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for roughening the surface of the iron, adding fine wires of gold and silver, then hammering the wires so that they joined together. Other hand tools were then used to impress designs onto the metal. Zuloaga worked when gold was relatively abundant, and his works make greater use of it than later
Spanish damascene. His objects are so delicate they would be damaged by ordinary use as containers. Zuloaga's goal was beauty rather than practical utility. To serve as references for his workshop, he collected sculptures, paintings, and plaster casts of armour pieces. From 1860 to 1890, Zuloaga trained more than 200 artists in damascening.
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497:, apart from the commercial considerations of time, trouble and expense." Early twentieth-century art critics took a more negative view of the Zuloaga family's works, but a new wave of interest and critical appreciation emerged in the last decades of that century. Nasser Khalili, who writes that "Spain always led the West in its beauty and quality of its damascene production", describes Zuloaga as "the supreme damascener of family".
35:
477:, Knight of the Great Cross of Charles III, Knight of the Great Cross of the Lion and Sword of Sweden, Cross of King Leopold of Belgium, Knight of the Portuguese Order of St. James, Grand Cross of Santiago of Portugal, and Knight of the Order of Maria Teresa of Austria. He won many gold and silver medals at national and international exhibitions.
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Damascening involves indenting the iron surface, then pressing fine gold wire and heating the surface so that the gold forms a solid shape. Whereas modern damascening uses acid etching to create the indentations, the
Zuloagas did so with hand tools. The younger Zuloaga refined his father's technique
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A writing desk dated 1884–1885 has 44 drawers in a wooden case, each with enamelled floral patterns and a damascened metal button-pull. Not a woodworker himself, Zuloaga subcontracted out the preparation of the wood and veneer. A 47.3-centimetre-high (18.6 in) iron shrine dated 1880 recalls
396:. This was the last major project that he completed, referred to sometimes as his "posthumous" work, although in fact the altar was completed and installed at Loyola in 1909 while he was still alive. It was described by Pedro Celaya in 1981 as "one of the greatest works
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In 1867 his father let him take over administration of the family factory in Eibar. It is thought that he had already been carrying out his father's commissions for a decade at this point. The workshop's royal commissions ended in 1868 when
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The critical reception of
Zuloaga's art, and of Spanish damascened metalwork generally, has changed greatly over time. In 1872, the Keeper of Art Collections in the South Kensington Museum (later renamed the
298:. In order to create his most ambitious works in a reasonable time, he led a team of specialist artisans who carried out his designs, each object being produced by eight to twelve individuals.
345:. Covered in intricate Hispano-Arabic decoration, possibly drawn from contemporary engravings of a specific Alhambra vase, these were exhibited in Paris before delivery to Morrison.
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in London from May 1997 to
January 1998. "El Arte y Tradición de los Zuloaga: Damasquinado Español de la Colección Khalili" toured Spain during 2000 and 2001, exhibiting in the
270:, London. Over a twenty-year period, Zuloaga and his workshop worked almost exclusively for Morrison, adapting the factory to make damascened art works rather than armaments.
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More recently, his works in the
Khalili Collections have featured in a multiple exhibitions. "Plácido Zuloaga: Spanish Treasures from The Khalili Collection" was held at the
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More than a hundred pieces of
Spanish damascened metalwork, including 22 signed by Zuloaga, have been collected by the British-Iranian scholar and philanthropist
333:, it acquired its name from Fonthill manor, Morrison's family home. Zuloaga and his specialists took two years to construct the casket, which was described by
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said that his works showed a patience and effort that "take one into an era when the fine arts producer devoted himself solely to the cause of his
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ornament in black. Its artistic and decorative intent is revealed by it being elaborately decorated on the inside as well as out. Commissioned by
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540:. In 2003, "Plácido Zuloaga: Meisterwerke in gold, silber und eisen damaszener–schmiedekunst aus der Khalili-Sammlung" exhibited at the
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in
Germany. "Metal Magic: Spanish Treasures from the Khalili Collection" was exhibited from November 2011 to April 2012 at the
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in the Basque country as far back as 1596. Plácido learned in his father's workshop from an early age. At fourteen, he visited
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gold, silver, and other metals into an iron surface, creating an intricate decorative effect. Zuloaga came from a family of
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vase decorated by
Zuloaga "will be regarded as one of the greatest Art productions of the century". An 1879 article in the
193:. Zuloaga trained many other artisans in his workshop, and Eibar continued as a centre of a damascening after his death.
