2015, ISBN: 9789081577663

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DE Imhof verlag 2011. Hardcover,21,5 x 28,5 cm, 360 Seiten, 708 Farbabbildungen, ISBN 9783865686800. Bestandskatalog, Das Schweriner Museum besitzt eine umfangreiche Glassammlung, die na… Meer...

DE Imhof verlag 2011. Hardcover,21,5 x 28,5 cm, 360 Seiten, 708 Farbabbildungen, ISBN 9783865686800. Bestandskatalog, Das Schweriner Museum besitzt eine umfangreiche Glassammlung, die nahezu eintausend Hohlglaser und Objekte von der Antike bis zum Ende des 20. Jahrhunderts umfasst. Die kostbarsten Pokale, Humpen, Zier- und Gebrauchsgefasse aus vorwiegend europaischen Herstellungsgebieten werden in der Ausstellung gezeigt., DE Imhof verlag 2011, 0, BE- private edition 2013. Hardcover, bound, 300 pages, 600 images. 29 cm x 22cm x 2 cm Tekst in English ++ FRENCH SUMMARY !!!!! ISBN 9789081577649. In Art signed Galle Tiny Esveld, in collaboration with Clementine L. Diepen, has cast new light on the renowned French designer Emile Galle (1846-1904). Esveld raises a number of points which many authors prefer to pass over, such as the important role that Galle?s father played in the production of his ceramics and the involvement of Emile's wife Henriette and their daughters after Galle's death in 1904. Almost 90% of glass signed Galle which comes on the market today dates from the period after his early death. Galle?s oeuvre of ceramics, glass and luxury furniture, which was often inspired by nature, is examined and explained by means of concise texts, informative descriptions and hundreds of photographs. Esveld also draws on her expertise to illuminate Galle?s often innovative techniques and production methods. With Art signed Galle, Tiny Esveld has added to the scope of the literature about Emile Galle from her own perspective. In its 300 pages, she transports the reader back to the era and the city in which Galle lived and worked. This is a coffee table book, a popular work of reference and a practical guide in one. A limited number (500 copies) of Art signed Galle are also available in a Dutch edition., BE- private edition 2013, 0, Lannoo 2007. . Gebonden, stofomslag, Formaat 250 x 290, Aantal pagina's :128, Geillustreerd ISBN 9789020970586. De bouwgeschiedenis van een bijzondere art-decokerk in Antwerpen gebouwd n.a.v. de wereldtentoonstelling van 1930.Een overzicht van de na-oorlogse glasraamkunst met aandacht voor inspiratiebronnen en materiaaltechnische aspecten.Een christelijke duiding van de glasramen via een wandeling door het iconografisch programma en het liturgische jaar, Lannoo 2007., 0, BE- private edition 2013. Hardcover, bound, 300 pages, 600 images. text in English. ISBN 9789081577649. In Art signed Galle Tiny Esveld, in collaboration with Clementine L. Diepen, has cast new light on the renowned French designer Emile Galle (1846-1904). Esveld raises a number of points which many authors prefer to pass over, such as the important role that Galle?s father played in the production of his ceramics and the involvement of Emile?s wife Henriette and their daughters after Galle?s death in 1904. Almost 90% of glass signed Galle which comes on the market today dates from the period after his early death. Galle?s oeuvre of ceramics, glass and luxury furniture, which was often inspired by nature, is examined and explained by means of concise texts, informative descriptions and hundreds of photographs. Esveld also draws on her expertise to illuminate Galle?s often innovative techniques and production methods. With Art signed Galle, Tiny Esveld has added to the scope of the literature about Emile Galle from her own perspective. In its 300 pages, she transports the reader back to the era and the city in which Galle lived and worked. This is a coffee table book, a popular work of reference and a practical guide in one. A limited number (500 copies) of Art signed Galle are also available in a Dutch edition., BE- private edition 2013, 0, Tiny Esveld 2015. Hardcover, 23 cm x 29 cm, 288 pages, with 500 photographs in color. fine copy !. ISBN 9789081577663. reference book !! In 1913 the two brothers had saved enough to buy their own glassfactory, together with a friend, Henri Wolf. This factory was located in Epinay-sur-Seine near Paris. 1913 was not a good year to start a business. In 1914 the first world war broke out and till 1918, the brothers did not really start to make art glass. In 1918 they needed money to relight their furnaces and they accepted the help from an English investor. At that moment they were no longer in control of their glassworks. The investor wanted profit and in 1923 it led to a rupture. The Schneider brothers scraped every bit of money that they could find to buy their factory back. Luckily they succeeded. From then on the success came. In 1924 the Schneider glassworks build the biggest concrete hall ever with the most modern furnaces. In 1926 they are the biggest glassfactory in France with almost 500 employees. In 1925 Charles was asked to be a member of the jury at the Exposition des Art Decoratifs in Paris. This meant that his work could not enter the exposition and would not compete with the work of the other artists. It was an honour to be a member of the jury, so he accepted, but maybe it had been better if he had declined for the honour and participated as an artist. He would have swept the competition away. His coupe bijoux and the big black footed bowls in contrasting colours were an enormous success all over the world. Most of their production went to North and South America. The glass of Charles Schneider has such joyfull colours, bright and happy colours like orange and yellow. It looks like the sun shines every day. The little bijoux vases are jewels of technique and shape and colour. The ?Le verre Francais? line had a great success with the stylized flowers in stunning colours. As the majority of the le verre francais glass , was only etched one time, the producing costs were low. The general public loved these bright vases. The success of the Schneider factory continued until 1929. In 1929 the banks on Wall street crashed and rich people lost a lot or all of their money. The market for luxury goods collapsed. Schneider tried to survive by cutting down costs, but this does not help when there are no buyers left. After a struggle of a three years the furnace extinguised in 1932. The factory filed for bankruptcy in 1938. Charles Schneider died in 1953 before the revival of his glass. In the eighties his glass was rediscovered. It has its place now among Galle and Daum glass as their equivalent., Tiny Esveld 2015, 0<

