扶手椅（水龙头） - 美国大都会艺术博物馆展品查阅

品名（中）	扶手椅（水龙头）
品名（英）	Armchair (fauteuil)
入馆年号	1907年，07.225.59
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	Louis Delanois【1731 至 1792】【法国人】
创作年份	公元 1760 - 公元 1770
创作地区
分类	木工家具（Woodwork-Furniture）
尺寸	整体: 41 3/4 × 28 1/4 × 23 1/2 英寸 (106 × 71.8 × 59.7 厘米)
介绍（中）	这种类型的扶手椅在法语中被称为"fauteuil à la reine"，因为它的靠背和"à 底盘"，因为座椅、靠背和扶手垫可以很容易地取下以更换内饰。这把椅子由巴黎菜单师路易斯·德拉诺瓦（Louis Delanois，1731-1792 年）盖章，专门研究洛可可晚期和新古典主义品味的座椅家具，采用过渡风格，反映了路易十五和路易十六风格之间的过渡。敞篷车腿和弯曲的手臂支撑尚未直接放置在腿上方，而是向后退，仍然是洛可可的表达。座椅栏杆、膝盖和后栏杆上的月桂花环和外壳图案显示了新古典主义的影响。已知该型号的至少另一把椅子可能是同一套座椅家具的一部分。这把扶手椅是位于巴黎玛德琳广场的成功装饰企业Maison Leys的木制品，镶板和座椅家具模型系列的一部分。自1885年以来，该业务由乔治·霍恩切尔（Georges Hoentschel）指导，他于1903年在巴黎弗兰德林大道（Boulevard Flandrin）的博物馆式展览中安装了该系列。三年后，Hoentschel将藏品卖给了J. Pierpont Morgan，后者于1907年将这些面板与装饰师的其余十七世纪和十八世纪物品一起赠送给了大都会艺术博物馆。
介绍（英）	This type of armchair is known in French as a "fauteuil à la reine" because of its straight back and "à chassis" because the seat, back, and armpads can easily be removed to change the upholstery. Stamped by Louis Delanois (1731–1792), a Parisian menuisier who specialized in seat furniture in the late Rococo and neoclassical taste, this chair is in a transitional style and reflects the transition between the Louis XV and Louis XVI styles. The cabriole legs and curving arm supports, which are not yet placed directly above the legs but are set back, are still expressions of the Rococo. The laurel garlands and husk motifs on the seat rail, at the knees, and on the back rail show influence of neoclassicism. At least one other chair of this model is known which may have been part of the same set of seat furniture. This armchair was part of the model collection of woodwork, paneling and seat furniture of Maison Leys, a successful decorating business, located at the Place de la Madeleine in Paris. Since 1885 the business was directed by Georges Hoentschel who installed the collection in 1903 in a museum-like display at Boulevard Flandrin, Paris. Three years later, Hoentschel sold the collection to J. Pierpont Morgan who gave the panels with the rest of the decorator’s seventeenth and eighteenth century objects to the Metropolitan Museum of Art in 1907.