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19th Century French Belle Époque Display Cabinet in the Manner of François Linke
About the Item
A French Bijouterie
In the manner of François Linke
Designed in the Louis XV style and constructed in a wonderfully marked Kingwood, with precise and crisply cast ormolu mounts; rising from sabot shod cabriole legs dressed with ormolu espagnolettes, the velvet-lined display case having a shaped apron, each side of curved bombé form and set with expertly shaped glass panels; the lockable door opening to gain access to the glass-shelved interior; the lockable rising top with a shaped and bevelled glass and ormolu guard strip.
French, circa 1900
Only the best Parisian workshops were able to Craft exquisite display cases of this quality, requiring access not only to attractive Kingwood timbers, but also requiring the skills to fit the curved glass to the bombé frame, itself applied with precise ormolu mounts. Identical sabots are observed on a bijouterie by François Linke previously with Butchoff.
- Similar to:François Linke (Cabinetmaker)
- Dimensions:Height: 32.5 in (82.55 cm)Width: 27 in (68.58 cm)Depth: 17 in (43.18 cm)
- Style:Louis XV (In the Style Of)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:circa 1900
- Condition:Repaired: Each item has undergone careful inspection and restoration by a conservation specialist in order to guarantee the original quality and integrity of the object. Wear consistent with age and use.
- Seller Location:London, GB
- Reference Number:
About the Seller
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Established in 1964
1stDibs seller since 2012
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Typical response time: 3 hours
Associations
The British Antique Dealers' AssociationLAPADA - The Association of Arts & Antiques Dealers
- ShippingRetrieving quote...Ships From: London, United Kingdom
- Return PolicyA return for this item may be initiated within 3 days of delivery.
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Linke’s work book or Arbeits-Buch records that he was in Vienna from July 1872 to October 1873 at the time of the International Exhibition held there in 1873. He subsequently travelled to Prague, Budapest & Weimar before finally arriving in Paris in 1875. It is documented that he obtained employment with an unknown German cabinetmaker in Paris, and stylistic similarities, photographs and geographical proximity have led some to suggest that Emmanuel Zwiener was the most likely candidate. After a period back in his home town of Pankratz, he returned once and for all to Paris in 1877. In 1878 Paris hosted the third great International Exhibition, a remarkable success for a country ravaged by war only seven years earlier. It is known that the fledgling Linke workshops were active in the Faubourg St. Antoine as early as 1881, during this time he supplied furniture for other more established makers such as Jansen and Krieger. 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Determined to outshine the competition at the Exhibition, Linke had set about creating the most ambitious pieces he could envisage, and more extravagant than had ever been displayed before. The items he exhibited marked a transition from the historicist interpretation of Louis XV and Louis XVI styles, an interpretation that was the mainstay of his nearest rivals, to something startlingly new and vital in its immediacy. [6] Together with Léon Messagé he developed a new style for the 1900 Exhibition that paid homage to the Louis XV rococo in the fluidity of its approach, but an approach fused with the lively flowing lines of the contemporary and progressive 'art nouveau'. The Art Journal reported in 1900 on Linke's stand: "The work of M. Linke ... was an example of what can be done by seeking inspiration amongst the classic examples of Louis XV and XVI without in any great sense copying these great works. M. Linke's work was original in the true sense of the word, and as such commended itself to the intelligent seeker after the really artistic things of the Exhibition. Wonderful talent was employed in producing the magnificent pieces of furniture displayed". Linke's stand would have appeared refreshingly new to contemporary onlookers, the traditional designs of the eighteenth century melting seamlessly into an exuberant naturalism. The 'Revue' described Linke's style as 'entièrement nouveaux' and noted "This opinion is universally accepted. Linke's stand is the biggest show in the history of art furniture in the year 1900". It is perhaps the most extraordinary and remarkable aspect of Linke’s personal history that he produced such expensive and luxurious furniture of exquisite quality for the 1900 exhibition without any commission or any potential buyer in mind. 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