontil to produce sophisticated goblets and decorative items, with the marks serving as visible remnants of the free-blowing process.^[11] Concurrently, in northern Europe's forest glassworks—small-scale operations in wooded areas of France, Germany, and Bohemia starting around the 13th century—primitive iron pontil rods, often simple solid bars, were employed to shape utilitarian vessels using local wood ash fluxes, resulting in greenish blown glass with prominent base scars.^[11]^[12] These pontil marks held cultural significance in pre-industrial eras as hallmarks of skilled craftsmanship, particularly in centers like 13th-century Murano, where glassmakers formed an elite guild whose secretive techniques elevated glass to a luxury art form symbolizing wealth and innovation.^[11] In 15th-century Murano, the presence of such marks on high-quality cristallo goblets indicated masterful control over the blowing process, distinguishing handmade pieces from coarser wares and contributing to Venice's dominance in European glass trade.^[11]^[13] This foundational use of the pontil established the technical basis for subsequent evolutions in glassblowing, emphasizing precision in an era before mechanical aids.

Evolution Through the 19th Century

During the late 18th and early 19th centuries, refinements to pontil marks emerged in high-end glass production, particularly in English lead crystal, where ground or polished pontils were introduced to minimize the roughness left after detachment. This technique, applied to items like tumblers and decanters, became standard from the 1770s onward, enhancing aesthetic appeal by smoothing the scar on the base.^[14] For instance, Prussian-style decanters from the 1770s often featured polished pontil marks, reflecting a shift toward more refined finishing in British tableware.^[14] The Industrial Revolution accelerated changes in glassmaking, with the rise of mold-blowing and pressing techniques from the 1830s onward significantly reducing reliance on traditional pontil rods in both America and Europe. In New England glass factories, such as the New England Glass Company established in 1818, mold-blowing was widely adopted by the 1820s for producing patterned flint glass items like decanters and salts, often leaving minimal or absent pontil scars as the process allowed for base formation within the mold.^[15] Similarly, pressing innovations, patented in the US in 1825 and implemented at factories like the Boston & Sandwich Glass Company, enabled mass production of tableware without pontil attachment, marking a transitional phase where hybrid methods—such as grinding pontils post-detachment for aesthetic purposes—remained common until the 1850s.^[15]^[16] Pontil use declined further with semi-automated tools like the sabot and snap case introduced in the 1840s–1850s, which eliminated base scars by securing the bottle neck rather than the base, a change prevalent by the 1870s in commercial production.^[17] The introduction of the Owens Automatic Bottle Machine in 1903 represented the final blow to manual pontils, fully automating the process and rendering them obsolete in machine-made glass by the early 20th century.^[18] Overall, pontil prevalence in commercial glass dropped dramatically during the century, from near-universal in hand-blown items around 1800 to rare by 1900 as automation took hold.^[15] Regional variations highlighted differing paces of adoption: in the US, factories like those in New England quickly integrated mold-blowing and pressing for efficiency, hastening the decline of pontils in utilitarian production by mid-century.^[16] In contrast, artisanal European glassmaking, particularly in England and France, saw pontil persistence longer into the 19th century for specialized or high-quality items, with techniques like sand pontils continuing on wine bottles until the 1820s and unfinished or ground marks on tableware beyond 1850.^[17] This slower shift in Europe maintained traditional methods in luxury goods even as industrial processes spread.^[14]

