glass, colourless, protruding sides with wide and fine gold edges, gold border, ochre ground with gold-painted foliate branches and dots, silver-yellow and golden battlements as well as golden foliate hangings, reserve with colour painted Biedermeier persons and cart as well as the view "Vue de la Place St. Michel á Vienne" as labelled underneath in the field, silver-yellow frame with gold leaf and rosettes, cog-wheeled ranft with gold edges, base with sixteen-point star to base in silver-yellow paint, height 12 cm, Anton Kothgasser, Vienna, around 1815 (Ru)

Lit.:
Kovacek, Katalog Biedermeier, Einblicke in die Idylle, 2007, p. 98, cat. no. 57;
Lit.:
Paul von Lichtenberg, Mohn & Kothgasser, Transparent bemaltes Biedermeierglas, 2009, p. 303, fig. 189;

Anton Kothgasser, Vienna, 1769–1851; from 1781 glass painter at the Vienna Academy of Arts; studied figure drawing with the German painter Heinrich Füger; from 1784 to 1840 employed at the Vienna Porcelain Manufactory as their most important design painter, Painter no. 96. Besides his work for the porcelain works, and unconnected with it, from 1811 he turned his attention to glass painting, to which he was introduced by Samuel Mohn, twenty years his junior, who moved to Vienna in 1811. He received several awards, for example on 6 September 1811, and on 20 May 1816 received permission 'to work on his glass painting at home for several months'. At first he devoted himself to table glassware painting, but soon came to prefer hollow glassware painting using transparent  enamel colours (transparent painting). This technique had been invented by Samuel Mohn, who was preoccupied with it particularly between 1815–1830.