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拍品專文
Inscription: The Arabic inscription in the cusped cartouches around these vases reads, la ghalib illa Allah, 'Only God is Victorious'.
The Spanish inscription reads, Al Queridisimo Amigo Doctor Avelino Gutierrez por su Nombramiento a la Catedra de Anatomia Topografica Pabellones de Espana 16 Noviembre 1910, 'To my dearest friend Doctor Avelino Gutierrez on his appointment as Deacon of Anatomy Topographical Pavilions of Spain 16 November 1910'.
These elegant vases draw their inspiration from the Nasrid 'Alhambra' vases of the 13th-15th centuries. Although they adopt the shape traditional for storage jars, because of their size and unwieldy contours, Alhambra vases were probably purely decorative. They were usually painted in a copper lustre over a white glaze (with the addition of cobalt blue in the later period). The rich gold of our vases is probably a reference to the glittering lustre surface of the originals. For two 14th century examples of 'Alhambra' vases with calligraphic bands around their bodies, see Jerrilynn D. Dodds, Al-Andalus. The Art of Islamic Spain, exhibition catalogue, New York, 1992, nos.110-11, pp.354-57.
A number of forged iron 'Alhambra' vases were made in the later part of the 19th century. The maker most often associated with them is Plácido Zuloaga (d.1910), who worked in Eibar in the northern Basque province of Guipúzoca. Born into a family of Spanish Royal Armourers, Plácido Zuloaga became one of the greatest masters of the decorative art of damascening, praised in his day as 'a second Benvenuto Cellini'. His first recognition as an artist came in 1855 when, together with his father Eusebio Zuloaga, he inspired the following comments for work shown at the Paris Exposition Universelle: 'One cannot praise too highly the arms and other metal objects presented by the Sres. Zuloaga, father and son; [...] iron-chiselling, damascene, etching and repoussé never had interpreters of such obvious and varied talent' (Anon. Visite à l'Exposition Universelle de Paris, Paris, 1855, p. 121). They were held in such high regard that a Zuloaga Alhambra vase was presented by Alfonso XII to the King of Portugal (G. de Mujica, Monografía histórica de la Villa de Eibar, 1910, p.103). Other works signed by Zuloga include an enormous Renaissance style cassone executed in 1870-71, now in the Khalili Collection and a magnificent side-table, completed in 1880 and now in the collection of Her Majesty the Queen (J. D. Lavin, The Art and Tradition of the Zuloagas - Spanish Damascene from the Khalili Collection, Bath, 1997, fig.16, p.62).
A similar pair of vases to those offered here are in the Khalili Collection (Lavin, op.cit., no.2, p.83). Not only do they share with ours the same dense overall gold-damascened decoration, but also the scalloped handles. Whilst the distinctive scalloping may be a playful reference to the lobed arches of Al-Andalus, they are also a departure from the 'Alhambra' vases which in all else seem to be the models for the later examples. However, Caviró Loza dorada reproduces, without attribution, two late 18th century engravings from a single source illustrating Alhambra vases. One (fig.46) shows an example in the Granada Museum (published in Arte islámico en Granada, exhibition catalogue, Granada, 1995, no.290, p.403). The other (fig.47) shows an unknown vase - unique in having the scalloped handles (both referred to in Lavin, op.cit., p.83). These engravings may well have served as the inspiration for the vases in the Khalili collection - and also perhaps for ours. The use of these distinct handles seems to suggest that the Khalili pair were at least known to the maker of ours.
An inscription in Spanish that runs around the belly of one of the vases states that they were presented to a Dr. Avelino Gutiérrez, on his appointment as Deacon of Anatomy. Dr. Avellino Gutiérrez was born in Santander in Spain in 1864. He had an important professional career in medicine in Argentina and was also a staunch supporter of Spanish culture and education. After completing his preparatory studies in Spain, he emigrated to Argentina where he enrolled in the faculty of medicine at Buenos Aires University. In 1890 he graduated as top of his class. After some years he joined the Spanish hospital in Buenos Aires, later taking on the role of Director. The presentation of these vases, may have been related to this appointment. In 1912, Gutiérrez set up the Spanish Cultural Institute, and contributed considerable sums to the foundation for the improvement of scientific research in Spain. The same year his efforts were officially recognized by the government and King Alfonso of Spain. In 1920 he was awarded an honorary doctorate, from the University Compultense de Madrid, becoming the first person to receive such an award from a Spanish university.
As well as a dedication to this illustrious doctor, these vases also bear the date 16 November 1910 and a reference to a Spanish Pavilion. It is tempting to suggest that they were made for or displayed in the topographical section of the Spanish pavilion at the World Exposition which happened in Argentina that same year.
In around 1890, three of Plácido Zuloaga's students - Clemente Sarasqueta, Cipriano Guruceta and Fausto Mendizábal - established a studio together in Eibar. The studio won an award when they exhibited in the Lyon Exposition in 1984. When Mendizábal died the surviving partners relocated and - while continuing to work in Eibar - opened shop in Buenos Aires (Lavin, op.cit., p.65). With the original owner's link to Argentina, and the closeness of the work on these vases to that of Plácido's workshop, it seems likely that these vases were made by the talented students of the famed master.
Similar vases have recently sold at auction. One was at Sotheby's, 9 April 2008, lot 193. Another, large single vase sold in these Rooms, 29 September 2005, lot 100.
