Nebenstuhl 1881–82 George A. Schastey & Co. 1881 beauftragte Arabella Worsham, die damalige Geliebte des Eisenbahnmagnaten Collis P. Huntington, George A. Schastey & Co., ihr Stadthaus in der West Fifty-Fourth Street 4 in New York City zu dekorieren. Die daraus resultierenden künstlerischen Interieurs wären Anfang 1880s als der Höhepunkt des kosmopolitischen Stils angesehen worden und waren ein Sinnbild für Worshams Bestreben, ihre Identität als wohlhabende, prominente Frau des Geschmacks zu gestalten. Als Worsham 1884 Huntington heiratete, verkaufte sie das Haus, komplett möbliert, an John D. und Laura Spelman Rockefeller, die einige spätere Änderungen vorgenommen hatten

• Bildanbieter: MET/BOT / Alamy Stock Foto
• Bild-ID: 2HHWKNN
• Dateigröße: 34,5 MB (974,8 KB Komprimierter Download)
• Freigaben (Releases): Model - nein | Eigentum - nein
• Format: 3116 x 3875 px | 26,4 x 32,8 cm | 10,4 x 12,9 inches | 300dpi
• Aufnahmedatum: 19. Januar 2022

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Side chair 1881–82 George A. Schastey & Co. In 1881, Arabella Worsham, then-mistress of railroad magnate Collis P. Huntington, hired George A. Schastey & Co. to decorate her townhouse at 4 West Fifty-Fourth Street in New York City. The resulting artistic interiors would have been considered the height of cosmopolitan style in the early 1880s and were emblematic of Worsham’s quest to fashion her identity as a wealthy, prominent woman of taste. When Worsham married Huntington in 1884, she sold the house, fully furnished, to John D. and Laura Spelman Rockefeller, who made few subsequent changes to the decorations. Following Mr. Rockefeller’s death, the house was demolished in 1938, yet some furnishings, large-scale architectural elements, and three interiors were preserved, and the rooms were donated to local museums by John D. Rockefeller Jr. This side chair of satinwood and purpleheart, one of a pair, is part of the suite (2009.226.1–.4) that furnished Worsham’s elaborately decorated dressing room, one of the preserved interiors now installed in The American Wing (Gallery 742). These objects were part of a decorative program that encompassed every aspect of the room, including the architectural woodwork, lighting, stenciled wall-treatment, painted ceiling and frieze, textiles, and other furnishings. On the chair’s back, the marquetry decoration of grotesque masks and vines echoes the ornamental motifs in the dressing room’s architectural woodwork. The overall form is light and rectilinear. The tapered front legs with cascading bellflowers channel the spirit of English Neoclassical designers such as Robert Adam and George Hepplewhite. It rests on castors, allowing it to be moved easily within the room.Although few objects can be attributed to George A. Schastey & Co., the high quality of their work – as seen in this fine example – was comparable to other prominent firms of the Gilded Age, including Herter Brothers and Pottier & Stymus. At its peak in