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In the period after 1905 the company displayed an innovative range that was mainly derived from cooperation with the cream of contemporary artists, described in the "Masters" section.  

As times were changing, the interest for the floral Art Nouveau lines began to diminish. The new types Titania  Markasit ,   Carrageen  and Flamarion,  with combed ornaments - although still reminiscing of the former Phänomen genres - didn't rely anymore on the iridised surface, but on a strongly coloured background and silver-white waves, covered in clear glass.  The tendency to bright colours also showed in  Melusin , often used by Adolph Beckert for his cameo designs and in Perlglas, a favourite of Otto Prutscher.  At first sight Perlglas seems to feature enclosed air bubbles, but actually they are small silver "bullets".

Titania orangeopal mit grün, gre. 2534, 1906, unknown, © MC  Carrageen citron mit braun verlaufend Gre 2420, 1905, unknown, © RH


Markasit neurot , 1905, II - 2526, © JW Flamarion (Titania variant), 1907, 
II - 5848,
© JW
Blau Melusin, 1905, unknown, © RH


As to forms, there was a tendency to simple lines but Loetz also fell back on models developed much earlier.  That was a common practice for the in-house production, but also the well known designers relied on the vast forms catalog of the previous years.
The vases on the right are in the Ausführung 136 decor, cobalt with clear aventurine overlay.  Apparently it also appeared without the applied threads and raspberries.

Jeff Weller informed me that the same decor as the vase on the left can be seen in the Passau museum (Photos).  There it is shown next to the examples in Ausführung 140, which would date this finish 1913-1914.  

Unidentified decor, circa 1910, unknown, © JW Example far right: Ausführung 136, 1910-1912, II - 7495.
Left: two vases in the same glass type, but without the typical applications,
© KH

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