一套六个叉子（一套的一部分） - 美国大都会艺术博物馆展品查阅

品名（中）	一套六个叉子（一套的一部分）
品名（英）	Set of six forks (part of a set)
入馆年号	1979年，1979.396.4–.9
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	Louis-Joseph Lenhendrick【1683 至 1783】
创作年份	公元 1767 - 公元 1771
创作地区
分类	金属制品银（Metalwork-Silver）
尺寸	长 (each): 7 5/8 英寸 (19.4 厘米)
介绍（中）	工具化的皮箱包含六个couvert，法语中的couvert是指两个或多个匹配的餐具，在这种情况下，每个餐具都包括一把叉子、勺子和刀子。博物馆还收藏了六只装在一个类似盒子里的一模一样的couvert。目前还不知道这三十六件餐具是为谁制作的，因为装饰每把叉子、刀子和勺子的纹章都被抹去了。然而，这两个盒子的盖子上装饰着Noailles的手臂，这表明18世纪那个杰出的贵族家族的一名成员拥有这些餐具餐具的设计异常精致和雄心勃勃，尤其是在叉子和勺子的柄部使用镂空，以及在刀片的模制和追逐装饰中。设计的复杂性所需的工作量使这些餐具成为特别精美的银餐具。这两套餐具可追溯到1767-71年，但叉子、勺子和刀子的设计与1744年著名银匠托马斯·热尔曼（1673-1748）制作的镀金银色甜点服务非常相似。20年后，杰曼的儿子弗朗索瓦·托马斯·杰曼（François Thomas Germain）复制了杰曼的设计，制作了一个金色的couvert，这是后者为葡萄牙宫廷制作的著名服务的一部分。Louis Joseph Lenhendrick是协助Germain获得葡萄牙委托的众多银匠之一，他的印记出现在博物馆的餐具上。由于伦亨德里克也曾是老日尔曼的学徒，他对这辆马车的设计应该很熟悉。
介绍（英）	The tooled leather box contains six couverts—the French term for two or more matched pieces of flatware—which in this instance each comprise a fork, spoon, and knife. Six identical couverts housed in a similar box are also in the Museum’s collection. It is not known for whom these thirty-six pieces of flatware were made because the coats of arms that decorated each fork, knife, and spoon have been erased. However, the two boxes are decorated on the lids with the Noailles arms, suggesting that a member of that distinguished aristocratic family owned the cutlery in the eighteenth century. The designs of the flatware are unusually elaborate and ambitious, especially in the use of openwork in the stems of the fork and spoon, and in the molded and chased decoration of the knife blades. The amount of work required by the complexity of the designs marks these as especially fine pieces of silver cutlery. The two sets date from the years 1767–71, but the designs of the fork, spoon, and knife closely resemble those of a gilt silver dessert service made in 1744 by the celebrated silversmith Thomas Germain (1673–1748). Germain’s designs were then copied twenty years later by his son, François-Thomas Germain, for a gold couvert that formed part of the celebrated service made by the latter for the Portuguese court. One of the many silversmiths who assisted Germain with the Portuguese commission was Louis-Joseph Lenhendrick, whose mark appears on the Museum’s flatware. As Lenhendrick had also been apprenticed to the elder Germain, he would have been well acquainted with the design of this couvert.