ANTONIN RÜCKL & SONS 1919-1939
WILHELM KRALIK & SONS 1919-1939
Represents decorative glass produced during the same Art Deco period, which resembles Czechoslovakian glass in shape or decor. Due to the many European and worldwide International Exhibitions, where decorative glass was displayed and entered into competitions for medals, it was a simple feat to view what the other countries were producing and be influenced by them. Some decorative trends started this way spanning the world, as an example, Europe fell in love with the Japanese art form, creating Japonism, during the last part of the 19th century, when they began participating in a very serious way to French and British International exhibitions in Paris and London.
Today, unless identified on the glass item, it can be difficult to know the difference between the glass produced by different country and glass company. This page is meant to explore these circumstances, and give an overview of some of these glass pieces and their provenance. The finish is a satin clear glass layer.
SCAILMONT - Belgium Glass Factory
The Belgian designer Charles Catteau worked for Scailmont and their glass products during the mid 1920s, before joining the firm of Bock & Freres, another Belgian firm, as a designer of faience-ceramic and glass into the 1930s. An interesting side note is that several times, the same shape molds were used for both glass and ceramic. I think this also happened in France with the firm Baccarat.
The glass I would like to discuss here is a decor that is similar to Rückl, the flame or pfau spatter, with pulled lines from bottom to top. It is mistaken for Rückl today, but it is often marked Scailmont. These spatter glass pieces are hot furnaces decorated item placed in a mold by hand, there are other styles of Scailmont decorative glass, for our purpose here we will focus on this one type of decor. The finish is a clear glossy glass layer.
RÜCKL PFAU SPATTER DECOR SCAILMONT FLAME SPATTER GLASS DECOR