Saint Louis Authorized Retailer
“The art of living in crystal will seduce the whole world”
Saint Louis Crystalware Collections:
Designed in 1928 and extremely popular to this day, the Tommy service made its brilliant showing in 1938 during a legendary royal lunch held in the Hall of Mirrors at the Versailles Palace to celebrate the State Visit of the British King George VI and his wife Queen Elizabeth, known to all as the Queen Mother.
The dining table was laid with sets of eleven “Tommy” glasses for the over two hundred guests. This timeless collection that reflects all the essence and dexterity of the glass-masters of Saint-Louis is one of the most popular designs in glass art featuring starred feet, bevelled stems, and forms adorned with diamond cuts, ribbons and beading.
Born from the classic pattern of the Thistle collection, the Apollo line features a diaphanous and fascinating style. The fine engraving and flowing lines express with clarity, the essential liquid nature of crystal. The “Apollo” glasses are almost too nice to use. They have a striking vertical shape and can bear a 24-carat gold rim. When the refracted light falls onto the rhythm of the Venetian-style stripes and captivating chromatic palette, it becomes contemporary poetry with its dashing appearance.
In Greek and in Roman mythology Apollo was indeed the God of Light — it is no wonder, then, that a complete Saint Louis crystal product line should be named after him. Created in 1979, the “Apollo” design has a distinctive shape and an angular cut which reflects light in a multitude of different colours. No matter whether it be the “Apollo” stemware, whose broad bowls rest on delicate stems, or the bar glasses whose rims are contoured by a fine line of 24-carat gold: the Saint Louis “Apollo“ design always displays a very distinctive cut and brilliance.
Simple lines and a balanced silhouette give Stella its modern airs and delicate harmony of form and essence. The unique cut of the glass fans out from the base of the glass and is brought out to maximum effect as it refracts the light into a thousand rays evoking angular shapes and nocturnal sparkling of stars. Hence this series, made using traditional mouth-blowing and hand-cutting techniques in the renowned French crystal glassworks of Saint-Louis, really does justice to its name “Stella”, the Latin word for a star.
‘The cut of the folia crystal is inspired by a leaf that can tessellate to infinity or fly onto the crystal, as though a wind of folly was blowing.’ – Noé Duchaufour-Lawrance
The Folia collection of twenty-five pieces echoes the forest surrounding the Saint-Louis production plant where the wonderful artwork comes to life and where the French designer and interior architect Noé Duchaufour-Lawrance found his inspiration.
As a sculptor of matter and close to nature he expresses with the Folia collection a voyage through the Lorraine woodland and the manufacture facilities in the north-east of France. He seeks to capture the perfect pairing and vibrant alliance between the radiance of cool-looking crystal glass and the strength of warm ash wood in order to devise a creation with simple lines and modern usage that has not existed before.
Noé Duchaufour-Lawrance Creation
Noé Duchaufour-Lawrance has defined his own language using natural shapes which are supple, organic, fluid and structured at the same time. He believes that language is an on-going evolution, expressed by forms and materials and inspired by our surroundings, whether natural, real or idealised, and our emotions, whether experienced or dreamt. His double passion for the material and for the shape stems from is training in Sculpture on Metal at the Ecole Nationale Supérieure des Arts Appliqués et des Métiers d’Art and in design at the Arts Décoratifs de Paris. Renowned for his furniture designs, he has created pieces for leading manufacturers, including Baccarat, Ligne Roset and Petite Friture.
Noé Duchaufour-Lawrance worked with Saint-Louis over a period of 30 months to complete the entire collection enriching the spheres of tableware, bar ware, candle sticks, vases and lighting creations with contemporary taste. The incorporation of furniture into the series is a new approach for Saint-Louis.
With Folia, the glassmakers introduce their very first lighting furniture pieces in ash wood, including a bookcase, console and a side table. The choice of wood was inspired by the storage shelves in untreated timber seen all over the workshop and the frequent oval shape is an allusion to the mouth of the kiln from which the glassmaker gathers the molten crystal onto his blowpipe.
Folia, a tribute to the leaves of the Moselle forest
The Folia Crystal collection with its many conical cuts on the glasses and accessories is a tribute to the leaves of the Moselle forest and an ode to creative folly. The cuts evoke the organic yet graphic silhouette of leaves and their reaction projects a mesmerizing play of light and shadow in every environment. The special feature of the “Folia” glass series is that the engraving starts in the stem. This presents the glass blowers at Saint-Louis with a special challenge, since the glass stem needs to have a defined width in order to be engraved at all. The result is an even greater refraction of light as if drinking pure light.
Saint Louis Crystal since 1586
Born of a luminous ball of fire, the mystical union of sand and fire, and the breath of man, Saint Louis crystals vibrate with all the talent inherited from the past and extraordinary creative fantasy inspired by the present. This true combination of alchemy and dreams stems from the natural habitat that gave birth to the Crystal mastery: the forestry region of the Vosges in France.
This timber cathedral with its peaceful spirit is deeply tucked away in the its valley and is a fertile territory for silica sand, potash from ferns, firewood, and river water but also for myths, legends and imagination. Founded in 1586, the manufacture of Saint Louis crystal gave birth to an entire village built and developed around its glass guilds. In 1767, the highly regarded manufacturers were bestowed with royal warrants and with the name of Verrerie Royale de Saint-Louis, by Louis XV, for the exceptional quality of their glasswork.
Cristalleries de Saint-Louis, a Timeless French Icon
Crystal mainly differs from glass in the addition of up to 40 percent lead (in the form of lead oxide) to the silica glass recipe, which makes it much clearer and more desirable due to its decorative properties. The lead also lowers the metaling point of the glass, making it easier to sculpt into finer and more ornate shapes.
Note: Modern crystal drinking glasses now use other oxides rather than lead, though Cristalleries de Saint-Louis keeps its precise recipe a secret.
Like almost all artisanal products of very high quality, this traditional manufacturer experienced a great deal of adversity in the face of prevalent mass-production processes in the 1980s, and would have closed its doors had it not been for Hermès. In 1995, the French icon expanded its product repertoire by taking over 100 percent of what was by then called Cristalleries de Saint-Louis.
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