Charles Cheriff Galleries Commodes and Chests of Drawers

A Very Fine Late 19th Century Louis XVI Style Gilt Bronze Mounted Commode By Paul Sormani Paul Sormani Beautiful marble top, above a bronze frieze, with one long drawer above two d...

An Exceptional Matched Pair of Late 19th Century Gilt Bronze Mounted Louis XVI Style Parquetry Commodes/Night Stands By Maison Millet Theodore Millet after Jean-Francois Leleu The ...

A Stunning Late 19th Century Louis XV Style Gilt Bronze Mounted Hand-cut Floral Marquetry Cabinet By François Linke François Linke Brèche d’Alep serpentine fronted marble top, abov...

An Excellent Quality Late 19th Century Louis XVI Style Gilt Bronze Mounted Commode/Server By Henry Dasson Henry Dasson – After Benneman and Stockel The demi-lune grey and white mar...

An Early 20th Century Gilt Bronze Mounted Louis XV Style Chest of Drawers By François Linke François Linke Surmounted by a Brèche d’Alep marble top above a pair of short drawers, a...

An Exceptional Late 19th Century Gilt Bronze Mounted Louis XVI Style Commode By Henry Dasson Henry Dasson A marble top above a frieze set with three drawers with pierced laurel decoration and ribbon tied foliate wreaths, over three garland-hung cupboard doors each with shelves, flanked by concave corners fitted with a freestanding baluster form column, the sides similarly decorated and standing on toupie feet. Signed Henry Dasson 1879 to the bronze mount on the side and stamped Henry Dasson 1879 twice to the back of the carcass. After the very famous 18th century model by Martin Carlin. Henry Dasson was considered one of the finest makers of gilt bronze mounted furniture in the nineteenth Century. He established a workshop at 106 rue Vieille-du-Temple, Paris, and specialised in the production of Louis XIV, Louis XV and Louis XVI style furniture using the very finest ormolu mounts with the highest quality mercury gilding. In 1871, Dasson purchase Charles-Guillaume Winckelsen business and remaining stock. Dasson exhibited at the 1878 and 1889 Paris Exhibition. He displayed Louis XV and XVI styles as well as pieces of his own modified eighteenth century design. The exhibits in 1878 included a table entirely in gilt bronze, purchased by Lord Dudley. Martin Carlin (ca 1730 – 1785) was a Parisian ébéniste, born at Freiburg, who was received master at Paris in 1766. Carlin worked at first in the shop of Jean-François Oeben, whose sister he married. He set up independently in the Faubourg Saint-Antoine, an unfashionable quarter of Paris, where few of his wealthy clientele would have penetrated. Carlin sold his works exclusively to marchands-merciers such as Simon-Philippe Poirier and his partner Dominique Daguerre, who acted as decorator-designers. It was only through these entrepreneurs that Carlin could acquire the Sèvres porcelain plaques that decorate many of his pieces. His earliest such pieces are datable by the marks on their porcelain to 1766; they followed designs supplied by the dealer Poirier. Although Martin Carlin made some larger pieces— secrétaires à abattant (drop-front secretary desks), tables, and commodes— he is best known for refined small furnishings...

A Fantastic Pair of Early 20th Century Gilt Bronze Mounted Louis XV Style Inlaid Marquetry and Parquetry Commodes Each finely made commode with a shaped marble top over three short and two long dresser drawers...

A Fantastic Quality Mid 19th Century Gilt Bronze Mounted Louis XVI Style Mahogany Commode By Pretot A marble top above a frieze applied with scrolling-vine mounts and fronted by tw...

An Exceptional Late 19th Century Louis XV Style Gilt Bronze Mounted Lacquer Commode By Henry Dasson Henry Dasson A beautiful shaped Rosso Levanto marble top above two long and deep...

A Very Nice Late 19th Century Louis XVI Style Gilt Bronze Mounted Commode By Haentges Freres Haentges Freres A marble top above a bronze frieze, with one long drawer decorated with...

A Fantastic Late 19th/Early 20th Century Louis XV Style Gilt Bronze Mounted Commode By François Linke François Linke – Index no. 599 Brèche d’ Alep marble top above one long bronze mounted drawer, the center two drawers bronze mounted with floral wreath and bird, the base mounted with a tambourine and flowing curtains. Signed F. Linke to the right-hand chute, locked stamped Ct. Linke and the number 599. Pictured on Page 493 and Daybook Entry on Page 477 in “François Linke 1855-1946 The Belle Epoque of French Furniture” By Christopher Payne. Designed in 1900, this model commode was conceived en suite with a dressing table, index number 600, and a double bed, number 601. Although clearly started in 1899, a note in the Blue Daybook shows that the ciseleur enriched the chasing on the bronzes much later, in September 1902, and with a fleur de pêcher marble top costing 110 francs. Whereas two of the matching beds and dressing tables were made, Linke made five versions of this commode between 1899 and 1910, with one example made for the compagnie nationale de Buenos-Aires in 1908. Linke was born in Pankraz in Bohemia and was celebrated by the French as one of the greatest ébénistes of meubles de style at the turn of the century. He began his apprenticeship with a Bohemian master at the age of thirteen. Four years later, he toured Austria, settling and working in Vienna for two years. Linke arrived in Paris in 1875, and by 1881 he had established his own small workshop at 170 rue du Faubourg St. Antoine. Taking 18th century styles as his starting point and adapting earlier styles to contemporary taste, Linke produced fine quality furniture, steadily expanding his business during the next 20 years. He firmly established his reputation after receiving a gold medal at the Paris Universal Exhibition of 1900 for his extraordinary Grand Bureau. He continued to use international fairs as a means of exploring new markets, exhibiting at the 1904 World’s Fair in St. Louis, the Liege in Belgium and the 1908 Franco-British exhibition in London. Linke’s highly original designs sprang from the Régence and Rococo styles but were imbued with something quite new – Rococo curves were laden with gilt-bronze sculptural mounts in the tradition of A.-C. Boulle (1642-1732) or Charles Cressent (1685-1758). Stylistically, the new designs still adhered to the Rococo; the novelty, however, was Linke’s fusion of the Rococo with the liveliness and the fluidity of the ‘art nouveau’. The Revue called Linke’s creations entierement nouveau, and continued to say that ‘Linke’s stand...