Like many potteries, Paul Revere started out as part of a vocational workshop, founded as an association known as the Saturday Evening Girls, with the purpose of educating and training young immigrant girls of Boston's North End. They began producing pottery, primarily sets of dinnerware, in 1907. Individual forms typically featured monochromatic matte glazes in limited colors or a narrow band of simple repeated motifs of stylized animals or birds, often in combination with nursery rhymes or mottoes.

This vase, possibly intended as a lamp base, is impressive in its large size. The complex and striking floral design reflects the highly developed skills of its decorator, rarely seen in examples from Paul Revere. Although little is known of Galner, who signed the vase, she was clearly one of the pottery's more ambitious artists. Here, she interpreted Queen Anne's lace in a stylized manner with a heavy black outline from several points of view and at varying stages of bloom. As is typical of Paul Revere pottery, the design appears on a solid matte ground. Broad bands shift from white through three shades of blue to a grayish yellow-green, which merges with the plants' foliage. This effect reveals the influence of color theories espoused by tonalist artist Arthur Wesley Dow.