Émile-Jacques Ruhlmann

Charles-Henri Besnard, "Quelques nouveaux meubles de Ruhlmann," Art et Décoration, March 1924, p. 70
Florence Camard, Ruhlmann: Master of Art Deco, New York, 1984, p. 277
Emmanuel Bréon and Rosalind Pepall, Ruhlmann: Genius of Art Deco, Montreal, 2004, pp. 138, 193 and 272
Emmanuel Bréon, Jacques-Émile Ruhlmann: Furniture, Paris, 2004, p. 106 (for the design drawing of the model)
Florence Camard, Ruhlmann, Paris, 2009, p.160

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. Both 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 one key for the locks of the two central drawers. Overall the work is in superb condition, and retains its original finish except for an area in the proper right rear corner of the top of the work, which was refinished last month by a professional restorer to repair some ancient water damage. There is also a chip to the veneer to the proper left rear corner top edge of the work, with an ancient blackened amateur restoration, but it is extremely minor. Otherwise the work shows normal wear to the finish. The silvered bronze pulls and keyholes with heavy green oxidation. The ivory marquetry and sabots are original, with only minor yellowing.
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.

Originally designed and named for the French novelist Sidonie-Gabrielle Colette, this popular model was produced in various veneers. Another example of the model in amaranth was executed in 1928 for the New York heiress and designer Altina Schinasi Miranda, and has been sold twice at Sotheby's New York, most recently on December 18, 2008, lot 156.  The present example was ordered on March 12, 1929, and was listed on the invoice as "commode selon notre modéle 2034 en loupe de noyer d'Amérique vernie et bronze argent." In the 1933 certificate issued by Ruhlmann, the work is described as "Commode (Colette), modèle no. 1951, exemplaire no. 9."