Johann Loetz Witwe – Phänomen Genre 8065 – Thea 1899 - 1900

Johann Loetz (Lötz) Witwe Klostermühle

Bicchiere
18 ⨯ 4 cm, ø 5 cm
ConditionExcellent
Prezzo su richiesta

Antiques Emporium

• A proposito di opere d'arte
  This elegant Phänomen Genre 8065 Art Nouveau vase, crafted by Johann Loetz Witwe, was designed in 1899, just before the great success of the Paris Exposition Universelle in 1900. During this crucial period, Max Ritter von Spaun and Eduard Prochaska were fully engaged in refining innovative glass techniques and developing groundbreaking designs. Their goal was to elevate the iridescent glass, which they had been producing since 1898, to an even higher level and to firmly establish Loetz as a pioneer in the world of glass art.
  
  This vase is a stunning example of the artistic and technical innovations that Johann Loetz Witwe introduced around 1899. The combination of the subtle color, the intricate glass thread decoration, and the refined iridescence makes this piece an exceptionally rare and highly sought-after object in the world of Art Nouveau glass art.
  
  Johann Loetz Witwe – Phänomen Genre 8065 – Thea
  This vase is blown in the subtle and refined base color “Thea,” a soft hue that beautifully enhances the iridescence and decoration. The execution belongs to the rare Phänomen Genre 8065, which debuted in 1899. Remarkably, this is one of the few Phänomen Genre decorations produced under the same production number, 8065, further emphasizing the exclusivity of this decor.
  
  The surface of the vase is adorned with a dense pattern of silver-blue glass threads that gracefully swirl across the body. The upper section is further enriched with applied silver-blue bands, which are pulled downward into elegant, elongated droplet shapes. This delicate and highly refined decoration creates a dynamic and flowing effect, characteristic of the innovative aesthetics of Loetz glass art at the turn of the century.
  
  The combination of the subtle base color “Thea,” the intricate glass thread decoration, and the refined iridescence makes this piece an exceptionally rare and highly sought-after object in the world of Art Nouveau glass art. The decorative technique, where silver-yellow glass threads elegantly weave across the surface and extend into elongated droplet shapes, reflects the innovative spirit of Loetz during this period.
  
  Signature
  The vase is in excellent condition and is signed with a wheel-engraved “Loetz Austria” mark. This signature was first introduced just before the turn of the century, during a period when Loetz began systematically marking their works for the international market. As Loetz gained increasing global recognition, a more distinctive signature became necessary, since the earlier marking with Max Ritter von Spaun’s family crest was not directly associated with the glassworks.
  
  Additionally, the original spelling “Lötz” with an umlaut proved confusing for languages that do not use this diacritical mark. To avoid misunderstandings and enhance brand recognition, the standardized signature “Loetz Austria” was introduced, specifically intended for export markets.
• A proposito di opere artista

  La vetreria Loetz esisteva a Klostermuhle, in Austria, da poco più di cento anni, a partire dal 1840. Ma il suo periodo di massimo splendore fu durante la vita di Max Ritter Von Spaun, nipote dell'originale Johann Loetz che aveva fondato l'azienda.

  Von Spaun rilevò l'azienda nel 1879 e la diresse fino al 1908, un anno prima della sua morte. Fu assistito da Eduard Prochaska, suo tecnico specialista, e insieme inventarono, progettarono e produssero tutta una serie di meravigliosi nuovi tipi di vetro, ottenendo numerosi brevetti e vincendo premi in tutte le maggiori esposizioni mondiali durante gli anni 1890 e i primi anni del il nuovo secolo.

  L'azienda Loetz era tra i leader nel design Art Nouveau e in particolare nel vetro artistico iridescente. Il vetro "Papillon", come il vaso a sinistra, è talvolta noto oggi come vetro "macchia d'olio". Un'altra colorazione preferita di Loetz era il vetro irridizzato con scie tirate chiamato vetro "Fenomeno".

  C'erano vasi irrigiati con nastri di colori metallici che si snodavano sulla superficie, e molti disegni spettacolari con scie applicate di bellissimi colori, o semplicemente tirati fuori dal corpo del vetro per formare maniglie o decorazioni.

  Intorno al 1900 l'azienda iniziò a collaborare con designer esterni e alcuni grandi artisti disegnarono pezzi per Lotz, in particolare Joseph Hofmann, Koloman Moser, Maria Kirchner e Hofstatter.

  Nel 1908 Loetz fu rilevata dal figlio di Max Von Spaun, anche lui chiamato Max, e sebbene stentasse finanziariamente (fallendo nel 1911 e di nuovo nel 1931) ci furono diversi grandi designer il cui lavoro fu prodotto da Loetz in quegli anni e attraverso l'arte periodo déco. Questi includevano Adolf Beckert e Michael Powolny.

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