A South German carved walnut console table, the design in the manner of Josef Effner (1682-1745), the carving possibly by Johann Adam Pichler (active circa 1716/1717-1761), Munich circa 1730

with a later serpentine Spanish brocatello marble top above a frieze centred by a female profile medallion, flanked by acanthus and floral swags on a trelliswork ground on boldly scrolled cabriole legs with a grotesque mask on the knees entwined with floral trails joined by a stretcher centred by a stylised scallopshell on scrolled feet; possibly originally gilded

Probably Galerie Michel Meyer, Paris, 1980's

In overall good conserved condition. Colour slightly darker and more natural and attractive than in the catalogue photograph. There are some very miniscule chips to the marble top but these are hardly noticeable. Very attractive detail to carving which has some minor old restored breaks which have been well executed and are hardly noticeable. There are some very minor chips to the carving eg the scallopshell on the stretcher. Both legs have repaired breaks but these have been very well executed and are hardly noticeable. Please note this lot is carved walnut not oak.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Comparative Literature:
Reiner Baarsen, German Furniture, Rijksmuseum, Amsterdam,1998, pp. 48-51, no. 10 (Inv. BK-16659).
Charissa Bremer-David, Decorative Arts, An illustrated summary Catalogue of the collections in the J.Paul Getty Museum, California, 1993, p. 231.
G. Hojer and H. Ottomeyer, Die Möbel der Residenz München, II, Munich-New York, 1996, pp. 136-138 no. 26. and  p. 163-164 no. 34.
Heinrich Kreisel, Die Kunst des deutschen Möbes, Vol. II, Munich, 1970, plate 358.
Helena Hayward, World Furniture, London, 1965, p. 151.

This elegant console table beautifully carved with floral swags with a profile medallion reflects the influence of the French Régence style due to the fact that there were designers and carvers in Munich in the first quarter of the 18th century working in this style, who had spent their apprenticeship in Paris.

In the Residenz in Munich and at Nymphenburg and Schleissheim, gilded and painted panelled interiors were created in a style derived from contemporary French interiors. Baarsen, op. cit. p. 48, illustrates a console table now in the Rijksmusem, Amsterdam, attributed to the Pichler workshop, probably after a design by Effner, in the French style. He states that on tables in the Munich Palaces ..`Typical elements include...strapwork combined with naturalistic sprigs of flowers and striking lattice-work and lozenge patterns.' Effner derived many of his motifs from the French artist Jean Bernard Toro (1672-1731). Furthermore, Pilcher, the Hofkistler, had an enormous workshop which produced almost all of the panelling and tables in the Munich palaces an it is also worth noting that he too spent a long apprenticeship in Paris from 1709 until 1715.

The Court of the Elector of Bavaria was based in Munich which lead the way in matters of taste in South Germany. There were two main architects commissioned with the decoration, furnishing and planning of the princely residences, one being Josef Effner who was appointed Chief Court architect in Munich in 1724 and was involved in all the most important projects. He was known for his designs for furniture profoundly influenced by the French School especially Boulle and Cressent, but they also reflected his own originality. According to Hayward op. cit.,`His designs for carved side and console tables are splendid expressions of the Bavarian rococo, which was to reach its epitome in the designs of the second great architect of the time François Cuvilliés the Elder’. Cuvilliés, a Walloon, in the services of the Elector Max Emmanuel of Bavaria was sent by the latter to Paris to study between 1720-24. Hayward also states that `…the designs of Effner and Cuvilliés are crisp elegant and sophisticated. The French schooling these architects had both received was responsible for the easy freedom of their work, which avoids clumsy or vulgar extremes without becoming dry and academic'. 

The offered console table bears strong similarities to designs for console tables by Josef Effner (1687-1745), some of which are illustrated by Hojer and H. Ottomeyer op. cit., pp. 136-138, no. 26 and p. 163-164 no. 34. Kreisel, op. cit., plate 358, illustrates a related console table by Effner and Pichler (1761), circa 1730, with the arms of Bohemia, in the Museum für Kunsthandwerk, Frankfurt, reproduced here in fig. 1. The former is one in a set of four console tables made for Karl Albrecht (Charles VII (1697-1745), Elector of Bavaria, 1726, Holy Roman Emperor, 1742), some of which are in gilded limewood. Another table from the set is at the MFA (accession no. 1987.211); the two others are at the J. Paul Getty Museum, Los Angeles (Accession no. 88.DA.88) and The Museum of Fine Arts Boston (57.658). It is worthwhile noting that the related console table in the Getty had belonged to Bernheimer Fine Arts Ltd., London in 1988. 

A related console table described as probably Munich was sold from the Christopher Gibbs and Harris Lindsay sale, Christie’s, London, 10^th May 2006.