FILTER RESULTS
Vase
circa 1885cameo (cut) glass
18 in. x 9 in. x 9 in. (45.72 cm x 22.86 cm x 22.86 cm)
Gift of Priscilla and Albert C. Murray, 1974.33.6
attributed to Thomas Webb and Sons
English, active 1837–1964
ON VIEW
Description
This cut glass, or cameo glass, vase is decorated with hollyhocks, apple blossoms, and garden insects carved in coral red cased over white, against a ground of frosted blue. The vase has a globular body and long slender neck. The lip of the vase is slightly flared and features a repeating pattern of red and light blue arabesques; there is a circlet of radiating petals, called an anthemion circlet, at the base.
Context and Analysis
The term cameo refers to a colored design carved or etched in relief on a background of a different color. The ancient art of cameo was revived in England in the mid-1800s, when John Northwood I (1836–1902) copied in glass the famous Portland Vase, created in Rome around 5–25 CE. Though Northwood had no knowledge of how the Romans had produced this cameo piece, he adapted techniques already utilized in English glassmaking to complete the commission successfully. Cameo glass quickly became popular, and soon many English glass factories were producing cameo glass. The most famous of these glassmakers was Thomas Webb & Sons, founded in 1837 and called the “Crystal King of England.”
In the late 1870s, two of Northwood’s apprentices, George Woodall (1850–1925) and Thomas Woodall (1849–1926), began working for Thomas Webb & Sons. The Woodall brothers eventually became the most productive and admired cameo glass artists in England. Thomas Woodall had a talent for highly detailed floral designs and Greek, Chinese, and Moorish-inspired decorative patterns. This suggests his involvement in the manufacture of this vase, though the vase is unsigned.
Cameo glass is produced by etching or carving through layers of opaque white glass, leaving a white relief design on a darker colored body. To create three colors, as here, two layers of etched glass are necessary. The vibrant red hue achieved in this vase is indicative of English cameo glass, which was the first to extend the range and intensity of colors.
Connections
This vase is part of the extensive Murray Collection of Glass, given to the Currier Gallery of Art by Albert and Priscilla Murray in 1974.
The Currier’s art glass collection features numerous cameo glass vases by the leading glassmakers in America, Britain, and Europe in the late 1800s and early 1900s. The work of the British firm Thomas Webb & Sons is abundantly represented, as are objects designed by the American artist Louis Comfort Tiffany and the French artist Émile Gallé (Currier, 1981.91 , 1974.33.256,1974.33.19).Several additional cameo glass vases in the museum collection are attributed to the Woodall School, the leading glass cameo designers at Thomas Webb & Sons (Currier, 1974.33.4, 1974.33.352,1981.90).
Written by Emily M. Weeks, Ph.D.
Bibliography
Grover, Ray, and Lee Grover. English Cameo Glass. New York: Crown Publishers, 1988.
King, C. Eileen. “Craftsmanship for the Wealthy: The Cameo Glass of Thomas Webb.” Antique Dealer and Collector’s Guide (UK) (February 1972): 74–77.
Perry, Christopher Woodall. The Cameo Glass of Thomas and George Woodall. Shepton Beauchamp, Somerset, UK: Richard Dennis, 2000.
Revi, Albert Christian. Nineteenth-Century Glass: Its Genesis and Development. Camden, NJ: Thomas Nelson & Sons, [1967].
Zimmerman, Philip D., ed. Turn of the Century Glass: The Murray Collection of Glass. Exh. cat. Manchester, NH: Currier Gallery of Art, distributed by University Press of New England, 1983.
This cut glass, or cameo glass, vase is decorated with hollyhocks, apple blossoms, and garden insects carved in coral red cased over white, against a ground of frosted blue. The vase has a globular body and long slender neck. The lip of the vase is slightly flared and features a repeating pattern of red and light blue arabesques; there is a circlet of radiating petals, called an anthemion circlet, at the base.
Context and Analysis
The term cameo refers to a colored design carved or etched in relief on a background of a different color. The ancient art of cameo was revived in England in the mid-1800s, when John Northwood I (1836–1902) copied in glass the famous Portland Vase, created in Rome around 5–25 CE. Though Northwood had no knowledge of how the Romans had produced this cameo piece, he adapted techniques already utilized in English glassmaking to complete the commission successfully. Cameo glass quickly became popular, and soon many English glass factories were producing cameo glass. The most famous of these glassmakers was Thomas Webb & Sons, founded in 1837 and called the “Crystal King of England.”
