An extremely rare
Schneider candlestick on wrought-iron base.
c. 1918-1922



Large LVF of the series "Azurette".
c. 1924-1925



Scarce Schneider 4 color "Jade" vase with applied foot and internal abstract flowers.
c. 1922-1924  



Good LVF vase of the series "Arcs".
c. 1928-1930

Schneider's history:

Charles Schneider (1881-1953) studied arts at two of the most prestigious French school of Arts. First at the Ecole des Beaux Arts of Nancy, then at the elite Ecole des Beaux Arts of Paris. While studying in Nancy, Charles became "freelance designer" for the Daum co. where Auguste and Antonin Daum had a very liberal policy for supporting upcoming talents. Charles was freelance designer for Daum from 1898 through 1911. It is also said that Charles became Art Director at Daum from 1901 to 1911, though no proof has ever surfaced from the Daum records. On the other hand, there are no records of who else could or might have been art director at the Daum co. during this time. Charles was also dismissed in early 1912 when the new generation of Daum managers came to restructure the co. and Emile Wirtz hired for the position of Art director. A somewhat vague, handwritten resume for Charles Schneider was found and which would indicate that he was listing himself as the art director for Daum.

In the meantime, Ernest a brother, who was two years older, entered the Daum co. in 1902 as a traveling salesman. He was so efficient in his marketing approach that he quickly rose up in the Daum administration to become the Marketing director. In 1905, Ernest asked for a raise, which was denied by the Daum brothers. They however saw him for who he was and how instrumental he was for Daum, they finally settled on profit shares instead of a raise. As Ernest had likely foreseen and which the Daum management didn't, this settlement proved to be far more advantageous for him than a simple pay raise.

Not much is known about Charles designs at the Daum Company, as, although Daum had a very liberal policy when it came to fostering new artists, their policy regarding signature was very strict. Only two pate de verre vide poche (literally translated as empty-pockets), with a snake coiling around it, exist to my knowledge with both the Daum and Charles Schneider signature. One belongs to the Schneider family, the other was dedicated to a professor of Charles, Mr. Vernon, and was kept in his family until several months ago and was just bought (March 2001)  by the School of Nancy museum.

The Schneider brother's career at Daum ended abruptly as a new generation of the Daum family took over the enterprise. The brothers were let go, some supposes they were seen as obstacles from the old bastion, others thinks they had too much influence. It is true that the Schneider's influence by then had reached far beyond the Daum company. This turn of events was seen as a fabulous opportunity by the brothers to open their own glasswork.

 Already, since 1909 they were selling small bronzes and glass items realized by Charles and sold through exhibitions and luxury retail stores (Maison Rouard). In 1913, they officially opened their own glasswork with the help of capital from the Daum shares held by Ernest and a financier friend Henry Wollf, whom they made equal partner.

They made luxury items, fancy perfume bottles and other related products of all colors for perfumery and pharmaceutical companies. This production was halted brutally by the First World War in 1914 for which the brothers and all their workers were called up for duty. Luckily for them, Ernestine a sister, decided to stop teaching, go look over the enterprise and sell some of the remaining inventory to raise capital during this strenuous times.

 In 1917, as most glassworks had been driven to bankruptcy or were into enemies' hands, Charles was demobilized to produce glass in the interest of national defense. Shortly thereafter, Ernest was also demobilized for the same reason.