François Linke

Payne, Christopher François Linke 1855-1946 The Belle Epoque of French Furniture, pp. 159-160; pl. 170; pl. 190

Overall in very good condition with minor scratches and dents to kingwood veneer consistent with age and use. Usual tarnishing to gilt-bronze in places. The three glass panels are set within a gilt-bronze border on both sides. The gilt-bronze borders are screwed to the carcass and there are some screws missing and others are loose. It is important to note that there is a mount missing to the top of the left hand side fold formerly a floral mount surmounting the square step on the top of the screen.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Linke titled: Paravent Louis XV assortie avec meubles de l'exposition

Linke's title for this screen in his hand-written price list suggests that it was intended to be seen as a part of the important group of twenty-four pieces of his furniture designed for the Paris Exposition Universelle of 1900 that coincided with the Olympic Games bringing some fifty-one million people to the city. This is reinforced by the carefully scripted entry in the green registre 'Paravent LXV Pièce d'Exposition'. Unfortunately, due to the sheer man hours needed to create such an array, his craftsmen only finished sixteen for the stand at the fair on time. The items not ready in 1900 were exhibited as soon as possible over the next few years, starting with the Salon des Industries du Mobilier in 1902, the screen number 705 seemingly not shown until the World Fair at St. Louis in 1904.

Although the outline and detail in this screen is clearly looking back to the traditional themes of rocaille that were first seen under the Regence in the 1720s, this style has become eternally linked with that of the reign of Louis XV and was the underlying theme of Linke's Gold Medal winning stand in 1900. However there is a clear evidence of the hand of Léon Messagé in the pieces exhibited and also in the present lot. Messagé had been an independent sculptor working in Paris in the 1880s designing for Roux et Brunet as well as Zwiener who was thought to be Linke's German 'master' in his early days in Paris in the 1880s. Messagé's undoubted talent as an inventive modernizer of the much loved Louis XV style which he so cleverly blended with contemporary art nouveau, was somewhat marred by his affinity to a chopin of wine. However Linke appears to have been able to harness the sculptors' talent and behaviour to produce a spectacular array of innovative and instantly recognisable furniture.

Indeed it is possible that Messagé's affinity for drink slowed Linke's grand design down to the extent that the present lot and its companions were not ready in 1900.

The first evidence of a version of this screen being ready can be seen in a contemporary photograph of Linke's stand at the 1904 St. Louis World Fair.

It appears that only three versions of the original three-fold screen were made, 1903, 1907 & 1908, with a simplified version in 1909. Two larger four-fold versions were made to special order in 1918-1920. The Blue Daybook shows that the plaster models were started in July 1900 but the dragon not finished until May 1901 by which time several master casts had been made. The total payment to Messagé and his team of three sculptors/modellers was 2,822 francs, more than 25% of the total cost of making the first screen.

Footnote courtesy of Christopher Payne.