Émile-Jacques Ruhlmann

Raymond Régamey, "Le XVIe Salon Des Artistes Décorateurs," Art et Décoration, July 1926, pp. 2-3 (for the "Fuseau" sécretaire)
Gabriel Mourey, "A Great French Furnisher – J.E Ruhlmann," The Studio, vol. 92, 1926, p. 250 (for the "Fuseau" sécretaire)
Florence Camard, Ruhlmann: Master of Art Deco, New York, 1984, p. 79 (for the "Fuseau" sécretaire with a shagreen front)
Alastair Duncan, Art Deco Furniture, London, 1984, p. 106 (for the "Fuseau" sécretaire with a shagreen front)
Ruhlmann: Un Génie de l'Art Déco, Paris, 2002, p. 180 (for the "Égyptien" sécretaire with a crocodile front and ivory handles in the collection of the Musée d'Art Moderne de la Ville de Paris) 
Emmanuel Bréon and Rosalind Pepall, Ruhlmann: Genius of Art Deco, Montreal, 2004, pp. 206-207 (for the "Fuseau" sécretaire with a shagreen front and a leather interior by Pierre Legrain, in the collection of the Musée d'Art Moderne de la Ville de Paris)
Florence Camard, Ruhlmann, Paris, 2009, p. 400 (for the "Égyptien" sécretaire with a crocodile front and ivory handles in the collection of the Musée d'Art Moderne de la Ville de Paris) 

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 Ruhlmann studio photograph of the model. Both of these documents are illustrated in the online catalogue. In addition, the winning bidder will also receive copies of the two reports prepared this year by forensic herpetologists confirming that the drop front does *not* contain tortoiseshell. 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 central lock. Overall the work is in superb condition, and retains its original finish. The macassar ebony veneer shows normal wear and surface dirt, and is in spectacular shape throughout the work. There are only a few extremely minor areas of deterioration to the finish just below the dropfront, above the top drawer. The silvered bronze pulls and sabots with some oxidation and discoloration. The proper left pull on the top drawer with one stripped screw on the interior. The faux-tortoiseshell veneer has a thick lacquer finish which has preserved its immaculate condition, and because of the synthetic material, there is no crazing. The lacquer has darkened the appearance of the ivory lozenges, which could benefit from a professional cleaning. There are a few minor chips to the veneer at the top of the dropfront, which are faintly visible in the catalogue photograph, but none are larger than 1/8 inch. There is a minor two-inch long crack to the veneer just above the keyhole. Inside the dropfront, which opens with ease, the suede interior shows only minor wear, with some rubbing and a few extremely minor ink stains. The suede is lifting on a few edges and corners of the drawers. The fruitwood compartments are in perfect condition. The ivory knobs are all original, with 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.

The extraordinary "Egyptien" sécretaire à abbatant is a rare variant of the acclaimed "Fuseau" model, and is listed as model no. 1545 AR (1608 NR) compared to the "Fuseau's" reference no. 1544 AR (1607 NR). Gone are the fluted legs and ostentatious ivory handles, replaced with a more streamlined leg and sculptural silvered bronze pulls and sabots.  

In the 1933 certificate issued by Ruhlmann, the work is described as "Sécretaire (Egyptien), modèle no. 1608, exemplaire no. 2."  The archives of the present collection also contain a studio photograph (fig. 1), which is marked "1545" on the reverse in pencil, and which appears identical in every way to the present example.  A third example of the model, with a sumptuous crocodile drop leaf, a leather interior fashioned by Pierre Legrain, and with similar ivory handles as employed in the "Fuseau" model, was made in 1933 and acquired by the Musée d'Art Moderne de la Ville de Paris.

What is remarkable about this present example is the use of a synthetic shell-like substance that imitates tortoiseshell. Letters exchanged between Gaston Rousseau and the family discuss modifications that were to be made to the model at their request, but do not elaborate on what these changes were. The description of the drop-front that appears on the invoices and 1933 certificate, "abattant plaqué écaille sur fond de colle rouge et losangé d'ivoire," is less precise than "écaille de tortue" which appears on period descriptions of other Ruhlmann works using tortoiseshell.  The drop-front has been examined by two herpetologists who have confirmed that it is not from a species of tortoise, and visual comparison of the work with other known tortoiseshell veneers by Ruhlmann show significant differences in the texture, grain, and condition of this example. Whether this significant change was motivated by the economic conditions of 1929, by a shortage of tortoiseshell, or if this was a deliberate modernist touch that mirrors the rest of the streamlined case is a mystery.