Likely Dominik Biemann or close circle. Northern Bohemia, Giant Mountains, circa 1825, very rare jug in perfect condition.

Likely Dominik Biemann or close circle. Northern Bohemia, Giant Mountains, circa 1825, Harrachsdorf (Harrachov) or Franzensbad (Frantiskove lazne). Biedermeier period. Very rare jug in perfect condition attributable to the great Dominik Biemann (a good part of his works are not signed). Height 13.5 cm, max. width 8.3 cm. The high quality of the grinding and the correspondence of the traits and details of the figures represented with other signed works by the artist is evident. Dominik Biemann's characteristic is the "three-dimensionality" of the work and the expressiveness of the faces. Nil aurei? Nil te coronati juvant argenteis referta bulga nil mouet? Senex. Vanos qued ah senex amores expetis, Tumulum tuse finemque vitae respice Mors quid aureorum me beabit copia? Amore si priuata sim dulcissimo ivvenis Not even gold? Not even garlands and silver and nothing moves? Ah old man. Ah, old man who loves a vain desire, tomb of your death and the end of your life. Look what serves the gift of gold if you have lost love and sweet youth. The scene is framed between splendidly ground vines, a symbol of wisdom and fertility, as well as a beloved motif in the era of the empire and early Biedermeier. Dominik Bimann (or Biemann) (born on April 1, 1800 in Neuwald (Neuwelt) near Harrachsdorf, † September 29, 1858 in Eger now Cheb) was the best glass carver who ever lived. He continued the family tradition of glass processing and learned the technique and art from the great Franz Pohl. After attending art school, he studied anatomy in Prague from 1826 to 1829 at the Academy of Fine Arts. This explains his predilection for busts and human figures as expressive as possible. He then began his activity right in Prague. While initially working on some simple crystal glasses and cups, he gradually began to receive complex work commissions from high-raking clients, such as a portrait of Goethe, his friend, and Caspar Graf von Sternberg, a member of the Bohemian high nobility. While the economy of the time was growing and taking advantage of it, Bimann moved in the summer months of 1829 to Franzensbad, where some of the prestigious Bohemian glass manufacturers were located. There he worked for aristocratic spa clients and for the monarchy, mainly creating portraits on glass. He later moved to Vienna and Berlin to learn about the latest developments and artistic trends. Bimann was a true artist of the Biedermeier era. In fact, he was deeply rooted in the customs, traditions and tastes of his time. When in 1855 fashion began to change and his fortunes as an artist together with the completely different world in which he lived vanished due to the spread of the industrial revolution, probably seized by despair, he attempted suicide. He died three years later due to the consequences of this attempt. Frame 7: comparison between the old man in the scene and a sketch by Dominik Biemann for his anatomy thesis. the analogy is surprising (see comparison). Literature: Kurt Pitrrof, Dominik Biemann, Bohmischer Glasgraeur des Biedermeier Anorldosche (Germany). Das Boemische Glas Band II. Passauer Glasmuseum. Brosova Buqouy, Spiegl. Gustav Pazaurek-Eugen von Philippovich, Glaeser der Empir und Biedermeierzeit, Klinkhardt Braunscheig. Pezatova Zuzana; Broch Jndrich Title: Bohemian Engraved Glass. Feltham, Hamlyn, 1968. Paul von Lichtenberg, Glasgravuren Biedermeier In accordance with the provisions of the New Code of Cultural Heritage, the selling company provides at the time of sale detailed photographic written guarantee of originality and provenance of the sold works. The data with which the works are described and then contained in the written guarantees are expressed determinations resulting from accurate and documented technical/historical/artistic investigations, including expert assessment. Work not at our location. Visible by appointment / private negotiation