Among the more unusual and highly collectible antique perfume atomizers of the 1920s are those produced by the celebrated Austrian glass manufacturer Loetz, particularly the beautiful acid-etched cameo glass examples made for the French market. Although Loetz is best remembered for its spectacular iridescent glass, with shimmering metallic surfaces that reflected shades of gold, green, violet, and blue, the company also manufactured an impressive assortment of decorative cameo glass. Following the First World War, Loetz expanded its production of acid-etched glassware, responding to the continuing European demand for the richly colored floral and landscape designs popularized by the French glassmakers Émile Gallé and Daum. These later creations were often marketed under a variety of trade names rather than the familiar Loetz signature, making their origins particularly interesting to collectors.
The Loetz glassworks, established in the nineteenth century at Klostermühle in Bohemia, had developed an international reputation for innovative glassmaking techniques long before the 1920s. Although frequently described as Austrian because of its origins within the Austro-Hungarian Empire, the factory was located in a region that became part of Czechoslovakia following the First World War. Its craftsmen were highly skilled in manipulating colored glass, producing elaborate decorative surfaces, and experimenting with unusual chemical effects. These abilities made the company particularly well suited to manufacturing cameo glass, a technique requiring considerable precision in the layering, coloring, and selective removal of glass. By adapting its expertise to the production of acid-etched decorative vessels, Loetz was able to supply fashionable glassware that appealed to consumers who admired French Art Nouveau designs but sought a wider range of styles and prices.
After approximately 1918, Loetz produced cameo glass associated with several different trade names and signatures, including Richard, Velez, Veles, Lutetia, Ficher, Roger, BR, and Lucidus. These names are encountered on decorative glassware attributed to the company's later production, although the precise commercial relationships behind every signature are not equally well documented. Some were associated with glass intended for export, particularly to France, where the market for Gallé-style cameo glass remained strong. The names Richard and BR are especially connected with pieces manufactured for French commercial interests. Rather than identifying individual glass artists, these signatures generally served as commercial marks under which the finished objects could be distributed and sold. Consequently, a perfume atomizer bearing one of these names might appear distinctly French in its decoration and presentation, even though its glass reservoir had been manufactured in Bohemia.
The French market was particularly attractive to Loetz because Paris had long been an important center for the sale of luxurious decorative glass and fashionable perfume accessories. French consumers were already familiar with the beautiful cameo glass produced by Gallé, Daum, Muller Frères, and other celebrated manufacturers. These vessels, decorated with flowers, foliage, trees, and atmospheric landscapes, had become desirable furnishings for elegant interiors. Even as artistic fashions gradually shifted toward the more geometric forms of Art Deco, there remained a substantial market for the softer, naturalistic designs associated with Art Nouveau. Loetz responded by producing layered glass vessels decorated with acid-etched motifs that closely reflected these established French preferences.
One of the most significant commercial relationships associated with this production involved the Parisian firm of Edmond Etling, whose establishment was located at 29 rue de Paradis. Etling was an important dealer and publisher of decorative art objects, associated with the sale of fashionable glassware, ceramics, and other luxury goods. During the 1920s, the firm commissioned or marketed a line of Loetz cameo glass bearing the name Richard. These pieces were intended for French customers and were distributed through commercial arrangements associated with Etling's Parisian business. The name Richard became particularly recognizable on acid-etched glassware decorated in the manner of Gallé, and surviving examples include vases and other ornamental vessels, as well as beautiful perfume atomizer bases.
Period trade references identifying the business as "Richard, Société Ed. Etling, 29 rue de Paradis" are particularly interesting because they connect the Richard name with a specific Parisian commercial establishment. The accompanying description, "Vaporisateurs artistiques. En verre gravé," translates as "Artistic perfume atomizers. In engraved glass." This brief but revealing advertisement demonstrates that decorative perfume atomizers were an important part of the merchandise associated with the firm. The French expression verre gravé, meaning engraved glass, could encompass decorative glass treated through engraving or etching techniques, including the acid-etched cameo effects employed on many Richard pieces. Such descriptions emphasize that these atomizers were marketed as artistic accessories rather than ordinary utilitarian perfume dispensers.