2015, ISBN: 9789081577663

[SC: 12.5], [PU: Tiny Esveld 2015], VERRE GLASSES GLAS ANTIQUE ART DECO SCHILDERKUNST KUNST PAINT SCHILDER BEAUX ARTS, SCIENCES ANTIEK BEELDHOUWKUNST BEELDEN SCULPTUREN & ARCHITECTURE SCH… Meer...

[SC: 12.5], [PU: Tiny Esveld 2015], VERRE GLASSES GLAS ANTIQUE ART DECO SCHILDERKUNST KUNST PAINT SCHILDER BEAUX ARTS, SCIENCES ANTIEK BEELDHOUWKUNST BEELDEN SCULPTUREN & ARCHITECTURE SCHILDEREN FOTOGRAFIE ART, HISTOIRE ET PATRIMOINE, NOUVEAUT S, ARTS PLASTIQUES, CULTURE, HISTOIRE, LIVRE, SI CLE ARTISTE PEINTRE PHOTO ARCHITECTUUR, LIFESTYLE, Hardcover, 23 cm x 29 cm, 288 pages, with 500 photographs in color. fine copy ! ISBN 9789081577663. reference book !! In 1913 the two brothers had saved enough to buy their own glassfactory, together with a friend, Henri Wolf. This factory was located in Epinay-sur-Seine near Paris. 1913 was not a good year to start a business. In 1914 the first world war broke out and till 1918, the brothers did not really start to make art glass. In 1918 they needed money to relight their furnaces and they accepted the help from an English investor. At that moment they were no longer in control of their glassworks. The investor wanted profit and in 1923 it led to a rupture. The Schneider brothers scraped every bit of money that they could find to buy their factory back. Luckily they succeeded. From then on the success came. In 1924 the Schneider glassworks build the biggest concrete hall ever with the most modern furnaces. In 1926 they are the biggest glassfactory in France with almost 500 employees. In 1925 Charles was asked to be a member of the jury at the Exposition des Art Decoratifs in Paris. This meant that his work could not enter the exposition and would not compete with the work of the other artists. It was an honour to be a member of the jury, so he accepted, but maybe it had been better if he had declined for the honour and participated as an artist. He would have swept the competition away. His coupe bijoux and the big black footed bowls in contrasting colours were an enormous success all over the world. Most of their production went to North and South America. The glass of Charles Schneider has such joyfull colours, bright and happy colours like orange and yellow. It looks like the sun shines every day. The little bijoux vases are jewels of technique and shape and colour. The ?Le verre Francais? line had a great success with the stylized flowers in stunning colours. As the majority of the le verre francais glass , was only etched one time, the producing costs were low. The general public loved these bright vases. The success of the Schneider factory continued until 1929. In 1929 the banks on Wall street crashed and rich people lost a lot or all of their money. The market for luxury goods collapsed. Schneider tried to survive by cutting down costs, but this does not help when there are no buyers left. After a struggle of a three years the furnace extinguised in 1932. The factory filed for bankruptcy in 1938. Charles Schneider died in 1953 before the revival of his glass. In the eighties his glass was rediscovered. It has its place now among Galle and Daum glass as their equivalent. 0 g.<

2015, ISBN: 9789081577663

[SC: 12.5], [PU: Tiny Esveld 2015], VERRE GLASSES GLAS ANTIQUE ART DECO SCHILDERKUNST KUNST PAINT SCHILDER BEAUX ARTS, SCIENCES ANTIEK BEELDHOUWKUNST BEELDEN SCULPTUREN & ARCHITECTURE SCH… Meer...

