#188

ANDRE GROULT (1884-1967), Circa 1925

Pair of “Gondola” armchairs in walnut, each with an open paneled caged back extending to the arms and ending in a carved swirl; raised on tapering front legs, each carved as a spiraled shell.

Stamped: “ANDRE GROULT” and with floral emblem

Measurements

• Overall height: 37 ½ in (95.3 cm)
• Seat height: 20 in (5.8 cm)
• Width: 24 in (61 cm)
• Seat width: 20 in (50.8)
• Depth: 19 ¼ in (49 cm)
• Seat depth: 17 in (43 cm)

Literature

Felix Marcilhac, Andre Groult, Paris: Les Editions de l’Amateur, 1997, p. 86.

#196

EILEEN GRAY (1878-1976), Circa 1922-1925

White-painted wood block screen comprised of five vertical and ten horizontal rows of rectangular panels joined and articulating on vertical steel rods.

This screen remained in Eileen Gray’s possession until her death, and is one of only five documented white-painted wood screens by the designer.

Measurements

Height: 84 ¼ in (214 cm)
Each full-sized block: 8 3/8 X 12 ¾ in (21.3 x 32.4 cm)

Literature

Philippe Garner, Eileen Gray: Design and Architecture, 1878-1976, Cologne: Benedikt Taschen, 1993, pp. 44, an illustration of this screen, and on p. 80 a photograph taken in Eileen Gray’s Rue Bonaparte apartment showing one of the white screens in her possession, opposite a black-lacquered version.

Caroline Constant and Wilfried Wand, eds., Eileen Gray: An Architecture for all Senses, exhibition catalogue, Berlin: 1996, p. 128.

Peter Adam, Eileen Gray: Architect/Designer, revised edition, London: 2000, p. 332 (an illustration of the Rue Bonaparte apartment) and catalogue raisonne, p. 381, no.4.3-4.

Provenance

Eileen Gray, Rue Bonaparte apartment, Paris
Sotheby’s Monaco, May 25, 1980, lot 259
Sotheby’s Monaco, October 7, 1984, lot 216

#620

ARMAND-ALBERT RATEAU (1882-1938), Circa 1919

Bronze armchair, “model no. 1793”, the frame cast with details of scales and shells, the back and seat formed by linked medallions cast as fish and the arms formed of linked “shells”.

Rear leg stamped: 1793 PARIS A.A. RATEAU INV 86.

This chair is one of seven known examples of the model. Six chairs were originally made for Charles and Florence Blumenthal’s New York City residence. The seventh chair, once in the possession of Madame Rateau, is now in the collection of the Museum of Decorative Arts in Paris.

Measurements

• Height: 36 in. (91.5 cm)
• Width: 24 in. (61 cm.)
• Depth: 20 ½ in. (52 cm.)

Exhibition

Lexington, Kentucky, Headley-Whitney Museum, “L’Art de A.A. Rateau” April 14-July 7, 1996.

Literature

Franck Olivier-Vial and Francois Rateau, Armand Albert Rateau, Paris: 1992, Les Editions de l’Amateur, p. 6, 55, an illustration of the Blumenthal swimming pool showing three of the chairs, p. 56-57, 62, 69, 154 (similar model illustrated).
AA Rateau, catalogue for the exhibition at Delorenzo Gallery, 1990, p. 43, 54-58, 61 (similar model illustrated).
Alastair Duncan, Art Deco Furniture, London, Thames and Hudson, Ltd., 1984, p. 157, plate #198 (similar model illustrated).
Paul Maenz, Art Deco, 1920 – 1940, Koln: Verlag M. DuMont, 1974, plate # 130 (similar model illustrated).
Bevis Hillier, The World of Art Deco, New York: E.P. Dutton, 1971, catalogue for the exhibition held at the Minneapolis Institute of Art, July-September 1971, cat. no. 78, p. 61 (similar model illustrated).
Yvonne Brunhammer, 1925, Paris: Les Presses de la Connaissance, 1976. p. 88 (similar model illustrated).
Pierre Kjellberg, Le Mobilier du XXe Siècle, Dictionnaire des Créateurs, Paris: les Editions de l’Amateur, 1994, p. 540 (similar model illustrated).
Derek Ostgergard, Art Deco Masterpieces, New York: Hugh Lauter Levin Associates, Inc., 1991, p. 71 (similar model illustrated).
Ralph Strohle, Faszination Art Deco, Munich: Klinkhardt und Biermann, 1993, p. 195 (similar model illustrated).
Elle Décoration—Musée des Arts Décoratifs, Une Renaissance, Special Supplement, Paris: 2006, cover and page 12 (similar model illustrated).

