Rediscovered at the end of the 19th century, glass paste continued to be used in France during the interwar period by a few select practitioners, who managed to adapt the material to the shapes and ornamentation of Art Deco.
Among them is François Décorchemont, the master glassmaker from Conches. After creating small bowls in fine glass paste pressed into molds, he developed a technique of thick glass paste, cast using the lost-wax method, which allowed him from the 1910s onwards to modify the transparency of the material, enhance the range of colors, and sometimes increase the size of his pieces. At the same time, in the 1920s, his art objects evolved towards simplified, stylized, and geometric forms and decorations.
Amalric Walter is also among the few practitioners of pâte de verre during the interwar period. While he continued at that time to produce his animal-themed trinket dishes and bowls decorated with naturalistic motifs, begun in 1905 for the Daum factory, Walter also developed, from 1919 onwards, in his workshop in Nancy, a personal production of art objects and figurative statuettes with clean lines, some models of which were sometimes supplied by sculptors of his era.
Similarly, in 1921, Gabriel Argy-Rousseau began producing art objects in pate de verre in his Parisian workshop. Like Walter, he remained faithful for a long time to the polychrome effects and naturalistic motifs of Art Nouveau, but his later creations evolved towards the Art Deco aesthetic. This is particularly the case with his vases decorated with stylized female figures, his statuettes, and his crystal paste bowls made in the 1930s.