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拍品專文
The present lot is tantalisingly close to the work of François Linke but, as with the chaise longue lot 31, without a signature. Nor is there a negative of this model in the Linke Archive. However unique the Linke Archive is, with Linke's meticulous attention to detail, models of his furniture have been recorded in recent years that are not in the archive photgraphs and it may be that the present lot is amongst the missing glass clichés. In comparison with the cabinet-makers working with Linke, little is known about his chair-makers and sculptors. Although of a lighter style more faithful to the Louis XV rococo, the present lot has distinct references in the Devoto/Patino suites referenced in the footnote for lot 31, most notably the infant figure on the cresting and the two flanking figures which are so close that it may be speculated they are by the same designer, if not sculptor. The cresting as a whole, centered with a paddle-brearing putto, is visible on a high-backed bergère in a suite of giltwood furniture made for Devoto or Patino (sold Sotheby's, New York, 15 June 2005, lot 159). This coupled with the central pierced trellis on the apron of the marquise underlines the attribution to Linke.
Footnote courtesy of Christopher Payne.
The motif, commonly used in Potsdam in the mid-eighteenth century was adpoted by Léon Messagé in his publication Cahier des Dessins & Croquis Style Louis XV circa 1890. This series of publications predates Messagé's known collaboration with Linke but the similarities of the trellis and the putti can be seen in the Messagé engraving. Linke himself took many references from mid-18th century motifs from Potsdam and Messagé, having worked with the Berlin-born Joseph-Emmanuel Zwiener prior to his work for Linke, appears to have incorporated some of the Prussian designs into his early work. The trellis is most visible as part of the stucco work on the cornice of the theatre in the Neus Palais built by Frederick the Great at Sanssouci, the interior with designed by Johann Christian Hoppenhaut. Payne quotes 'The rococo extravagance looks back to the designs of François Cuvilliés whose work was often interpreted in the engravings of Johann Michael Hoppenhaut in the 1750s (C. Payne, François Linke: The Belle Epoque of French Furniture, Woodbridge, 2003, p. 59).
In practice with much of his furniture Linke signed giltwood pieces but, in comparison to his output of veneered case furniture, carved furniture from the Linke workshops is very rare and few pieces have survived. Evidence suggests that some of his giltwood furniture was signed in different ways and for a clear illustrated example, with the Linke surname stamped into the gilding (see C. Payne, p. 428, pl. 500). A pair of wall brackets had his oval cachet stamped on the reverse into the beechwood frame, not into the gilding, (illustrated C. Payne, p. 432, pl. 508). Whereas most French chair frames, if signed, would bear the makers' mark on the underside of the frame, usually made of beech, Linke appears to have favoured putting his stamp on the gilded frame, either on the arm, where it would wear away quite quickly, or at the back. In either case it would have been difficult to see and would all but be untraceable if the frames were re-gilded, as with the present lot.
Footnote courtesy of Christopher Payne.
Footnote courtesy of Christopher Payne.
The motif, commonly used in Potsdam in the mid-eighteenth century was adpoted by Léon Messagé in his publication Cahier des Dessins & Croquis Style Louis XV circa 1890. This series of publications predates Messagé's known collaboration with Linke but the similarities of the trellis and the putti can be seen in the Messagé engraving. Linke himself took many references from mid-18th century motifs from Potsdam and Messagé, having worked with the Berlin-born Joseph-Emmanuel Zwiener prior to his work for Linke, appears to have incorporated some of the Prussian designs into his early work. The trellis is most visible as part of the stucco work on the cornice of the theatre in the Neus Palais built by Frederick the Great at Sanssouci, the interior with designed by Johann Christian Hoppenhaut. Payne quotes 'The rococo extravagance looks back to the designs of François Cuvilliés whose work was often interpreted in the engravings of Johann Michael Hoppenhaut in the 1750s (C. Payne, François Linke: The Belle Epoque of French Furniture, Woodbridge, 2003, p. 59).
In practice with much of his furniture Linke signed giltwood pieces but, in comparison to his output of veneered case furniture, carved furniture from the Linke workshops is very rare and few pieces have survived. Evidence suggests that some of his giltwood furniture was signed in different ways and for a clear illustrated example, with the Linke surname stamped into the gilding (see C. Payne, p. 428, pl. 500). A pair of wall brackets had his oval cachet stamped on the reverse into the beechwood frame, not into the gilding, (illustrated C. Payne, p. 432, pl. 508). Whereas most French chair frames, if signed, would bear the makers' mark on the underside of the frame, usually made of beech, Linke appears to have favoured putting his stamp on the gilded frame, either on the arm, where it would wear away quite quickly, or at the back. In either case it would have been difficult to see and would all but be untraceable if the frames were re-gilded, as with the present lot.
Footnote courtesy of Christopher Payne.