Antique LOETZ VELEZ Cameo Glass Puff Powder Box Art Nouveau Art Glass Vanity Boudoir Casket
This antique lidded powder or candy box is a beautiful example of cased cameo glass from the esteemed loetz brand, specifically from their "velez" series. The glass showcases a sophisticated layering of three distinct shades: a rich brown cameo layer carved to reveal satinized clear glass beneath, which is then set against a delicate, pale peach-pink background. The brown coloration of the cameo is characteristic of the "velez" branding, which was particularly celebrated for its elegant, understated palette. The cameo design itself features an intricate arrangement of wildflowers with broad, serrated leaves, adding a touch of naturalistic beauty. The meticulous detailing of the cameo work can be fully appreciated in the provided images, which have been slightly lightened to accentuate the craftsmanship. The effect is even more enchanting when observed in person, as the three-dimensional cameo details cast shadows onto the lid, creating a subtle play of light that adds depth to the design. Additionally, when held against a light source, both the lid and base reveal a soft translucence, enhancing the piece's ethereal quality. Measuring 5 inches in diameter for the lid and 5.5 inches for the base, this piece stands about 2.5 inches tall. In its time, it would have served as a powder jar, holding a powder puff, or could have been lined with luxurious, padded silk to serve as a jewelry casket. In german, this type of lidded container is often called a "deckeldose, " indicating its versatility as a box, jar, or canister. Despite minor wear from age, including tiny fleabites along the rim and light scratches on the base, the box remains in good condition for a piece approaching a century in age.
This cameo glass vanity box is an exquisite addition to any dressing table or a treasured addition to a loetz art glass collection. According to glass expert philip chasen, the art nouveau period from 1890 to 1920 produced some of the finest french cameo glass, with émile gallé and daum nancy leading as the era's most celebrated artisans. Cameo glass of this period is distinguished by its layered, multi-colored designs. Each piece was created by layering glass in different colors and then etching away parts with acid to reveal intricate floral or scenic motifs. This process began with applying an acid-resistant wax, which was then carved by the artist with the desired design.
Once exposed to hydrofluoric acid, the glass would be etched in areas not protected by the wax. The depth and detail of the design depended on the time the glass was left in the acid, with repeated applications and layers adding complexity and, when additional colored layers were used, a greater range of hues. This labor-intensive method required a high level of skill, with the artist's expertise playing a central role in the final quality and aesthetic of each piece. In response to the popularity of french cameo glass in paris, the austrian glassworks loetz launched their own line of cameo glass, featuring botanical and landscape motifs that resonated with the art nouveau themes celebrated in france.These works drew heavily on the styles of french glassmakers like gallé, daum, de vez, d'argental, and legras. Loetz's cameo pieces mirrored the fine craftsmanship and elaborate designs seen in these renowned french works, with the company quickly gaining a foothold in the parisian market. In 1918, loetz introduced a series of cameo glass items under the trade name "richard, " including vases, bowls, nightlights, covered boxes, perfume bottles, and lamps.
Loetz also used other signatures like "velez, " "veles, " "lutetia, " "ficher, " "roger, " "br, " and "lucidus" for their cameo glass, often for specific markets. Particularly, the "richard" and "br" marks indicated items targeted for parisian customers. The loetz glassworks employed the trade name "velez, " which may have been derived creatively from the french translation of loetz witwe. " this speculation arises from the connection between "veuve loetz" (meaning "loetz widow" in french) and the cleverly condensed form "velez. " the use of "velez as a signature not only provided an air of mystery but also allowed loetz to create a distinct market identity that could appeal to the sophisticated french consumer base. This choice to adopt a french-sounding name was likely strategic, as it aligned loetz products with the aesthetic and cultural prestige of french art nouveau, a style in high demand at the time. The addition of this unique moniker allowed loetz to position their pieces within the competitive parisian market alongside celebrated french makers, giving their glass an exotic appeal while maintaining a nod to the company's heritage.The parisian boutique of edmond etling, a retailer known for high-quality glass, was instrumental in distributing these pieces. As noted in cappa's le génie verrier de l'europe, etling's boutique showcased loetz's "richard" signature glass, commissioned to embody the french art nouveau style while distinguishing the pieces as exclusive to etling's clientele. While these loetz cameo pieces, especially under the "richard" and "velez" marks, are highly valued, they were produced in relatively limited quantities, enhancing their rarity and desirability among collectors.
