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Lot Essay
In only two decades, from the first time he exhibited pieces at the Salon d’automne in 1913 to his death in 1933, Émile-Jacques Ruhlmann created over a thousand and seven hundred pieces, carefully referenced in the Archives kept at the Musée des Années 30, Boulogne-Billancourt.
A man of many talents, he was above all creating refined furniture and knew how to appeal to influential figures in the worlds of industry, fashion, theater, and politics in the 1920s. He was also a sought-after decorator, perfectly in tune with the tastes of the time, who carefully studied every aspect of the interior designs created by his workshops. Ruhlmann’s reputation was shaped in part by the breadth of materials he mastered: from exotic veneers prized for their depth and movement to lacquer, metalwork, and delicately carved ivory, each chosen with intention. His material choices were not arbitrary as he sought surfaces that evoked refinement, clarity of line, and a harmonious balance of textures. This versatility contributed to his acclaim during a decade of artistic optimism and explains why his creations were so prominently exhibited and published.
The present model was first exhibited at the 1923 Salon des artistes décorateurs in Paris and is a forerunner to his later commode he exhibited in the Hotel du Collectionneur at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes.
The piece has two central large drawers flanked by sets of narrower ones, all adorned by undulating redents in Macassar ebony veneer. Very simple in decoration, the large piece of furniture has a light and graceful appearance because of the shaped fuseaux legs supporting the chest and serves as an excellent example of Ruhlmann’s craftsmanship and sense of proportions.
A man of many talents, he was above all creating refined furniture and knew how to appeal to influential figures in the worlds of industry, fashion, theater, and politics in the 1920s. He was also a sought-after decorator, perfectly in tune with the tastes of the time, who carefully studied every aspect of the interior designs created by his workshops. Ruhlmann’s reputation was shaped in part by the breadth of materials he mastered: from exotic veneers prized for their depth and movement to lacquer, metalwork, and delicately carved ivory, each chosen with intention. His material choices were not arbitrary as he sought surfaces that evoked refinement, clarity of line, and a harmonious balance of textures. This versatility contributed to his acclaim during a decade of artistic optimism and explains why his creations were so prominently exhibited and published.
The present model was first exhibited at the 1923 Salon des artistes décorateurs in Paris and is a forerunner to his later commode he exhibited in the Hotel du Collectionneur at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes.
The piece has two central large drawers flanked by sets of narrower ones, all adorned by undulating redents in Macassar ebony veneer. Very simple in decoration, the large piece of furniture has a light and graceful appearance because of the shaped fuseaux legs supporting the chest and serves as an excellent example of Ruhlmann’s craftsmanship and sense of proportions.