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A THOMAS WEBB & SONS CAMEO GLASS '1889 EXHIBITION’ VASE
A THOMAS WEBB & SONS CAMEO GLASS '1889 EXHIBITION’ VASE
A THOMAS WEBB & SONS CAMEO GLASS '1889 EXHIBITION’ VASE
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CAMEO GLASS AND CERAMICS FROM A DISTINGUISHED NEW YORK COLLECTION (LOTS 1-33)
A THOMAS WEBB & SONS CAMEO GLASS '1889 EXHIBITION’ VASE

DATED ACID-ETCHED BANNER MARK, PARIS EXHIBITION 1889, THOMAS WEBB & SONS GEM CAMEO, RETAILER’S RIBBON FOR TIFFANY & CO., DESIGNED BY THOMAS AND GEORGE WOODALL

Details
A THOMAS WEBB & SONS CAMEO GLASS '1889 EXHIBITION’ VASE
DATED ACID-ETCHED BANNER MARK, PARIS EXHIBITION 1889, THOMAS WEBB & SONS GEM CAMEO, RETAILER’S RIBBON FOR TIFFANY & CO., DESIGNED BY THOMAS AND GEORGE WOODALL
Of tear-drop form, the translucent-turquoise glass wall overlaid in opaque salmon-pink and white, the slender flaring neck finely wheel-engraved with chevron and key-pattern banding, above stiff-leaf tips, the body deeply cut in the Chinoiserie taste with scrolling peony blossoms, above stylized anthemion and a circular foot cut with geometric ovolo and flower-heads on a seeded ground
19 ½ in. (49.5 cm.) high
Provenance
With Leo Kaplan, Ltd., New York.
Literature
G. Beard, Nineteenth Century Cameo Glass, Newport England 1956, pl. 91.
R. and L. Grover, English Cameo Glass, New York, 1980, p. 34, pl. C34.
C. Woodall Perry, The Cameo Glass of Thomas & George Woodall, 2000, p. 50.
Exhibited
Exhibited by Tiffany & Co., Paris Universelle Exposition 1889.

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Elizabeth Brauer
Elizabeth Brauer

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Lot Essay

Together with 'The Great Tazza’, now conserved by The Corning Museum of Glass (inv. no. 92.2.8), this extraordinarily deep cut vase was prominently displayed by Tiffany & Co. at the Paris Exhibition of 1889. In anticipation of this seminal event, the secretive Woodall Team had been formed. The Woodall brothers Thomas and George hand-selected only the finest craftsmen for the ‘Gem Cameo’ workshop. Inspired by the Asian works Thomas Woodall had seen in Paris at the Exhibition of 1878; coupled with George Woodall’s careful study at the South Kensington Museum, London in 1879; and influenced by the 1867 publication of Owen Jones’, Examples of Chinese Ornament, the team embarked on a fresh design course. Webb’s contribution to the exhibition and in particular the works of the Woodall Team, won great acclaim.

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