357:. It contains a cast silver figure of the Virgin and Child in a Gothic style. Other objects signed by Zuloaga include a
517:(where he was awarded a Medal of Honour) and at the Madrid and Brussels International exhibitions of 1856, then at the
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With his first wife Lucía Zamora y
Zabaleta, he had ten children, five of whom survived to adulthood, including
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was exiled and
Eusebio lost his position in the royal household. Plácido contacted the English art collector
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162:. Taking over his father's armaments factory, he adapted it to make art pieces which he exhibited at
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341:-shaped urns, 108 centimetres (43 in) high, from 1878 whose style imitated the medieval
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in 1879 as "a triumph of skilled workmanship". Also commissioned by Morrison are a pair of
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The art and tradition of the Zuloagas : Spanish damascene from the Khalili Collection
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Zuloaga was skilled in all the techniques used by metalworkers of his time, including
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321:. Included in these are the Fonthill Casket, a 201-centimetre-wide (79 in) iron
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in its overall shape, but the intricate damascened decoration is more suggestive of
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1049:. Oxford: Khalili Family Trust in association with the Victoria and Albert Museum.
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in France where the work was completed. Prim's tomb now resides in the cemetery at
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Zuloaga died in Madrid at the age of 76 on 1 July 1910 and was buried at
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Around 1872, Zuloaga's workshop was commissioned to make the monumental
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221:. The Zuloaga family had been producing armaments at a workshop in
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185:. For twenty years, Zuloaga made works for the English collector
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Larrañaga, Ramiro "Damascene as part of the Engraver's Art" in
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Larrañaga, Ramiro "Damascene as part of the Engraver's Art" in
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A Moresque fantasy : Plácido Zuloaga: an 'Alhambra' vase
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with intricate decoration inside and out), and a monumental
130:(5 October 1834 – 1 July 1910) was a Spanish
1188:
San Martín, Juan; Larrañaga, Ramiro; Celaya, Pedro (1981).
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1124:"Zuloaga Zuloaga, Plácido - Auñamendi Eusko Entziklopedia"
603:"Plácido Zuloaga y Zuloaga | Real Academia de la Historia"
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A genius for money : business, art and the Morrisons
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During his life, Zuloaga was awarded the Officer of the
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with gold and silver damascening, decorated with white
1149:. New Haven: Yale University Press. pp. 241–245.
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Celaya, P.; Larrañaga, R.; and San Martin, J. (1981)
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work. Licensed under CC-BY-SA 3.0. Text taken from
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262:, heir to a textile fortune, whom he had met at the
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metalworkers. He was the son of damascening pioneer
1194:(in Spanish). Eibar: Museo de Armas. Archived from
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319:Khalili Collection of Spanish Damascene Metalwork
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388:. Around 1900, Zuloaga was commissioned by the
380:he moved his workshop across to the border to
102:Lucía Zamora y Zabaleta, Francisca Gil y Lete
1030: This article incorporates text from a
169:His notable works include the altar for the
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509:Bronze gilt and enamelled casket, 1891–1892
201:Plácido Zuloaga was born 5 October 1834 in
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376:. Work began in Eibar, but due to the
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394:Sanctuary of St. Ignatius at Loyola
229:where he learned from the armourer
171:Sanctuary of St. Ignatius at Loyola
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1246:19th-century Spanish male artists
1231:20th-century Spanish male artists
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440:Writing or document desk, 1884-85
305:The Fonthill Casket: forged iron
181:for the Prime Minister of Spain,
154:, the half-brother of the artist
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158:, and the father of the painter
18:Spanish 19th century metalworker
1037:The Khalili Collections
967:
950:
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237:he studied under the sculptors
173:, the Fonthill Casket (an iron
1128:aunamendi.eusko-ikaskuntza.eus
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515:Paris International Exposition
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412:Pair of iron urns, before 1878
392:to construct an altar for the
1:
777:"Spanish Damascene Metalwork"
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264:1862 International Exhibition
196:
956:"Treasure Houses of Art-II"
475:Order of Isabel the Catholic
454:Iron table clock, circa 1880
142:, a technique that involves
39:Plácido painted by his son,
7:
542:Roemer und Pelizaeus Museum
166:, winning multiple awards.
