Financial difficulties fell upon the glasswork after this series of events, Mr. Wollf being close to bankruptcy, they had to make an international search for capital. They found it from an international English-Canadian consortium and business finally resumed under the new name "Societe Anonyme des Verreries Schneider" but only Ernest was allowed on the board of directors.

 Prosperity came back quite quickly to the firm, in part due to Ernest marketing genius, the incredible array of items designed by Charles and the skilled glass workers they hired from other company such as Daum, Galle and Muller fres.

In 1920 as a consequence of this prosperity, disagreement brewed in between the Schneider's and their close associates and the actual board over the use of profit shares. The family and their supporters wanted to reinvest in the firm for expansion while the board wanted to distribute them as dividends to the shareholders. A battle for control of the board ensued for the next few years which was finally won by the Schneiders in 1923 with the help of close friends and associates which bought back shares of this company from the consortium. The company could then be updated with the latest furnaces and new workshops were built to produce a greater variety of products.

By 1925, the Schneider firm was the biggest glass making company in France with more than 360 employees working for it. The company was well prepared for the 1925 International exhibition of Decorative Arts & Modern Industries. They had their own booth in the glass section, complete with exhibits on how to produce glass windows, engraving and so on. They provided three stained glass windows, which were fitted into three of the four main towers of the exhibition, the last window having been made by Jacques Gruber who worked for Daum. They also collaborated with Poiret, the famous designer, for his exhibit (a boat on the Seine River) and finally but not least, they provided most of the raw materials for the glass production exhibition of the Handicraft section. In addition to this, Charles was asked to be member of the Jury for the whole exhibition.

As a result of this great preparation, the 1925 international exhibition was a big success for the Schneider firm. Charles received the Legion of Honor medal for his contribution to the arts (highest award given in France for the Arts), this however was the only honor he received because he was member of the jury and there was no medal for members.

The order books were filled and it looked like there would be no end to this success. As a result of this prosperity, the firm made some more investments mainly in order to keep delivery time to a minimum but also in their workshops. For this reason, when the stock market crumbled in 1929 the firm found itself in a very dire financial position. Almost all orders for exports were called off, one of the greatest loss being that of the American market, which accounted for about 50-60% of its Le Verre Francais exports. Goods that were ready for shipping were even refused; they would never leave the natal French ground. The firm got hit suddenly and with no warnings, the damage was done and the company stumbled around for a few more years before declaring bankruptcy and closing its doors due to heavy debts and no resource, the year was 1938. Ernest died a year earlier of a stroke, on June 11, 1937.

The firm, however reopened on and off until 1981, producing mainly clear heavy crystal pieces, sometimes with splashes of subtle colors. Charles passed away on January 7, 1953 and it is the duty of Charles Junior (Charles senior son) to close the factory. This is the end of a long chapter of glorious glass making for the Schneider Company. We will now stop with the history as our interest is focused on colored glass which were produced only from 1918 to 1933, a fifteen year period.

Unlike any other glass company of the times, at the exception maybe of Daum, Schneider used almost all techniques known to glassmaking to produce their wares. Two fairly baffling exceptions are real pate de verre (He made some for Daum but not for the Schneider company) and iridescent glass.

It is also important to note that almost all Schneider pieces, be it signed Schneider or LVF, were all hand blown and thus each are unique even in their own series. Having said this, there is the exception of a late production of press molded glass in 1932-33, which was likely made as a survival mechanism for the company after the Wall Street crash.

Nice LVF vase of the series "Fougere" with applied foot.
c. 1927-1929



Excellent Schneider "Coupe Bijoux" with applied foot, stem and ring.
c. 1920-1922



Extremely rare LVF vase of the series "Rose Naturelles".
c. 1922-1925



Uncommon Schneider "Coupe Bijoux" with 3 applied prunts, stem and foot.
c. 1924-1926