The legacy of loetz's cameo glass production, marked by both skill and innovation, remains enduring despite the company's eventual closure in 1939 amid the german invasion of czechoslovakia. Pieces like the covered boxes produced during this era serve as a testament to the craftsmanship of loetz, their intricate designs and high-quality etching making them coveted by collectors and admired by art nouveau enthusiasts worldwide. In 1836, johann eisner founded a glassworks in the southern bohemian town of klostermühle, now known as kltersk mln in the czech republic. Shortly before gerstner's death in 1855, he granted susanne sole ownership.
She successfully expanded the business over the next two decades, producing primarily crystal, overlay, and painted glass. In 1879, susanne passed the company, now known as johann loetz witwe, to her grandson, maximilian von spaun. A year later, von spaun brought in eduard prochaska, and together they modernized the factory and pioneered several patented techniques.
This partnership produced innovative historicism glass, including intarsia, octopus, and the popular marbled (marmorisierte) glass that imitated semi-precious stones like chalcedony, onyx, and malachite. Their success was recognized at exhibitions in brussels, munich, and vienna, culminating in awards at the paris exposition universelle in 1889. In 1897, von spaun encountered tiffany favrile glass at exhibitions in bohemia and vienna, inspiring him to transition loetz witwe toward the art nouveau style. The following years marked the company's most artistically and financially successful period, highlighted by their iridescent art nouveau glass designs, often developed in collaboration with artists such as marie kirschner and franz hofstötter.
The celebrated phänomen series, designed largely by hofstötter, won a grand prix at the 1900 paris exposition universelle, placing loetz alongside prominent names like tiffany, gallé, daum, and lobmeyr. Loetz witwe's success during this era was driven by prochaska's technical expertise and von spaun's business insight. The company crafted numerous original designs and fulfilled commissions for major clients, including vienna's e. Bakolowits and london's max emanuel.
By 1904, after another grand prix award at the st. Louis world's fair, demand for phänomen glass began to wane.To reinvigorate its artistic output, loetz witwe increased collaborations with viennese designers such as leopold bauer, otto prutscher, and josef hoffmann. In 1909, adolf beckert, an expert in etched glass decoration, was appointed as the company's artistic director, and von spaun's son, maximilian robert, took over management. However, maximilian robert proved less effective than his father, and loetz witwe's financial struggles worsened, leading to bankruptcy in 1911. Despite continued support from the von spaun family and prochaska's efforts, the departure of beckert in 1913 was a setback.
New etched designs by hoffmann, hans bolek, and carl witzmann, along with the introduction of tango glass, debuted at the deutsche werkbund exhibition in 1914. Yet the glassworks faced a major fire and the outbreak of world war i soon after.The end of world war i brought with it the end of the austro-hungarian empire, and as a result, loetz found itself within the fledgling czechoslovak democracy. Loetz marks after this date no longer have the word austria when the country is named, it is czecho-slovakia.
Although the production of popular colored opal glass offered temporary relief post-war, costly renovations in 1920 led to further financial strain. Lacking new creative direction, loetz witwe resorted to adapting art nouveau motifs into art deco styles and producing cameo glass and glass animals, yet sales continued to decline. The great depression in the late 1920s and another devastating fire in 1930 severely impacted the glassworks. In the 1930s, the company changed hands multiple times, faced repeated closures, and ultimately declared bankruptcy once more in 1939, following the german invasion of czechoslovakia.
This item is made of glass.