oration in a variety of colours (cat.
nos. 48-50).
After 1910 stylised leaf shapes are often pre-
dominant in Hoffmann’s designs, sometimes
combined with geometrical shapes (cat.
nos. 51,53). On the other hand, the art deco
colouring of some unusuai objects is aston-
ishing (cat. nos. 71, 72). The purely geomet
rical decoration of Witzmann’s cased glass
from the same period looks severe, while the
daintier etched decorations of certain cased
pieces of glass have not yet been more ac-
curately dated (cat. nos. 57, 58).
Loetz probably produced a ränge of unde-
corated opalescent glass with two layers
(crystal and coloured glass) for the glass re-
tailers Bakalowits (cat. nos. 60-62); the glass
with spun thread decoration is similar (cat.
nos. 68-70).
Venetian shapes and decorations to designs
by Michael Powolny were prominently repre-
sented in Cologne in 1914 (cat. no. 73). In
1918 these were supplemented by more
complicated net shapes (cat. no. 75), fused
motifs (cat. nos. 76, 77) and pinched handles
(cat. nos. 78, 79).
The production of the Loetz glassworks after
1918 is represented by several examples:
the return of combed glass to designs by
Prutscher (cat. Figs. 307, 308), the etched
cased glass in the French style which was
produced in large quantities from the twen-
ties on (cat. no. 82), and the cut cased glass
of the late period with its predominantly geo
metrical and floral motifs (cat. nos. 83-87).
According to the records, glass was still be-
ing produced at the Loetz glassworks in
1947/48.
J. & L. LOBMEYR
AND THE WIENER WERKSTÄTTE
Documents in the Company archives of J. &
L. Lobmeyr (working drawings, Order notes,
photographs) bear witness to the surpris-
ingly extensive business connection be-
tween Lobmeyr and Loetz which continued
almost without interruption from 1898 until
well into the twenties (p. 327 et seq.).
Apart from the Loetz serial numbers, a con-
siderable quantity of Lobmeyr serial num
bers is recorded, emphasising the active role
of this Viennese glass contractor as a dient
with its own designs. An anaiysis of the Or
der documentation provides interesting in-
formation in many respects; serial numbers,
Order and delivery dates, numbers ordered
and delivered are recorded, as are the
names of many Customers and the pro-
cedure for ordering from samples (the order
was accompanied by a template, a drawing,
a broken piece or an article, and now and
again even a Tiffany vase served as a model).
The Wiener Werkstätte designs can probably
be attributed entirely to Josef Hoffmann. As
with Lobmeyr, here, too, we know quantities
and prices. I think it Is important to note that
these designs could be executed by various
manufacturers, depending on the type of
glass and production time.
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