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Lot Essay
Of the six pianos executed by Jacques-Emile Ruhlmann, each model is unique. The present example is the most significant in art historical terms as well as design importance. The piano was made for and prominently positioned in the Grand Salon of the Htel du Collectionneur at the Internationale Exposition des Arts Dcoratifs et Industriels Modernes in 1925 and like most of the room's furniture was veneered in ebn-de-macassar, an exotic and luxurious choice of wood.
Of the six piano models, the present lot is the most experimental in its construction and successful in its overall composition. Ruhlmann refused to be limited to a form that was dictated by tradition, and his elimination of the traditional S-curve that defined the right side of the piano reflects the imposition of his modern vision without sacrificing artistic elegance or musical integrity. He designed the case on the right side of the piano as convex rather than concave and defied the execution of a form that is determined by the placement of the piano's treble strings on the right and the bass strings on the left to create height and tone. By allowing this side to "bulge out", Ruhlmann added a dynamic curve to the piano's design that is singular to the present piano. Adding to this strong visual image was Ruhlmann's avoidance of flat surfaces except when the piano cover is closed.
cf. For comparisons of the other five piano examples, see:
Sotheby's Monaco, March 11, 1984, lot 216 for an illustration of a walnut and sycamore piano, circa 1924, with works by Gaveau. This example has a slightly angular case, bomb right side, tapered rectangular legs, gilt-bronze inlay and feet, and a pedal lyre. It presently belongs to a private collector in New York.
Florence Camard, Ruhlmann, 1983, p. 262, ref. no. 2056 AR/2492 NR for an illustration of a light wood piano, circa 1925, with works by Erard. This example has an angular case, fluted legs terminating in ivory feet. It is distinguished by the suspension of flattened pedals from a 'crossbow' than by the placement of decorative legs. The cover of the keyboard is decorated with an ivory lattice pattern. This piano is presently in a school in the South of France.
Bruno Foucart et al., Normandie: Queen of the Seas, 1985, p. 74 for an in situ illustration of a similar piano, circa 1935, in the oceanliner's Petit Salon, that was purchased privately at one of the original auctions of the ship's furnishings during the war. This piano has similar tapered rectangular legs and a graceful lyre-shaped pedal.
Florence Camard, Ruhlmann, 1983, p. 263, ref. no. 2496 NR for an illustration of a black lacquer and silver chrome piano, circa 1929, with works by Pleyel, that was exhibited in the Salon des Artistes Dcorateurs, 1929. This example has a straight case and curved legs terminating in silvered feet. The broad fluting has disappeared from the legs, and the lyre-shaped suspension has been replaced by a trapezoidal shaft which conceals the pedal wires and resembles a central leg. This piano is presently in a private collection in Philadelphia.
Christie's New York, May 26, 1983, lot 281 for an illustration of an ebn-de-macassar and amboyna piano, circa 1930-31, with works by Gaveau. This example has an exaggerated case and squared legs capped in bronze feet terminating in spheres. The piano retains a traditional lyre-shaped suspension with curved pedals in bronze. This piano was in The Foulk Lewis Collection and appeared in the Ruhlmann Centenary Exhibition, 1979.
Of the six piano models, the present lot is the most experimental in its construction and successful in its overall composition. Ruhlmann refused to be limited to a form that was dictated by tradition, and his elimination of the traditional S-curve that defined the right side of the piano reflects the imposition of his modern vision without sacrificing artistic elegance or musical integrity. He designed the case on the right side of the piano as convex rather than concave and defied the execution of a form that is determined by the placement of the piano's treble strings on the right and the bass strings on the left to create height and tone. By allowing this side to "bulge out", Ruhlmann added a dynamic curve to the piano's design that is singular to the present piano. Adding to this strong visual image was Ruhlmann's avoidance of flat surfaces except when the piano cover is closed.
cf. For comparisons of the other five piano examples, see:
Sotheby's Monaco, March 11, 1984, lot 216 for an illustration of a walnut and sycamore piano, circa 1924, with works by Gaveau. This example has a slightly angular case, bomb right side, tapered rectangular legs, gilt-bronze inlay and feet, and a pedal lyre. It presently belongs to a private collector in New York.
Florence Camard, Ruhlmann, 1983, p. 262, ref. no. 2056 AR/2492 NR for an illustration of a light wood piano, circa 1925, with works by Erard. This example has an angular case, fluted legs terminating in ivory feet. It is distinguished by the suspension of flattened pedals from a 'crossbow' than by the placement of decorative legs. The cover of the keyboard is decorated with an ivory lattice pattern. This piano is presently in a school in the South of France.
Bruno Foucart et al., Normandie: Queen of the Seas, 1985, p. 74 for an in situ illustration of a similar piano, circa 1935, in the oceanliner's Petit Salon, that was purchased privately at one of the original auctions of the ship's furnishings during the war. This piano has similar tapered rectangular legs and a graceful lyre-shaped pedal.
Florence Camard, Ruhlmann, 1983, p. 263, ref. no. 2496 NR for an illustration of a black lacquer and silver chrome piano, circa 1929, with works by Pleyel, that was exhibited in the Salon des Artistes Dcorateurs, 1929. This example has a straight case and curved legs terminating in silvered feet. The broad fluting has disappeared from the legs, and the lyre-shaped suspension has been replaced by a trapezoidal shaft which conceals the pedal wires and resembles a central leg. This piano is presently in a private collection in Philadelphia.
Christie's New York, May 26, 1983, lot 281 for an illustration of an ebn-de-macassar and amboyna piano, circa 1930-31, with works by Gaveau. This example has an exaggerated case and squared legs capped in bronze feet terminating in spheres. The piano retains a traditional lyre-shaped suspension with curved pedals in bronze. This piano was in The Foulk Lewis Collection and appeared in the Ruhlmann Centenary Exhibition, 1979.