Working with hot glass and enamel in versatile ways led to the creation of a new craquelé technique. Very thin layers of glasses with different thermal
expansion are fused. This way a brilliant craquelé effect is possible in exactly predetermined areas. Delicate brushstrokes and drawings are completely encased within the thin walls of small vessels and add depth to a charming play
of light. This extremely difficult technique was practiced for a few years only. A small body of work was produced, but it received international attention. A few objects made in different techniques comment - not to seriously -
the tension between glass as art medium and ‘glass art’.
About the glasses of Rosemarie Lierke, a small catalog appeared 1991, Eva Schmidt:
“Rosemarie Lierke, Craquelé- Gläser in Lampenarbeit”. In this well illustrated booklet are listed the objects of L. in public collections which became known
in the meantime (e. g. Hessisches Landesmuseum Darmstadt, museum kunstpalast in Düsseldorf, Museum für Angewandte Kunst in Cologne, The Toledo Museum of Art in Toledo/Ohio,
the Glasmuseums in Ebeltoft, Frauenau, Immenhausen, Rheinbach, Wertheim), also the publications of and about Rosemarie Lierke until 1991. Here should be
mentioned a contribution about her work in Helmut Ricke, Neues Glas in Deutschland/New Glass in Germany, Düsseldorf 1983. Rosemarie Lierke is cited with her glasses in
American books about contemporary lamp-work as well as in books about Studio Glass in general (for instance Peter Layton, Glass Art, London, 1996). Her work is mentioned most recently with some illustrations in Lucartha Kohler,
Women in Art, 2003.