Glass engravers have been very knowledgeable artisans and artists for hundreds of years. The 1700s were especially notable for their accomplishments and popularity.
As an example, this lead glass cup demonstrates how etching integrated design fads like Chinese-style themes into European glass. It also illustrates just how the ability of a great engraver can create illusory deepness and aesthetic structure.
Dominik Biemann
In the first quarter of the 19th century the traditional refinery area of north Bohemia was the only location where naive mythological and allegorical scenes inscribed on glass were still in vogue. The goblet pictured below was engraved by Dominik Biemann, who specialized in tiny pictures on glass and is considered one of one of the most vital engravers of his time.
He was the kid of a glassworker in Nové Svet and the brother of Franz Pohl, another leading engraver of the duration. His work is characterised by a play of light and darkness, which is particularly evident on this cup showing the etching of stags in woodland. He was also recognized for his service porcelain. He died in 1857. The MAK Gallery in Vienna is home to a big collection of his works.
August Bohm
A notable Nurnberg engraver of the late 17th century, Bohm collaborated with delicacy and a sense of calligraphy. He engraved minute landscapes and inscriptions with bold official scrollwork. His work is a forerunner to the neo-renaissance design that was to dominate Bohemian and various other European glass in the 1880s and beyond.
Bohm welcomed a sculptural sensation in both relief and intaglio inscription. He displayed his mastery of the last in the finely crosshatched chiaroscuro (tailing) impacts in this footed goblet and cut cover, which shows Alexander the Great at the Battle of Granicus River (334 BC) after a paint by Charles Le Brun. In spite of his considerable ability, he never achieved the popularity and fortune he looked for. He died in scantiness. His other half was Theresia Dittrich.
Carl Gunther
In spite of his tireless job, Carl Gunther was an easygoing male who appreciated hanging out with family and friends. He liked his daily routine of visiting the Collinsville Elder Center to appreciate lunch with his buddies, and these minutes of friendship gave him with a much needed reprieve from his requiring profession.
The 1830s saw something fairly amazing happen to glass-- it ended up being vivid. Engravers from Meistersdorf and Steinschonau produced highly coloured glass, a taste called Biedermeier, to satisfy the need of Europe's country-house classes.
The Flammarion inscription has ended up being a symbol of this brand-new taste and has shown up in books committed to science along with those exploring necromancy. It is also discovered in countless gallery collections. It is thought to be the only enduring example of its kind.
Maurice Marinot
Maurice Marinot (1882-1960) began his profession as a fauvist painter, yet became interested with glassmaking in 1911 when visiting the Viard siblings' glassworks in Bar-sur-Seine. They offered him a bench and instructed him enamelling and glass blowing, which he mastered with supreme ability. He developed his very own techniques, making use of gold flecks and making use of the bubbles and various other natural imperfections of the material.
His technique was to treat the glass as a living thing and he was just one of the first 20th century glassworkers to utilize weight, mass, and the aesthetic effect of all-natural imperfections as aesthetic aspects in his jobs. The exhibition shows the substantial impact that Marinot had on modern-day glass production. Regrettably, the Allied battle of Troyes in 1944 destroyed his studio and hundreds of illustrations and paintings.
Edward Michel
In the early 1800s Joshua presented a style that imitated the Venetian glass of the duration. He used a method called ruby engraved family name signs factor engraving, which includes damaging lines right into the surface of the glass with a difficult steel apply.
He also established the initial threading machine. This innovation permitted the application of long, spirally injury trails 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 operated at Thomas Webb & Sons, a British firm that specialized in top quality crystal glass and speciality coloured glass. Their job reflected a preference for classic or mythical subjects.
