Mark Hopkins House Side Chair (Herter Brothers)

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Mark Hopkins House Side Chair (Herter Brothers)발음듣기

(lively music) [Voiceover] We're at the Cooper Hewitt in New York City.발음듣기

We're looking at a chair that's 135 years old, but looks really good for its age considering some of the furniture in my house, anyway.발음듣기

It was manufactured here in the United States by a very well known furniture manufacturer and designer, the Herter Brothers.발음듣기

[Voiceover] Herter Brothers was based here in New York.발음듣기

They had a store front on East 18th Street.발음듣기

They produce some of the most sophisticated and technically refined furniture of this late 19th century period.발음듣기

[Voiceover] Their patrons were in California.발음듣기

They were in New York. They were in Chicago.발음듣기

They were among some of the most wealthy people in the United States at that time.발음듣기

[Voiceover] Pierpont Morgan, William H. Vanderbilt.발음듣기

These were very wealthy American financiers who had very luxurious standards.발음듣기

They outfitted their interiors in a historasis mode.발음듣기

[Voiceover] We see this a lot.발음듣기

Architects, designers, painters, looking back at history, adopting various styles, from Egyptian to Classical to Islamic, Gothic, looking for a way of expressing a modern style.발음듣기

[Voiceover] This chair would have been recognized as modern because it's one of the first examples of Americans interpreting a Japanese aesthetic here in the United States.발음듣기

[Voiceover] We're seeing those elements of Japanese, or Eastern stuff, maybe even Chinese too, in the rectilinear forms along the back of the chair.발음듣기

[Voiceover] The floral decoration, the marquetry, the inlay, the ba-ribboning that festoons the chair rail.발음듣기

[Voiceover] It's hard for us to imagine how chic and fashionable all things Japanese were and so here he is bringing that Japonisme, that interest in Japan, which started in the late 1850's after Japan opened up to trade to America.발음듣기

Christian Herter studied in Paris and it was there that he became familiar with this Japanese style.발음듣기

[Voiceover] Christian also goes to England and becomes acquainted with the art furniture of E.W. Godwin.발음듣기

[Voiceover] It's interesting that it's called art furniture.발음듣기

It's not just furniture anymore. There's this self-awareness of making really beautiful furniture.발음듣기

Getting rid of that distinction between the fine arts and the practical arts.발음듣기

[Voiceover] Also goes along with greater interest in interior decoration at the time.발음듣기

Not only can you appreciate art in a museum, but you can also live in an artful interior.발음듣기

[Voiceover] And that artful interior, the idea was it would make you a better person.발음듣기

It would morally help your life.발음듣기

[Voiceover] So this chair is remarkable in its craftsmanship.발음듣기

It shows a real attention to materials.발음듣기

What you see on the back of the crest rail is marquetry, which is inlay of various woods.발음듣기

This chair would have incorporated the use of a lot of expensive, imported wood.발음듣기

It's honest in its craftsmanship. It's flat.발음듣기

[Voiceover] So when you say flat, I think it might be worthwhile to think about an overstuffed Victorian couch with lots of curvilinear forms, elaborate carving.발음듣기

[Voiceover] Much of the decoration is literally set into the chair.발음듣기

The gilding is done with incised lines that pierce that wooden surface.발음듣기

The decoration on the back of the crest rail is inlayed so that the overall surface effect of the chair gives that flat quality.발음듣기

[Voiceover] Right, so it's not carved. It's not in relief. 발음듣기

[Voiceover] Christian Herter was trained as a painter and I think we can see his approach to the chair as a painter decorating on the surface.발음듣기

The lighting source in the room would have picked up on that gilt decoration making it really come alive.발음듣기

[Voiceover] But so finely crafted. We've looked down at the legs.발음듣기

They taper down so gracefully. 발음듣기

The legs on the back swing out very subtly.발음듣기

It looks very simple, but when you look closely you see all the design decisions that Herter is making here.발음듣기

This Anglo-Japanese style is part of a reform of design that happened in the late 19th century.발음듣기

There was a feeling in England and America too that design in those countries was faltering.발음듣기

That because of the Industrial Revolution people weren't paying attention to how things were designed and so we begin to see in the late 19th century this real care being taken in how things looked.발음듣기

[Voiceover] Often times, people think of 19th century furniture and link it to mass production and the use of the factory.발음듣기

But with this Herter Brothers chair, we can see that late 19th century furniture can also represent fine craftsmanship and attention to those details.발음듣기

The dovetail joints, the exotic woods, the gilt decoration.발음듣기

[Voiceover] But of course, only for the wealthiest of patrons.발음듣기

[Voiceover] The details, such as the gilt decoration and the marquetry would have been added by the client and as such, added to the cost.발음듣기

This chair was commissioned by a very wealthy client named Mark Hopkins who was one of the founders of the Union Pacific Railroad and he lived in the wealthiest neighborhood of San Francisco called Nob Hill.발음듣기

His wife brought Herter Brothers on board.발음듣기

She decorated the interior of their house.발음듣기

This chair likely appeared in the reception room that was fitted out in this Anglo-Japanese style.발음듣기

The house also included a medieval hall, a picture gallery, a number of these other historasis interiors.발음듣기

So Mark Hopkins would've aimed that this Anglo-Japanese style would've impressed his visitors.발음듣기

[Voiceover] Although we're looking at this against the bare wall of the museum, the point was not to make an isolated object, but to create an entire environment. (lively music) 발음듣기

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