(in initials). Series of numbers also occur, but they do not necessarily 
coincide with the creation of the corresponding paper pattem. Important 
details such as the design for the base were shown on a flap that turned 
under (ili. 78, p. 41) or were drawn beneath the rim (iil. 115, p. 52). Parts 
of an object such as the Stoppers also appear with their own paper pat- 
terns (iil. 121-123, p. 54). Centerpieces of considerable size (half a meter 
or more in height) are preserved as patterns that are folded a number of 
times (p. 95). 
Characteristic exampies were seiected from the enormous number of cut- 
outs for flacons and vases and placed next to the glasses that had ac- 
tualiy been made (pp. 56 - 71). In the flower vase category, there were in- 
numerable variations in the “Bohemian pattem” with leaf or fiorai wreath 
motivs of the rim, either straight or laid around the giass (pp. 62-69). The 
very smaii flower vases fall into a category of their own. A seiection of 
shapes is reproduced here (ills, 181-192, pp. 70, 71). 
The portrayals of glasses on one of the oldest surviving business cards of 
Josef Lobmeyr, Sr. are very informative (ili. 344, p. 141), since most of 
them can be identified with the help of the cut-outs. Chief among these 
are a flacon (pp. 144, 145), the centerpiece from the dessert Service “N” 
(pp. 98, 99), a sugar bowl shaped like a melon (p. 141) and parts of a 
drinking Service with “Schäieckenschliff” (glasses cut vertically with a po 
lygonal cross-section, iil, 195, p. 73). We find that the types of shapes in 
this Service are very similar in the later drinking Service no. 16 (iil. 194, 
p. 72) and in the glasses of a cruet stand on wheels, borne by a silver ele- 
phant and crowned by a littie Chinese figure (iil. 196, p. 73). 
A seiection of paper patterns for drinking, liqueur and dessert Services, 
goblets and beakers, give an idea of the variations in shapes made in the 
Biedermeier period. On the liqueur Services the abbreviation for the 
giassworks JRT (= probably Ignaz Rückl, Tassitz, iils. 197-202, pp. 74, 
75) appears again and again, while we frequently find a KEK or AKET 
(probably “Kittls Erben” = Kittl’s Successors) on smoke-colored giass 
(ills. 8-10, p. 15). Numerous early drinking Services are reproduced in a 
characteristic seiection of shape types (pp. 158,162,163,166,167,172 - 
174). A Compilation of the giassworks of the time was also attempted, as 
was a glossary of the specialized terms and abbreviations most fre 
quentiy written on the cut-out patterns, but which are not easy to decipher 
(s. pp. 401-403). 
An especialiy large group of paper patterns is the one for beakers. They 
were coliected in separate envelopes for beakers with foot (pp. 177,179, 
188, 189. 197) and without foot (pp. 196, 197). Beakers with lids (p. 164) 
and beakers with “spun Venetian stripes” (p. 165) attract special atten 
tion. The shapes of the 1850s and 1860s appear to still be committed to 
the late Biedermeier (pp. 196,197, 218,219). They sometimes remind us 
of glasses created by the giassworks of Joseph Zieh (Busson 1991, 
pp. 152-175). 
So-called “French patterns” were also used again and again: the rare cut- 
outs done in coior to be used as patterns for beakers and vases with cut 
casing (pp. 17,118,119) and vases with floral and geometric ornamenta- 
tion (pp. 184-187, 232). Shapes in pressed giass are also probably attri- 
butable to French models (ills. 286, 289, p. 116; ills. 304, 305, p. 120). 
The vases by “Steigerwald in Munich” form a group of their own around 
the middie of the 19th Century (p. 152). The so-cal!ed “own patterns” most 
likeiy also took advantage of outside inspiration, at least in part (ili. 467, 
p. 180; ills. 567-572, p. 234; ills. 574-577, p. 235). 
Sometimes objects in museums were used as models, such as a group of 
glasses from the Austrian Museum for Art and Industry (today's Austrian 
Museum for Applied Arts, iil. 573, p. 235). And finally, special attention 
should be drawn to the so-cailed “exhibition commissions” such as the va 
ses for the Vienna World Exhibition of 1873 (pp. 284, 336). However, 
these - including a group of beakers and the paper patterns for the “reed 
Service” (p. 210)-fall into the Ludwig Lobmeyr era. 
Several working drawings shouid also be dated in the late 19th Century. 
Because of the weaith of this material, however, only a small number of 
exampies representing many others can be included here: the dessert 
Service no. 27, “Pink Crystai, cut” (p. 282), the series “Common Green” 
(pp. 304-307), the series, “Blue Opal” (p. 320), the series “with mat orna 
mental engraving” (pp. 376, 377), the series “Pale blue and pale pink” 
(p. 390), the series “Raised gilt ornam.” (p. 390), the “Button series” 
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124 Rumflasche mit Stöpsel, rotes Glas (oder farbloses Glas mit rotem 
Überfang?), Gräfl. Harrachsche Glasfabrik, Neuwelt, vor 1844. -Technisches 
Museum Wien, Inv. Nr. TH 11820 (Inventar: „Große, geschliffene Rumflasche 
mit Stöpsel, rosafarbig mit Weinguirlanden. / Graf Harrach Neuwald, /: Wetz 
stein :/1844./9 fl. 30 kr." 
124 Rum bottle with stopper, red giass (or colorless giass with red casing?), 
Count Harrach Giassworks, Neuwelt, before 1844. - Technical Museum 
Vienna, inv. no. TH 11820 (inventory: “Large cut rum bottle with stopper, pink 
colored with wine garlands. / Count Harrach Neuwald, /:Wetzstein :/ 1844 / 
9 fl. 30 kr.” 
(p. 391), the “Series, smooth with flat cutting - engraved with gilt” 
(pp. 392, 393) and the series “Rococo painting” (pp. 398, 399 ). 
55