Provenance

George and Florence Blumenthal, New York
Unknown descent, Palm Beach
Smith-Knudson, Inc. Interior Designs & Antiques, Palm Beach, Florida
George W. Headley III
The Headley-Whitney Museum, Kentucky

#671

ARMAND-ALBERT RATEAU (1882-1938), Circa 1922

Pair of torchères, each with an alabaster shade supported by six geese; column cast with leaves and seed pods at the top and florets and fruit at the bottom; the base comprised of four pheasants, each balancing on a small sphere; with an ivory light switch carved as a butterfly.

Impressed: “A.A. Rateau. Inv. R Paris” and “1318” on standard and base

From 1905 until 1919, Rateau worked in South America. These lamps were commissioned by the Guinle family for a bathroom in their Praia de Botafogo residence in Rio de Janeiro. The building later housed the Argentinian Embassy before being demolished in 1979.

Measurements

Height: 67 ½ in (170.5 cm)

Documentation

Milton Abirached Filho, “Na Crise, ASaida e a Reforma”, Domingo, February. 1985, p. 27, an illustration of the lamps.
Carol Vogel, “Object Lessons”, New York Times Magazine, March 2, 1986, p. 76, an illustration of a similar pair made for Jeanne Lanvin, now in the collection of the Museum of Decorative Arts, Paris.
Frank Olivier-Vial and Francois Rateau, Armand-Albert Rateau, Paris: Les Editions de L’Amateur, 1992, pp. 35-37 and pp. 200-201, photographs of similar lamps used in the apartment of Jeanne Lanvin and in Rateau’s apartment at 17 Quai de Conti. See also pp. 157 and 237, illustrations of an original design for another floor lamp with similar motifs.
Alastair Duncan, AA Rateau, New York: The Delorenzo Gallery, 1990, pp. 22 and 61, photographs of the model exhibited in 1926 at the Metropolitan Museum of Art, New York.
Yvonne Brunhammer, Le Style 1925, Paris: Baschet et Cie, n.d., p. 40, a similar lamp made for Jeanne Lanvin, now in the collection of the Museum of Decorative Arts, Paris.
Alain Lesieutre, The Spirit and Splendour of Art Deco, Secaucus: Castle Books, 1978, fig. 271, similar model illustrated.
Yvonne Brunhammer, 1925, Paris: Les Presses de la Connaissance, 1976, p.204, similar model illustrated.
Jean-Paul Bouillon, Art Deco 1903-1940, New York: Rizzoli International Publications, 1989, p. 123, similar model illustrated.

#674

EMILE-JACQUES RUHLMANN (1879-1933), Circa 1925

Writing table in walnut with ivory and mother-of-pearl inlay, the rectangular top with a central section with a carved “hammered” surface, flanked by two outer sections outlined with mother-of-pearl circles; the apron outlined with two bands of mother-of-pearl circles and set at front with two shallow drawers with ivory pulls; supported by two carved, fluted vases atop simple rectangular plinths, joined by a rounded footrest.

