Glass engravers have actually been highly experienced artisans and artists for hundreds of years. The 1700s were particularly significant for their achievements and appeal.
As an example, this lead glass goblet demonstrates how etching incorporated design patterns like Chinese-style themes right into European glass. It also shows how the skill of a great engraver can create imaginary deepness and aesthetic texture.
Dominik Biemann
In the first quarter of the 19th century the standard refinery area of north Bohemia was the only area where naive mythological and allegorical scenes etched on glass were still in vogue. The cup pictured right here was engraved by Dominik Biemann, who specialized in little pictures on glass and is considered one of the most important engravers of his time.
He was the son of a glassworker in Nové Svet and the bro of Franz Pohl, one more leading engraver of the period. His job is qualified by a play of light and shadows, which is especially evident on this cup showing the etching of stags in forest. He was also recognized for his service porcelain. He passed away in 1857. The MAK Gallery in Vienna is home to a big collection of his jobs.
August Bohm
A noteworthy Nurnberg engraver of the late 17th century, Bohm worked with delicacy and a feeling of calligraphy. He engraved minute landscapes and inscriptions with vibrant formal scrollwork. His work is a forerunner to the neo-renaissance design that was to dominate Bohemian and other European glass in the 1880s and past.
Bohm embraced a sculptural feeling in both relief and intaglio inscription. He showed his mastery of the latter in the carefully crosshatched chiaroscuro (shadowing) impacts in this footed cup and cut cover, which shows Alexander the Great at the Battle of Granicus River (334 BC) after a painting by Charles Le Brun. In spite of his substantial skill, he never attained the fame and ton of money he looked for. He passed away in penury. His partner was Theresia Dittrich.
Carl Gunther
Regardless of his determined work, Carl Gunther was a relaxed male who delighted in spending quality time with family and friends. He loved his everyday routine of seeing the Collinsville Senior Facility to enjoy lunch with his buddies, and these minutes of sociability gave him with a much needed break from his requiring occupation.
The 1830s saw something fairly extraordinary happen to glass-- it came to be vivid. Engravers from Meistersdorf and Steinschonau produced richly coloured glass, a taste called Biedermeier, to fulfill the need of Europe's country-house classes.
The Flammarion engraving has become a symbol of this new taste and has appeared in books committed to science in addition to those checking out necromancy. It is also located in many museum collections. It is thought to be the only surviving example of its kind.
Maurice Marinot
Maurice Marinot (1882-1960) began his occupation as a fauvist painter, however ended up being amazed with glassmaking in 1911 when going to the Viard brothers' glassworks in Bar-sur-Seine. They gave him a bench and educated him enamelling and glass blowing, which he grasped with supreme skill. He created his own strategies, using gold flecks and making use of the bubbles and various other all-natural imperfections of the product.
His strategy was to deal with the glass as a living thing and he was just one of the very first 20th century glassworkers to utilize weight, mass, and the aesthetic impact of natural flaws as aesthetic elements in his works. The exhibition shows the substantial influence that Marinot carried contemporary glass production. Regrettably, the Allied bombing of Troyes in 1944 damaged his studio and thousands of illustrations and paintings.
Edward Michel
In the very early 1800s Joshua introduced a design that imitated the Venetian glass of the period. He utilized a method called ruby point inscription, which involves damaging lines into the surface area of the glass with a difficult steel carry out.
He also established the first threading maker. This development allowed the application of long, spirally wound routes of color (called gilding) on the text of the glass, a vital attribute of the glass in the Venetian design.
The late 19th century brought new design ideas to the table. Frederick Kny and William Fritsche both worked minimal text engraving at Thomas Webb & Sons, a British firm that focused on high quality crystal glass and speciality coloured glass. Their job reflected a choice for classical or mythological topics.
