Mahogany Vitrines

A fine French 19th-20th century kingwood and tulipwood marquetry and gilt-bronze mounted vitrine, in the manner of François Linke (1855-1946). The slender single door display cabinet with a red-velvet backing and bowed glass panels surmounted with acanthus and floral gilt-bronze mounts in the style of Léon Messagé (French, 1842-1901), the serpentine shaped front door with an ornate marquetry and ink colored panel depicting wreaths, ribbons and tied acantus leaves, all raised on four cabriolet legs ending with gilt-bronze paw-feet, Paris, circa 1900. Linke was born on 17 June 1855 in the small village of Pankraz, in what is now the Czech Republic. Records show that Linke served an apprenticeship with the master cabinet maker, Neumann, which he completed in 1877. Linke’s work book or Arbeits-Buch records that he was in Vienna from July 1872 to October 1873 at the time of the International Exhibition held there in 1873. He subsequently travelled to Prague, Budapest & Weimar before finally arriving in Paris in 1875. It is documented that he obtained employment with an unknown German cabinetmaker in Paris, and stylistic similarities, photographs and geographical proximity have led some to suggest that Emmanuel Zwiener was the most likely candidate. After a period back in his home town of Pankratz, he returned once and for all to Paris in 1877. In 1878 Paris hosted the third great International Exhibition, a remarkable success for a country ravaged by war only seven years earlier. It is known that the fledgling Linke workshops were active in the Faubourg St. Antoine as early as 1881, during this time he supplied furniture for other more established makers such as Jansen and Krieger. By 1889 another World’s Fair, as they were often referred to in America, took place in Paris. Monsieur Eiffel erected what has become the most iconic building in Paris for the exhibition and the atmosphere of wealth and confidence may well have encouraged Linke to think that he could contribute an important part to the next great exhibition. As early as 1892 this was decreed to take place at the end of the century, in an attempt to pre-empt Berlin from staging the last great show of the century. In 1892, Victor Champier (fr) one of the commissioners for the 1900 Paris Fair had appealed, “Create in the manner of the masters, do not copy what they have made”. It was an appeal against mere reproduction and Linke rose to this challenge in an unparalleled way with his unique display that was to include the Grand Bureau. Determined to outshine the competition at the Exhibition, Linke had set about creating the most ambitious pieces he could envisage, and more extravagant than had ever been displayed before. The items he exhibited marked a transition from the historicist interpretation of Louis XV and Louis XVI styles, an interpretation that was the mainstay of his nearest rivals, to something startlingly new and vital in its immediacy. [6] Together with Léon Messagé he developed a new style for the 1900 Exhibition that paid homage to the Louis XV rococo in the fluidity of its approach, but an approach fused with the lively flowing lines of the contemporary and progressive 'art nouveau'. The Art Journal reported in 1900 on Linke's stand: "The work of M. Linke ... was an example of what can be done by seeking inspiration amongst the classic examples of Louis XV and XVI without in any great sense copying these great works. M. Linke's work was original in the true sense of the word, and as such commended itself to the intelligent seeker after the really artistic things of the Exhibition. Wonderful talent was employed in producing the magnificent pieces of furniture displayed". Linke's stand would have appeared refreshingly new to contemporary onlookers, the traditional designs of the eighteenth century melting seamlessly into an exuberant naturalism. The 'Revue' described Linke's style as 'entièrement nouveaux' and noted "This opinion is universally accepted. Linke's stand is the biggest show in the history of art furniture in the year 1900". It is perhaps the most extraordinary and remarkable aspect of Linke’s personal history that he produced such expensive and luxurious furniture of exquisite quality for the 1900 exhibition without any commission or any potential buyer in mind. [9] At a time when other more established furniture businesses such as those of Beurdeley and Dasson were closing down, he made a huge investment in his stand and the furniture he supplied for it. Linke recognised that to move his business forward he needed to appeal to a more International clientele and the new emerging rich who were at this time amassing fortunes on an unprecedented scale. For this reason he gambled everything he had on his display for the 1900 exhibition. Had this not succeeded he would almost certainly have succumbed to bankruptcy. Linke’s notebook records visitors to his stand from England, Europe, the Americas, Egypt and Japan and including; the King of Sweden, three visits from the King of Belgium, Prince Radziwill, the Prince d’Arenberg, the Comte Alberic du Chastel, Miss Anna May Gould, the American heiress, distinguished furniture makers and the President of France Emile Loubet. This risky endeavour was a resounding success, and with his reputation established, La Maison Linke became the pre-eminent furniture house until outset of the Second World War. The technical brilliance of his work and the artistic change that it represented was never to be repeated. His showrooms expanded into prestigious premises in Paris, in the Place Vendôme as well as the Faubourg St. Antoine where his workshop had been established. He embarked on many important commissions in the years up to the outbreak of the First World War, making and designing furniture for leading international industrialists and bankers. After the 1914-1918 World War, Linke undertook the extraordinary commission to furnish the Ras al-Tin Palace in Alexandria for King Fuad of Egypt, possibly the largest single furniture commission ever conceived, eclipsing even Versailles. Linke flourished and remained active until the middle years of the 1930s and died in 1946 Léon Messagé (1842-1901) was a French sculptor, best known for his sculptural collaboration with François Linke for the 1900 Paris Exposition Universelle. Messagé was also responsible for much of the design and creative work for Roux et Brunet...