Another important participant in the distribution of this glassware was J. Jouve, a Parisian firm located near Etling's establishment and engaged in the trade of glass and other decorative goods. Jouve reportedly handled a number of the orders associated with the Richard line, acting as a commercial intermediary between the manufacturer and the French market. This arrangement illustrates the international nature of the decorative glass industry during the interwar years. A vessel could be manufactured by skilled glassworkers in Bohemia, ordered or distributed through a Parisian merchant, and ultimately sold under a French trade name to a customer who admired its fashionable decoration. Such arrangements also help explain why the original manufacturer was not always immediately apparent from the signature found on the finished object.
Some Richard glassware was supplied with paper labels associated with Edmond Etling, providing additional evidence of its commercial origins. These labels are particularly valuable when they survive, since paper identification was easily damaged or removed during ordinary use. On a perfume atomizer, exposure to moisture, spilled fragrance, alcohol, and repeated handling could quickly deteriorate a fragile paper label. Consequently, many surviving examples retain only their acid-etched or engraved signatures. An original Etling label, when demonstrably contemporary with the piece, can help establish its retail history and strengthen an attribution to the Richard line. However, collectors should remember that a retailer's label identifies the business responsible for marketing an object and does not necessarily identify the workshop that manufactured it.
The cameo glass manufactured by Loetz for the Richard line was generally produced using cased glass, a technique in which two or more layers of differently colored glass were combined to form a single vessel. The outer layers could then be selectively removed through acid etching, exposing the contrasting glass beneath and leaving decorative patterns in relief. This method was particularly suitable for producing floral and landscape designs in the industrial Gallé style. By using established patterns and controlled acid-etching processes, the factory could manufacture attractive decorative glass more economically than would have been possible through extensive individual hand carving. Nevertheless, the most successful examples displayed considerable artistic sophistication, with carefully chosen colors and well-balanced decorative compositions.
The perfume atomizer bases produced in this manner were especially appealing because their compact dimensions allowed the elaborate cameo decoration to be concentrated into a relatively small object. Some possessed rounded or globular bodies, while others were more elongated, with gracefully sloping shoulders and narrow necks intended to receive metal spray fittings. The designs might feature stylized blossoms, trailing leaves, branching stems, or other botanical motifs arranged around the curved surface of the vessel. On certain examples, the decoration appears almost silhouetted against the contrasting background, while others display more complex variations in color and depth. The raised patterns could be felt beneath the fingertips, giving the glass a tactile quality quite different from that of ordinary smooth perfume bottles.
Among the most striking Richard cameo glass atomizers are those featuring unusual and dramatic combinations of color. Some examples were executed in blue over red, producing an especially vivid contrast between the cooler outer decoration and the warm underlying glass. Others employed deep ruby, crimson, violet, or amber tones, sometimes combined with lighter translucent layers that allowed the decoration to stand out more clearly. A richly colored red body, for example, might be covered with an acid-etched pattern of dark blue foliage, creating a dramatic effect when illuminated. The contrasting layers gave the designs a sense of depth, while the curved surfaces of the bottles intensified the colors and allowed light to move through the glass in interesting ways.
These bold combinations were particularly effective in perfume atomizers intended for display upon fashionable dressing tables. During the 1920s, the boudoir was increasingly furnished with colorful decorative accessories, including perfume bottles, powder jars, manicure implements, and ornamental trays. A brilliant Richard cameo glass atomizer could provide an attractive accent among polished silver, mirrored glass, lacquered furniture, and other fashionable materials. Its vivid colors also reflected the growing enthusiasm for dramatic decorative effects during the early Art Deco period, even when the etched designs themselves retained the flowing floral character of the preceding Art Nouveau style.
Although Loetz manufactured many attractive Richard pieces, the quality and originality of the surviving examples vary. Some were relatively straightforward commercial productions, featuring simple acid-etched patterns and conventional color combinations. Others demonstrate much greater inventiveness, with unusually shaped bodies, elaborate decorative motifs, and striking arrangements of contrasting glass. The finest examples reveal the technical skill of the Loetz craftsmen, who were capable of achieving richly colored and visually complex effects through carefully controlled manufacturing processes. These particularly successful pieces are among the most desirable examples of the company's lesser-known cameo glass production.