[SC: 12.5], [PU: Tiny Esveld 2015], VERRE GLASSES GLAS ANTIQUE ART DECO SCHILDERKUNST KUNST PAINT SCHILDER BEAUX ARTS, SCIENCES ANTIEK BEELDHOUWKUNST BEELDEN SCULPTUREN & ARCHITECTURE SCHILDEREN FOTOGRAFIE ART, HISTOIRE ET PATRIMOINE, NOUVEAUTÉS, ARTS PLASTIQUES, CULTURE, HISTOIRE, LIVRE, SIÈCLE ARTISTE PEINTRE PHOTO ARCHITECTUUR, LIFESTYLE, Hardcover, 23 cm x 29 cm, 288 pages, with 500 photographs in color. fine copy ! ISBN 9789081577663. reference book !! In 1913 the two brothers had saved enough to buy their own glassfactory, together with a friend, Henri Wolf. This factory was located in Epinay-sur-Seine near Paris. 1913 was not a good year to start a business. In 1914 the first world war broke out and till 1918, the brothers did not really start to make art glass. In 1918 they needed money to relight their furnaces and they accepted the help from an English investor. At that moment they were no longer in control of their glassworks. The investor wanted profit and in 1923 it led to a rupture. The Schneider brothers scraped every bit of money that they could find to buy their factory back. Luckily they succeeded. From then on the success came. In 1924 the Schneider glassworks build the biggest concrete hall ever with the most modern furnaces. In 1926 they are the biggest glassfactory in France with almost 500 employees. In 1925 Charles was asked to be a member of the jury at the Exposition des Art Decoratifs in Paris. This meant that his work could not enter the exposition and would not compete with the work of the other artists. It was an honour to be a member of the jury, so he accepted, but maybe it had been better if he had declined for the honour and participated as an artist. He would have swept the competition away. His coupe bijoux and the big black footed bowls in contrasting colours were an enormous success all over the world. Most of their production went to North and South America. The glass of Charles Schneider has such joyfull colours, bright and happy colours like orange and yellow. It looks like the sun shines every day. The little bijoux vases are jewels of technique and shape and colour. The ?Le verre Francais? line had a great success with the stylized flowers in stunning colours. As the majority of the le verre francais glass , was only etched one time, the producing costs were low. The general public loved these bright vases. The success of the Schneider factory continued until 1929. In 1929 the banks on Wall street crashed and rich people lost a lot or all of their money. The market for luxury goods collapsed. Schneider tried to survive by cutting down costs, but this does not help when there are no buyers left. After a struggle of a three years the furnace extinguised in 1932. The factory filed for bankruptcy in 1938. Charles Schneider died in 1953 before the revival of his glass. In the eighties his glass was rediscovered. It has its place now among Galle and Daum glass as their equivalent. 0 g.<

2015, ISBN: 9789081577663

[PU: Tiny Esveld 2015], VERRE GLASSES GLAS ANTIQUE ART DECO SCHILDERKUNST KUNST PAINT SCHILDER BEAUX ARTS, SCIENCES ANTIEK BEELDHOUWKUNST BEELDEN SCULPTUREN & ARCHITECTURE SCHILDEREN FOTO… Meer...

