Émile-Jacques Ruhlmann

Gaston Varenne, "L'Exposition des Arts Décoratifs," Art et Décoration, July 1925, p. 16 (for the model in the Hôtel du Collectionneur)
Gabriel Mourey, "The Paris International Exhibition, 1925. First Article: The French Buildings," The Studio, vol. 90, 1925, p. 18 (ibid)
Florence Camard, Ruhlmann: Master of Art Deco, New York, 1984, p. 160 (ibid)
Ruhlmann: Un Génie de l'Art Déco, Paris, 2002, p. 172 (for the model in the collection of Musée des Arts Décoratifs, Paris)
Emmanuel Bréon and Rosalind Pepall, Ruhlmann: Genius of Art Deco, Montreal, 2004, p. 50 (for the model in the Hôtel du Collectionneur)

This is the only work in the sale that did not receive a certificate of authenticity from Ruhlmann in 1933. This must have been a paperwork error by the Atelier, as the family archives clearly document the purchase history of the chairs, which were ordered at the same time as Lot 7, the dining table. The winning bidder of the lot will receive a copy of the design drawing of the model from the family archives, which is illustrated in the online catalogue, and 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 twelve chairs are in excellent condition. The chairs were refinished and restored circa 1960, and were cleaned and waxed last month by a professional restorer. When examining the set, it is clear that the backs of the chairs had become loose and the seams that were needed to create the gondole shape had cracked from heavy use, and thus the restorer in 1960 patched tiny areas along the lower edges with infill, especially on the exteriors of most of the seat backs, but also in a few areas on the interiors as well. Underneath the seats, there are seam separations on a few of the chairs, and several could benefit from additional tightening. One chair out of the twelve appears to have been heavily used compared to the others, and has areas of crazing and discoloration to the finish on both sides of the seat back. The silk upholstery is original, and the interior strapping and stuffing of the seats have not been examined. The seats are screwed in and are easily removable. There are roman numerals scratched into the wood under the seats, probably dating to the 1960 restoration. These examples of one of Ruhlmann's iconic chaise gondola models have powerful lines and are extremely heavy.
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 same date as the dining table, the set of twelve classic chaises-gondoles were invoiced as "12 chaises à notre modèle 77 en macassar poli," and the present collection's archives retain both a design drawing of the model (fig. 2) and a studio photograph. On the back of the drawing in pencil is ancien no. 77 and an illegible number, probably the nouveau reference 88.