Types and Variations

Open Pontil Scars

The open pontil scar is a rough, circular patch of exposed glass resulting from the detachment of a glass-tipped pontil rod during traditional glassblowing, often featuring irregular jagged edges and glass fragments from the snapped-off attachment.^[4] This scar typically measures 1 to 3 centimeters in diameter and appears as a raw, unfinished break on the base of the glass object, distinguishing it from smoother pontil variations.^[4] The exposed glass may include small bumps or gouges where the molten gather adhered unevenly to the rod.^[19] In the formation process, a gather of molten glass is applied to one end of a solid iron rod, which is then pressed onto the base of the hot, partially formed glass vessel to provide a secure hold during the finishing of the mouth or lip.^[4] Once the upper portion is completed, the vessel is set down, and the rod is snapped off abruptly, leaving the characteristic raw break without further smoothing at that stage.^[19] This method was prevalent in hand-blown glass production from the 17th through the 19th centuries, particularly for bottles and tableware, as it allowed artisans to manipulate the piece stably during critical shaping phases.^[4] Historically, open pontil scars are commonly found on American colonial flasks from the 1700s, such as those produced in early New England glasshouses, where the technique supported the creation of utilitarian items like storage vessels.^[20] They also appear on European window glass sheets from the same era, evidencing widespread use in both container and flat glass manufacturing across the Atlantic.^[21] The scar's presence enabled efficient base working but often resulted in unstable, uneven foundations that required subsequent fire-polishing to achieve balance and prevent wobbling.^[4] As a dating indicator, open pontil scars signify hand-blown glass produced before the mid-19th century (ca. 1860s), as they are typically absent in later molded or machine-made items that employed different attachment methods.^[4]^[22] This rough scar type underscores the artisanal limitations of early production, where the snap-off process prioritized speed over base refinement.^[19]

Ring and Tipped Pontil Marks

Ring pontil marks, also known as blowpipe pontils, are formed during glassblowing by using a hollow blowpipe as the pontil rod after the initial shaping on the blowpipe. Once the vessel is transferred, the blowpipe is fused to the base, and upon removal by tapping or reheating, it leaves a circular ring of glass residue with a hollow center, typically smoother than scars from solid rods but often showing faint pipe impressions. This method, which allows airflow through the hollow pipe for minor adjustments during handling, emerged as a refinement in mid-18th century Europe and became common in mid-19th century production, particularly for bottles and tableware before the 1860s.^[4]^[23] The ring typically measures 0.5 to 1 cm in width and is concentric, with the overall scar diameter often matching the vessel's neck size, indicating skilled hand processes or early semi-automated techniques post-1780. In Bohemian glass from the 1840s, such marks appear on engraved and cut vessels, reflecting the region's advanced lead glass production for export. These features distinguish ring pontils from cruder scars, as the hollow tool minimizes rough edges while preserving evidence of manual attachment.^[4] Glass-tipped pontil marks, by contrast, involve applying a small gather of molten glass to the tip of a solid iron rod, which is then fused to the vessel's base for final shaping. Removal leaves a rough circular scar or dimple with glass fragments, less rough than iron-direct methods and often free of rust contamination, making it suitable for finer wares. This technique, used since antiquity but refined in the early 19th century, was prevalent in English cut glass decanters and tumblers from 1800 to 1850, where the scar's subtlety complemented intricate patterns without detracting from aesthetics.^[23]^[4]^[24] Both ring and glass-tipped pontils represent transitional refinements over earlier solid-rod attachments, phasing in during the late 18th to mid-19th centuries as glassmakers sought cleaner finishes for commercial production. The glass-tipped method particularly reduced iron impurities, enhancing clarity in high-end pieces, while the blowpipe's airflow aided precise shaping in larger forms. These marks, declining after 1865 with the advent of snap tools, signal the era's blend of traditional craftsmanship and emerging efficiency.^[23]^[4]

