扶手椅 - 美国大都会艺术博物馆展品查阅

品名（中）	扶手椅
品名（英）	Armchair
入馆年号	1970年，1970.35.1
策展部门	美国之翼（The American Wing）
创作者	Pottier and Stymus Manufacturing Company【1859 至 1910】
创作年份	公元 1867 - 公元 1875
创作地区	制造于: 美国, 纽约, 纽约（Made in: United States, New York, New York）
分类
尺寸	37 x 27 1/2 x 27 1/2 英寸 (94 x 69.9 x 69.9 厘米)
介绍（中）	19世纪对埃及题材的品味，在1798年拿破仑的埃及战役后首先在欧洲和美国发展起来，并于19世纪70年代在美国广受欢迎。美国人接受了埃及风格：1869年，威尔第为庆祝苏伊士运河开通而创作的《艾达》于1873年在纽约首次在美国演出；1872年，位于马萨诸塞州剑桥市奥本山公墓的联邦亡灵纪念碑是一尊狮身人面像；埃及产品被认为适合参加1876年的费城百年展览。19世纪70年代，许多纽约橱柜制造商生产了带有狮身人面像、动物脚、棕榈和荷叶等图案的埃及复兴家具，而Pottier和Stymus公司最常与这种风格联系在一起。该扶手椅和配套的侧椅（1970.35.2）没有标记或标签，但橱柜制造商欧内斯特·哈根（Ernest Hagen）对他们作品的描述支持了对波蒂埃（Pottier）和施蒂默斯（Stymus）的归属，"沙发和扶手椅上有黄铜镀金的狮身人面像头像，背面有镀金的雕刻线条，上面有瓷器[原文如此]彩绘的奖章，上面钉着黄铜镀金的珠子饰条。"这些椅子可能是一个更大套房的一部分；一把配套的扶手椅归芝加哥艺术学院所有，另一把配套侧椅归弗吉尼亚美术馆所有。这些椅子保留了原来的法国Aubusson风格的挂毯覆盖物，尽管曾经明亮的绿松石背景已经褪色为现在的小麦色。
介绍（英）	The nineteenth-century taste for Egyptian subjects, which developed first in Europe and America in the wake of Napoleon's Egyptian campaign of 1798, achieved widespread popularity in America in the 1870s. Americans embraced the Egyptian style: Verdi's "Aïda", commissioned to celebrate the opening of the Suez Canal in 1869, had its first American performance in New York in 1873; the 1872 memorial to the Union dead in Mount Auburn Cemetery, Cambridge, Massachusetts was a sphinx; and Egyptian products were deemed suitable for inclusion in the Philadelphia Centennial Exhibition in 1876. While a number of New York cabinetmakers produced Egyptian revival furniture with motifs such as sphinx heads, animal feet, palmettes, and lotus leaves during the 1870s, the firm of Pottier and Stymus is most often associated with the style. This armchair and a matching side chair (1970.35.2) are not marked or labeled, but the attribution to Pottier and Stymus is supported by the cabinetmaker Ernest Hagen's description of their work "with brass gilt sphinx heads on the sofas and armchairs, gilt engraved lines all over with porcailaine [sic] painted medallions on the backs, and brass gilt bead moldings nailed on." These chairs were probably part of a larger suite; a matching armchair is owned by the Art Institute of Chicago and another matching side chair is in the Virginia Museum of Fine Arts. The chairs retain their original French Aubusson-style tapestry coverings, although the once brilliant turquoise background has faded to the present wheat color.