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GOBLET WITH COURT OF ARMS

GOBLET WITH COURT OF ARMS

Bohemia, ca. 1720
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BEAKER WITH IMHOF COAT OF ARMS

BEAKER WITH IMHOF COAT OF ARMS

Nuremberg, 1678 (dated)
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BEAKER WITH HANDLE AND BASE

BEAKER WITH HANDLE AND BASE

Bohemia, ca. 1725
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CRAVAT

CRAVAT

Brussels, first quarter of the 18th c.
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BROAD COLLAR WITH FIGURES AND ORNAMENTATION

BROAD COLLAR WITH FIGURES AND ORNAMENTATION

Italy, second half 16th c.
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CYLINDRICAL GLASS WITH LID

CYLINDRICAL GLASS WITH LID

Manufacture: Venice or Imperial Glass Factory, Innsbruck, ca. 1570
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KUTTROLF

KUTTROLF

Manufacture: Venice or Imperial Glass Factory, Innsbruck, ca. 1580
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BROAD LACE BRAID TRIMMING

BROAD LACE BRAID TRIMMING

Venice, ca. 1700
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FITTED RELIEF LACE

FITTED RELIEF LACE

Venice, mid-17th c.
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Permanent Collection Renaissance Baroque Rococo

Permanent Collection Renaissance Baroque Rococo

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Permanent Collection Renaissance Baroque Rococo

Permanent Collection Renaissance Baroque Rococo

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BEAKER WITH IMHOF COAT OF ARMS

Nuremberg, 1678 (dated)

Signed: Johann Keyll    
Colorless glass, Schwarzlot (black enamel) painting: bacchant children, view of Purkersdorf
Gl 2161 / 1907
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Permanent Collection Renaissance Baroque Rococo

Artistic intervention: Franz Graf

The joint arrangement of precious glasses with valuable needle and bobbin lace in the Renaissance Baroque Rococo Collection on permanent display not only complies with aspects of art history, but also places these delicate materials in a visual-sensuous dialogue with each other that enhances and accentuates their aesthetic effect with striking clarity.
A design intention = states of affairs. The wealth of appearances.
The legacy of those who were here before us = the form of actions, our inheritance = memory: museums are also, like cemeteries, our quiet bliss: because the nature of the encounter also gives rise to understanding: it seems there can be no truth concerning this, but only original, brilliant works: silence is the word extinct. Because the same thing once meant something else: because the essence of things is forever dead, and its material properties maintain this expansion into a different world: because a past exists that the living individual can reach into and at least the possibility is hinted at of coming to an end through oneself and beyond with the early ***** appearance. / Franz Graf

The MAK's collection of lace, and its holdings of glassware—especially Venetian glass—are considered among the finest and most varied in the world. Even in the Baroque period, Venetian glasswork was particularly treasured, and both men and women spent vast sums on the sumptuous lace decoration that fashion demanded.
While glass-making is one of the oldest handicraft techniques in the world, the history of lace-making only begins in the late Renaissance period, probably in Italy. A distinction is made between needlepoint lace and bobbin lace, but combinations of the two techniques are often seen. Florence, and later Venice and Milan, were the centers of Italian lace-making in the sixteenth and seventeenth centuries, before lace-making in France and Flanders began during the eighteenth century. Venice was the center of European glass-making from the Middle Ages onwards. Around 1500, Venetian glass-makers succeeded in producing clear, colorless glass. Glassblowing spread from Venice across the whole of Europe. In the north, centering on Bohemia and Silesia, there was a preference for harder glass that could be decorated with relief or intaglio engraving, or glass decorated with enamel, Schwarzlot ("black solder"), or gold. This presentation of glasswork and lacework is not based only on art-historical criteria, but also on the visual effects of the materials—their "transparency", material delicacy, and the virtuosity of the craftsmanship involved in their production—which may today be the aspect of them that arouses the greatest admiration. / Angela Völker (curator of the MAK Textiles and Carpets Collection during the phase of the reinstallation of the MAK Permanent Collection in the early 1990s)

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Biography

FRANZ GRAF
Born 1954 in Tulln, Lower Austria. Lives and works in Vienna.
Franz Graf is one of the most important representatives of a neo-conceptual position. His innovative combinations of divergent media such as drawing, photography, and installation repeatedly lead to new and open structures. The spectrum of his motifs ranges from abstract to ornamental, figurative and emblematic, or to factual representations of reality made with the camera.

Guided tours

Special guided tours by advance booking: Gabriele Fabiankowitsch, Head, MAK Educational Programs
T +43 1 711 36-298, 

Related

MAK Collection

Textiles and Carpets Collection

Curator: Silke Geppert
The holdings of the MAK’s collection of textiles, which is one of the foremost textile collections in the world, cover the time from Late Antiquity until today; they encompass the globe with works from nearly all parts of Asia and Europe, and even South America. The collection is a comprehensive material archive reflecting the artistic, technical, and economic developments of this special field throughout the last 1,500 years. This richness of the material archive gives it a unique capability of illustrating the multifaceted, international cultural interconnections that have developed over the centuries.
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MAK Study Collection 1993-2013

Glass Study Collection

Curator: Rainald Franz, curator, Glass and Ceramics Collection
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Collection

MAK Collection Online

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