In the late 1870s, two of Northwood’s apprentices, George Woodall (1850–1925) and Thomas Woodall (1849–1926), began working for Thomas Webb & Sons. The Woodall brothers eventually became the most productive and admired cameo glass artists in England. Thomas Woodall had a talent for highly detailed floral designs and Greek, Chinese, and Moorish-inspired decorative patterns. This suggests his involvement in the manufacture of this vase, though the vase is unsigned.
Cameo glass is produced by etching or carving through layers of opaque white glass, leaving a white relief design on a darker colored body. To create three colors, as here, two layers of etched glass are necessary. The vibrant red hue achieved in this vase is indicative of English cameo glass, which was the first to extend the range and intensity of colors.
Connections
This vase is part of the extensive Murray Collection of Glass, given to the Currier Gallery of Art by Albert and Priscilla Murray in 1974.
The Currier’s art glass collection features numerous cameo glass vases by the leading glassmakers in America, Britain, and Europe in the late 1800s and early 1900s. The work of the British firm Thomas Webb & Sons is abundantly represented, as are objects designed by the American artist Louis Comfort Tiffany and the French artist Émile Gallé (Currier, 1981.91 , 1974.33.256,1974.33.19).Several additional cameo glass vases in the museum collection are attributed to the Woodall School, the leading glass cameo designers at Thomas Webb & Sons (Currier, 1974.33.4, 1974.33.352,1981.90).
Written by Emily M. Weeks, Ph.D.
Bibliography
Grover, Ray, and Lee Grover. English Cameo Glass. New York: Crown Publishers, 1988.
King, C. Eileen. “Craftsmanship for the Wealthy: The Cameo Glass of Thomas Webb.” Antique Dealer and Collector’s Guide (UK) (February 1972): 74–77.
Perry, Christopher Woodall. The Cameo Glass of Thomas and George Woodall. Shepton Beauchamp, Somerset, UK: Richard Dennis, 2000.
Revi, Albert Christian. Nineteenth-Century Glass: Its Genesis and Development. Camden, NJ: Thomas Nelson & Sons, [1967].
Zimmerman, Philip D., ed. Turn of the Century Glass: The Murray Collection of Glass. Exh. cat. Manchester, NH: Currier Gallery of Art, distributed by University Press of New England, 1983.
attributed to Circle of George Woodall
British
ON VIEW
Description
This cut glass, or cameo glass, vase is decorated with hollyhocks, apple blossoms, and garden insects carved in coral red cased over white, against a ground of frosted blue. The vase has a globular body and long slender neck. The lip of the vase is slightly flared and features a repeating pattern of red and light blue arabesques; there is a circlet of radiating petals, called an anthemion circlet, at the base.
Context and Analysis
The term cameo refers to a colored design carved or etched in relief on a background of a different color. The ancient art of cameo was revived in England in the mid-1800s, when John Northwood I (1836–1902) copied in glass the famous Portland Vase, created in Rome around 5–25 CE. Though Northwood had no knowledge of how the Romans had produced this cameo piece, he adapted techniques already utilized in English glassmaking to complete the commission successfully. Cameo glass quickly became popular, and soon many English glass factories were producing cameo glass. The most famous of these glassmakers was Thomas Webb & Sons, founded in 1837 and called the “Crystal King of England.”
In the late 1870s, two of Northwood’s apprentices, George Woodall (1850–1925) and Thomas Woodall (1849–1926), began working for Thomas Webb & Sons. The Woodall brothers eventually became the most productive and admired cameo glass artists in England. Thomas Woodall had a talent for highly detailed floral designs and Greek, Chinese, and Moorish-inspired decorative patterns. This suggests his involvement in the manufacture of this vase, though the vase is unsigned.
Cameo glass is produced by etching or carving through layers of opaque white glass, leaving a white relief design on a darker colored body. To create three colors, as here, two layers of etched glass are necessary. The vibrant red hue achieved in this vase is indicative of English cameo glass, which was the first to extend the range and intensity of colors.
Connections
This vase is part of the extensive Murray Collection of Glass, given to the Currier Gallery of Art by Albert and Priscilla Murray in 1974.
The Currier’s art glass collection features numerous cameo glass vases by the leading glassmakers in America, Britain, and Europe in the late 1800s and early 1900s. The work of the British firm Thomas Webb & Sons is abundantly represented, as are objects designed by the American artist Louis Comfort Tiffany and the French artist Émile Gallé (Currier, 1981.91 , 1974.33.256,1974.33.19).Several additional cameo glass vases in the museum collection are attributed to the Woodall School, the leading glass cameo designers at Thomas Webb & Sons (Currier, 1974.33.4, 1974.33.352,1981.90).
