Draperie Vase

Draperie Vase
  • Le Verre Francais Cameo Schneider Vase
    Le Verre Francais Cameo Schneider Vase
  • Le Verre Francais Cameo Schneider Vase 5917a
  • Le Verre Francais Cameo Schneider Vase 5917b
  • Le Verre Francais Cameo Schneider Vase 5917c
  • Le Verre Francais Cameo Schneider Vase 5917d
  • Le Verre Francais Cameo Schneider Vase 5917e
  • Le Verre Francais Cameo Schneider Vase 5917f
  • Le Verre Francais Cameo Schneider Vase 5917g
  • Le Verre Francais Cameo Schneider Vase 5917h
  • Le Verre Francais Cameo Schneider Vase 5917i
  • Le Verre Francais Cameo Schneider Vase 5917j
  • Le Verre Francais Cameo Schneider Vase 5917k
  • Le Verre Francais Cameo Schneider Vase 5917w

A stunning Art Deco Schneider cameo glass vase decorated with purple falling flowers against a fading purple to lilac background, signed Charder and Le Verre Français.

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£ 1,150

Additional Information

Height

Condition

Circa

Materials

Cameo Glass

Book Ref

Schneider by Gerard Bertrand

Page No.

p. 145

Schneider Glass

Schneider – Since ancient times “Wind, Earth and Fire” were combined to form glass. Both useful and decorative, this medium is the window to our world here, and it can magnify for us the stars of the universe. When artists use this medium, they invite us to share their visions, and they captivate us with the beauty of their creations.

Fast-forward to France in the first quarter of the 20th century where the Art Nouveau movement was ending an ornate period that had begun with quiet Victorian grace. Enter the glass artist Charles Schneider, who began his work in 1918 within the customary motifs of Art Nouveau, but soon mesmerised the world with flamboyant designs that heralded a bold vision of the future. This new design movement was later called Art Deco after the Exposition Internationale des Arts Decoratifs et Industriels Moderne in Paris in 1925.

The world was tired of war and receptive to new trends. In order to appreciate fully the character of Schneider’s glass, it is important to visualize the setting in which it was originally created: Josephine Baker was conquering Paris with her songs; Kurt Weill premiered the Three Penny Opera in Berlin; prohibition in the USA could not inhibit – or perhaps intensified – the syncopated rhythm of the Charleston. The glorious ‘Roaring Twenties‘ is the backdrop against which Schneider glass was designed, produced, and accepted by an appreciative public. It reflects the exuberance and excesses of that time.

Prior style changes seem strained by comparison, like timid attempts at new visions, a quiet evolution. But with Art Deco the transformation burst forth like a flood, an elementary force, spontaneous and vigorous, changing concepts and challenging limits, leaving in its wake glorious tributes to human creativity.

The post-WWI period was a fertile period for creating art glass, and nowhere was Art Deco’s vibrant spirit displayed more flamboyantly than in France, and no one was a more fervent, and more controversial, champion of Art Deco than Charles Schneider. As he was leading the charge into a new age, ahead of his time, he produced an immense variety of spectacular designs, which must have provoked controversy in those days.

Having apprenticed at the renowned firm of Daum Frères, the talented artist and glass designer Charles Schneider together with his brother Ernest, opened the family glass works at Epinay-sur-Seine in France. Called up for military service in WWI, they did not begin the production of art glass until after the war. Their new firm was destined to become a strong force in the French art glass field, both commercially and because of its creative impact, and they continued until the early thirties, when the worldwide depression derailed their business along with many others.

Charles was the genius behind designing their two lines of art glass, one signed Schneider or Schneider France, the other signed variously as Le Verre Français, Charder (a contraction of his first and last name), or with a half inch tri-color (red-white-blue) glass rod, sometimes called a ‘candy cane’, fused into the piece. The name for this kind of signature is “Berlingot” and it was used only for very early pieces.

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