(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 patterns
(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 cutouts
for flacons and vases and placed next to the glasses that had actualiy
been made (pp. 56 - 71). In the flower vase category, there were innumerable
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 polygonal
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 elephant
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 frequentiy
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 attention.
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 cutouts
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 ornamentation
(pp. 184-187, 232). Shapes in pressed giass are also probably attributable
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 vases
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 ornamental
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, /: Wetzstein
:/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
