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Date
18991949
Catalog number
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CATALOGUE RAISONNÉ OF WORKS BY XAVIER NOGUÉS
Scientific director: Francesc Fontbona; with the cooperation of Cecília Vidal
Technical director: Joan-Francesc Ainaud
Documentation: Santiago Mercader; with the cooperation of Cristina Bartrès
Photographs: Dani Rovira
English translations: Tallers Gràfics Alfa
With the support of:

©Dani Rovira

V0150

Glass on a circus theme

Ref Num.: V0150

Details

Date: c. 1924

Typology: Enamelled glass

Technique: Enamelled glass

Dimensions: 9.5 x 7 cm

Signed: Signed on the base: “Nogués p. / Crespo f.”

Location

Molins de Rei – Museu Municipal

Description

Glass decorated with a circus scene featuring a horse trainer, three horses and two acrobats. It was probably part of a larger set of glasses and plates decorated with similar motifs. The glass belonged to Dr. Cervera, a physician and collector from Molins de Rei, who left this and other pieces from his collection to the town council in his will. In accordance with his wishes, his widow, Teresa Asenjo, donated the collection to the Museu Municipal de Molins de Rei where it is now on display. The catalogue of the 1967 exhibition at La Virreina mentions a glass of similar characteristics that was part of the J. Llongueras collection (cat. no. 1,304) at the time.

We would like to thank Maria Eugènia Ripoll, Heritage and Museums Officer at Molins de Rei Town Council, for her assistance in cataloguing this work.

Provenance

Cervera collection

Exhibitions

Bibliography

J. Barbeta, A. Casanovas, M. Gil and C. Vidal, Exposición Xavier Nogués, Barcelona 1873-1941, Palacio de la Virreina, March-April 1967, Ayuntamiento de Barcelona, Museos de Arte, Barcelona, 1967, cat. no. 1.304, p. 101.
Cecília Vidal, Xavier Nogués i els vidres esmaltats al foc, Publicacions Universitat de Barcelona, (doctoral thesis),1991.

Notes

Xavier Nogués produced the drawings in collaboration with Conxa Domènech. He also transferred some of them – painted in enamel – onto glass. Ricard Crespo oversaw the firing of the pieces, while Conxa Domènech de Crespo also traced and refined Nogués’ drawings. The extent of Xavier Nogués’ direct involvement is particularly evident in the finishing touches and becomes even more apparent when the pieces are compared with the original drawings.

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