François Linke French, 1855 - 1946 A gilt bronze-mounted kingwood, amaranth and satine parquetry bureau plat Paris, early 20th century, index number 571

the later gilt-tooled leather inset top over two drawers and two opposing false drawers, signed F. Linke, the back of the locks engraved  CT LINKE / SERRURERIE / PARIS and numbered 571

M.S. Rau Antiques, New Orleans

Christopher Payne, François Linke, The Belle Epoque of French Furniture, Woodbridge, 2003 pp. 254-262, for a discussion on Linke and his commisions made for the Devoto family.

In overall very good condition with excellent presentation. The replaced, gilt-tooled leather top showing one or two minor scratches. Some overall, but mostly minor, tarnish and discoloration to the gilt bronze mounts consistent with age and atmospheric conditions, the espagnolettes on the corners do have some moderate rubbing to the gilt on the faces (shown in additional images). The finish is in good condition, but is possibly not original.
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 bureau Régence number 571, probably made in 1912 for Antonio Devoto.

The first entry for this rare desk is in Linke’s Blue daybook and, although not specifically dated, would appear to be circa 1898. Made in the genre of the Messagé designed exhibition pieces but not shown at the 1900 Paris Exposition universelle due to pressure on the workshop, it was probably not finished until 1902 when the indomitable Labbé cut a set of marquetry panels, invoicing them on 20th December at a cost of 98 francs 80 centimes. The cabinetwork, by Teuchy, took 184 hours for which he was paid the standard wage of 90 centimes per hour.

In the Blue book, Linke titles the desk ‘bureaux [sic] regence Laumonier’, a hitherto unknown client. However by the time of the more formal green registre, Linke made the table available with a leather top as in the present lot or with marble specifying his favoured fleur de pecher. Also available with a marquetry top, Linke remarks that for one, made in 1903, the cabinetwork was 206 francs, noting in pencil ‘trop’ (too much) in the margin. Another example, slightly wider, was ordered in 1908 but specifically with three drawers instead of the more normal two as offered here. It is almost certain that this desk was the one ordered specifically for Devoto in 1912, order number 1786. Labbé was still the marquetry cutter, working on the piece in June the following year. It is interesting to note that careful examination the accompanying black & white photograph from the Linke Archives suggests that one version of the desk was made without the delicate marquetry trellis, described by Linke as 'frisage' but seen on the present lot.

Don Antonio Devoto, Italian by birth, was one of the most invigorating personalities of the Italian community of Argentina in the late nineteenth and early twentieth centuries, and his immense fortune enabled him to become on of Linke's most important clients. Devoto was the last client to buy the major part of Linke's 1900 exhibition concept, consisting of the Grand Bureau, number 550, the matching armchair, 703, the Grande Bibliothèque, number 556, and the Regulatéur, number 551. After Devoto's death in 1916, his widow continued to commission from Linke for the family's several houses in Buenos Aires, determined to finish the work they had undertaken together and as a monument to her husband's taste and creativity. 

 Footnote courtesy of Christopher Payne.