Keywords or Title
Typologies
Date
Catalog number
Location
Provenance
Ordenar per
CATALOGUE RAISONNÉ OF WORKS BY XAVIER NOGUÉS
With the support of:

V0018
Glass with a female figure
Ref Num.: V0018
Details
Date: 1924
Typology: Enamelled glass
Technique: Enamelled glass
Dimensions: 12 x 4 (base) x 4.6 cm (diameter)
Signed: Signed: “Nogués p. / Crespo f.”
Location
Vilanova i la Geltrú, Biblioteca Museu Víctor Balaguer, no. 5.589
Description
Part of a set of six champagne glasses. It features a standing female figure dressed in blue. Two examples of this glass have been found. One is at the Biblioteca Museu Víctor Balaguer, Vilanova i la Geltrú (no. 5.589) and comes from the collection of Salvador Riera (accessioned in 1996). The other was found at the Clavell & Morgades gallery in Barcelona. The information below refers to the glass in the Balaguer museum collections, while the photographs show the one from the gallery as they are the best available images of the piece.
We would like to thank Mireia Rosich, director of the Biblioteca Museu Víctor Balaguer in Vilanova i la Geltrú, as well as the Clavell & Morgades gallery, for their assistance in cataloguing this work.
Provenance
Salvador Riera collection, 1996
Exhibitions
Bibliography
Cecília Vidal, Xavier Nogués i els vidres esmaltats al foc, Publicacions Universitat de Barcelona, 1991, fig. repr. p. 394. Xavier Nogués a les col·leccions del Museu. Biblioteca Museu Víctor Balaguer, exhibition held at the Museu Víctor Balaguer, Vilanova i la Geltrú, 17th November 2011 – 4th March 2012, Barcelona, 2011, cat. no. 37, p. 119. Cecília Vidal Maynou (dir.), Xavier Nogués (1873-1941), Alfa Books, Fundació Xavier Nogués, Barcelona, 2021, p. 230.
Notes
With the collaboration of Conxa Domènech. Xavier Nogués is the author of the drawings and, sometimes, also of the pictorial transposition with enamel on the glass, Ricard Crespo was responsible for the firing of the pieces and Conxa Domènech de Crespo who also traced and reviewed Nogués’ drawings. The degree of Xavier Nogués’ direct participation is especially evident in the finishes and when compared with the original drawings.