The completion of a Richard perfume atomizer required more than the manufacture of its decorative glass reservoir. As with many luxury atomizers of the period, the glass body could be fitted with a separate metal spray mechanism, consisting of a decorative collar, spray head, internal tube, and flexible rubber bulb. Depending upon the model, the metal fittings might have a gilt, silver-colored, or other ornamental finish. The rubber bulb was often enclosed in silk netting and could be embellished with a decorative tassel. These components transformed the artistic glass vessel into a practical perfume dispenser, capable of releasing fragrance in a fine mist. Since such fittings were frequently supplied by specialized manufacturers, their original source should not automatically be attributed to Loetz or Etling without supporting documentation.
The signatures found on Richard cameo glass deserve particular attention. The name Richard was commonly incorporated into the acid-etched decoration, often appearing near the lower portion of the vessel. On some examples, the lettering forms part of the raised outer glass layer, while on others it appears recessed into the surface. The style and placement of the signature can vary, making comparison with documented examples especially useful. The initials BR and the other trade names associated with Loetz's French-market production present additional challenges, since not every signature has been conclusively connected with a particular retailer or manufacturing arrangement. Careful examination of the glass, decorative technique, and any surviving labels is therefore important when attempting to establish an accurate attribution.
The relationship between Loetz and the French market is particularly fascinating because it demonstrates how artistic styles crossed national boundaries during the early twentieth century. Although the glass was manufactured in Bohemia, its decoration was deliberately tailored to the tastes of French consumers. The use of French trade names, the association with Parisian retailers, and the adoption of Gallé-inspired cameo techniques all contributed to the distinctly French character of these objects. A Richard perfume atomizer therefore represents an interesting combination of Central European manufacturing expertise and Parisian commercial taste.
Today, Richard-signed cameo glass perfume atomizers are appreciated as an intriguing and comparatively lesser-known aspect of Loetz production. While the company's iridescent Art Nouveau glass remains its most famous achievement, these acid-etched creations reveal another dimension of its artistic and commercial versatility. Their richly layered colors, imaginative decorative patterns, and association with Edmond Etling and the fashionable Parisian market make them especially appealing to collectors of antique perfume accessories. The most beautiful examples, particularly those featuring unusual color combinations or elaborate cameo decoration, possess a distinctive charm that sets them apart from more conventional atomizers of the period.
For collectors, the historical importance of these pieces extends beyond their attractive appearance. They illustrate the close commercial relationships that existed between glass manufacturers, decorative arts dealers, and luxury retailers during the 1920s. A Richard atomizer could embody several distinct stages of production and distribution: the creation of its glass reservoir at the Loetz factory, its marketing through French commercial intermediaries, and the addition of the hardware necessary to transform it into a finished perfume accessory. This international collaboration resulted in objects that were Austrian or Bohemian in their manufacturing heritage, yet unmistakably Parisian in their decorative appeal. More than a century later, these beautiful cameo glass atomizers remain tangible reminders of the artistic exchange and sophisticated craftsmanship that characterized European luxury goods during the interwar years.
Loetz decided to produce cameo glass under the name Richard in the 1920’s to satisfy the demand for French cameo glass in the Parisian market. With this in mind, many of the pieces were very similar to the French cameo glasswares made by Daum, Galle, De Vez, D'Argental, Legras and others.
The French company Etling sold Richard cameo glass in Paris in the 1920's. Richard was a retail outlet in Paris owned by Edmond Etling. Ref: 'Le Genie Verrier De L'Europe' by Cappa page 368. Edmond Etling commissioned Loetz to create French style cameo glass that they could sell in their Richard boutique. Therefore all pieces to be sold in the boutique have the Richard signature. Richard is a signature you will not often find as their perfume bottles don't seem to have been made in numbers like their vases. Loetz finally went out of business for the third time in 1939.
Below you will find several examples of DeVez cameo glass atomizers shown in a 1920s Marcel Franck atomizer catalog. Only the glass was supplied by De Vez, the hardware was added by Kitzinger and retailed through them. Take special note of the shapes of the bottles, the decor and where the signatures were placed.
No comments:
Post a Comment