Armchair 1763 - 1769

Editor: We’re looking at an armchair, made between 1763 and 1769 by Thomas Affleck. It’s crafted from wood and textile and currently resides at the Metropolitan Museum of Art. The first thing that strikes me are the carved eagles on the arms—very imposing and regal! What can you tell me about it? Curator: Well, you've picked up on a key symbolic element. Eagles often denote power, authority, and even divine sanction. Consider where this piece was crafted: Philadelphia, on the cusp of revolution. The imposing presence isn't merely decorative; it reflects aspirations to civic virtue and strength. Does the colour evoke any feelings, perhaps associations? Editor: The yellow feels quite bold for the period; sunny almost. Does the choice of such a strong colour carry a message? Curator: Colour always carries cultural weight. Yellow can symbolise wealth, sunlight, and divinity – but also deceit or cowardice, depending on the context. Its presence here, combined with the costly materials, suggests prosperity and confidence. But consider: who sat in this chair, and what did that say about their status? Editor: I guess owning something this elaborate and impressive signaled power and social standing? Curator: Precisely. This isn't just a seat; it’s a declaration. The detailed carving, the expensive textile, all broadcast the owner's place in society. They participate in a very specific iconography of power and place, echoing similar symbols across time. What happens when symbols of prestige become available to the masses? Editor: That's a fascinating point! It completely changes the symbolism. I hadn’t considered how the choice of something as simple as the eagle arms makes a broader claim. Curator: Indeed. Reflecting on objects like this, we're not just seeing furniture, we're witnessing a conversation through symbols that still echoes today.