[PU: Tiny Esveld 2015], VERRE GLASSES GLAS ANTIQUE ART DECO SCHILDERKUNST KUNST PAINT SCHILDER BEAUX ARTS, SCIENCES ANTIEK BEELDHOUWKUNST BEELDEN SCULPTUREN & ARCHITECTURE SCHILDEREN FOTOGRAFIE ART, HISTOIRE ET PATRIMOINE, NOUVEAUT S, ARTS PLASTIQUES, CULTURE, HISTOIRE, LIVRE, SI CLE ARTISTE PEINTRE PHOTO ARCHITECTUUR, LIFESTYLE, Hardcover, 23 cm x 29 cm, 288 pages, with 500 photographs in color. fine copy ! ISBN 9789081577663. reference book !! In 1913 the two brothers had saved enough to buy their own glassfactory, together with a friend, Henri Wolf. This factory was located in Epinay-sur-Seine near Paris. 1913 was not a good year to start a business. In 1914 the first world war broke out and till 1918, the brothers did not really start to make art glass. In 1918 they needed money to relight their furnaces and they accepted the help from an English investor. At that moment they were no longer in control of their glassworks. The investor wanted profit and in 1923 it led to a rupture. The Schneider brothers scraped every bit of money that they could find to buy their factory back. Luckily they succeeded. From then on the success came. In 1924 the Schneider glassworks build the biggest concrete hall ever with the most modern furnaces. In 1926 they are the biggest glassfactory in France with almost 500 employees. In 1925 Charles was asked to be a member of the jury at the Exposition des Art Decoratifs in Paris. This meant that his work could not enter the exposition and would not compete with the work of the other artists. It was an honour to be a member of the jury, so he accepted, but maybe it had been better if he had declined for the honour and participated as an artist. He would have swept the competition away. His coupe bijoux and the big black footed bowls in contrasting colours were an enormous success all over the world. Most of their production went to North and South America. The glass of Charles Schneider has such joyfull colours, bright and happy colours like orange and yellow. It looks like the sun shines every day. The little bijoux vases are jewels of technique and shape and colour. The ?Le verre Francais? line had a great success with the stylized flowers in stunning colours. As the majority of the le verre francais glass , was only etched one time, the producing costs were low. The general public loved these bright vases. The success of the Schneider factory continued until 1929. In 1929 the banks on Wall street crashed and rich people lost a lot or all of their money. The market for luxury goods collapsed. Schneider tried to survive by cutting down costs, but this does not help when there are no buyers left. After a struggle of a three years the furnace extinguised in 1932. The factory filed for bankruptcy in 1938. Charles Schneider died in 1953 before the revival of his glass. In the eighties his glass was rediscovered. It has its place now among Galle and Daum glass as their equivalent. 0 g.<

2015, ISBN: 9789081577663

Hardcover, 23 cm x 29 cm, 288 pages, with 500 photographs in color. fine copy !. ISBN 9789081577663. reference book !! In 1913 the two brothers had saved enough to buy their own glassfac… Meer...

Hardcover, 23 cm x 29 cm, 288 pages, with 500 photographs in color. fine copy !. ISBN 9789081577663. reference book !! In 1913 the two brothers had saved enough to buy their own glassfactory, together with a friend, Henri Wolf. This factory was located in Epinay-sur-Seine near Paris. 1913 was not a good year to start a business. In 1914 the first world war broke out and till 1918, the brothers did not really start to make art glass. In 1918 they needed money to relight their furnaces and they accepted the help from an English investor. At that moment they were no longer in control of their glassworks. The investor wanted profit and in 1923 it led to a rupture. The Schneider brothers scraped every bit of money that they could find to buy their factory back. Luckily they succeeded. From then on the success came. In 1924 the Schneider glassworks build the biggest concrete hall ever with the most modern furnaces. In 1926 they are the biggest glassfactory in France with almost 500 employees. In 1925 Charles was asked to be a member of the jury at the Exposition des Art Decoratifs in Paris. This meant that his work could not enter the exposition and would not compete with the work of the other artists. It was an honour to be a member of the jury, so he accepted, but maybe it had been better if he had declined for the honour and participated as an artist. He would have swept the competition away. His coupe bijoux and the big black footed bowls in contrasting colours were an enormous success all over the world. Most of their production went to North and South America. The glass of Charles Schneider has such joyfull colours, bright and happy colours like orange and yellow. It looks like the sun shines every day. The little bijoux vases are jewels of technique and shape and colour. The ?Le verre Francais? line had a great success with the stylized flowers in stunning colours. As the majority of the le verre francais glass , was only etched one time, the producing costs were low. The general public loved these bright vases. The success of the Schneider factory continued until 1929. In 1929 the banks on Wall street crashed and rich people lost a lot or all of their money. The market for luxury goods collapsed. Schneider tried to survive by cutting down costs, but this does not help when there are no buyers left. After a struggle of a three years the furnace extinguised in 1932. The factory filed for bankruptcy in 1938. Charles Schneider died in 1953 before the revival of his glass. In the eighties his glass was rediscovered. It has its place now among Galle and Daum glass as their equivalent., BE, gewerbliches Angebot, [PU: Tiny Esveld, 2015], Banküberweisung, Offene Rechnung, PayPal, Skrill/Moneybookers, Internationaler Versand<