Posted 9 years ago
sklo42
(886 items)
This is what welzebub calls a 'découpage' type of spatter, though I don't know if each découpage spatter has an actual name. I understand what découpage is as I've used the technique myself. However I found it difficult to see what he meant until this basket arrived. The basket actually has irregular shapes superimposed over other irregular shapes....pics. one and two. It perhaps appears most clearly on larger, relatively flat areas. It disappears completely on the crimped rim.
It hardly appears at all on the accompanying lobed vase but Ivonne may appreciate the uneven handles!
Height 15 cm./6 inches
My observation is that how obvious the "découpage" is, varies from example to example, but in most cases it can be seen fairly clearly in some area on a piece using the technique. I have examples where it is quite visible all over the piece, and others where it is really only most visible on the underside of the foot. It relates as much to the shape of the color shards used to produce it, as it does to the appearance of a finished product.
Where most people consider the spatter decors to be quite random application of colors, the following statement, which makes perfect sense, can be found in Truitt II pg 46.
"Without a doubt the most abundant type of furnace decorated glassware produced in the 1920's and 1930's was what we now call spatter-ware. Although the patterns appear to be haphazard at first glance, they actually required great precision in the layout and marvering stage of the blowing process. Many of these patterns were used on a variety of table articles and remained in production for several years; therefore a candlestick made in 1930 can perfectly match a bowl or vase made in 1935."
If we examine various spatter decors and can identify either production techniques or color combinations (or a combination of both) which make them unique, we are then able to identify "families" of production originating from a common source. In the case of découpage spatter I was able to link it to certain shapes which were identified Welz production.
In other cases in my collection, and likely Ian's also :-) , certain complicated spatters can be identified as having been produced by a common house, but the maker is not known at this point.
In the case of some of the simple spatters, like a solid color body with a one or two color bottom up spatter, I believe that houses copied each other with much more success, and far less needed in the way of technical requirements, to duplicate the décor over and over again.
So what the statement in Truitt tells us, is that if we identify a décor like Welz Pastel Découpage spatter, it will look the "same" all of the time. If we actually identify an example of Rückl Coral Shimmy, it will look the "same" all of the time, and if we see a spatter identified as produced by Kralik, it will also appear the "same" all of the time.
Will the pieces be identical? Of course not, but they will be similar enough time and time again to determine that they are from the same family of product originating from the same production house. In some cases we can identify the house... in other case, we do not know yet.
Thank you again, Craig, for taking a subject, identifying the essential points then presenting them in logical way.
Peggy,your Welz collection seems to be inexhaustible!Good for you!
Thanks for sharing - it's always educational.
Thank you for your appreciation, Ivonne. This type of Welz is readily available in the UK whereas Art Deco Welz is as rare as hen's teeth.
What a nice couple. Congrats
Thanks, kivatinitz, your comment is really appreciated, Peggy.
Thanks for the loves, aghcollect, eye4beauty, welzebub, Ivonne, IanBrighton, katherinescollections, vetraio, mikelv, surfdub, racer, inky, kivatinitz and smiata.
Thanks for the loves, Vintagefran and Alan