来自Hôtel Lauzun的Boiserie - 美国大都会艺术博物馆展品查阅

品名（中）	来自Hôtel Lauzun的Boiserie
品名（英）	Boiserie from the Hôtel Lauzun
入馆年号	1976年，1976.91.1
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者
创作年份	公元 1765 - 公元 1775
创作地区
分类	木工制品（Woodwork）
尺寸	高 323-1/2 x 宽 323-1/2 x 深 195-3/4 英寸 (821.7 x 821.7 x 497.2 厘米)
介绍（中）	这种新古典主义镶板的设计包括带有科林斯式首都的凹槽壁柱和三组与雕刻面板交替使用的双门。后者下面装饰着对称的蔓藤花纹和低浮雕花瓶，顶部有优雅的赃物，但它们彼此略有不同。这种木制品没有发现十八世纪的出处，但到 1874 年，它已被安装在巴黎圣路易岛上的 17 世纪住宅 Hôtel de Lauzun 的一楼（美国二楼）画廊中。这所房子随后被著名的收藏家和藏书家杰罗姆-弗雷德里克·皮雄男爵（1812-1896 年）占据。剥光了光秃秃的橡木，染成深棕色，镶板排列在他的图书馆的墙壁上。这个房间有四个大窗户，可以俯瞰码头和塞纳河，是皮雄招待查尔斯·波德莱尔和泰奥菲尔·戈蒂埃等同时代文学家的古怪派对的场所。镶板一直存在，直到男爵的孙子路易斯·皮钦（Louis Pichon）于1905年收购了酒店。他具有更严格的审美意识，并希望恢复画廊的十七世纪外观，因此拆除并出售了护墙板。它于1976年到达博物馆。当显微镜分析显示污渍下方的原始油漆很少时，木制品被重新涂成单色灰绿色瘟热，以与三个灰帆门相协调，这些门与镶板有关，但最初不属于它。它们展示了代表春天、夏天和冬天的孩子，是皮亚特·约瑟夫·索瓦奇（Piat Joseph Sauvage，1744-1818 年）于 1787 年左右为玛丽-安托瓦内特王后在朗布依埃的奶牛场绘制的四个季节的门的复制品。
介绍（英）	The design of this Neoclassical paneling incorporates fluted pilasters crowned with Corinthian capitals and three sets of double doors that alternate with carved panels. The latter are embellished below with symmetrical arabesques and vases in low relief and with graceful swags at the top, but they all differ slightly from each other. No eighteenth-century provenance has been discovered for this woodwork, but by 1874 it had been installed in the first-floor (American second floor) gallery of the Hôtel de Lauzun, a seventeenth-century residence on the Île Saint-Louis in Paris. The house was then occupied by the baron Jérôme-Frédéric Pichon (1812–1896), a well-known collector and bibliophile. Stripped to its bare oak and stained a dark shade of brown, the paneling lined the walls of his library. With its four large windows overlooking the quay and the river Seine, this room was the setting for eccentric parties at which Pichon entertained literary contemporaries such as Charles Baudelaire and Théophile Gautier. The paneling remained in place until the baron’s grandson, Louis Pichon, acquired the hôtel in 1905. Having a stricter aesthetic sense and a desire to restore the seventeenthcentury appearance of the gallery, he dismantled and sold the boiserie. It arrived at the Museum in 1976. When microscopic analysis revealed little about the original paint below the stain, the woodwork was repainted in a monochrome gray-green distemper to harmonize with the three grisaille overdoors, which have been associated with the paneling but did not originally belong to it. Showing children representing spring, summer, and winter, they are duplicates of the overdoors representing the four seasons painted about 1787 by Piat Joseph Sauvage (1744–1818) for Queen Marie-Antoinette’s dairy at Rambouillet.