françois linke A large GILT-BRONZE MOUNTED KINGWOOD AND VERNIS MARTIN VITRINE, INDEX NUMBER 103 BIS PARIS, CIRCA 1903-1907, probably a piece unique

surmounted by a brêche d' Alep marble top, of bombé front and sides and opening to three shelves, the front vernis Martin painted cartouche with courting musicians, the right painted cartouche decorated with a musical trophy, the left with a hanging overflowing flower basket, signed F. Linke to the right-end side chute and FL to the back of the carcass. One original key.

In very good condition and presentation. Minor tarnishing to gilt-bronze in places.
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 title: Vitrine Louis XV corniche cintrée panneau vernis martin, bois de violette, "Grande Modele" [sic]

According to the green registre complied by Linke's clerk from circa 1901, the present lot may be a pièce unique.  In the somewhat complex notes in the entry, it would appear that only two of the larger version were made - the cabinet maker Krumbiegel taking 1,249 hours to make the carcasses for 'la paire'. However it appears that whereas all but one of this model had vernis Martin panels painted by Guilbert, presumably an outworker, who painted most of Linke's panels, one version of 103 bis had panels in 'laque', painted by Manson, another outworked who invoiced 45 francs for his work on 24^th May 1907. The date is consistent with the cabinetmakers' work, the upholsterer Duclos and the mounting of the bronzes by Louvancour. Against the 181 francs costed out for the latters' work Linke has annotated 'trop' his monteur  taking too long to do the work hence Linke writing down the cost by about 20 francs (which he also did with a version of the smaller vitrine  made in the same year.

This vitrine is a model used by Linke early in his career but mysteriously there is no clear evidence of its production in the early Daybooks that Linke kept in his jacket pocket. Identification is made more difficult as his early records are imprecise with an incomplete index numbering system. There are designs of vitrines similar to the present lot but are not precise enough to clearly identify as number 103. The model is based on a Messagé design for Roux et Brunet and would have first been made in the 1880s in Linke's workshops. The Blue Daybooks from the 1890s do not show this quintessential model and the first entries appear in the green registre where six are listed, all slightly different. A large model with vernis Martin was started in 1901, the bronzes not cast and mounted until 1907. This delay is consistent with a black and white photograph from Linke's archives where the model appears in one image with vernis Martin and in another with the cartouches left empty of painting or marquetry. These two photographs show slight differences in the applied bronze mounts, the 'plain' version with, on close inspection, less complicated bronzes. The delay in finishing the first vitrine must simply have been the enormous pressure on Linke's workshops due to the number of orders following his commercial success as the 1900 Paris World Fair. The second was made in 1902 with marquetry panels. The third was made in 1907 with vernis Martin. A further two small versions were made, one with marquetry, one with vernis Martin in 1908.

There is a slight inconsistency in the measurements of the present lot against Linke's measurements in his hand written price list. Here Linke lists this larger version as being 190 centimetres high by 105 wide but we assume that his clerk did not as accurately record the measurements in circa 1900 as today.

Footnote courtesy of Christopher Payne.