The fact that the Lobmeyr Company compared the prices of the individual painters is ap- 
parent from the following note: 
“1 vase shape 2619-13. with etching and biack bronzite stripes, painted by Thomas Jr. 
with a view to enquiring what he would ask for carrying out this work.” 
Another remark refers to the sending back and forth of working samples: “Send sample 
for Champagne glass no. 2132 V. C. as soon as it comes from Eiselt, Lenhardt asks for it 
with card of 25th September 1914.” 
It is not yet quite ciear what conclusions can be drawn from another remark in the order 
books: “With his card of 14th April (1918) he informs us that he can do all kinds of pain- 
ting. He is unable to do only the bronzite articles, as Norbert Eisert is away.” 
Although this would indicate that Eisert played a röle in the production of Lenhardt’s 
bronzite decorations, it is uncertain exactly what this röle was. 
From 1916 onwards there is increased mention of “decoration in black” or “painting in 
black” by Lenhardt. Outwardly this technique can be astonishingly similar to etched 
black bronzite. The process of so-called “black painting” may have been used during 
wartime as a deceptively similar replacement for more costly bronzite. 
JOSEF EISELT 
Eiselt worked for Lobmeyr, Vienna, from 1917 tili 1919, and subsequently for the Com 
pany of “J. & L. Lobmeyr’s Neffe, Stefan Rath” of Steinschönau, “the management of 
which had been taken over by Otto Pietsch, a teacher at the school of glassmaking in 
Steinschönau and son of the outstanding glass cutter Karl Pietsch” in the year 1918 
(Schmidt 1925, pp. 84, 85, 104). 
One comes across frequent entries with Pietsch’s name in the order books, including - 
under Eiselt - the following references: “Payroll Pietsch letter of 16th March 1919 100 
and 450 crowns” and “According to Pietsch’s letter of 8th July 1919, Eiselt received 
4130 ko (kilograms?) charcoal”. 
From 1920 onwards the entries in the order books are made under the firm of J. & 
L. Lobmeyr’s Neffe, Stefan Rath, Steinschönau (for which I have therefore used the ab- 
breviation “Rath”). 
INTERPRETATION OF THE DESIGNS, WORKING SAMPLES AND COPIES 
The notes on the drawings (designs, copies, working samples, etc.) give a unique in- 
sight into the history that comes to light through the order books of the Lobmeyr Com 
pany. They provide us with the following facts: period of production, painter carrying out 
the work, number of pieces of glass made and offen even the customer. 
My list of painters’ order numbers (pp. 41-60) is arranged first by name and then in 
chronological order of the relevant first order numbers, to which subsequent numbers 
frequently refer. In this way it is possible to form a fairly reliable impression of the num 
ber of pieces produced in each case. However, this list cannot of course Claim to be 
complete, as many entries do not contain detailed specifications of the decoration to be 
executed. 
The designs and working drawings contain a wide variety of notes: figures, names and 
working instructions. Many of the pencil notes. were rubbed out, and can only be made 
out today with great difficulty. This is why the order books of the Lobmeyr Company 
38