Sideboard with display case by Paolo Buffa for La Permanente Mobili Cantù, 1950s. Mahogany structure moved on the front and sides. The lowe...

A fine quality American made George II style bookcase, breakfront, china cabinet in mahongay with inayed boxwood. This piece has a glass upper section with glass shelves and an arche...

Introducing a truly exceptional cabinet with a hidden writing desk. This exquisite piece of furniture showcases a captivating combination of rosewo...

Sideboard with center display case 1960s for dining room hallway or living room, upholstered in mahogany with two side doors and a pair of drawers in the center. Note the beautiful f...

A dramatic neoclassic style mahogany cabinet by Lorin Jackson designed in 1940 for the "Glassic" line of Grosfeld House furniture. The exterior of the...

A fine French, 19th-20th century Louis XV style mahogany and gilt bronze-mounted Vitrine by Haentges Freres. The single door cabinet surmounted with or...

French Louis XV-style (19th Century) mahogany and bronze trimmed vitrine table with glass top and sides.

A late 19th century Louis XVI style gilt bronze-mounted marquetry vitrine with side door. France, circa 1880.

A fine 19th century Louis XVI mahogany and gilt bronze mounted vitrine . Signed Francois Linke . Locks also signed . Original Breccia marble top

Chinese Chippendale astral glazed display cabinet This is a very attractive piece, it is made in mahogany, the cabinet has 2 astral glazed doors and i...

A fine quality French gilt bronze mounted Vitrine with Brèche d'Alep marble top attributed to François Linke. This fine gilt bronze mounted king...

An exquisite Louis XV/Louis XVI Transitional style vitrine by the renowned French cabinetmaker François Linke from the late 19th century. Crafted in kingwood and mahogany, this fine ...

A traditional vitrine cabinet made in France in the late 19th century, having a rich mahogany frame and brass inlaid trims all around and beveled glass doors. The doors include a loc...

A very good quality late 19th century French verni martin vitrine. Having gilded ormolu monopodia and scolling foliate mounts...

Mahogany and mahogany veneer window opening with two doors with three glass panels and brass hoops, the uprights with half columns. England, 20th century. Measures: High 178 cm...

This unusual cabinet, though plainly Art Nouveau, pays homage to Louis XV. It is bombe, with gently swelling sides and front. This ebeniste really knew his trade, the drawer fronts a...

19th Century vitrine in mahogany veneer and inlays of dark wood, decorated with knots, garlands and medallions vase. England, circa 1870.

Impressive early Biedermeier showcase Germany, Kassel, circa 1825-1835. Rectangular body flanked by two columns. (O-240).

A reinterpretation of 17th-century French Style glass display cases of countryside Chateaux, the Palatino Slim Display Cabinet is an elegant storage piece whose lines easily capture ...

It is difficult to sufficiently describe the quality and workmanship of this vitrine; the photos show more than any words can relate. The mounts are to the standard of the great Linke and may prove to be from his own workshop. Those which flank the door are busts of children...

wavy body with glazing on three sides, single-door front with lower part depicting a gallant scene, gilt bronze friezes with leaf motifs, on the cymatium a shell decoration, slightly...

This exquisite pair of French marquetry inlaid, marble topped, bombe-shaped vitrine showcases in the manner and after 'Gouffel'. Each vitrine features intricate inlays of various woo...

Exquisite Biedermeier three-sided glazed vitrine, circa 1830. High-quality Cuba mahogany on solid softwood. An obliging frame box on round feet. Architecturally arranged front with ...

19th century English bar with real silver fittings. According to a design by Thomas Chippendale (1718-1779) in Chinese style. This all real silver

Antique English mahogany pedestal vitrine, circa 1875-1885.

A fine quality 19th century French Louis XVI style bombe fronted vitrine, having wonderful quality gilded ormolu female monopodia mounts, floral marquetry inlaid panels to the sides ...

19th Century english Bar with real Silver Fittings According to a design by Thomas Chippendale (1718-1779) in Chinese style. this all real silver (V-42).

Scandinavian Mid-Century light mahogany display/vitrine cabinet with a keystone shaped top sections supported on a base with a fluted apron and inlaid floral design trim.

