acquire great importance. 
The combinations of letters and figures and the dates associated with them refer to the 
painters carrying out the work. They can be identified by a letter preceding the number: 
F = Fiedler (rather seldom, as initially it was not thought necessary to differentiate one 
painter front another), E = Eiselt, L = Lenhardt, P = Pietsch. Sometimes the surnames 
of the painters are also written out in full. As a rule, there are no letters with the num- 
bers referring to the firm of “J. & L. Lobmeyrs Neffe, Stefan Rath” in Steinschönau from 
1920 onwards. The two digit number after the serial or order number is the abbreviated 
year, i. e. 11 = 1911, 12 = 1912, 20 = 1920, etc. 
A differentiation is made between these order numbers and the shape numbers of the 
pieces of glass, which are sometimes identified by the prefix A (probably Meyr's Neffe, 
Adolf). These numbers make it clear whether an older or a Contemporary shape was 
used. 
In view of the fact that pieces of glass of certain shapes with the same decoration were 
executed by different painters, it follows that many working drawings have a whole 
series of painters’ order numbers. However, some sheets have no notation and are 
therefore difficult to date. 
For the sake of simplicity, the following abbreviations were used in interpreting the Lob- 
meyr order books (pp. 41-60): N = number, B = order date, L = delivery date, 
M = sample (pattern), Sb = number ordered, Sg = number delivered, K = customer 
(commission). 
CUSTOMERS 
The following customers are specified by name: Eduard Ast, Cohn, Frau von Fabritius, 
Fräulein von Gompertz, Herr von Herr (Herz?), R. von Hofmannsthal, Kirchhoff, Prof. An 
ton Klinq, Osthaus, Rusiecki, Schaffner, Adolphe Stoclet, Director Szabo, Van Div- 
oet (?). 
Several museums are also specified: Austrian Museum (Austrian Museum of Art and In- 
dustry), Francisco Carolinum Museum, Linz, Museum in Hagen, Reichenberg, Teplitz 
Museum. 
A large number of pieces of glass were probably produced for the “Werkbund” exhibi- 
tion in Cologne (1914). This exhibition and the sales resulting from it are frequently 
noted, as are the exhibition lottery in Berlin and the “Künstlerwohlfahrt” in Frankfurt. 
The Wiener Werkstätte is not mentioned separately, though we know from the calcula- 
tion books of the Wiener Werkstätte that individual pieces of glass were sold on com 
mission for Lobmeyr. 
39