Emile-Jacques Ruhlmann

In 1929, a group of designers withdrew from the Societé des Artistes Décorateurs and created the politically opposed Union des Artistes Modernes (U.A.M.). These Modernist designers were motivated by the desire to create machine-produced objects from new materials for the masses while rejecting the typologies, materials and styles of the past. Since its inception in 1901, the Societé des Artistes Décorateurs has been committed to upholding French traditions of high quality and fine craftsmanship in the decorative arts.

Émile-Jacques Ruhlmann, together with his nephew and fellow designer Alfred Porteneuve, were appointed organizers of the 1929 Salon of the Société des Artistes Décorateurs. Understanding the importance of the exhibition, Ruhlmann seized the moment for his own career and showcased an outstanding display that synthesized his traditionally-inspired, sophisticated design sensibilities with simplicity and practicality. This work was instrumental in highlighting the ability of design to be at once neo-classicist and modern– a dichotomy often believed to only exist in opposition. 

Ruhlmann was inspired by the fact that the Indian Prince Yashwant Rao Holkar Bahadur, the future Maharaja of Indore, was traveling the West in search of architects and designers to work on his palace. Ruhlmann speculatively created a comprehensive studio-chamber for a crown prince, with a suite of innovative furniture. A clear focus on functionalism was dominant. The desk had built-in storage trays, inset inkwells and a pivoting trash receptacle; the chair swiveled on a large metal base, while the base of the sideboard had integrated storage; the furniture was lacquered in solid black and accents were in chrome-plated bronze. Noticeably absent were Ruhlmann’s signature exotic woods, ivory inlays and detailed decorative ornamentation. The presentation was well received and successful - in that the future Maharaja of Indore indeed ordered a selection of this furniture from Ruhlmann. 

However, the suite of furniture was named after the French political figure, and future three-time Prime Minister of France, André Tardieu because Tardieu purchased the prototypes that were on display at the close of the exhibition. The present “Tardieu'' sideboard, created in the wake of the exhibition, is emblematic of the shifts that took place during the 1929 Salon of the Société des Artistes Décorateurs - where Ruhlmann successfully created a modernity that at the same time paid homage to the remarkable history of the French decorative arts.