Ref. : 3461-10-en


François-Eugene Rousseau (1827-1890)

"Chalice" Crackled Crystal Vase.



France, circa 1884

H : 17,4 cm / 6.9 in.
Ø  max: 13 cm / 5.1 in.



Vase in the shape of a chalice. Mould-blown glass, made in two layers, the inner one crackled, with coloured inclusions and gold leaves.


Unsigned, attributed to Eugene Rousseau (referenced work).







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This piece was made around 1884 when Rousseau rediscovered the crackled (craquelé) glass which is formed by plunging red hot glass into cold water and then reheating it and re-forming it by blowing and other techniques.

This vase is in mottled and splashed glass imitating agate.

Eugene Rousseau's works are present in several museums such as in France the Musee d'Orsay (Inv. OAO 715, 965, 967, 968, 978, 1634, 1635... and the Musee des Arts Decoratifs Paris (MAD) (Inv. 623, 625, 626, 627, 628, 631, 635, 636, 638 à 642)... In UK the Victoria & Albert Museum (V&A) (Inv. 673-1878, 674-1878, C. 417-1922), in USA the Metropolitan Museum of New York (MET) (Inv. 2001.656 ), the Cleveland Museum of Art (Inv. 2001-36)... In Germany The Neue Sammlung, State Museum of Applied Arts and Design, Munich (Inv. 6.3.2015), the Wien Österreichisches Museum für angewandte Kunst (MAK) (Inv. -Nr.Em GL1875)...


Selective Biography

François-Eugene Rousseau (1827-1890), French earthenware maker, later glassware maker.

In 1866 Rousseau commissioned from F. Bracquemond an earthenware set, which, in being inspired Hosukai Manga, marked the beginning of Japonism in French ceramics.

A year later he designed his first glassworks models, the construction of which was carried out by the Appert Brothers of Clichy. His glassmaking method involved the doubling and acid engraving of the glass, and he produced pieces which were crackled or treated with oxides, gold leaf or silver.

Along with Galle, Rousseau experienced a triumphant success at the Exposition des Arts Appliqués in 1884. One year later, in 1885, he struck a partnership with his pupil Ernest Leveille (? - 1913), who worked in the spirit of his teacher until succeeding him in 1888.
Now working alone, Leveille would continue to practice in the style of Rousseau, adapting it to the spirit of the fin de siècle.


Selective Bibliography

Revues :
De Liesville, (A.-R.), « Les Industries d'Art au Champ de Mars, IV-2 Verrerie », dans L'Art Moderne à l'Exposition de 1878, Publication de la Gazette des Beaux-Arts, Paris, 1879, p. 432.
Rosenthal, (L.), « La Renaissance de la Verrerie Française au XIXe siècle », dans la Gazette des Beaux-Arts, T XV, Paris, 1927, p. 51 à 64.

Exhibition catalogs :
Catalogue général officiel de l'exposition universelle de 1889, vol. III, Paris, 1889, Groupe III, classe 19, p.1 n° 2 et p. 2, n° 55.
Catalogue officiel de l'exposition universelle de 1878, t. II, Paris, 1878, Groupe III, classe 19, p. 154, n° 38 et p. 156, n° 18.

Books :
Arwas, (V.), Art Nouveau, the French aesthetic, London, 2002, p. 446-448.
Bloch-Dermant, (J.), L'Art du Verre en France, 1860-1914, Paris, 1974, pp. 33-35 et p. 40-43.
Cappa, (G.), Le Génie Verrier de l'Europe, Témoignages, De l'Historicisme à la Modernité (1840-1998), Sprimont- Belgique, 1998, p. 370-376, fig. 643, 644 et 645.
Delaborde, (Y.), Le Verre, Art et Design-XIXe-XXIe siècles, v. 2, Courbevoie (Paris), 2011, p. 190, fig. p. 190 et pp. 256-259, fig. p. 257 et 258.
Ennès, (P.), Histoire du Verre, Au Carrefour de l'Art et de l'Industrie, Le XIXe siècle, Paris, 2006, p. 190-195, fig. p. 192.
Lambourne, (L.), Japonisme, Echanges culturels entre le Japon et l'Occident, Paris, 2006, p. 79.
Rosenthal, (L.), La verrerie française, depuis cinquante ans, Paris, 1927, p. 10-13.
Wishmann, (S.), Japonisme, Paris, 1982, p. 9, 46, 304-307, fig. 851, 864 et 871.