Branded: Ruhlmann

Measurements

• Height: 28 in. (72 cm)
• Length: 43 ¼ in. (109.8 cm)
• Depth: 19 ¾ in. (50 cm)

Literature

Jean Badovici, Harmonies, Interieurs de Ruhlmann, Paris: Editions Albert Morance, 1924, pl. 38, a design for “La Chambre de Madame”, showing the model in a bedroom.
Emmanuel Breon, Jacques-Emile Ruhlmann, the Designer’s Archives, Furniture, Paris: Flammarion, 2004, p. 52, 53, drawings of the model illustrated.
Emmanuel Breon and Rosalind Pepall, Ruhlmann, Genius of Art Deco, Paris: Somogy editions d’art, 2004, Exhibition Catalogue, pp. 176-179 and 272, similar model illustrated.
Emmanuel Breon et al, Ruhlmann, Génie de l’Art Déco, L’Oeil, Special Edition, Paris: Publications Artistiques Françaises, 2001, similar model illustrated.
Florence Camard, Ruhlmann, Master of Art Deco. New York: Harry N. Abrams, Inc., 1984, p.202, a photograph of a similar desk in the Hotel Ruhlmann, 1923-24, and p. 177, an illustration of a drawing of the bedroom of Baronne Henri de Rothschild in the Chateau de la Muette, 1924, featuring a similar writing table.
Leon Deshairs, L’Art Decoratif Francais, 1918-1925, Paris: Editions Albert Levy, p. 8, similar model illustrated.
Leon Deshairs, Modern French Decorative Art, London: The Architectural Press, 1926, p. 8, similar model illustrated.

#1119

EDOUARD MARCEL SANDOZ (1881-1971), Circa 1924

‘Condor’, the majestic bird of prey with abstracted features perched on a rectangular base, carved from a single piece of polished black Belgian marble, the base with textured surface.

Signed Ed. M. SANDOZ

Measurements

• 16 ½ in (42 cm)
• Length: 25 in (63.5 cm)
• Depth: 8 ¼ in (21 cm)

Literature

Georges Denoinville, “Edouard Sandoz, sculpteur,” Mobilier et Décoration, April 1927, p. 121.
Victor Arwas, Art Deco, London:  Harry Abrams, 1980, p. 170, (example in bronze illustrated).
Paul Maenz, Art Deco 1920-1940, Cologne:  Dumont Buchverlag, 1980, fig. 74, (example in bronze illustrated).
Alastair Duncan, Art Deco, New York:  Thames and Hudson, 1988, p. 131.
Alastair Duncan, ed., The Encyclopedia of Art Deco, New York, 1988, p. 156.
Bevis Hillier, The World of Art Deco, New York:  E.P. Dutton, 1971, catalogue for the exhibition held at the Minneapolis Institute of Art, July-September 1971, cat. no. 324, (this sculpture listed).

Exhibited

Les Animaliers, Galerie Edgar Brandt, Paris, 1927
American Birds, Detroit Institute of Art, Detroit, October-December 1945
Art Deco, Finch College Museum of Art, New York, 1971, cat. no. 28
Art Deco, Minneapolis Institute of Arts, Minneapolis, July-September 1971, cat. no. 324
Brooklyn Museum of Art, 1972-1978

Provenance

Edgar Brandt, Paris, 1929
Cranbrook Academy of Art, Bloomfield Hills, MI 1929-1972
Sotheby Parke-Bernet, New York, May 2-5, 1972, lot 130
Private Collection, 1972-1978
Christie's, New York, May 27, 1979
Private Collection

#1172

EMILE-JACQUES RUHLMANN (1879-1933), Circa 1920

Pair of circular sconces in gilt-bronze and alabaster, ref. no. 3631, each cast with a raised design of dots and scrolling lines, with a central cut sphere alabaster shade.

Measurements

• Diameter: 14 inches (35.6 cm)
• Depth: 5 inches (12.7 cm)

Literature

Florence Camard, Ruhlmann, Master of Art Deco, New York: Harry N. Abrams, Inc., 1984, p. 299.
Yvonne Brunhammer, Le Style 1925, Paris: Baschet et Cie, n.d., p. 88.
Bruno Foucart et al, Ruhlmann, Connaissance des Arts, Special Issue, Paris: Société Française de Promotion Artistique, 2001, p. 67, (similar model illustrated).

