- Measure +
High 45 cm / 17.72 in Diameter 16 cm / 6.30 in
Designer / Information
Le Verre cameo glass was a separate line of art glass designed by Charles Schneider. Its production was made at the same time as the Schneider designed glasses 1918 –1933. But from 1919 the two lines were kept strictly separate, so much so that even had the same points of sale in Paris. Several different signatures were used for LVF glass. Early marks consist of a small tri-color glass rod, a patriotic touch representing the red-white-blue French flag, which was fused into the foot or bottom of the piece. Rather than straight, it can also appear as a tight curl. This signature is commonly referred to as a ‘candy cane’. The next signature was Le Verre Francais, engraved on the foot or near the bottom of the piece. Especially during times of changeover, pieces can have both of these signatures. Usually, the Charder signature was used in conjunction with the engraved Le Verre Francais, but some pieces are signed legitimately only in cameo with the Charder signature. In addition, many pieces are acid-stamped FRANCE on the bottom, sometimes in combination with Ovington. Ovington was a decorative arts specialty store in New York that sold LVF glass in the USA, and their catalogs from those years carry advertisements offering LVF. Charles Schneider developed the LVF line in a marketing move to reach a broader public taste with an aesthetically pleasing product. His grandson, Jean-Charles Schneider, states in Bertrand’s book that Charles Schneider was the first to use modern marketing techniques for decorative arts. Charles Schneider developed all the designs for both lines of glass, but for LVF he gave the craftsmen freedom to select color, shape and size. That explains why some designs are available in different colors, with many pieces exhibiting variable hues. For the most part they did an excellent job of adapting the design to a given shape and size. tree designs, are quite impressive as large pieces. LVF glass achieves its impact through a combination of design, shape and color. The relatively short time of production (1918-1933) permits a fascinating view of the transition from art nouveau to art deco. During the early years, lifelike designs of animals –swans, cats-, and plants –holly, bell flowers-, were executed in somber hues, so that just by noting the color, one can roughly date a piece. As time went on, the designs became more stylized in the art deco manner, and the colors brightened. Toward the end of the 15-year span, the production came full circle to a common finish with the Schneider line: In the early 1930s, both concluded their production with unicolor pieces, where only shape and cold decoration, like etching, determined the work’s character. Until the economic downturn in the world deprived the Schneider firm of viable markets, LVF glass was an unqualified success by any measure, exporting in large quantities to both North and South America, as well as selling to the European public. The work came in all sizes, from miniatures of 3" or less, to monumental sizes of 36" and more. Among the more exciting pieces are the lighting fixtures: Whether table lamps or night lights, chandeliers or plafonds, a LVF design lit up can be a spectacular sight and can dominate a room.