Identification and Significance

Methods for Identifying Pontil Marks

Visual inspection is a primary method for identifying pontil marks on glass objects, involving examination of the base under good lighting to detect circular scars, rings, or irregular patches indicative of hand-blown production.^[4] These marks often appear as rough, broken glass edges in open pontil types or darkened residues from iron oxide in bare iron pontils, with colors ranging from colorless to reddish-black depending on the material used.^[19] Magnification, such as a 10x loupe, enhances visibility of fine details like glass fragments, oxidation, or pull marks from the pontil rod's removal.^[4] Tactile methods complement visual checks by allowing the examiner to feel the base for textures unique to pontil scars, such as the sharp, jagged edges of an open pontil that may cut the skin or the sandpaper-like roughness of a sand pontil scar caused by embedded glass chips.^[4] In contrast, smooth or molded bases from machine production lack these irregularities, providing a key comparative touchpoint; for instance, running a fingertip across the base can reveal subtle dimples or ridges absent in later automated glass.^[19] Tools and aids further refine identification, including angled lighting to cast shadows that highlight scar contours.^[4] Calipers can measure scar dimensions for contextual clues, as early pontil marks (pre-1860) often feature larger diameters matching the neck orifice, typically 1-2 inches, while smaller or absent scars suggest post-1865 production.^[4] Common pitfalls in identification include mistaking pontil scars for manufacturing defects like star cracks from uneven cooling or post-mold base marks from semi-automatic machines, which lack the circular, residue-laden appearance of true pontils.^[4] Fire-polished bases or minimal residues can also obscure scars, requiring cross-verification with multiple methods to avoid false positives.^[19] A step-by-step guide to identifying pontil marks begins with cleaning the base gently to remove dirt without abrading the surface, followed by positioning the object under angled white light to observe any circular scars, noting their color, texture, and symmetry.^[4] Next, perform a tactile assessment by gliding fingers over the area to detect roughness or sharpness, then apply magnification if available to reveal hidden details like oxidation. Finally, measure the scar's size and compare it to reference images of authenticated examples from the 1700s to 1900, ensuring the mark aligns with hand-blown characteristics rather than machine features.^[19]

Importance in Glass Collecting and Authentication

Pontil marks serve as critical dating indicators in glass collecting, with their presence typically signifying hand-blown glass produced before the mid-19th century, when mechanical molding became widespread. For instance, open pontil scars, characterized by rough, circular patches of exposed glass, are commonly associated with 18th-century production, while the absence of any pontil mark often points to molded or machine-made glass from the late 19th century onward. Specific variations, such as ring pontils from the early 19th century, further narrow the era, aiding collectors in placing artifacts within historical contexts of artisanal glassmaking.^[25] In authentication, genuine pontil marks exhibit natural irregularities, such as jagged edges or embedded glass fragments, distinguishing them from faked or polished scars that appear unnaturally smooth. These marks are routinely examined during appraisals of items like antique bottles, vases, and art glass, where they confirm hand craftsmanship and help detect modern imitations. Appraisers combine pontil analysis with other features, such as mold seams or chemical composition, to verify provenance.^[26]^[25] The collecting significance of pontil marks lies in their enhancement of market value, as they denote rarity and historical authenticity in antique glass. Pieces bearing intact pontil marks, particularly on utilitarian bottles or decorative wares, command premiums due to their appeal to collectors seeking evidence of traditional techniques; for example, Western soda bottles with pontil scars are noted for added dollar value in specialized markets. Auction records from houses like Sotheby's often highlight pontil marks in descriptions of 19th-century glass, contributing to higher bids for items like iridescent vases or historical flasks.^[27]^[28] Culturally, pontil marks represent the artisanal heritage of glassblowing, preserving traces of manual labor in museum collections such as those at the Corning Museum of Glass, where they illuminate production histories in pieces like ancient vessels or early modern goblets. These scars underscore the evolution from rudimentary tools to refined methods, adding educational and aesthetic depth to exhibits.^[1] Despite their utility, pontil marks have limitations as authentication tools, as skilled reproductions can simulate scars through molding or artificial roughening, necessitating corroboration with mold patterns and material analysis. Not all authentic pre-1850 glass retains visible marks, as some were polished during finishing, and forgeries may exploit this variability.^[26]^[25]