Louis XV Louis XVI style mahogany and gilded bronze display case with one door with curved glass. There are two glass shelves inside. French work a...

A late 18th century George III period brass-bound mahogany wine cooler, on its original detachable stand of four tapering legs terminating in brass cappings and castors. With apparently original side-carrying handles, the interior has its original lead lining and drainage tap. In very good condition with excellent color and patina. Ca 1790. With its fitted glass top, it can be used as a small antique side...

A fine quality late 19th Century French Louis XV style Mahogany vitrine, having its original Fleur De Pecher marble top, gilded ormolu mounts, a single glazed door opening to access ...

High-quality Cuba mahogany on solid softwood. Architecturally articulated body. Two-door, bent frame box on pressed, carved, poliementvergolddete claw feet. Recessed tower with two t...

High-quality Cuba mahogany on solid softwood. Architecturally articulated body. Two-door, bent frame box on pressed, carved, poliementvergolddete claw feet. Recessed tower with two t...

A very good quality pair of late 19th century French mahogany bow fronted display cabinets, each with a gallery to the top, gilded ormolu foliate and molded mounts, central doors with a glass shelf within, a frieze drawer above a shelf beneath with a paneled back and raised on elegant cabriole legs. Signed; Paul Sormani (1817-1877), one the most important cabinetmakers of the 19th century, was born in Venice. Having trained as a cabinetmaker, he moved to Paris where he opened his first shop in 1847 specializing in furniture made in the Louis XV and Louis XVI style. When she decorated her palace, Empress Eugenie, the wife of Emperor Napoleon III, who was particularly fond of furniture in the 18th century styles, engaged Sormani to create spectacular pieces to compliment her period examples. Sormani was able to meet the Empress’s high standards with the excellent quality of the cabinet work, bronze mounts, use of lacquer and unusual marbles. Sormani’s firm was a maker of fine “meubles de luxe”, (deluxe furniture) whose work was described in the 1867 Exposition Universelle catalogue as “toute sa production revele une qualite d’execution de tout premier ordre”. He received a medal of premiere classe at the Exposition Universelle of 1855, followed by another medal at the 1862 exposition in London The workshop also made eclectic furniture...

a handsome pair of Empire-style gilt bronze mounted (ormolu) mahogany marble top vitrines / display cabinets, each with two interior glass shelves, glass on three (3) sides, back and...

A fine quality late 19th century mahogany oval table display cabinet, having wonderful gilded ormolu mounts depicting cloven hoofed Bacchus influen...

Antique French gold bronze mounted Mahogany Vitrine, Circa 1880.

A magnificent French 19th century Louis XVI st. flamed mahogany, patinated bronze and ormolu vitrine cabinet. The cabinet is raised on ormolu ball feet with an ebony bottom border. T...

A French 19th Century Vitrine display cabinet showcase by Conquet Marquetry inlaid bronze mounted bois de vilotette cabinet in the Louis ...

A fine gilt-bronze mounted mahogany table vitrine by Georges-Francois Alix. French, circa 1890. Stamped to the underside and to the reverse of th...

Marketerie vitrine/cabinet in the Dutch Biedermeier style Mahogany and maple on softwood. High-rectangular, two-door, three-quarter glazed corpus....

Delicate French vitrine rosewood on solid wood. High-rise, one-door, cambered and three-sided glazed body. On curly feet scalloped out. Three-sided glazed vitrine. Slightly protrudin...

Three-sided glazed glass vitrine circa 1825 in the sense of Karl Friedrich Schinkel. High-quality Mahogany on solid softwood. Recessed frame box. Architecturally arranged front with ...

Empire Biblithek, circa 1860s-1880s from an Empire room Mahogany with beautiful empire figures, cast bronze. Very rare to get today. 3 glass doors, interior with glass shelves, ...

Light mahogany and maple on solid wood. Very rich, Baroque inlaid work. High-corpuscular body. On balustrade-shaped legs connected with an X-shaped ridge. Above two-wise frame base with profiled cover plate. Three-sided sprout-glazed, single-door display case. Interior shelves, wall covered...

High-rectangular body on pressed ball feet. Above open, flanked by three-quarter carved columns. Including two fully carved doors. The wardrobe was onc...

Majestic French vitrine Napoleon III in transition style, Paris. Rich in extremely finely chiselled, fire-gilt decorative bronze fittings. Mahogany on solid softwood. High-angled, on...

Finely engraved and moulded bronze. Solid beech wood. Three sided glassed, one-drawer body on conical legs. Profile- framed flecked marble platter. On the front, corners and sides,...

Mahogany on solid wood. High-aisle, one-door, curved and three-sided glazed body. On its curled feet, a draped frame. Three-sided glazed display case. Slightly protruding top plate ...