逗号 - 美国大都会艺术博物馆展品查阅

品名（中）	逗号
品名（英）	Commode
入馆年号	1982年，1982.60.56
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	Charles Cressent【1685 至 1768】【法国人】
创作年份	公元 1740 - 公元 1754
创作地区
分类	木工家具（Woodwork-Furniture）
尺寸	34 1/2 x 55 x 22 3/4 英寸 (87.6 x 139.7 x 57.8厘米)
介绍（中）	它是这种型号的六个已知马桶之一，展示了橱柜制造商查尔斯·克雷森特（ébéniste）极具个性和雕塑感的风格。尽管克雷森特没有在一件家具上签字，但相当多的工作都归功于他。这只形状不同寻常的便桶与1749年拍卖目录中的详细描述相匹配，这是克雷森特在经济困难的情况下组织的三场拍卖会之一，拍卖会是他自己的库存和艺术品收藏马桶的前部由四条高腿支撑，包含两个抽屉，两侧各有一扇通向橱柜的门。大理石顶部重复了正面和侧面起伏的轮廓，而车身则完全覆盖着镶嵌的饰板，这种精细的几何图案被称为镶木。特别值得一提的是大胆而极具装饰性的镀金青铜底座，这些底座在克雷森特的作品中非常独特：Zephyr头，巨大的滚动棘豆叶，最具特色的是，两个男孩在打结的绳子上摆动猴子的迷人场景。这些富有创意的镀金青铜器在紫红色饰板的轮廓中有着明显的预兆，创造了一种奇妙的和谐设计克雷森特受过雕塑家的训练，这一点从他对这些坐骑的特殊兴趣中可见一斑。此外，他无视行会规定，让他们在自己的车间里铸造和完成，多次给fonders cisellers（铸造者和追逐者）和cisellers doreurs（追逐者和镀金者）金属工人行会带来困难。底座上有C税标记，可以很好地显示马桶的日期。根据1745年2月的一项皇家法令（C代表cuivre，或铜，青铜的主要成分），这个税号一直使用到1749年2月。带有让·罗塞洛的商标，这件商品似乎是克雷森特为数不多的在橱柜制造商还活着的时候从一位商人或奢侈品经销商手中穿过的商品之一。
介绍（英）	One of a group of six known commodes of this model, it shows the cabinetmaker (ébéniste) Charles Cressent’s highly individual and very sculptural manner. Although Cressent did not sign a single piece of furniture, a considerable body of work has been attributed to him. This commode with its unusual shape matches a detailed description in the 1749 sale catalogue for one of the three auctions that Cressent, when pressed by financial difficulties, organized of his own stock and art collections. Supported on four tall legs, the front of the commode contains two drawers and each of the sides has a single door opening to a cupboard. The undulating outline of the front and sides is repeated in the marble top while the carcass is entirely covered with marquetry veneer in a fine geometric pattern known as parquetry. Particularly noteworthy are the bold and highly decorative gilt-bronze mounts which are so distinctive of Cressent’s work: Zephyr heads, large scrolling acanthus leaves and, most characteristic, a charming scene of two boys who swing a monkey on a knotted rope. These inventive gilded bronzes are clearly foreshadowed in the outline of the amaranth veneer, creating a marvelous harmony of design. Cressent had been trained as a sculptor, evident in the particular interest he paid to the mounts. Further, flouting guild regulations, he had them cast and finished in his own workshop, repeatedly causing difficulties with the guilds of fondeurs-ciseleurs (casters and chasers) and ciseleurs-doreurs (chasers and gilders) metalworkers. The mounts bear crowned C tax marks which offer a good indication of the date of the commode. Imposed by a royal edict of February 1745, (the C stands for cuivre, or copper the main ingredient of bronze), this tax mark was in use until February 1749. Bearing the trade label of Jean Rousselot, this commode appears to have been one of the few pieces by Cressent that passed through the hands of a marchand mercier or dealer in luxury goods while the cabinetmaker was still alive.