Émile-Jacques Ruhlmann

Yvanhoé Rambosson, "Les Artistes Décorateurs au Salon des Artistes Français," Art et Décoration, June 1922, p. 192
Jean Badovici, "Harmonies":   Intérieurs de Ruhlmann, Paris, 1924, pl. 26 (for a gouache entitled "Salle Á Manger 1920")
Léon Moussinac, Croquis de Ruhlmann, Paris, 1924, pl. 4 (for Ruhlmann's sketch of the model)
Sarah Schleuning, Moderne: Fashioning the French Interior, New York, 2008, p. 58 (for the Badovici gouache)
Florence Camard, Ruhlmann, Paris, 2009, p. 140 (for the model in the bedroom of Fernande Cabonel) and p. 461 (for the model formerly in the collection of Geneviève and Pierre Hebey)

The winning bidder of the lot will receive copies of the following documents in the family archives: 1. a copy of the certificate of authenticity for this work, signed by Ruhlmann and sent to the client on September 15, 1933; 2. a copy of the design drawing of the model; 3. a copy of the Ruhlmann studio photograph of the model. All three of these documents are illustrated in the online catalogue. The winning bidder of the lot will also receive copies of the following documents in the family archives: 1. First proposal letter from Gaston Rousseau, Maison Ruhlmann dated 30 August 1928; 2. Revised proposal letter from Gaston Rousseau, Maison Ruhlmann dated 17 January 1929; 3. Letter from the clients to Rousseau confirming the order on 12 March 1929; 4. Letter from Rousseau dated 9 July 1929 acknowledging receipt of down payment; 5. First invoice from Maison Ruhlmann, dated 21 August 1929; 6. Final invoice from Maison Ruhlmann, dated 18 January 1930. With two keys for the side locks, and one key for the five central locks. The lock on the second drawer from the top is stuck, and the drawer does not open. Overall the work is in superb condition, and retains its original finish. There is one area of veneer loss, approximately one inch wide and ¾ inch high, to the bottom of the proper left side, not visible in the catalogue photograph. There is extremely minor loss to the finish along the edges and corners of the five central drawers for the silver. On the top of the cabinet, there are extremely minor losses to the finish along the edges of the fan-shaped veneer. The ivory keyholes and borders are in excellent original condition, with only minor yellowing and surface dirt. Extremely minor cracking to the ivory spiral decorations on the top. Inside the proper left door, the top oak shelf is missing, although the brackets are there. The silvered bronze feet are original, although the screwholes have been stripped, and thus the feet are slightly wobbly. Overall the piece shows normal wear and has some surface dirt.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Ordered by the family on March 12, 1929, the present and following lots are a superb and extremely rare pair of "potbellied" entre-deaux cabinets for the dining room.  In a 1922 article on the 135th Salon la Société des Artistes Décorateurs, all of the published illustrations are taken at the Salon, except for a studio photograph provided by Maison Ruhlmann illustrating a predecessor to the model, in sycamore veneer and ebony marquetry, and in the exact shape except for the feet.  The cabinet is staged in the typical Ruhlmann studio setting with a background curtain and a sculpture of a female head placed on top of the cabinet. 

In the archives of the present collection, there is a diffrerent studio photograph of the model (fig. 1) staged in the exact same way, but in macassar ebony and ivory marquetry. The only difference between this example and the present pair is the presence of an additional ivory frieze along the demilune-shaped top. The back of this photograph is marked in pencil 2019. This might be the model in the collection of  Geneviève and Pierre Hebey, sold at Camard in Paris on October 28, 1999, lot 11.  There is also a design drawing of the model in the archives (fig. 2) where both the Ancienne and Nouveau referencier are noted. 

In the 1933 certificates issued by Ruhlmann, the present pair are described as "Bahut (Ventru), modèle no. 2126, exemplaire no. 2-3."