Loetz Art Nouveau Vase, Decor Creta Papillon, Bohemia, Austria-Hungary, 1900

Finest Bohemian Art Nouveau Glass Item: Mould blown, wide bowl on a stand ring, eightfold ribbed, outwardly curved wall with humped protuberances, tamed by a smooth, slightly outward...

Finest Bohemian Art Nouveau Glass Vase: Mould blown baluster shaped vase on flush stand, bulbous body with attached conical flared neck, three handles set on the side of the mouth r...

Finest large Bohemian art nouveau glass vase: Form-blown, flat, round bowl with a low, 9-fold wavy indented edge, wall and inside satin-finished, contact surface polished. Shape:...

Finest Bohemian Art Nouveau Glass Vase: Mould blown glass on a round foot, widening after constriction and then abruptly narrowing into a disc-like shape to form a wide neck, with a ...

Very decorative Loetz Witwe glass vase in decoration Cobalt Papillon from the Art Nouveau period in Bohemia, circa 1903. This gorgeous vase from the workshops in Klostermuehle shows ...

Stunning Loetz Witwe glass vase decor "Candia Papillon" out of Bohemia, circa 1898. This very rare version of the famous rose water sprinkler vase impresse...

Loetz The glass factory, originally founded in 1836 by Johann Baptist Eisner, was taken over. Loetz was the premier Bohemian glass works during this period. It was located in Klostermühle, near Rejštejn in the Sušice district in South-West Bohemia, which belonged to the Austro-Hungarian Empire until 1918. Susanna Loetz, widow of Glass entrepreneur Johann Loetz in 1852. She renamed the company "Glasfabrik Johann Loetz Witwe", a name that was retained until all activities were stopped in 1947. In 1879 it passed to Max Ritter von Spaun. Under his guidance, together with director Eduard Prochaska, the glassworks flourished as never before and enjoyed its most successful period. Von Spaun and Prochaska concentrated on the development of innovative glass types and new production techniques. Their first successful speciality was a glass type simulating semiprecious stones. It is often called "Marmoriertes Glas" ("marbled glass"). The range contained Onyx (red/brown), Karneol (red/pink) and later Malachit (green). It was introduced in the second half of the 1880's. From the same period dates the Octopus glass, of which the decor resembles the tentacles of a cephalopod. The production of Marmorier-tes Glas was resumed in 1906, in different colours like yellow and white. Octopus, 1885-1890, 1885-1890, unknown, an Malachit, 1885-1890, unknown, The master glass-blowers of Klostermühle had already carried out experiments with iridescence in the first half of the 1890's, and they produced the Olympia, a classically inspired olive green type, in 1896. Similar, in variants of creta green, bronce or Olympia and averse to any redundant decoration was the Glatt decor. It highly contrasted with the more elaborate finishes of that time, but it constitutes a part of the production with a deep sense for taste and quality. Most of the pieces shown in the "Glatt" decors were manufactured for Max Emmanuel in London. The glatt decor remained in use for many years. The Chiné decor had thin glass threads spun around the body in irregular patterns. It is not to be confused with the type of glass that was produced by Kralik. Loetz "Chiné" came in clear, opal, green and pink, Kralik "Chiné" in dark purple. The logical sequel to Chiné was the Pampas decor, green or cobalt blue, in which the threads almost disappeared in the surface, with iridised parts in between. Around the same time the dotted Papillon decor was introduced. The beautiful silver spots were employed on a wide array of models and quite effective on the gooseneck (water sprinkler) and sea shell...

A fine & large antique Art Nouveau Loetz Canida Papillon glass vase, circa 1898. The vase with a wide flared neck & a bulbous body and is raised upon a circular foot, the vase with ...