#1192

ANDRE GROULT (1884-1966), circa 1927-1928

Raised cabinet in green shagreen, composed of three central drawers bearing a sunburst pattern, flanked by a pair of doors, each bearing the same pattern, with amazonite top, escutcheons and detailing.

Branded twice 'CP' within a circle, which stands for Chanaux et Pelletier, the noted French cabinet makers who collaborated with Andre Groult after 1927. Also stamped '327' and 'E/27'.

Measurements

• Height: 35 ¼ in. (89.5 cm)
• Length: 49 ½ in. (125.7 cm)
• Depth: 17 in. (43.2 cm)

Literature

Yvonne Brunhammer and Suzanne Tise, French Decorative Arts, The Societé des Artistes Décorators 1900-1942, Paris: Flammarion, 1990, p. 104 (similar model illustrated).
Félix Marcilhac, André Groult, Décorateur-Ensemblier du XXe Siècle, Paris: les Editions de l’Amateur, 1997, p. 185.
Philippe Seulliet, 'Un Art de Composer, a Paris Chez un Fervent des Années Trente', Vogue Décoration, International Edition, November 1985, no. 4. p. 99.

Provenance

Groult created this cabinet as one element of a bedroom suite done entirely in green shagreen for an American client living in Paris along Avenue Foch, circa 1927-1928.

#1194

EMILE-JACQUES RUHLMANN (1879-1933), Circa 1925

Roll-top desk and chair in Makassar ebony.

'Boudoir du Collectionneur' desk, model no. 1512AR and 1603 NR, with its roll top set within a raised border of ivory and Makassar dentils; the front apron with a central drawer with a circular ivory escutcheon, flanked by two narrow drawers with ivory pulls; raised on tapering legs, the front legs set with ivory stringing and ending in ivory sabots, the back legs with rounded edges ending in ivory sabots; the interior veneered in amaranth and ash and outfitted with mail slots and two small drawers with ivory pulls on the right and mail slots and a small compartment with a door and ivory pull on the left, with a black leather writing surface.

The low-back chair in Makassar ebony with a rounded back inlaid with an ivory oval and flush ivory dentils surrounding the upholstered seat; slightly curved legs with ivory sabots.

Desk branded 'Ruhlmann' (twice) and 'A' within a circle
Chair branded 'Ruhlmann'

Measurements

Desk

• Height: 34 3/4 in (88.3 cm)
• Width: 39 in (99 cm)
• Depth:Depth: 24 in (61 cm)

Chair

• Height: 26 3/8 in (67 cm)
• Width: 15 in (38 cm
• Depth: 17 in (43.2 cm)

Literature

Victor Arwas, Art Deco, New York:  Harry N. Abrams, 1980, p. 58 (similar model illustrated).
Yvonne Brunhammer, 1925, Paris:  Les Presses de la Connaissance, 1976, p. 52 (similar model illustrated).
Yvonne Brunhammer and Suzanne Tise, French Decorative Art, 1900-1940, Paris:  Editions Flammarion, 1990, p. 112 (similar model illustrated).
Florence Camard, Ruhlmann, Master of Art Deco, New York:  Harry N. Abrams, 1984, p. 180 (design of a lady’s bedroom including the desk), p. 224 (a design for the model), p. 287 (similar model illustrated).
René Chavance, 'Le XIVème Salon des Artistes Décorateurs', Art et Décoration, January-June, 1923, Vol. XLIII, p. 180-181 (similar model illustrated).
Alastair Duncan, Art Deco Furniture, New York:  Holt Rinehart and Winston, 1984, p. 108, ill. 57 (similar model illustrated).
Pierre Kjellberg, Art Deco, Les Maîtres du Mobilier, p. 155 (similar model illustrated) and p. 14 (watercolor of the Boudoir du Collectionneur).
Alain Lesieutre, The Spirit and Splendour of Art Deco, Secaucus:  Castle Books, 1974, p.109, p.141, fig.115 (similar model illustrated).
Jacques Boulenger, “Regard sur le Passe”, L’Illustration, 27 May 1933 (similar model illustrated).
Les Echos des Industries d’Art, March 1927, Vol.20, Cover (similar model illustrated).
Albert Levy, L’Art Decoratif Francais 1918-1925, Paris:  Editions Albert Levy,1925, p.17 (similar model illustrated).
Ch. Massin, Mobilier 1900-1925, Paris, Editions Ch. Massin, 1991, p.65 (similar model illustrated).

