Glass engravers have been very knowledgeable craftsmen and musicians for thousands of years. The 1700s were especially remarkable for their achievements and popularity.
As an example, this lead glass cup demonstrates how inscribing integrated style fads like Chinese-style motifs into European glass. It likewise highlights how the skill of a great engraver can generate illusory depth and visual structure.
Dominik Biemann
In the initial quarter of the 19th century the traditional refinery region of north Bohemia was the only location where ignorant mythical and allegorical scenes inscribed on glass were still in fashion. The goblet visualized below was engraved by Dominik Biemann, that specialized in little portraits on glass and is considered among one of the most important engravers of his time.
He was the boy of a glassworker in Nové Svet and the brother of Franz Pohl, another leading engraver of the period. His work is characterised by a play of light and darkness, which is specifically apparent on this cup displaying the etching of stags in woodland. He was also understood for his service porcelain. He passed away in 1857. The MAK Gallery in Vienna is home to a huge collection of his jobs.
August Bohm
A remarkable Nurnberg engraver of the late 17th century, Bohm worked with delicacy and a sense of calligraphy. He engraved minute landscapes and inscriptions with bold formal scrollwork. His work is a precursor to the neo-renaissance style that was to dominate Bohemian and other European glass in the 1880s and beyond.
Bohm embraced a sculptural feeling in both relief and intaglio engraving. He exhibited his mastery of the latter in the finely crosshatched chiaroscuro (watching) effects in this footed goblet and cut cover, which portrays Alexander the Great at the Battle of Granicus River (334 BC) after a painting by Charles Le Brun. Despite his considerable skill, he never achieved the fame and ton of money he sought. He died in scantiness. His wife was Theresia Dittrich.
Carl Gunther
Despite his tireless job, Carl Gunther was a relaxed male that took pleasure in hanging out with friends and family. He liked his everyday ritual of going to the Collinsville Senior Facility to appreciate lunch with his pals, and these minutes of friendship offered him with a much needed respite from his requiring job.
The 1830s saw something fairly amazing occur to glass-- it ended up being colorful. Engravers from Meistersdorf and Steinschonau created highly coloured glass, a preference referred to as Biedermeier, to meet the need of Europe's country-house courses.
The Flammarion inscription has become an icon of this brand-new taste and has shown up in publications dedicated to science along with those discovering mysticism. It is also found in countless gallery collections. It is thought to be the only surviving instance of its kind.
Maurice Marinot
Maurice Marinot (1882-1960) began his profession as a fauvist painter, but came to be interested with glassmaking in 1911 when going to the Viard brothers' glassworks in Bar-sur-Seine. They offered him a bench and showed him enamelling and glass blowing, which he mastered with supreme ability. He established his own strategies, utilizing gold flecks and manipulating the bubbles and various other natural imperfections of the product.
His approach was to deal with the glass as a living thing and he was one of the initial 20th century glassworkers to utilize weight, mass, and combining engraving and color the aesthetic impact of natural imperfections as aesthetic elements in his jobs. The exhibition shows the considerable influence that Marinot carried modern glass manufacturing. Sadly, the Allied battle of Troyes in 1944 ruined his studio and countless drawings and paints.
Edward Michel
In the early 1800s Joshua presented a style that resembled the Venetian glass of the period. He made use of a method called ruby point inscription, which includes damaging lines into the surface area of the glass with a difficult steel execute.
He also established the first threading equipment. This innovation permitted the application of long, spirally wound routes of color (called gilding) on the text of the glass, an essential function of the glass in the Venetian style.
The late 19th century brought brand-new layout ideas to the table. Frederick Kny and William Fritsche both operated at Thomas Webb & Sons, a British company that focused on top quality crystal glass and speciality coloured glass. Their job reflected a choice for classical or mythological topics.
