Notice of Upcoming Content and Access Change

The Museum is working on the future of our online collections access. A new version will be available later in 2023. During this transition period, the current version of the Collections Browser may have reduced functionality and data may be not be updated. We apologize for any inconvenience this may cause. For any questions or concerns, please contact us.

What is AAT?

The Art & Architecture Thesaurus (AAT) (r) is a structured vocabulary for generic concepts related to art and architecture. It was developed by The Getty Research Institute to help research institutions become consistent in the terminology they use.Learn More

Object Name: 
Accession Number: 
2009.3.13 F
Overall H: 20.3 cm, Diam: 8.5 cm
On Display
about 1907
Web Description: 
This set of six wineglasses was purchased in its original, ruched satin and leather presentation box, and it represents Otto Prutscher’s best-known design in glass. The series was created for the Viennese luxury retailer E. Bakalowits Söhne, and the glass was made by the Bohemian glassworks Meyr’s Neffe. The form and decoration reflect the artistic preferences of two important avantgarde groups in Vienna in the early 20th century: the Vienna Secession and the Wiener Werkstätte (Vienna Workshops). The Vienna Secession was formed in 1897 when a group of forward-thinking artists came together to oppose the tooconservative society of artists in Vienna. The Secession artists, who included the painter Gustav Klimt, the architect and designer Josef Hoffmann, and the painter and designer Kolomon Moser, wished to promote the arts and crafts and to bring more abstract and simple forms to the designs of buildings, interiors, and the decorative and graphic arts. Otto Prutscher, who studied with Hoffmann, designed in many materials, including ceramics, wood, textiles, and silver. In 1903, Hoffmann and Moser formed the cooperative known as the Wiener Werkstätte. The Werkstätte’s aim was to reform the applied arts with objects of exceptional design and quality, and Prutscher was one of a handful of the cooperative’s innovative designers. Similar goblets appear in Torsten Bröhan and Martin P. Eidelberg, Glass of the Avant-Garde: From Vienna Secession to Bauhaus: The Torsten Bröhan Collection from the Museo Nacional de Artes Decorativas, Madrid, Munich: Prestel Verlag, 2001, pp. 38–39.
Im Kinsky Kunst Auktionen, Source
Primary Description: 
Colorless and ruby red glass; mold-blown, cased, cut. Tall goblet has wide undecorated foot, tall narrow stem and hemispherical bowls decorated with cut geometric pattern. Foot is colorless while stem and bowl have been cased and cut as stacked cubes with alternating colored and colorless surfaces facing out, resembling a chain. Glass is part of a set of six in their original fitted leather box.
Glass of the Architects: Vienna, 1900-1937
Corning Museum of Glass 2018-06-23 through 2019-01-06
Today, we think of architects as people who design buildings, construct skylines, and help create the visual identities of our cities and towns. But at the turn of the 20th century in Europe, the term architect applied not just to people who designed buildings, but to people who designed all aspects of interior decoration. They believed their role was to seamlessly integrate a modern aesthetic into all aspects of daily life. For these architects, furniture, ceramics, textiles, and glass, played an essential role in completing their new artistic vision. Glass of this period emerged from a confluence of ideas, individuals, and cultures, and reflected a spirit of modernity. Glass of the Architects: Vienna, 1900–1937 explores this transformative period in Austrian design. Approximately 170 objects, including the installation of Josef Hoffmann’s complete room, Boudoir d’une grande vedette (first displayed at the 1937 Paris World Exhibition), illustrate the immense variety of techniques and varied aesthetics of Austrian glass during this period. Together, architects and designers built upon existing traditions of glassmaking by leveraging the network of design and technical schools, and relying on manufacturers, retailers, and exhibitions to promote and disseminate their ideas on a global scale. Glass of the Architects: Vienna, 1900–1937 is a cooperation of the MAK and LE STANZE DEL VETRO. At the MAK and LE STANZE DEL VETRO, the exhibition was curated by Rainald Franz, MAK Curator, Glass and Ceramics Collection.
The Corning Museum of Glass: Notable Acquisitions 2009 (2010) illustrated, pp. 46-47, #31; BIB# AI79879