Émile-Jacques Ruhlmann

branded 'Ruhlmann', dated '1933', and branded for the atelier 'B'



the frieze with three drawers and with pull-out trays to either side

Alain Lesieutre, Paris
Sale: Ader Picard Tajan, Paris, Collection Alain Lesieutre, 13 December 1989, lot 377
Acquired directly from the above

Florence Camard, Ruhlmann, Paris, 1983, p. 163, vintage photograph of a rosewood and gilt bronze `Ambassade 25' in Louis Nicolle's study in Lomme, near Lille, & p. 289, version of the present model in American walnut 
`Ruhlmann génie de l'Art Déco', L'Estampille l'Objet d'Art, hors-série, 2001, p. 12, version executed in macassar ebony and ivory, & p. 44
`Ruhlmann', Connaissance des Arts, hors-série, no. 171, 2001, p. 18, version in macassar ebony
Alastair Duncan, Authentic Art Deco Interiors from the 1925 Paris exhibition Maurice Dufrène, Woodbridge, 2002, p. 23, version in macassar ebony, ivory and sharkskin
Charlotte Benton, Tim Benton and Ghislaine Wood, eds, Art Deco 1910-1939, Victoria & Albert Museum, exhibition catalogue, London, 2003, pp. 144-146 
Emmanuel Bréon & Rosalind Pepall, Ruhlmann Genius of Art Deco,
Musée des Années 30 Boulogne-Billancourt, Musée des Beaux-Arts de Montréal, exhibition catalogue, Paris, 2004, p. 16, contemporary photograph of the `Ambassade 25' desk in the `Pavillon d'une Ambassade Française', p. 19, drawing of the same interior, & p. 26, variant image of Louis Nicolle's study
Emmanuel Bréon, Jacques-Émile Ruhlmann, Furniture, the designer's archives, Paris, 2004, pp. 94-95, working drawing for `Bureau No. 1501' with ivory details
Florence Camard, Jacques-Émile Ruhlmann, Saint-Rémy-en-l'Eau, 2009, pp. 164-165, version with ivory details, pp 166, & 245, another variant image of Louis Nicolle's study

Good condition overall; some losses to veneer, particularly to the front edge; restoration to the two upright strips of veneer on either side of the long frieze drawer. General drying of veneer with scratches commensurate with age and use. Varnish to edges of putt out sides cracking. Leather top uniformly worn and stained with scratches and marks, including ink spots and a hole on the short left (facing) edge. Some pitting to the bronze, bronze mounts lifting slightly from the legs. A handsome and desirable desk which would benefit from some judicious restoration to bring it back to peak condition.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The `Ambassade 25' was created by Ruhlmann for the office/library in the `Pavillon d'une Ambassade Française' at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris. In addition to his exalted `Hôtel du Collectionneur' project,  Ruhlmann contributed designs for the Société de Artistes Décorateurs pavilion, together with other members of the society.  The theme was suggested by the French Ministry of Fine Art: `The reception rooms and private apartments of a French embassy ... to be installed at an indefinite date in some unnamed foreign capital'. Contemporary images of the bureau show the `Ambassade' desk in an elegant interior with a monumental marble female nude by Joseph Bernard, together with Ruhlmann's `Érard' baby grand piano and luxurious carpet.  In an early drawing for the rotunda, which adjoined the bureau, a massive figure of a polar bear by Pompon stands under a leaded glass skylight, amidst pilasters and novel sliding walls designed by Pierre Chareau, completing a scene of restrained elegance. 

Ruhlmann's desk is a symphony in dignified majesty, reconciling tradition with modernity.  Drawing on the tenets of neo-classicism, the design appealed to many collectors.  Following the exhibition, Ruhlmann adapted the design slightly, substituting silvered or gilt bronze for ivory in the detailing and introducing a slightly smaller version, of the dimensions of the example offered here.  Versions of the desk were acquired by many of Ruhlmann's great patrons, including M. Dubonnet, a French industrialist who gave the name to the present version, as well as Lord Rothermere and Louis Nicolle.