Modern Applications

Use in Contemporary Glassblowing

In the studio glass movement that emerged in the United States during the 1960s, pontil marks experienced a revival as artists adopted traditional glassblowing techniques for individual artistic expression. Pioneered by figures such as Harvey Littleton and Dominick Labino, who developed small-scale furnaces in 1962 to enable studio-based production, this movement emphasized unique sculptures and vessels where pontil scars were often preserved as deliberate aesthetic elements, highlighting the tactile, handmade process.^[5] Contemporary glassblowers employ pontil rods constructed from stainless steel for enhanced durability and resistance to high temperatures during manipulation of molten glass. These rods are attached to the base of a forming piece after initial blowing, allowing further shaping before detachment, which leaves a characteristic mark that artists may retain for its raw, organic texture or polish smooth for a refined appearance.^[29] Notable examples appear in the works of artists like Dale Chihuly, whose blown glass installations and vessels from the 1970s onward often include visible or engraved pontil marks as part of their sculptural integrity, though minimized in some polished editions. Similarly, functional ware produced in studios influenced by the Corning Museum of Glass, such as those focusing on offhand techniques, frequently features pontil scars to underscore artisanal craftsmanship.^[30] The pontil technique offers key advantages in modern glassblowing by supporting offhand methods that avoid molds, enabling fluid, improvisational forming of complex shapes in limited-edition pieces created after 2000. While absent in mass-produced glass due to automated processes, pontil marks are a standard feature in handmade art glass, authenticating the human involvement in production.^[31]^[32]

Reproductions and Distinctions from Antiques

Reproductions of pontil marks have become prevalent in the market for antique glass, particularly from the 1980s through the 2000s, as forgers sought to mimic the appearance of historical hand-blown pieces. Common methods include creating molded bases with artificial pontil scars or roughening modern glass to simulate traditional detachment marks, often combined with ground wear to imitate age.^[33]^[34] Modern fakes frequently feature machine-embossed rings on molded glass bases, designed to replicate tipped or ring pontil marks from 18th- and 19th-century European bottles. Such reproductions often copy historical styles like Georgian-era decanters and vases, complete with fabricated pontil scars to pass as authentic antiques.^[35] Distinguishing reproductions from antiques relies on examining natural irregularities in authentic pontil marks, such as uneven scarring and tool marks from manual detachment, which contrast with the consistent, machined precision of fakes.^[36] Antiques also exhibit era-specific glass chemistry, including high lead content in 19th-century pieces for clarity and weight, versus the soda-lime composition dominant in modern reproductions, which can be verified through non-destructive analysis like X-ray fluorescence (XRF) spectroscopy if laboratory testing is available.^[37]^[38] These reproductions pose significant ethical challenges for collectors, eroding trust in the market and leading to financial losses from misattributed purchases. Organizations such as the Glass Association provide guidelines emphasizing contextual authentication, including provenance documentation and expert consultation, to promote ethical collecting practices.^[33]^[35] Since around 2010, the proliferation of online marketplaces has accelerated the trade in such fakes, with "vintage-style" decorative glass incorporating simulated pontil marks flooding platforms like eBay and Etsy, complicating authentication for buyers.^[36]

