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i 
120 Stöpsel der Flasche Abb. 124, S. 55. - Stopper ofthe bottle ill. 124, p. 55 
wären schließlich noch die sogenannten „Ausstellungs-Commissionen“ 
wie jene Vasen für die Wiener Weltausstellung 1873 (S. 284, 336), die al 
lerdings - wie eine Reihe der genannten Becher und die Schnitte für das 
„Schilfservice“ (S. 210) - schon in die Ära Ludwig Lobmeyrs fallen. Ins 
spätere 19. Jahrhundert sind auch einige Werkzeichnungen zu datieren, 
die aufgrund der Fülle des Materials hier nur repräsentativ für viele ste 
hen können: das Dessertservice Nr. 27 „Rosa Crista! geschaelt“ (S. 282), 
die Serie „gemeingrün“ (S. 304-307), die Serie „Blau-Opal“ (S. 320), die 
Serie „mit matter Ornamentgravierung“ (S. 321), die Serie „Weiss-Email- 
Spitzendecor“ (S. 375), die Serie „mit Emailnetz“ (S. 376, 377), die Serie 
“blassblau u. blassrosa“ (S. 390), die Serie „Flochgold Ornam.“ (S. 390), 
die „Knopfserie“ (S. 391), die „Serie glatt mit Flachschliff - Gravirung mit 
Gold“ (S. 392, 393) sowie die Serie „Rococo-Malerei (398, 399), 
i: 
I 
/. 
K 
3 
/ *V 
| PilfS 
122 
r ' 
123 
121 -123 Drei Flaschenstöpsel (Papierschnitte), Höhe: 15.5 cm (Abb. 121), 
16.5 cm (Abb. 122), 16 cm (Abb. 123; bez: „zu Flasche / N 1“ (Abb. 121), „2“ 
(Abb. 122), „3“ (Abb. 123) 
121 - 123 Three Stoppers for bottles (paper patterns), height: 15.5 cm 
(ill. 121), 16.5 cm (ill. 122), 16 cm (ill. 123) 
BIEDERMEIER GLASS-SHAPES 
(The period of Josef Lobmeyr, Sr., 1823-1855) 
Drawings för drinking, liqueur and dessert Services, bottles, flasks, flower 
vases, beakers, jugs and many other shapes from the Biedermeyr period 
were kept in long envelopes in the archives of the Lobmeyr Company. 
Some have dates that point to the time of Josef Lobmeyr, Sr. (these are 
chiefly a series of Services), although most of them were put into a new Or 
der following his death in an attempt to group them according to shape. 
We see this also in the volumes of working drawings kept at the Austrian 
Museum for Applied Arts. It gives the impression that this project separa- 
ted things that had previously belonged together. Entire Services appear 
to have been torn apart in this way, as comparabie patterns seen on differ 
ent vessel shapes in a number of folders indicate. Sometimes the dates 
on the front and back contradict each other, such as when the cut-out for a 
vase shows “Bohemian. Sample /at 1830” (probably applied later) on the 
front while the back carries what is probably the Contemporary date 
“9/10. 44” (= 1844) (ills. 165, 166, p. 67). 
There are very few big sheets of paper with production drawings of com- 
plete Services that are preserved whole. They are especially valuable if 
they are dated and signed, such as the dessert Service bearing the year 
1835 and the signature of Josef Lobmeyr, Sr. (s. pp. 9-11). 
As we have already seen, some of the old sheets of paper were re-used. 
When cut-out patterns of bigger objects (centerpieces, candelabra, etc.) 
were made from them, the fragments of drawings that survive on the back 
sometimes provide enough information to be able to reconstruct parts of a 
Service (pp. 33, 46, 47, 49). 
Sheets with drawings were sometimes cut apart in such a way that the 
contours of the cut-out pattem did not correspond with those of the vessel 
itself. As a rule, however, the carefully cut-out drawings can be viewed as 
true to scale paper patterns. They bear- usually on the back - shorter or 
longer inscriptions referring to the type of vessel, methods of execution, 
occasionally also dates, signatures or information about the glass works 
54