Émile-Jacques Ruhlmann

Léon Deshairs, "Le XV Salon des Artistes Décorateurs, Art et Décoration, June 1924, p. 171
Alain Lesieutre, The Spirit and Splendour of Art Deco, New York, 1974, pl. 129
Florence Camard, Ruhlmann: Master of Art Deco, New York, 1984, p. 270 (for the example in the Musée des Arts Décoratifs)
Alastair Duncan, Art Deco Furniture, London, 1984, color pl. 57
Arnold Lehman et. al., Art Deco from the Collection of Ileana and Michael Sonnabend, Baltimore, 1985, p. 11
Emmanuel Bréon and Rosalind Pepall, Ruhlmann: Genius of Art Deco, Montreal, 2004, p. 46 (for a period image of two examples of the model in the Grand Salon of the Hôtel du Collectionneur at the 1925 Paris International Exhibition)
Florence Camard, Ruhlmann, Paris, 2009, p. 199 (for an example of the model in burled amboyna)

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 a letter from the client to Gaston Rousseau, Maison Ruhlmann dated 8 August 1929 discussing the special modifications to be made to the work; 3. a copy of a unique design drawing of the work, done specifically for this commission. 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 Overall the work is in superb condition, and retains its original finish. The third drawer from the bottom has a replaced ivory knob, dating to ca. 1960. The top scroll to the proper left ivory stringing is a crude faux-ivory replacement, dating to ca. 1960, and would benefit from additional carving or replacement. Each of the two front legs with ivory sabots that are supposed to wrap three of the four sides, but the proper left sabot is missing its outer panel (not visible in the catalogue photograph), and the proper right sabot is missing its front panel (visible in the catalogue photograph). Overall the piece shows normal wear and has some surface dirt. There is some extremely faint crazing to the veneer on the front of the bottom drawer, and there are light scratches and scuffs to the finish on all of the drawers.
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.

One of Ruhlmann's most formidable and famous models, the "Fontane" chiffonier (model 1533 AR/2232A NR) was frequently exhibited in Grand Salon settings and is in several museum collections. This stunning and unique variant, ordered by the family for their bedroom on July 9, 1929, would be better described as a semanier.  A faint design drawing of the piece survives in the archives of the present collection, stamped SPECIAL. Nonetheless, both the client and Maison Ruhlmann refer to it in their correspondence as a chiffonier, and in 1933, the certificate describes it as "Chiffonier (Fontane), modèle no. 2232A, exemplaire no. 8."