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Lot Essay
Ferdinand Bury, maître in 1774.
This elegant table with its finely cast mounts and delicate proportions is part of a group of similar tables that were supplied by the marchand-mercier, Dominic Daguerre, by various ébénistes. Called a table en chiffonnière according to the Encyclopédie of 1765, this was a model of table dont se servent ordinairement les femmes pour le dépôt de leurs ouvrages ou chiffons. Frequently enriched with Sèvres porcelain, they were used like a table en cabaret in a salon or boudoir as a place to set cups of hot tea, coffee or chocolate.
A design for this table attributed to R. Lalonde (active pre-1788 and after 1806) now in the Metropolitan Museum of Art (59.611.8) was probably executed for Daguerre for the purposes of advertising. It shares the same form and proportions of the present table; in particular the paneled mounts and paterae on the frieze, squared supports ending in an undertier and cabriole legs with paw feet. As a marchand-mercier, Daguerre would commission various ébénistes to execute designs, with not surprisingly variations in decoration to suit the tastes of individual clients. Closely related examples of this model were made by Bury’s fellow ébéniste, Martin Carlin, include one from the collection of Dmitri Mavrommatis sold at Sotheby’s, London, 8 July 2008, lot 42 and another by Carlin with a porcelain top and trellis parquetry shelf that has an inventory mark for Pavlosk (A. Pradère, Les Ebénistes Français de Louis XIV á la Revolution, Paris, 1989, p329, fig 429).
Ferdinand Bury (1740-1795) was awarded his maîtrise in 1774 and had premises in the Faubourg Saint-Antoine, on the rue de Charonne. His accounts reveal a medium-sized workshop and that he retailed his pieces with various Parisian marchands-merciers. Bury also had his own patrons such as the prince of Nassau, the marquis de Marigny, the marquis de Mailly-Nesle and the duc de Brissac. Interestingly, the rich ormolu mounts on a bureau sold anonymously at Christie’s, New York, 11 December 2014, lot 25 resemble mounts used by Carlin, who worked extensively for Daguerre and provide a further link with one of the most influential marchands-merciers of the Louis XVI era.
This elegant table with its finely cast mounts and delicate proportions is part of a group of similar tables that were supplied by the marchand-mercier, Dominic Daguerre, by various ébénistes. Called a table en chiffonnière according to the Encyclopédie of 1765, this was a model of table dont se servent ordinairement les femmes pour le dépôt de leurs ouvrages ou chiffons. Frequently enriched with Sèvres porcelain, they were used like a table en cabaret in a salon or boudoir as a place to set cups of hot tea, coffee or chocolate.
A design for this table attributed to R. Lalonde (active pre-1788 and after 1806) now in the Metropolitan Museum of Art (59.611.8) was probably executed for Daguerre for the purposes of advertising. It shares the same form and proportions of the present table; in particular the paneled mounts and paterae on the frieze, squared supports ending in an undertier and cabriole legs with paw feet. As a marchand-mercier, Daguerre would commission various ébénistes to execute designs, with not surprisingly variations in decoration to suit the tastes of individual clients. Closely related examples of this model were made by Bury’s fellow ébéniste, Martin Carlin, include one from the collection of Dmitri Mavrommatis sold at Sotheby’s, London, 8 July 2008, lot 42 and another by Carlin with a porcelain top and trellis parquetry shelf that has an inventory mark for Pavlosk (A. Pradère, Les Ebénistes Français de Louis XIV á la Revolution, Paris, 1989, p329, fig 429).
Ferdinand Bury (1740-1795) was awarded his maîtrise in 1774 and had premises in the Faubourg Saint-Antoine, on the rue de Charonne. His accounts reveal a medium-sized workshop and that he retailed his pieces with various Parisian marchands-merciers. Bury also had his own patrons such as the prince of Nassau, the marquis de Marigny, the marquis de Mailly-Nesle and the duc de Brissac. Interestingly, the rich ormolu mounts on a bureau sold anonymously at Christie’s, New York, 11 December 2014, lot 25 resemble mounts used by Carlin, who worked extensively for Daguerre and provide a further link with one of the most influential marchands-merciers of the Louis XVI era.