glass, colourless, curved body with fine and wide gilt edging, silver-yellow stained straps with gilt leaf border, merlon decoration with flowers, gilt painted ivy wreaths, reserve with transparent colour painted view, marked “Entrée au Chateau Schönbrunn” underneath, cog-wheeled Ranft with gilt edges, 16-pointed silver-yellow star to base, height 12 cm, Anton Kothgasser, Vienna, c. 1825, veduta painting probably by Jakob Schuhfried (Ru)

Lit.: Rudolf von Strasser, Die Einschreibebüchlein des Wiener Glas- und Porzellanmalers Anton Kothgasser 1769–1851, Karlsruhe 1977, p. 225 ff;
LIt.: Paul von Lichtenberg, Mohn & Kothgasser, München 2009, S 288, ill. 173, 174;

Anton Kothgasser, Vienna, 1769-1851, porcelain and glass painter from 1781 at the Vienna Academy of Arts, studied figure painting with the German painter Heinrich Füger, from 1784 to 1840 employment at the Viennese Porzellanmanufaktur as the most significant design painter, painter no. 96. From 1811 onwards, he engaged himself with glass painting next to and independently from his Manufaktur work. He received his introduction to glass painting from Gottlob Samuel Mohn, who was twenty years his junior and had moved to Vienna in 1811. He received numerous awards, a.o. on September 6, 1811 and on May 20, 1816 the permission to work on his glass painting at home for some months (“Bei seiner Glasmalerei zu Hause zu arbeiten auf einige Monate”). He first worked on sheet glass painting, but soon preferred hollow glass painting using transparent enamel paint (transparent painting). This technique was invented by Samuel Mohn, who worked on it in particular in the time 1815-1830.

Lit.: Rudolf von Strasser, Die Einschreibebüchlein des Wiener Glas- und Porzellanmalers Anton Kothgasser 1769–1851, Karlsruhe 1977, p. 225 ff; Anton Kothgasser, Vienna, 1769-1851, porcelain and glass painter from 1781 at the Vienna Academy of Arts, stu