Written by Emily M. Weeks, Ph.D.
Bibliography
Grover, Ray, and Lee Grover. English Cameo Glass. New York: Crown Publishers, 1988.
King, C. Eileen. “Craftsmanship for the Wealthy: The Cameo Glass of Thomas Webb.” Antique Dealer and Collector’s Guide (UK) (February 1972): 74–77.
Perry, Christopher Woodall. The Cameo Glass of Thomas and George Woodall. Shepton Beauchamp, Somerset, UK: Richard Dennis, 2000.
Revi, Albert Christian. Nineteenth-Century Glass: Its Genesis and Development. Camden, NJ: Thomas Nelson & Sons, [1967].
Zimmerman, Philip D., ed. Turn of the Century Glass: The Murray Collection of Glass. Exh. cat. Manchester, NH: Currier Gallery of Art, distributed by University Press of New England, 1983.
This cut glass, or cameo glass, vase is decorated with hollyhocks, apple blossoms, and garden insects carved in coral red cased over white, against a ground of frosted blue. The vase has a globular body and long slender neck. The lip of the vase is slightly flared and features a repeating pattern of red and light blue arabesques; there is a circlet of radiating petals, called an anthemion circlet, at the base.
Context and Analysis
The term cameo refers to a colored design carved or etched in relief on a background of a different color. The ancient art of cameo was revived in England in the mid-1800s, when John Northwood I (1836–1902) copied in glass the famous Portland Vase, created in Rome around 5–25 CE. Though Northwood had no knowledge of how the Romans had produced this cameo piece, he adapted techniques already utilized in English glassmaking to complete the commission successfully. Cameo glass quickly became popular, and soon many English glass factories were producing cameo glass. The most famous of these glassmakers was Thomas Webb & Sons, founded in 1837 and called the “Crystal King of England.”
In the late 1870s, two of Northwood’s apprentices, George Woodall (1850–1925) and Thomas Woodall (1849–1926), began working for Thomas Webb & Sons. The Woodall brothers eventually became the most productive and admired cameo glass artists in England. Thomas Woodall had a talent for highly detailed floral designs and Greek, Chinese, and Moorish-inspired decorative patterns. This suggests his involvement in the manufacture of this vase, though the vase is unsigned.
Cameo glass is produced by etching or carving through layers of opaque white glass, leaving a white relief design on a darker colored body. To create three colors, as here, two layers of etched glass are necessary. The vibrant red hue achieved in this vase is indicative of English cameo glass, which was the first to extend the range and intensity of colors.
Connections
This vase is part of the extensive Murray Collection of Glass, given to the Currier Gallery of Art by Albert and Priscilla Murray in 1974.
The Currier’s art glass collection features numerous cameo glass vases by the leading glassmakers in America, Britain, and Europe in the late 1800s and early 1900s. The work of the British firm Thomas Webb & Sons is abundantly represented, as are objects designed by the American artist Louis Comfort Tiffany and the French artist Émile Gallé (Currier, 1981.91 , 1974.33.256,1974.33.19).Several additional cameo glass vases in the museum collection are attributed to the Woodall School, the leading glass cameo designers at Thomas Webb & Sons (Currier, 1974.33.4, 1974.33.352,1981.90).
Written by Emily M. Weeks, Ph.D.
Bibliography
Grover, Ray, and Lee Grover. English Cameo Glass. New York: Crown Publishers, 1988.
King, C. Eileen. “Craftsmanship for the Wealthy: The Cameo Glass of Thomas Webb.” Antique Dealer and Collector’s Guide (UK) (February 1972): 74–77.
Perry, Christopher Woodall. The Cameo Glass of Thomas and George Woodall. Shepton Beauchamp, Somerset, UK: Richard Dennis, 2000.
Revi, Albert Christian. Nineteenth-Century Glass: Its Genesis and Development. Camden, NJ: Thomas Nelson & Sons, [1967].
Zimmerman, Philip D., ed. Turn of the Century Glass: The Murray Collection of Glass. Exh. cat. Manchester, NH: Currier Gallery of Art, distributed by University Press of New England, 1983.
Exhibition
1977 Currier Gallery of Art, Manchester, NH, "Glass from the Murray Collection." June 25 - Sept. 11. 1983 Currier Gallery of Art, Manchester, NH, "Turn of the Century Glass: The Murray Collection of Glass." June 11 - Sept. 5, cat. no. 6.
Provenance
Priscilla and Albert C. Murray Gift to Currier Gallery of Art, 1974
Additional Images
Detail
Detail
Your current search criteria is: Object is "Vase".