扶手椅（一对之一） - 美国大都会艺术博物馆展品查阅

品名（中）	扶手椅（一对之一）
品名（英）	Armchair (one of a pair)
入馆年号	1971年，1971.206.8
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	Louis I Cresson【1706 至 1761】【法国人】
创作年份	公元 1755 - 公元 1765
创作地区
分类	木工家具（Woodwork-Furniture）
尺寸	40 3/8 x 30 1/4 x 24 英寸 (102.6 x 76.8 x 61厘米)
介绍（中）	背部平坦（而不是弯曲）的扶手椅被称为"fauteuilsàla reine"，以纪念法国女王玛丽·莱斯琴斯卡（1703–1768），据说她在18世纪中期偏爱扶手椅。它们与大都会博物馆收藏的两件贝格尔（1971.206.5和1971.206.6）是同一组的一部分。然而，与打算在房间中央使用的扶手椅不同，这些扶手椅　最有可能是靠着镶板（meublant）放置的，被认为是墙壁装饰的一部分这些椅子制作于1760年左右，其框架下有L.CRESSON标记，可能是指细木工Louis I CRESSON。然而，很难确切地将这枚邮票归于克雷森家族的某位成员，因为他们中的十位是18世纪巴黎家具制造商协会（Parisian Corporation des Menuiiers-Ébénistes）的主人，其中四位被称为路易。Louis I Cresson的工作坊在巴黎很有名，名为"圣路易肖像"。孔戴王子和奥尔良公爵是他的著名客户。他的椅子是洛可可风格的，以镀金的榉木框架闻名，框架上雕刻着花朵和树叶图案。这对椅子装饰精美，是克雷森作品的象征。
介绍（英）	Armchairs with a flat (rather than a curved) back were known as « fauteuils à la reine » for the French Queen Marie Leszczynska (1703–1768) who allegedly favored them during the mid-eighteenth century. They are part of the same set as the two bergères (1971.206.5 and 1971.206.6) also in the Met’s collection. In contrast to the bergères, however, intended to be used in the center of the room, these armchairs were　most likely placed against the paneling (meublant) and considered as part of the wall decoration. Made around 1760, these chairs bear the mark L.CRESSON underneath their frames which probably refers to the joiner (menuisier) Louis I Cresson. It is difficult, however, to attribute this stamp with certainty to a particular member of the Cresson family since ten of them were masters of the Parisian Corporation des Menuisiers-Ébénistes (Parisian guild of furniture makers) in the eighteenth century, four of whom were called Louis. Famous in Paris, Louis I Cresson’s workshop was called « L’image de Saint-Louis ». Among his prestigious clients were the Prince of Condé and the Duke of Orléans. Executed in the rococo style, his chairs are known for their gilded frames in beechwood carved with flowers and leaf motifs. With their fine and elegant decoration, this pair of chairs is emblematic of Cresson’s work.