glass, colourless, curved sides with wide and fine gold edges, silver-yellow stained edge of lip, golden arch border, depiction painted in colour and gold of 'Das Gnadenbild zu Mariazell in Steyermark' on base of clouds, behind that golden and silver-yellow aureole, fine gold-painted ivy tendrils over silver-yellow strap with gold edges, stand with twelve-point star to base, height 10.5 cm, Anton Kothgasser, Vienna around 1825 (Ru)

See literature: Glass und Porzellan Auktion (glass and porcelain auction), Dorotheum Vienna, October 18, 2013, lot 981, Kothgasser beaker with twelve-point star to base; see lit.: Kovacek, 2015/16, p. 40, fig. 35, with sixteen-point star to base; lit.: Passauer Museum, Vol. II, p. 70, fig. 88, with ten-point star to base;

Anton Kothgasser, Vienna, 1769–1851, porcelain and glass painter, from 1781 at the Academy of Fine Arts in Vienna, studied figure drawing with the German painter Heinrich Füger, from 1784 to 1840 employed at the Vienna Porcelain Factory as its most significant design painter, no. 96. From 1811 onwards, he was devoted to glass painting beyond and independently of his work for the manufacture. He was introduced to glass painting by Gottlob Samuel Mohn, 20 years his junior, who had moved to Vienna in 1811. He received numerous rewards, inter alia on 6 September 1811 and then on 5 May 1816 the permission “to work at home for some months with his glass painting”. He initially dedicated himself to sheet glass painting, but soon turned to hollow ware painting using transparent fusing colour (transparent painting). This technique was invented by Samuel Mohn, who engaged with it particularly in the period 1815–1830.