aquarium present a special case. Although we know that there was a “Bimini” aquarium 
with fantails, puffers, jellyfish, corals, starfish and seahorses, there is unfortunately not 
a single Illustration of the Originals (Cat. nos. 294-301). We can probably teil what the 
“Bimini” models looked like from the aquarium inhabitants that were made later 
(ills. 130, 133-137). 
A sample case of Viennese provenience was probably devoted to a specific collection 
at one time, but later filled with glass objects of widely differing provenience (ill. 116, 
p. 125). Animais with flexible bodies were made at the time in a wide variety of tech- 
niques and materials. There are sleekly formed ceramic fantasy creatures from Cze- 
choslovakia (ill. 138), the zoomorphic letter seals and radiator figures by Hagenauer 
(ills 139-143, 146), the “giraffe-chamois” by Walter Bosse (ill. 145), the bast animals of 
Dirck (ill. 144), the chamois made of cork and beads, horses and zebras of horn, metal 
and palisander (ills. 147, 148). 
When stränge cats (ill. 150) arch their backs, it looks different than with Bimini cats 
(ill. 26, p. 30). They were also not immune to innumerable imitations (ill. 27, p. 31). 
Although Gustav E. Pazaurek already attracted attention to the imaginative creations of 
Marianne von Allesch in 1925, they are still waiting to be discovered: the elephant 
(ill. 152), a “Cerberus” (ill. 153), the rider with horse (ill. 154), a hunting scene (ill. 155) 
and a great deal more. 
Readers are not to be entirely deprived here of the “eternal, identical deer and other 
animals of Thüringen,” criticized by Pazaurek (ills. 156-159), nor of the birds of “Bi 
mini” and elsewhere (ills. 160-166), partially of remarkable size and quality, frequently 
sitting in trees or on branches with large leaves. 
Cocktailsticks were also made by “Bimini,” although there are no illustrations in exis- 
tence. There are examples of unknown origins in many collections (ills. 170-172). 
Because of their fine workmanship, filigree glass vessels with fantastic animal grips 
mounted on the handles (ills. 173-174) stand out from the great masses of little filigree 
glass vases and menu holders (ills. 175-177, 180, 181), which we showfor comparison 
with a “Bimini” original (ill. 178). Filigree glass was also used occasionally by Max 
Grimm. His “blown vessels” were seen at the glass exhibition in Berlin (ill. 179). 
Delicate creations such as the spinning wheel, barely 10 cm high, belong to the pieces 
blown at-the-lamp whose creators cheerfully ignored functionality, desiring only to 
give pleasure to the beholder. 
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