The Spanish inscription reads, Al Queridisimo Amigo Doctor Avelino Gutierrez por su Nombramiento a la Catedra de Anatomia Topografica Pabellones de Espana 16 Noviembre 1910, 'To my dearest friend Doctor Avelino Gutierrez on his appointment as Deacon of Anatomy Topographical Pavilions of Spain 16 November 1910'.
These elegant vases draw their inspiration from the Nasrid 'Alhambra' vases of the 13th-15th centuries. Although they adopt the shape traditional for storage jars, because of their size and unwieldy contours, Alhambra vases were probably purely decorative. They were usually painted in a copper lustre over a white glaze (with the addition of cobalt blue in the later period). The rich gold of our vases is probably a reference to the glittering lustre surface of the originals. For two 14th century examples of 'Alhambra' vases with calligraphic bands around their bodies, see Jerrilynn D. Dodds, Al-Andalus. The Art of Islamic Spain, exhibition catalogue, New York, 1992, nos.110-11, pp.354-57.
A number of forged iron 'Alhambra' vases were made in the later part of the 19th century. The maker most often associated with them is Plácido Zuloaga (d.1910), who worked in Eibar in the northern Basque province of Guipúzoca. Born into a family of Spanish Royal Armourers, Plácido Zuloaga became one of the greatest masters of the decorative art of damascening, praised in his day as 'a second Benvenuto Cellini'. His first recognition as an artist came in 1855 when, together with his father Eusebio Zuloaga, he inspired the following comments for work shown at the Paris Exposition Universelle: 'One cannot praise too highly the arms and other metal objects presented by the Sres. Zuloaga, father and son; [...] iron-chiselling, damascene, etching and repoussé never had interpreters of such obvious and varied talent' (Anon. Visite à l'Exposition Universelle de Paris, Paris, 1855, p. 121). They were held in such high regard that a Zuloaga Alhambra vase was presented by Alfonso XII to the King of Portugal (G. de Mujica, Monografía histórica de la Villa de Eibar, 1910, p.103). Other works signed by Zuloga include an enormous Renaissance style cassone executed in 1870-71, now in the Khalili Collection and a magnificent side-table, completed in 1880 and now in the collection of Her Majesty the Queen (J. D. Lavin, The Art and Tradition of the Zuloagas - Spanish Damascene from the Khalili Collection, Bath, 1997, fig.16, p.62).
A similar pair of vases to those offered here are in the Khalili Collection (Lavin, op.cit., no.2, p.83). Not only do they share with ours the same dense overall gold-damascened decoration, but also the scalloped handles. Whilst the distinctive scalloping may be a playful reference to the lobed arches of Al-Andalus, they are also a departure from the 'Alhambra' vases which in all else seem to be the models for the later examples. However, Caviró Loza dorada reproduces, without attribution, two late 18th century engravings from a single source illustrating Alhambra vases. One (fig.46) shows an example in the Granada Museum (published in Arte islámico en Granada, exhibition catalogue, Granada, 1995, no.290, p.403). The other (fig.47) shows an unknown vase - unique in having the scalloped handles (both referred to in Lavin, op.cit., p.83). These engravings may well have served as the inspiration for the vases in the Khalili collection - and also perhaps for ours. The use of these distinct handles seems to suggest that the Khalili pair were at least known to the maker of ours.
An inscription in Spanish that runs around the belly of one of the vases states that they were presented to a Dr. Avelino Gutiérrez, on his appointment as Deacon of Anatomy. Dr. Avellino Gutiérrez was born in Santander in Spain in 1864. He had an important professional career in medicine in Argentina and was also a staunch supporter of Spanish culture and education. After completing his preparatory studies in Spain, he emigrated to Argentina where he enrolled in the faculty of medicine at Buenos Aires University. In 1890 he graduated as top of his class. After some years he joined the Spanish hospital in Buenos Aires, later taking on the role of Director. The presentation of these vases, may have been related to this appointment. In 1912, Gutiérrez set up the Spanish Cultural Institute, and contributed considerable sums to the foundation for the improvement of scientific research in Spain. The same year his efforts were officially recognized by the government and King Alfonso of Spain. In 1920 he was awarded an honorary doctorate, from the University Compultense de Madrid, becoming the first person to receive such an award from a Spanish university.
As well as a dedication to this illustrious doctor, these vases also bear the date 16 November 1910 and a reference to a Spanish Pavilion. It is tempting to suggest that they were made for or displayed in the topographical section of the Spanish pavilion at the World Exposition which happened in Argentina that same year.
In around 1890, three of Plácido Zuloaga's students - Clemente Sarasqueta, Cipriano Guruceta and Fausto Mendizábal - established a studio together in Eibar. The studio won an award when they exhibited in the Lyon Exposition in 1984. When Mendizábal died the surviving partners relocated and - while continuing to work in Eibar - opened shop in Buenos Aires (Lavin, op.cit., p.65). With the original owner's link to Argentina, and the closeness of the work on these vases to that of Plácido's workshop, it seems likely that these vases were made by the talented students of the famed master.
Similar vases have recently sold at auction. One was at Sotheby's, 9 April 2008, lot 193. Another, large single vase sold in these Rooms, 29 September 2005, lot 100.