Famous Historical Glass Engravers You Ought To Know
Glass engravers have been very proficient craftsmen and musicians for countless years. The 1700s were particularly remarkable for their accomplishments and appeal.


As an example, this lead glass cup demonstrates how etching integrated design fads like Chinese-style concepts into European glass. It likewise 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 as one of the most vital engravers of his time.

He was the boy of a glassworker in Nové Svet and the sibling of Franz Pohl, another leading engraver of the duration. His job is qualified by a play of light and shadows, which is specifically obvious on this cup displaying the etching of stags in timberland. He was likewise known for his work on porcelain. He passed away in 1857. The MAK Museum in Vienna is home to a huge collection of his jobs.

August Bohm
A noteworthy Nurnberg engraver of the late 17th century, Bohm worked with special and a sense of calligraphy. He engraved minute landscapes and engravings with strong official scrollwork. His job is a precursor to the neo-renaissance design that was to dominate Bohemian and other European glass in the 1880s and past.

Bohm embraced a sculptural sensation in both alleviation and intaglio engraving. He showed his mastery of the last in the finely crosshatched chiaroscuro (shadowing) results in this footed goblet and cut cover, which depicts Alexander the Great at the Fight of Granicus River (334 BC) after a painting by Charles Le Brun. Despite his significant skill, he never ever accomplished the fame and ton of money he sought. He passed away in penury. His better half was Theresia Dittrich.

Carl Gunther
In spite of his tireless job, Carl Gunther was an easygoing man that delighted in spending time with friends and family. He liked his day-to-day ritual artistic uses of glass of visiting the Collinsville Senior citizen Center to take pleasure in lunch with his buddies, and these minutes of camaraderie gave him with a much needed reprieve from his demanding job.

The 1830s saw something quite phenomenal occur to glass-- it came to be vibrant. Engravers from Meistersdorf and Steinschonau created highly coloured glass, a taste referred to as Biedermeier, to meet the need of Europe's country-house courses.

The Flammarion engraving has actually become an icon of this new preference and has appeared in publications devoted to scientific research as well as those discovering mysticism. It is likewise located in various gallery collections. It is thought to be the only making it through instance of its kind.

Maurice Marinot
Maurice Marinot (1882-1960) started his job as a fauvist painter, but ended up being interested with glassmaking in 1911 when going to the Viard siblings' glassworks in Bar-sur-Seine. They gave him a bench and showed him enamelling and glass blowing, which he mastered with supreme skill. He created his own methods, making use of gold flecks and manipulating the bubbles and other all-natural imperfections of the material.

His technique was to deal with the glass as a living thing and he was among the initial 20th century glassworkers to use weight, mass, and the aesthetic result of natural problems as visual elements in his jobs. The event demonstrates the considerable influence that Marinot had on contemporary glass manufacturing. However, the Allied bombing of Troyes in 1944 ruined his workshop and thousands of drawings and paints.

Edward Michel
In the very early 1800s Joshua introduced a style that simulated the Venetian glass of the duration. He used a method called ruby factor engraving, which includes scraping lines right into the surface of the glass with a difficult steel apply.

He also developed the very first threading equipment. This invention enabled the application of long, spirally injury routes of shade (called gilding) on the main body 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 concentrated on top quality crystal glass and speciality coloured glass. Their work showed a choice for timeless or mythological subjects.