Thomas Webb & Sons

Ray and Lee Grover, English Cameo Glass, New York, 1980, p. 108, no. 100
Christopher Woodall Perry, The Cameo Glass of Thomas and George Woodall, Somerset, England, 2000, p. 36, no. W2734

Exquisite craftsmanship in cameo glass is synonymous with the 19th-century production of English firm Thomas Webb & Sons, represented here in the eleven lots from the unparalleled Collection of Jeep and Carla Harned. 

The first cameo glass vessels were produced around 25 C.E. to 50 A.D. by the Romans, the most celebrated example of which is the legendary Portland Vase. The first layer of the two-handled vase is made from a deep violet-blue glass, with a second layer of white glass that was intricately carved to create two figural scenes. Discovered in Italy in the late 16th century, the vase was acquired by the dowager duchess of Portland and subsequently placed in the collection of the British Museum, London, in 1810 where it has remained ever since, drawing countless visitors in admiration. Its presence in the country undoubtedly inspired an entire generation of neoclassical artisans, who sought to mimic the vase’s technical achievements and spurred a revival in cameo glass production. 

Born in a lineage of glassmakers, Thomas Wilkes Webb founded Thomas Webb & Sons in 1837, introducing quality engraved crystal and colored glass to the market. His contributions to the medium earned him the title of Chevalier of the Legion of Honor, while the company became known as “The Crystal King of England.” The company flourished even further under the control of his three sons, Thomas, Charles and Walter, who succeeded as directors upon their father’s death in 1869. The Webb brothers improved working conditions for craftsmen and encouraged their creativity. They hired many artisans, including George and Thomas Woodall as well as company art director James O’Fallon, who were responsible for the majority of new cameo glass designs. George and Thomas Woodall are particularly well-regarded for their contributions to Thomas Webb & Sons’ cameo glass production. Thomas Woodall was proficient at designing decorative borders and floral motifs. Meanwhile George Woodall had a skill for figural engravings and often sought inspiration from classical subjects, as seen in the “Cupid in Disgrace” plaque (lot 439) and “Aphrodite” vase (lot 438). According to a local paper, a curator of the South Kensington Museum, now the Victoria and Albert Museum, viewed these two pieces and “pronounced them to be ‘perfect in execution.’”  In combination, the talents of the Woodalls generated elegant glassworks with ornate depictions in varying gradations of white glass that would define the peak of the company’s production.

The company impressed its finest and most valuable works GEM CAMEO, referring back to the Romans’ original intent of imitating engraved semi-precious gemstones. Five of the eleven lots presented here bear this mark, underscoring their originality and beauty. The “Oriental” vase (lot 435) is further distinguished by an acid-etched signature indicating that it was exhibited at the 1889 Exposition Universelle, where Webb & Sons received a Grand Prix. The company was a frequent exhibitor on this international stage, where they were hailed as "the best makers of Crystal Glass in England, and consequently in the world.” The present collection of cameo glass, the first in a series to be offered from the Jeep and Carla Harned Collection, is a testament to the skill and craftsmanship of Thomas Webb & Sons, and a rare opportunity for collectors to acquire some of the finest masterworks from the firm.