Provenance

Mr. and Mrs. Jacques Jourda, Paris, 1928.

This desk is accompanied by an original Ruhlmann bill of sale, noting details about the model, the materials, and the client for whom it was made, as well as containing the production number and the fact that the cabinet is example number 7, and also bearing facsimiles of the branded Ruhlmann signature and atelier marks.

#1219

LOUIS COMFORT TIFFANY (1848-1933)

Geometric floor lamp; shade in various colors of green and amber with curtain border; the base in green-brown patina with applied vertical stringing, ending in a dished circular base cast with leaves; on four petal-like feet.

Base stamped: TIFFANY STUDIOS/NEW YORK/D936.

Measurements

• Height: 76 ½ in (194.5 cm)
• Diameter of shade: 25 in (63.5 cm)

Provenance

Lillian Nassau
Anthony DeLorenzo
Simon Lieberman
George Lois

#1615

ALBERTO GIACOMETTI (1901-1966), Circa 1954

Suspended ceiling fixture in iron and plaster, with four lights in the shape of cones and a large cone-shaped shade in the center, attached to a fixture composed of two rings.

The ceiling fixture belonged to the important collection of Mr. and Mrs. Efstratios Tériade. Mr. Tériade moved to Paris in 1915 to study law but found his love writing about art and artists. Beginning in 1933, he founded several publications relating to art. At the age of forty, he created the magazine Verve, which featured contributions from the greatest historians, artists and writers. Between 1943 and 1973, Tériade also published superb art books. He wrote about and befriended artists such as Giacometti, Picasso, Miro and Matisse and his art collection contained some works given to him by these masters. In 1973, Paris celebrated Tériade with an exhibit entitled Hommage à Tériade. Mr. Tériade died in 1982.

This chandelier is accompanied by a certificate of authenticity from the Giacometti Committee.

Measurements

• Diameter: 49 1/5 in. (125 cm)

Provenance

Private Collection of Mr. and Mrs. Tériade, Paris

#6868

JEAN DUNAND (1877-1942) / JEAN LAMBERT RUCKI (1888-1967), 1925

A single commission upright cabinet in black lacquer with cut-off corners, engraved motif depicting puppies resting on geometric boxes. Red lacquer interior.

Branded twice 'CP' within a circle, which stands for Chanaux et Pelletier, the noted French cabinet makers who collaborated with Andre Groult after 1927. Also stamped '327' and 'E/27'.

Measurements

• Height: 68 in. (172.7 cm)
• Width: 45 in. (114.3 cm)
• Depth: 14 in. (35.5 cm)

Documentation

Francois Baudot, “Chez Tina Chow: L’Esprit Art Deco”, Elle Décoration (France), N°4, September 1988, p.128.
Jean-Paul Bouillon, Art Deco 1903-1940, New York:  Rizzoli International Publications, 1989, p. 185.
Yvonne Brunhammer and Suzanne Tise, French Decorative Arts, The Societé des Artistes Décorators 1900-1942, Paris:  Flammarion, 1990, pp. 101-103.
Yvonne Brunhammer, Le Style 1925, Paris, Baschet et Cie, pp. 88 & 90.
Yvonne Brunhammer, 1925, Paris:  Les Presses de la Connaissance, 1976. p. 65.
Dan Klein, Nancy McClelland and Malcolm Haslam, In the Deco Style, New York:  Rizzoli International, 1986, p. 77.
Felix Marcilhac, Jean Dunand, His Life and Works, Thames and Hudson, Ltd., London, 1991, pp. 69, 70 and 327.
Lucy D. Rosenfeld, Inside Art Deco, New York:  Schiffer Publishing, Ltd., 2005, p. 24.
Jean Dunand / Jean Goulden, Galerie du Luxembourg catalogue, Paris, 1973, p. 17.

