ANTONIN RÜCKL & SONS 1919-1939
Including WILHELM KRALIK & SONS Czech Glass
D. Multiple shapes and color examples abound for this vase's decor. The grid shows 4 background colors, a mix of tooled peloton glass filaments applied over the surface of the hot furnace glass base piece. These are often large and heavy with vases up to 12 inches high and 3.5 pounds, bearing a 5 layer glass fabrication.
8A 8B 8C 8D 8E 8F
Construction of the hot furnace glass is consistent with the other Rückl decorative glass pieces. A colored or clear glass interior layer with the decorative multi colored glass design layer in between a heavy outer layer of clear glass. The base is a good indicator of this approach, where you can see the wide clear glass vase foot rest in all the images. The effect is an accentuated decor, substantial weight and sturdiness. This matters because of the increased weight of each piece, which caused higher shipping costs. Obviously, Rückl decorative glass was of good quality and worth this extra expense.
Here we have six different decors represented in this vase shape, there are more Rückl glass pieces with the same decor in other colors, as well as other shapes. You can find these on the Rückl Gallery page. On the space below, I will show vase #8 decors and describe them.
To summarize we have: A. Black background with red pulled flame decor, B. White spatter over clear background with orange and black pulled flame decor, C. Orange background with yellow and red spatter plus a zebra (black and white) pulled cane decor, D. Red background with tooled peloton in yellow and black decor, E. Straw spatter over clear background with red and black pulled flame decor, and F. Red dominant color spatter with yellow, blue, pink, orange and green decor over a clear glass background.
B. Multiple examples of this decor in multiple shapes available (see gallery), starting with a Passau Glass Museum display shelf, and more glass items with this exact decor as well, in flame variations with cobalt blue, deep cherry red, and a green and red mixed marbling.
C. Rare examples of this decor in a couple of shapes. May confuse due to similar decor by W. Kralik company in other colors and style of application of the glass. This particular type is the only one which uses the black and white glass accents which we are calling zebra, on it's on unique Rückl shapes.
E. Variation of example B, in a dark wheat fine spatter decor combined with a flame decor in cobalt blue and aventurine green or a deep red with aventurine green, which looks black from a distance.
F. A red spatter decor, which contains a mix of colors, with a rose pink, and a sky blue glass chip color. These two additional colors are consistently seen with the same spatter type Ruckl glass decors. This matters as the choice of a spatter decor color is precise and not accidental, it points to a common maker. You will find this in a yellow, orange, green, and this red. There is a secondary spatter which contains only three different colors, usually yellow, orange and red. There is a third spatter which only contains one glass color on clear glass base, mostly yellow found at this time.
A. No other glass examples in this decor available at the moment.
This will be entirely about piece #8 from the site's Examples I page, in two parts: the vase shape and the many decors applied to it.
THE SHAPE: A tall, simple and elegant baluster form vase with small upper rim opening and flat foot rest, 1st example is from a Tango Sklo Glass Museum Exhibit, in the Czech Republic. The decor is also illustrated on the Ruckl & Sons poster, on eof several published by the Novy Bor Glass Museum to illustrate the many glass company represented. My home page shows this poster, you can detect the first group of glass vases, top left, has this dark upper background and bright lower spatter glass decor. Produced in several sizes. For comparison purposes, images are shown in line and this affects the perceived proportions of the glass piece. These are also in various sizes, from 8 inches to 12 inches high, changing the perception of the upper rin compared to the rest of the body of the vase. Different camera angles, either taken from below or above the vase affect the shape results, as well as lighting and the camera focus setting.