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shop window: pre-War glass (page 3 of 4)
A magnificent vase (shown very much smaller than life-sized at left), with hand-applied transparent oriental-style enamelling (more clearly visible in the details at right - when the vase has been filled with sugar! - taken from four different angles). We believe it to be a product of Webb & Corbett, with the decoration by the Bohemian enamellist Hugo Masey (employed by Webb & Corbett from 1912 to 1932), although the vase is unsigned
An equally magnificent vase (shown very much smaller than life-sized in the top photos), this one with hand-applied transparent enamelling over an intaglio-engraved fruiting plum branch (again, in the lower details, the vase has been filled with sugar, to give a better idea of the decoration). We believe this vase, too, to be by Hugo Masey for Webb & Corbett, although it is also unsigned. Masey is better-known for enamelling straight onto 'flat' glass (as in the previous example), but he is known (more rarely) to have used enamels over intaglio-engraved decoration
A small Loetz vase (shown approximately life-sized), the surface iridescent over green spatters
A very elegant pair of epergnes (shown very much smaller than life-sized, against white and black backgrounds), almost certainly by John Walsh Walsh of Birmingham. The bodies are spirally rib-moulded, with an overall translucent iridescence
I always find clear crystal vases extremely difficult to photograph well, so apologies for the poor photos! This Thomas Webb vase (shown much smaller than life-sized, from various angles) is basically a "bull's-eye" moulded body, with the top two rows of bull's-eyes cut around as stylised fruit, and then joined together by foliage. The rim is leaf-cut all around. The base is numbered with what looks like "12/1388" (below, right) and acid-etched with the mark used from 1935 to 1949 (below, left, partially obscured by wear)
The condition is generally fair, with a little light scuffing, some 'bloom' and a small area low down on one side slightly rough (a manufacturing fault)
A pair of Art Nouveau vases with mould-blown ribbing (one shown rather smaller than life-sized at left), the interiors shading from clear to green at the rim, the exteriors in a milky glass, with overall iridescent sheen. Cyril Manley attributes this sort of glass to the Richardson factory in the 1900s. One of the vases has a small "seed" of slag within the wall (see detail at centre, right), but it is scarcely noticeable from the exterior
A Stevens & Williams amethyst-bodied "splash glass" jam-pot, the silver-plated lid inscribed "Argyll" underneath
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