glass, colourless, protruding sides with wide and fine gold edges, gold leaf border, front featuring the three transparent and colour-painted taroque cards of the highest values 'Sküs, Mond und Pagat' (= Trull), reverse side with golden inscription 'Leurs réunion est notre force', gold-heightened cog-wheeled ranft, sixteen-star silver-yellow star to base, height 11 cm
Anton Kothgasser c. 1815 (Ru)

Lit.:
Paul von Lichtenberg, Mohn & Kothgasser, Transparent bemaltes Biedermeierglas, p 42 fig. Plate 295, 'Die drei höchsten Tarockkarten repräsentieren auf dem Glas in einer Geheimsprache die drei gegen Napoleon verbündeten Monarchen Kaiser Franz I. von Österreich, König Friedrich Wilhelm III. von Preußen und Zar Alexander I. von Russland. Der abgebildete Reiter auf Karte XXI, der Mond, ist Erzherzog Karl, der Sieger von Aspern, sein größter Sieg gegen Napoleons Armeen.'

Anton Kothgasser, Vienna, 1769-1851, porcelain and glass painter, from 1781 at the Kunstakademie Vienna, studied drawing of figures with the German painter Heinrich Füger, employed at the Viennese Porzellanmanzfaktur from 1784 to 1840, as its most significant design painter, painter no. 96. From 1811, he dedicated his attention to glass painting next to and independently of his work for the Manufaktur. He was introduced to glass painting by Gottlob Samuel Mohn, who was twenty years his junior and moved to Vienna in 1811. He received numerous rewards, including a.o. on September 6, 1811 and on May 20, 1816 the permission to 'work on his glass painting at home for several months'. He initially worked on sheet glass painting, but soon preferred hollow glass painting using transparent enamel paint (transparent painting). This technique had been invented by Samuel Mohn, who focused on it in particular during the years 1815-1830.