Morocco leather
It is a characteristic of court arts generally speaking, that design and craftsmanship are collaborative in nature. Beneman collaborated with what Watson has called "a galaxy of talented craftsmen", instancing the "ébéniste" Guillaume Kemp, the "bronziers" Forestier, Thomire and Bardin, and the sculptors Boizot and Martin. To them might be added the "ciseleur-doreur" Galle. For a unique commission like the royal bureau plat of 1786, Martin provided a wax model of the original desk, Girard painted studies of fruit and flowers to be followed by Bertrand's designs, that were cut apart for the marquetry-cutters in Guillaume Kemp's workshop, Bardin and Thomire for finishing and mounting gilt-bronze myrtle moldings, gilded by Galle; Gosselin stamped in gilt the Morocco leather writing surface; Benneman sub-contracted the locksmith's work incorporated in his "ébénisterie"; his workers were paid 785 "livres" and he personally received 508 "livres".