REF NO : B73164


鎏金铜质安可利 作者:François Linke和Léon Messagé



A Gilt-Bronze Encrier By François Linke and Léon Messagé. Index number 709. Signed to the edge 'F. Linke'. This exceptional and ambitious encrier...


Height: 36 cm (15 in)
REF NO : B73164


A Gilt-Bronze Encrier By François Linke and Léon Messagé.

Index number 709.
Signed to the edge ‘F. Linke’.

This exceptional and ambitious encrier is modelled as two putti, each holding a standard and sitting on the water’s edge, the two inkwells with hinged spirally-fluted covers with glass liners.

Charcoal drawing by François Linke or Léon Messagé (Courtesy Christopher Payne/Linke Archive)

Charcoal drawing by François Linke or Léon Messagé (Courtesy Christopher Payne/Linke Archive)

This important inkwell is based on Léon Messagé’s celebrated sculptural group ‘La Source’ and was originally intended by Linke to form part of his spectacular stand at the 1900 Paris Exposition Universelle. Like seven or eight other pieces originally intended for inclusion on the stand, it would seem the encrier was a casualty of both Linke’s over-ambitious production schedule and the financial burden that the manufacture of such ornate and high quality work imposed. It was eventually shown on the stand in September after the gilding was finished by Picard at a cost of 90 French francs. The costs of the model were very high: some 2024 francs (of which Message’s combined fee was 1158 francs 40 centimes), underlining the originality and complexity. The 1900 Exposition example was sold, along with three important pieces of furniture from the stand (the Grand bureau and associated armchair, and the Bahut Louis XV Mars et Vénus), to the South African banker and diamond merchant Solomon Joel. A further six encriers were produced up until 1925.


The encrier exposition visible on Linke's stand at the 1905 Liège Exposition universelle (Courtesy Christopher Payne/Linke Archive)

The ‘encrier exposition’ visible on Linke’s stand at the 1905 Liège Exposition universelle (Courtesy Christopher Payne/Linke Archive)


Léon Messagé

Léon Messagé (1842-1901) had a brilliant, but short lived career. He is best known for his incredible sculptural collaboration with François Linke for the 1900 Paris Exposition Universelle. A gifted sculptor, Messagé was also responsible for much of the design and creative work for Roux et Brunet and Joseph-Emmanuel Zwiener.

Messagé enjoyed great success as a designer/sculptor before his collaboration with Linke. Indeed he was mentioned as a gold medal winner at the 1889 International Exhibition and was especially praised for his work on a cabinet by Zwiener. He came into contact with Linke in 1885 and it appears from then on Linke employed him on a regular basis.

Messagé was primarily influenced by rococo ornament but he strove to re-interpret it. He did not produce slavish copies, and his original approach can be appreciated in Linke’s celebrated Grande Bibliothèque and Grand Bureau exhibited at the 1900 Paris Exposition Universelle. A number of drawings by Messagé are recorded and after his success at the exhibition of 1889 he was encouraged to publish his designs.

‘Cahier de dessins & croquis, style Louis XV: bronzes, orfèvrerie, décoration, meubles’ was first published by the sculptor himself, from his Paris address of 40 rue Sedaine. There were five sections with an elaborate title page surmounted by the sculptor’s cipher or talisman of a wing, a pun on his own name as the messenger to the Gods, a motif he used many times on the handles of furniture designed for Linke.

As a sculptor Messagé was trained to produce a wax maquette or model prior to working on a piece. It is especially interesting that his maquettes were of the piece of furniture in its entirety, a rare and exacting task occasionally seen for eighteenth century French Royal commissions. For Messagé it was not just a matter of producing decorative mounts; the piece was conceived as sculpture, bronze, timber and marquetry as one.

Payne, Christopher. François Linke, 1855 – 1946, The Belle Époque of French Furniture, Antique Collectors’ Club, (Woodbridge, UK), 2003; pp. 71-95.

Mestdagh, Camille & Lécoules, Pierre. L’Ameublement d’art français: 1850-1900, Les Editions de l’Amateur, (Paris), 2010; pp. 173-176.









Signed to the edge 'F. Linke'.




据了解,早在1881年,新生的林克作坊就活跃在巴黎的圣安托万大街(Faubourg Saint Antoine),在此期间,他为其他更成熟的制造商如扬森和克里格提供家具。

林克的工艺质量是他同时代的任何一个人都无法超越的,他在1900年巴黎世界博览会上的壮观展台达到了顶峰,他的Grand Bureau获得了金奖。他在这个展台上赌上了自己的财富和声誉,展出了几件令人叹为观止的家具,并配有质量和比例都很出色的雕塑支架。他的赌博成功了,他的声誉也建立起来了,以至于林克一直是巴黎最杰出的家具公司,直到第二次世界大战。


林克独特风格的形成得益于他与雕塑家Léon Messagé的合作。林克和梅萨盖一起为林克1900年的展台设计了家具,高浮雕的寓言式人物栩栩如生,体现了林克将木雕、青铜和镶嵌等不同媒介无缝融合为一个动态统一整体的能力。


Payne, Christopher.弗朗索瓦-林克,(1855 - 1946),《法国家具的美好时代》,古董收藏家俱乐部,(英国Woodbridge),2003。
梅耶,乔纳森.伟大的展览 - 伦敦,纽约,巴黎,费城,1851-1900,古董收藏家俱乐部,(英国Woodbridge),2006;第298 - 300页。
Ledoux - Lebard, Denise.Les Ébénistes du XIXe siècle, Les Editions de l'Amateur, (Paris), 1984; pp.439-43。
Revue Artistique & Industrielle,(巴黎),1900年7-8月。
Coral Thomsen, D. (ed), The Paris Exhibition 1900, The Art Journal, 1901; p.341.


Payne, Christopher. François Linke, 1855-1946, The Belle Epoque of French Furniture, p. 90, pl. 97; p. 149, pl. 157; p. 150; pp. 182-183, pls 197 & 198 as exhibited at the Liege exhibition in 1905 & p. 480 for the original notes in Linke’s Blue daybook of the late 1890s.