A French late 19th century ormolu-mounted, amaranth, mahogany, sycamore, marquetry and parquetry bureau à cylindre, after the 1784 model by Jean-Henri Riesener (1734 - 1806) by François Linke, index number 100, Paris
Lot 238
A French late 19th century ormolu-mounted, amaranth, mahogany, sycamore, marquetry and parquetry bureau à cylindre, after the 1784 model by Jean-Henri Riesener (1734 - 1806)
by François Linke, index number 100, Paris
Sold for £15,625 (US$ 25,218) inc. premium

Lot Details
A French late 19th century ormolu-mounted, amaranth, mahogany, sycamore, marquetry and parquetry bureau à cylindre, after the 1784 model by Jean-Henri Riesener (1734 - 1806) by François Linke, index number 100, Paris A French late 19th century ormolu-mounted, amaranth, mahogany, sycamore, marquetry and parquetry bureau à cylindre, after the 1784 model by Jean-Henri Riesener (1734 - 1806) by François Linke, index number 100, Paris
A French late 19th century ormolu-mounted, amaranth, mahogany, sycamore, marquetry and parquetry bureau à cylindre, after the 1784 model by Jean-Henri Riesener (1734 - 1806)
by François Linke, index number 100, Paris
decorated in the round and inlaid overall with lozenge-parquetry, the top with pierced three-quarter gallery, the roll-top inlaid with an oval trophy allegorical of Poetry, within a ribbon-tied foliate surround, opening to reveal four pigeon-holes and four short drawers, above a slide-out gilt-tooled black leather writing surface, above a central concealed frieze drawer mounted with an ormolu plaque of cloudborne-putti, flanked to each side by a drawer with flower-filled basket and scrolling foliate handles, the sides with ormolu plaques emblematic of Painting and Sculpture, on square tapering legs and acanthus-cast feet, the reverse of each lockplate stamped CT LINKE/SERRURERIE/PARIS, 120cm wide, 62cm deep, 111.5cm high (47in wide, 24in deep, 43.5in high).

Footnotes

  • See Christie's, 29th September 2005, lot 183 (£16,800), for another example of this model by François Linke. This example has the same CT LINKE stamp to the locks, but a slightly different arrangement inside the cylinder, and a mechanically-retracting writing surface. The example sold at Christie's is also stamped with the model number 100, which does not feature here.

    Another example in mahogany sold Sotheby's New York, A Private Collection, Volume II, Important French Furniture and Decorations, Inspired by 18th century Models, including signed furniture and itels from the Linke Family Private Collection, 19th April 2007, lot 156 ($30,000). See, C. Payne, François Linke, 1855 - 1946 (2003), p. 475 and p. 488 for the black and white reproduction from the Blue Daybook. It is noted that "the Blue Daybook shows a pencil drawing of this desk without the cylinder of which two versions were made. However, by the time the green registre was in general use in circa 1901, the only model available was the cylinder desk as in the present lot. It was available in amarante or plane and satiné with various complexities of marquetry. A traditionally popular model, ten cylinder desks appear to have been made. It is not certain how many were made in mahogany as with the present lot but the model was rarely made with the pair of candlearms flanking the desk. A variation was made for the diamond merchant Elias Meyer for his Grosvenor Square apartment in London, Commande 1237. Part of a large order in 1909, the Meyer desk is on the list of repurchases made by Linke himself on Meyer's death in 1926, but it is identified as a marquetry example. Unfortunately, there was no exact date or reference to the present lot made in richly-veneered plum-pudding mahogany.'

    This model by Riesener has been reproduced by several makers. See also, Christie's, 14th - 15th April 2011, lot 135, for an example by Alfred Beurdeley. Another by the same maker sold Sotheby's, 19th April 2007, lot 91 ($72,000).

    The original Jean-Henri Riesener bureau was delivered to Marie Antoinette's new boudoir in the Palace of the Tuileries on 21st December 1784, and is now in the permanent collection of the Musée du Louvre.
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