The artists of “Bimini” created other shapes besides vases and decorative goblets. 
There were “hanging vases,’’ “lying vases," boxes and little bottles (Cat. nos. 305-327, 
343-390), even entire sets for liqueur and tea (Cat. nos. 228-231). Vases often held 
their own glass flowers: “large” and “small” arrangements (Cat. nos. 1, 3, 34, 68, 70) 
like those frequently seen in Contemporary illustrations (especially in the oldest cata- 
logue that has come down to us). Unfortunately, not one single example of these imag 
inative, mostly highly stylized flowers and grasses has come to light. Natural flowers 
are frequently pictured in “Bimini” vases (especially in later “Bimini” catalogues), and 
the suitability of certain vases as vessels for flowers is pointed to especially in the “Bi 
mini” lists. 
In addition to glass flowers intended as ornamentation for vases (Cat. no. 264 ff.), there 
are also independent arrangements of flowers, bushes and trees for decorative use or 
for projecting onto stage sets (Cat. no.293). Some ornamental arrangements com- 
bined glass flowers, glass cactuses and glass reeds in little ceramic pots (Cat 
nos. 284-292). 
Perfume bottles were a group to themselves. Most of them were made of filigree glass. 
None of the known “Bimini” catalogues show the beads used for necklaces (Cat. 
nos. 338, 339) which were made in many colors (crystal, smoky opal, white, black, red, 
topaz, Chrysoprase, in white and red colored glass) and numerous variations in shape 
(round and elongated with rod applications and peaks). They found their way to the 
Technical Museum as a gift from the “Bimini" Workshops, and to the Austrian Museum 
of Applied Arts in Vienna as a dedication to the Glass Collection by Maria Günter. 
ANIMALS 
“Bimini” animals received the model numbers from 601 to 963. When numbers are mis- 
sing in this section, it is either because they were not used or we do not have the doc- 
umentation. One should never take for granted that a series of numbers corresponds 
to an exact chronology. For example, the “Mythical Animal” is contained in the very 
first catalogue and nevertheless bears the number 771 (Cat. nos. 479-481). 
While the natural models for most of the animals are recognizable even in the most ex 
treme degrees of stylization, some of the designs are obligated to allegories, car- 
icatures and even fair-tale atmospheres. Appearing in animal form are: “Fantasy” (Cat. 
no. 392), “Ambition” (Cat. no.393), “Philosophy” (Cat. no. 394) and even the soberly 
named “Raven.” With its drooping feathers and melancholy expression, it seems to be 
dedicated more to the personification of this mood that to a reproduction of the animal 
itself (Cat. no.405). It is akin to the “Philosopher” and other animals by Eduard Kla- 
blena. “Lalu” and “Bibi” are names for imaginary creatures (Cat. nos. 398, 575, 576). 
Whether real animal or creature of fantasy, close to the natural model or estranged, the 
“Bimini” animals bear the characteristic signature of their designers: charming, cheer- 
ful, sometimes coquettish, attracting the attention of the observer with a lively expres 
sion. 
The monsters of “Bimini” are not demonic, terrifying creatures. The dragon is really a 
pet, and “Bureaucracy” (the German name, “Amtsschimmel” has a double meaning: 
red-tape and a gray-white horse), posed awkwardly, reflects the artist’s pity more than 
his horror. The gruesome grotesques of Plieronymus Bosch, the deathly fright of Ku- 
bin’s visions, the terrors that lurk in forest and home in the fairytales of the Grimm 
Brothers have no place in the world of “Bimini.” The glass creature of mythology (“Fa 
beltier”), a slender animal with a proudly bent neck, comes from a legend without fear. 
Sometimes the body of Chrysoprase appears to emerge from the green of the forests 
and meadows. On another occasion the animal is Standing in front of a hedge whose 
shadowy green outlines shine through the pink body, as if in the moment betöre a 
transformation, as though the animal with the blue horn, fading, could Step behind the 
green wall and ultimately become invisible. 
The flying Pegasus, the tips of his wings pointing upwards, appears - white on a white 
globe of the earth or blue on a transparent, colorless sphere - to barely be touching 
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