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Also Leopold Bauer favoured simple architectonic forms. Max von Spaun already relied on his talents to design his villa in Klostermühle in 1903.  The example on the left is in the Argentan decor, with metal foil inclusions, but Bauer liked the Titania decor as well.  He is best known for his remarkable designs in "Blitzglass".

Otto Prutscher.
He had a long relationship with Loetz, that started around 1900 as a designer for Bakalowitz.  Most of the Loetz lamp shades can be attributed to him.  For the "Kunstschau" in Vienna 1908 he designed 14 vessels in "Perlglas".   After a long break in the cooperation he turned up again as the main designer for the Paris Exhibition in 1925. 

Argentan violet, 1906, II - 4240, 
L. Bauer, © QU
Perlglas, 1908, II - 5517, O. Prutscher,
© BG

Dagobert Peche
Associated with the Wiener Werkstätte, but still different in his ornamental approach, is Dagobert Peche. Characteristic for his work are soft, enameled decors.

Kristall mit Schliff , 1914, III - 270, D. Peche, (NW) Peche had a preference for tiny, pretty flowers on his designs.  This often leads to the wrong conclusion that every in-house Loetz form with this feature should be from his hand. Only 8 designs can be attributed to him.  Several forms by Hans Bolek appeared with a flower design that strongly resembled the Peche example.  The decoration of Franz Wilms is also frequently confused with the original Peche flowers.
Opal aussen schwarz geätzt, 1914, III-274,
D. Peche,
© HR
Kristall mit Decor , 1914, III - 270, D. Peche, © NW

Michael Powolny
Since the "Werkbundausstellung", an important exhibition in 1914 in Cologne (Germany), many artists had their designs executed by the Loetz glassworks. They certainly must have been inspired by the example of Michael Powolny, who presented 8 vessels realised in Klostermühle. They were in the typical opal glass with stripes, Powolny's trade mark. His original work for the Werkbundausstellung in Cologne was in white-opal with blue stripes.  As a matter of fact, his work reverts to Koloman Moser's much too early designed "Zebra-decor" in 1903.  For a B&W picture of the vases for the exhibition in 1914, see "W. Neuwirth, Loetz 1905-1918", p. 316, or "Lötz, Böhmisches Glas 1880-1940, Band 1, p. 267.

Saphir, 1918, compare to III - 936, M. Powolny, (NW) The vase on the far left was designed for Lobmeyr and executed by Loetz.  It is in Powolny's "Venetian" style, with 3 handles, pulled out from the glass mass, not applied.  Further examples of this series can be found in "Neuwirth, Loetz Austria 1905-1918", on p. 385-387.
Saphir, 1918, compare with III - 936, 
M. Powolny, (© NW)
Orangeopal mit schwarz, 1914, 
III - 282, M. Powolny, © BG
Original form for the Werkbundaus - 
stellung in Cologne 1914
Weissopal mit blau, 1914, III - 281, M. Powolny, © QU
Original form for the Werkbundausstellung in Cologne 1914

The designs by Powolny for Loetz are also shown in "LÖTZ, Böhmisches Glas 1880-1940 Band 2". Not all the opal coloured "Tango" vases with contrasting dark stripes were designed by Powolny, neither were they all made by Loetz.  

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