nau (cat. no. 148), whüe the vase (cat. no. 141) was probably also manufactured by
Meyr’s Neffe/Adolf.
While a vase (cat. no. 142) is one of the glass vessels with a variety of different cuts,
other glasses are embellished with strawberry diamonds with the sparing use of trans
parent coiours, whüe the cut edges of many vases (cat. nos. 147-148) make them
particulariy delightful.
Thick-walled vessels such as the covered goblet (cat. no. 151), vases (cat. nos.
152-153) and jardinieres (cat. no. 154) are characterised by austere diamond, lozenge
and bevel cuts. In this context, we come across other factory names, such as Zahn/
Haida (cat. nos. 153, 159-161), and Harrach/Neuwelt (cat. nos. 154, 158). But it was
Meitzer/Langenau, Meyr’s Neffe/Adolf, Harrach/Neuwelt and Zahn/Haida who were the
chief exponents of the “crystai style”, which is most effective in lead crystal (cat. nos.
156-161).
The glass sculpture (cat. no. 162), whose creator is specified in the inventory as O. E.
Wagner, represents a supreme achievement in cut glass.
COLOURED GLASS
(cat. nos. 163-180, pp. 182-197)
Glass stained with a colouring material throughout its substance was manufactured
mostly in red, violet and green. The ruby glass of Haida school of glassmaking (cat. no.
164) combines brilliance of colour with attractive form and perfect cutting.
The Goldberg Company of Haida used the term “Kuncke!” glass to describe a special
product usually combining the dark glowing red of the glass with vertical faceting (cat.
nos. 163, 167-169). Mühlhaus/Haida probably manufactured this type of glass several
years eariier (cat. nos. 165-166). The rather traditional shapes of the Haida factories con-
trast with glassware in shades of violet to indigo made to designs by Josef Hoffmann
(cat. nos. 172-174, 176), while the centrepiece (cat. no. 175) has not yet been attributed
to a particular designer or glass factory.
Another design stemming from Hoffmann was that of a bottle whose dark green colour
is visible only against a very bright source of light (cat. nos. 177-178), whereas the me
dium and pale shades of green in the vases by Meyr’s Neffe (cat. nos. 179-180) can be
seen to good effect in trasmitted light.
CASED GLASS
(cat. nos. 181-356, pp. 199-334)
There are several main groups of multi-layered glass: crystal glass with one coloured
casing, crystal glass with several coloured casings and crystal glass with casings in
white and black. Some of these glasses were not decorated at all, or only slightly. More
frequently they were processed by cutting or etching (the latter category will be dis-
cussed in the second volume).
SIMPLE CASINGS
(cat. nos. 181-242, pp. 199-259)
Viennese design appears to have played an important role in the artistic decoration of
single-cased glass. For instance, there are the famous glass goblets by Otto Prutscher,
which were exhibited at the Vienna art show of 1908 (cat. no. 183), an exampie of which
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