bition (Vienna, Brünn, Reichenberg, Stockholm, Berlin, Hamburg), often resuited in the 
sale, and - if the worst came to the worst - even in the breakage of glassware. There is 
evidence that one and the same glass model was then reordered, with the result that 
only exact notes in the inventories indicate that the piece originally inventoried was re- 
placed and is not identical with the piece in existence today. The Bohemian glass- 
makers had their share of difficulties with these repeat Orders during this critical period, 
and it could happen that decorators were unable to obtain the glassware they required, 
a circumstance that was particularly unfortunate in the case of incomplete sets. 
Generally speaking, however, the inventoried glass is the same as that existing today, 
and the inventory date can therefore be regarded as a reliable terminus ante quem for 
certain glass items. This seems to be of special importance in view of the fact that many 
successful glass models were manufactured over an extended period of time (as proved 
by the surviving archives of the Wiener Werkstätte). 
CRYSTAL GLASS 
(Cat. nos. 1-162, pp. 34-181) 
Well known artists like Kolo Moser, Emil Hoppe, Otto Prutscher and Josef Hoffmann de- 
signed glassware, the walls of which were cut to form different kinds of facets. 
The glass Service by Kolo Moser (cat. no. 1) was first illustrated in 1906, though the 
design suggests that it probably originated several years earlier. A volume of working 
drawings of the Bakalowits Company (ÖMAK, Inv. 32066 c) shows three variations on 
the shapes of a table Service of 1902 (“optisch”, “Pentagramm", “Schuppen”); the third 
Variation may be the same as the glass type with hexagonal facets (cat. no. 2). 
Most of the shapes of table Service no. 130 commissioned by the Bakalowits Company 
in 1906 have been acquired in recent years; dedications and loans have completed the 
Service in the exhibition (cat. nos. 7-33). In this Service, with its horizontal and vertical 
divisions, designer Emil Hoppe created a whole of exceptional beauty which was also 
produced in a Version with gold decoration (cat. no. 6). The green bowl of the Moselle 
wine glasses (cat. no. 33) contrasts delightfully with the colouriess crystal glass. 
A series of glass goblets with cut bowls, stems and feet was designed by Otto 
Prutscher (cat. nos. 36-41). The differently shaped silhouettes of the bowls ailowed a 
degree of Variation in the series, as did the glowing yellow ovals of three glasses (cat. 
nos. 36, 39, 40). 
Most of the above-mentioned glasses were probably manufactured by Meyr’s Neffe, 
Adolf near Winterberg, although this cannot always be verified. The same applies to a 
jardiniere dated 1909 (cat. nos. 43-45). 
One of the glass goblets designed by Josef Hoffmann in 1910 has a bowl with triangulär 
facets (cat. nos. 50-51); the shapes of the bowls, stems and bases of the other glasses 
in this series were varied by diamond cutting, steps in the base, cut motifs half-way up 
the stem, etc. (cat. nos. 48-54). This group is completed by flower vases (cat. no. 55), 
the designs of which exhibit further variety of shape (cat. nos. 56-59), though not all of 
them were actually executed. One glass was described as unproducible (cat. no. 50, 
left), several marked with 0, and Hoffmann’s original designs for many others were 
altered. 
A flower set consisted of two different sized jardinieres with plates (cat. nos. 64-66); the 
rieh cutting corresponds to the design (cat. no. 64), though the shape was changed by 
leaving out the faceted base. A group of glasses, some of which stem from Josef Hoff 
mann (cat. nos. 67-69), while others have yet to be attributed to specific designers (cat. 
no. 72), is characterised by the deep cuts in the base. 
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