References

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Pontil | Corning Museum of Glass
The pontil, or punty, is a solid metal rod that is usually tipped with a wad of hot glass, then applied to the base of a vessel to hold it during manufacture.
[2]
Glass from Islamic Lands - The Metropolitan Museum of Art
Oct 1, 2002 · The pontil leaves an irregular ring-shaped mark on the base that is commonly known as a “pontil mark.” Wooden blocks, jacks, and shears are ...Missing: definition | Show results with:definition
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[PDF] European Glass in the J. Paul Getty Museum
object is attached to the pontil by means of a small, hot gob of glass attached to its tip. An irregular pontil mark is frequently left on the underside of ...
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Pontil Scars
A pontil mark is a variable size and type of scar or roughage left on the base of a bottle by a pontil rod. A typical pontil rod (aka ponty, punty or punte) ...
[5]
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Vessels produced in this way often preserve a scar, or "pontil mark," on the base from the removal of the pontil rod. When complete, the vessel was placed ...
[7]
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Jun 11, 2024 · The shape of the pontil mark indicates how the object was attached to either a pontil rod or back onto the blowpipe (which was then used as a ...
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The finished object is removed from the pontil and annealed. fig--double. These two markedly different processes—glassblowing with and without a soffietta ...
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Non-intaglio Islamic glass bear the pontil mark, unlike the majority of Roman glass objects which were evidently formed at the mouth with the use of a tool ...
[11]
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The pontil mark can be seen as rough chips of glass. A third type of tool used to form push-ups appears to have been a circular iron rod, like a ...<|control11|><|separator|>
[17]
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May 17, 1983 · Mike Owens' invention of the automatic bottle-making machine in 1903 was the most significant advance in glass production in over 2000 years.
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Pontil Marks on Antique Glass Bottles
Pontil marks are only found on handmade ware. Other types of marks (such as the “Owens Scar” and “valve marks”) are sometimes erroneously called “pontil marks” ...<|control11|><|separator|>
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Blow-pipe pontil scar. Bottle ca. 1850-1855. This website will explain why this sharp glass mark on the base of a bottle is a key mid-19th century ...Makers Marks · Dating · Bottle Typing/Shapes Page · Dating ExamplesMissing: scars | Show results with:scars
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Nov 1, 2021 · This is called a pontil scar and can be used to date glass. Pane of glass with pontil scar. Glass with pontil scar. Glass is generally fragile ...
[21]
Glassmaking and Glassmakers Page - Historical Archaeology
Blowpipe ("Open") Pontil: This type of pontil mark - which was also called the "ring pontil" - was formed when a hollow blowpipe was used as the pontil rod, is ...
[22]
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Jan 10, 2020 · Black lights, also known as ultraviolet lights, can help with authenticating, dating, and finding repairs in all types of antiques and ...
[24]
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The pontil-mark indicates first that the piece of glass was originally blown, and second that before removing the blow-pipe the workman, as usual, attached the ...Missing: significance | Show results with:significance
[25]
[PDF] REPRODUCTIONS, REPLICAS AND FORGERIES IN MUSEUM ...
Mar 1, 2016 · GLASS. Mouth-blown glass will show a rough scar at the base where the pontil, or metal glass blowing tube, was broken away from the glass object ...
[26]
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Bottles with a pontil mark are desirable and have added interest and dollar value. A valuable reference book is WESTERN. BLOB TOP SODA AND MINERAL WATER.Missing: antique market
[27]
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Nov 30, 2022 · The four-volume sale of The Doros Collection begins with an auction showcasing the revolutionary innovation that defined the firm's glass-making and decorative ...<|separator|>
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30-day returnsAvailable are extra large punty, standard stainless steel and cromoly pipes, straight punty, and blowhose extensions.
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Marks: CHIHULY, PP 5 9-1/4 inches long (23.5 cm) (Total: 5 Items) ... A CHIHULY GLASS FIORI SCULPTURE Dale Chihuly (American, b. 1941), Seattle A ...
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May 26, 2022 · Pontil Mark or Punty Mark. - Often called a “punty mark”, a small ring shaped scar on the bottom of a glass bottle. A metal pipe with a thin ...
[32]
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Increased demand for Victorian glassware has led to many reproductions, making it hard to identify originals, especially from the 1960s and 70s, and some are ...
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3. Lettering appears as an outline Many new acid-stamped marks appear as etched outlines with the interior of letters not etched.Missing: pontil grinding chemical patina
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As the late eighteenth century progressed, ground out pontils became more common and feet gradually flattened as the need to protect surfaces disappeared. Note ...Missing: 18th 19th
[35]
Identify glass maker with marking Galley - Facebook
Aug 29, 2025 · Looks like one of the Chinese made, Galle reproductions. Some nicer fakes were made in Romania.....but this one is giving me Mandarin vibes.How to identify a genuine Japanese fishing float?Iridescent vase with textured exterior, no maker markMore results from www.facebook.com<|separator|>
[36]
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Jul 10, 2025 · Things like slight asymmetry, visible seams from a mold, tiny bubbles trapped inside the glass, and pontil marks on the bottom are all clues.
[37]
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Table Glass Composition - Diagnostic Artifacts in Maryland
By the end of the 19th century, soda lime glass was replacing colorless leaded glass in tableware forms (Jones et al. 1985). Note: On this website, any glass ...<|separator|>