Lot Essay
Pierre Garnier, matre in 1742
Pierre Garnier was one of the most distinguished cabinet-makers whose successful career spanned more than sixty years. Though he worked for numerous illustrous clients such as the duchesse de Mazarin, his most loyal and important patron was the marquis de Marigny, brother of Madame de Pompadour and directeur gnral des Btiments, Jardins, Arts, Acadmies et Manufactures du Roi. Marigny's style was elegant and restrained and his residences exhibited an abundance of mahogany furniture of a similar inspiration as the present table.
Refered to as a table-pupitre, this type of table came to be used in France in the late 18th century as more mechanical furniture offering several functions appeared on the market. A similar table, but lacking ormolu mounts, was executed by Adam Weisweiler in the late 1780s (illustrated in N. de Reynis, Le Mobilier Domestique, Paris, 1987, p. 1039, fig. 3957-58). Another such table with specific use as a music-table for two musicians and with additional swing-out arms for candleholders is stamped by Bernard Molitor and dated to 1787-91 (illustrated in U. Leben, Bernard Molitor: 1755-1833, Luxembourg, 1995, p. 141, fig. 22).
Pierre Garnier was one of the most distinguished cabinet-makers whose successful career spanned more than sixty years. Though he worked for numerous illustrous clients such as the duchesse de Mazarin, his most loyal and important patron was the marquis de Marigny, brother of Madame de Pompadour and directeur gnral des Btiments, Jardins, Arts, Acadmies et Manufactures du Roi. Marigny's style was elegant and restrained and his residences exhibited an abundance of mahogany furniture of a similar inspiration as the present table.
Refered to as a table-pupitre, this type of table came to be used in France in the late 18th century as more mechanical furniture offering several functions appeared on the market. A similar table, but lacking ormolu mounts, was executed by Adam Weisweiler in the late 1780s (illustrated in N. de Reynis, Le Mobilier Domestique, Paris, 1987, p. 1039, fig. 3957-58). Another such table with specific use as a music-table for two musicians and with additional swing-out arms for candleholders is stamped by Bernard Molitor and dated to 1787-91 (illustrated in U. Leben, Bernard Molitor: 1755-1833, Luxembourg, 1995, p. 141, fig. 22).