oration  in  a  variety  of  colours  (cat.
nos.  48-50).
After  1910  stylised  leaf  shapes  are  often  predominant
  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  astonishing
  (cat.  nos.  71,  72).  The  purely  geometrical ­
  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  accurately
  dated  (cat.  nos.  57,  58).
Loetz  probably  produced  a  ränge  of  undecorated
  opalescent  glass  with  two  layers
(crystal  and  coloured  glass)  for  the  glass  retailers
  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  represented
  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  twenties
  on  (cat.  no.  82),  and  the  cut  cased  glass
of  the  late  period  with  its  predominantly  geometrical ­
  and  floral  motifs  (cat.  nos.  83-87).
According  to  the  records,  glass  was  still  being
  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  surprisingly
  extensive  business  connection  between
  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  considerable
  quantity  of  Lobmeyr  serial  numbers ­
  is  recorded,  emphasising  the  active  role
of  this  Viennese  glass  contractor  as  a  dient
with  its  own  designs.  An  anaiysis  of  the  Order ­
  documentation  provides  interesting  information
  in  many  respects;  serial  numbers,
Order  and  delivery  dates,  numbers  ordered
and  delivered  are  recorded,  as  are  the
names  of  many  Customers  and  the  procedure

  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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