Collections: Decorative Arts: Side Chair

  • 1st Floor
    Arts of Africa, Steinberg Family Sculpture Garden
  • 2nd Floor
    Arts of Asia and the Islamic World
  • 3rd Floor
    Egyptian Art, European Paintings
  • 4th Floor
    Contemporary Art, Decorative Arts, Elizabeth A. Sackler Center for Feminist Art
  • 5th Floor
    Luce Center for American Art

On View: Golgotha

One of Germany’s leading Symbolists, Stuck frequently painted biblical or mythological subjects that addressed dark themes such as sin...

Hiroshige's One Hundred Famous Views of Edo

Hiroshige's 118 woodblock landscape and genre scenes of mid-nineteenth-century Tokyo, is one of the greatest achievements of Japanese art.


Want to add this object to a set? Please join the Posse, or log in.


81.56.2_documentation1.jpg 81.56.2_documentation2.jpg 81.56.2_threequarter_PS9.jpg 81.56.2_back_PS9.jpg 81.56.2_bw_IMLS.jpg

Side Chair

  • Medium: Beech, pigment, modern upholstery
  • Place Manufactured: France
  • Dates: ca. 1868
  • Dimensions: 29 x 18 1/4 x 18 1/4 in. (73.7 x 46.4 x 46.4 cm)  (show scale)
  • Markings: no marks
  • Signature: no signature
  • Inscriptions: no inscriptions
  • Collections:Decorative Arts
  • Museum Location: This item is on view on the 20th-Century Decorative Arts, 4th Floor
  • Accession Number: 81.56.2
  • Credit Line: H. Randolph Lever Fund
  • Rights Statement: Creative Commons-BY
  • Caption: Side Chair, ca. 1868. Beech, pigment, modern upholstery, 29 x 18 1/4 x 18 1/4 in. (73.7 x 46.4 x 46.4 cm). Brooklyn Museum, H. Randolph Lever Fund, 81.56.2. Creative Commons-BY
  • Image: overall, 81.56.2_documentation1.jpg. Brooklyn Museum photograph
  • Catalogue Description: Side chair, polychromed American beach. The chair has a circular seat and a circular medallion back. Four legs terminate in painted feet, which comprise a blue sphere-shaped knob at the floor, a vase turning with gold, above that. Above the foot is a slightly-flaring faux-fluted leg in gold, black, and orange topped by ring turning and a front and sides is formed by a round-arched arcade painted gold, red, blue, and black. At the juncture with each front foot is a square patera outlined in red with a carved gold rosette inside. At the rear of each side seat rail is a "bridge" to a transitional block above the rear legs. This block also has a square patera with carved gold rosette and between the two rear transitional blocks, the rear stiles of the chair flare outward. Each stile comprises a ring turning (red and gold) above the block, an area of upside-down gold arches, more ring turning and then a column of faux fluting in gold, black, and orange painted in two sections. Above this are a ring turning, a gold capital of a double layer of simple carved leaves and a finial comprising a disc and sphere, gold, red, and black. Between the stiles is the circular back frame with a v-shaped transitional element at the upper juncture with the stiles, black with a stylized gold flower and an s-shaped top edge. The back frame has an ogee molding painted black and decorated with stylized anthemion palmettes outlined in gold and filled with blue rays. A red trefoil decoration appears between the tips of each palmette. The top of the crest is painted with a gold band decoration with a simple ornament at each end. The chair upholstered in modern dark green silk velvet when purchased; reupholstered in 1213 by Elizabeth Lahikainen. Condition: Numerous minor paint losses throughout, especially at normal wear points, i.e. crest, feet. Chips of wood missing at top of proper right bridge near seat; proper right rear transitional block near back stile; proper left transitional block, corner; lower edge of back medallion; back of proper left finial. Other smaller losses scattered throughout, especially on arcades. Crack near lower proper right joint in back frame of the chair back. Old filled areas on back of each transitional block. Proper left rear leg cracked on inside near transitional block. Under-side of seat has new black paint. Several pieces of wood have been removed from lower rear seat rail and from two of the arcade pendants, presumably for wood samples. All but one of these losses has been painted black. Corner blocks at front legs are modern additions. Upholstery at top back is loose. Upholstery on seat is stained.
  • Record Completeness: Best (83%)
advanced 110,573 records currently online.

Separate each tag with a space: painting portrait.

Or join words together in one tag by using double quotes: "Brooklyn Museum."

Please note, the Museum does not provide monetary appraisals. Please see our FAQ.

Please review the comment guidelines before posting.

Before you comment...

We get a lot of comments, so before you post yours, check to see if your issue is addressed by one of the questions below. Click on a question to see our answer:

Why are some objects not on view?

The Museum’s permanent collections are very large and only a fraction of these can be on exhibition at any given time. Sometimes works are lent to other museums for special exhibitions; sometimes they are in the conservation laboratory for study or maintenance. Certain types of objects, such as watercolors, textiles, and photographs, are sensitive to light and begin to fade if they are exposed for too long, so their exhibition time is limited. Finally, as large as the Museum is, there is not enough room to display everything in the collections. In order to present our best works, collections are rotated periodically.

How do I find out how much an object in the Brooklyn Museum collections is worth?

The Museum does not disclose the monetary values of objects in its collections.

Can you tell me the value of an artwork that I own?

The Museum does not provide monetary appraisals. To determine the value of an object or to find an appraiser, you may contact the Art Dealers Association of America or the American Society of Appraisers.

I own a similar object. Can you tell me more about it?

Please submit via e-mail a photograph of the object you own and as much information about it as you can, and we will provide any additional information we are able to find. Please note that research in our files is a lengthy process, and you may not have a response for some time.

How would I go about lending or gifting a work to the Museum or seeing if the Museum is interested in purchasing a work that I own?

Please submit via e-mail a photograph of the object you would like us to consider, as well as all of the information you have about it, and your offer will be forwarded to the appropriate curator. The Brooklyn Museum collections are very rich, and we have many works that are not currently on exhibition; because of this, and because storage space is limited, we are very selective about adding works. However, the collection has become what it is today through the generosity of the public, and we continue to be grateful for this generosity, which can still lead to exciting new acquisitions.

How can I get a reproduction of a work in your collection?

Please see the Museum’s information on Image Services.

How can I show my work to someone at the Museum or be considered for an exhibition?

Please see the Museum’s Artist Submission Guidelines.

Why do many objects not have photographs and/or complete descriptions?

The Museum's collection is very large, and we are constantly in the process of adding photographs and descriptions to works that do not currently have them, or replacing photographs that have deteriorated beyond use and descriptions that are minimal or out of date. This is a long and expensive process that takes time.

How can I find a conservator or get advice on how to treat my artwork?

Please visit the American Institute for Conservation, which has a feature on how to find a conservator.

I have a comment or question which is not included in this list.

Join the posse or log in to work with our collections. Your tags, comments and favorites will display with your attribution.