138:. He is known for refining
10:
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1155:10.12987/9780300184594-021
1122:Martinez Artola, Alberto.
1085:. Sinai and Sons. London.
1040:, Khalili Foundation, .
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960:(1879) pp.206–8 quoted in
526:Victoria and Albert Museum
483:Victoria and Albert Museum
473:, Knight Commander of the
1143:Dakers, Caroline (2011).
248:
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98:
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1191:El damasquinado de Eibar
1079:Williams, Haydn (2016).
1045:Lavin, James D. (1997).
922:El damasquinado de Eibar
538:Real Fundacion de Toledo
277:
209:. He was the brother of
994:"The Eight Collections"
519:Great London Exposition
510:
471:French Legion of Honor
455:
446:Recognition and legacy
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243:Jean-Baptiste Carpeaux
530:Museo de Bellas Artes
508:
487:Léonard Morel-Ladeuil
453:
304:
215:Spanish Royal Armoury
1251:Spanish metalsmiths
958:The Magazine of Art
781:Khalili Collections
546:Auberge de Provence
351:Gothic architecture
335:The Magazine of Art
239:Antoine-Louis Barye
164:international fairs
1004:on 28 October 2022
998:nasserdkhalili.com
974:Khalili, Nasser D.
943:"Introduction" in
887:, pp. 90–114.
818:, pp. 59, 71.
511:
456:
311:
1226:People from Eibar
1164:978-0-300-18459-4
1092:978-0-9576995-4-0
911:, pp. 62–63.
464:Spanish Civil War
424:Iron shrine with
382:Saint-Jean-de-Luz
378:civil war of 1873
374:General Juan Prim
315:Nasser D. Khalili
288:relief chiselling
256:Queen Isabella II
217:and a pioneer of
191:Nasser D. Khalili
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260:Alfred Morrison
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207:Eusebio Zuloaga
205:to Antonia and
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160:Ignacio Zuloaga
152:Eusebio Zuloaga
119:Ignacio Zuloaga
111:Eusebio Zuloaga
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663:Sothebys.com
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1241:1834 births
1236:1910 deaths
501:Exhibitions
370:sarcophagus
363:snuff boxes
355:Art Nouveau
219:damascening
179:sarcophagus
140:damascening
136:metalworker
93:damascening
81:Nationality
72:1 July 1910
1220:Categories
978:Lavin 1997
962:Lavin 1997
945:Lavin 1997
926:Lavin 1997
909:Lavin 1997
897:Lavin 1997
885:Lavin 1997
873:Lavin 1997
861:Lavin 1997
846:Lavin 1997
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816:Lavin 1997
804:Lavin 1997
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739:Lavin 1997
727:Lavin 1997
712:Lavin 1997
699:Lavin 1997
683:Lavin 1997
640:Lavin 1997
628:Lavin 1997
607:dbe.rah.es
564:References
548:in Malta.
532:, Bilbao;
460:Canillejas
296:enamelling
233:. Then in
197:Early life
113:(father),
54:1834-10-05
1181:246145937
1173:811405739
1109:cite book
1101:982266094
521:of 1862.
292:engraving
183:Juan Prim
107:Relatives
99:Spouse(s)
1202:15 March
1065:37560664
668:21 April
359:revolver
144:inlaying
132:sculptor
1021:Sources
1008:9 April
786:9 April
714:, p. 38
701:, p. 37
613:9 April
339:amphora
323:cassone
307:cassone
284:forging
235:Dresden
175:cassone
84:Spanish
1179:
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1161:
1134:2 June
1099:
1089:
1063:
1053:
980:, p. 8
947:, p. 9
495:métier
428:, 1880
398:
327:enamel
309:, 1871
249:Career
231:Lepage
203:Madrid
148:Basque
62:Madrid
1177:S2CID
278:Works
227:Paris
223:Eibar
121:(son)
1204:2021
1169:OCLC
1159:ISBN
1136:2020
1115:link
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1087:ISBN
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1051:ISBN
1010:2020
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386:Reus
372:for
241:and
134:and
69:Died
48:Born
1151:doi
266:in
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