Provenance

Galerie du Luxembourg, Paris, 1970-1973.
Michael Chow, New York, 1973-1988.
Anthony DeLorenzo, New York, 1988-present.

Exhibition

Exposition Internationale des Arts Décoratifs et Industriels Modernes, 1925 the “Smoking Room”.

#6872

EMILE-JACQUES RUHLMANN DESIGN / JEAN DUNAND EGGSHELL AND LACQUER WORK, Circa 1927

Dressing table in black lacquer with eggshell abstract detail on top and side panels; with three drawers and a round mirror. Upholstered chair with legs in black lacquer and eggshell detail, the front legs in a tusk-like taper.

Measurements

Vanity

• Height: 44 ¼ in. (112.4 cm)
• Table height: 27 ½ in. (69.8 cm)
• Length: 39 ¼ in. (99 cm)
• Depth: 23 ½ in. (59.7 cm)

Chair

• Height: 32 in. (81.3 cm)
• Width: 21 in. (53.4 cm)
• Depth: 23 in. (58.4 cm)

Documentation

Florence Camard, Ruhlmann, Master of Art Deco, New York: Harry N. Abrams, Inc., 1984, pp. 60 & 275.
Emmanuel Breon and Rosalind Pepall, Ruhlmann, Genius of Art Deco, Paris: Somogy editions d’art, 2004, Exhibition Catalogue, p. 50 and 135 (similar chair illustrated), pp. 208-210 and 292 (illustrated).
Leon Deshairs, L’Art Decoratif Francais, 2e serie, Paris: Editions Albert Levy, 1930, p. 77 (vanity illustrated).
Bruno Foucart et al, Ruhlmann, Connaissance des Arts, Special Issue, Paris: Société Française de Promotion Artistique, 2001, p. 27 (similar model chair illustrated).
Philippe Garner, “Chow Wow“, House and Garden, May 1988, p. 170.
Frank Russell, Philippe Garner, & John Read, A Century of Chair Design, New York: Rizzoli, 1980, p.96 (similar chair illustrated).

Exhibitions

Ruhlmann, Genius of Art Deco, The Metropolitan Museum of Art, New York, 10 June-5 September 2004.
The Montreal Museum of Art, Jean Noel Desmarais Pavilion, 30 September-12 December 2004, no. 32 in the catalogue.

Provenance

Purchased from Emile-Jacques Ruhlmann by Ms. Redhead.
Sotheby’s Monaco, 1982.
Michael Chow.
Anthony DeLorenzo, New York, 1988.

#7665

JEAN DUNAND (1877-1942), Circa 1930

Lacquered wood coiffeuse; the rectangular center panel supporting a circular mirror; the sides with open circular compartments of red lacquered metal; each side with four pivoting graduated drawers; overall in a rich amber lacquer.

Stamped multiple times: “JEAN DUNAND / JEAN DUNAND LACQUEUR” within a square. One drawer stamped: “GM/E 9381, for Garde Meuble Ebenisterie”.

Jean Dunand exhibited this vanity in 1930 in his “Boudoir” at the Salon des Artistes Décorateurs. In 1941, the vanity was acquired by the Mobilier National, the French state collection of furniture and tapestries, as part of a large purchase from Dunand’s workshop. The Mobilier National made the purchase in an effort to keep the firm’s artisans employed in France during the Second World War and thereby save them from being shipped to Germany under the terms of a Nazi work program. In 1972 the vanity was officially sold or “vendue par les domaines”. The armchair designed for use with the vanity and exhibited with it in 1930 remains in the collection of the Mobilier National.

Measurements

• Height: 43 ½ in. (110.5 cm)
• Table height: 25 ¾ in. (65.5 cm)
• Length: 62 in. (157.5 cm)
• Depth: 25 ½ in. (64.8 cm)

Documentation

Art et Décoration, 1930, p. 207.
La Renaissance de l’Art Français, 1930, p. 207.
L’Amour de l’Art, 1930, p. 337.
Le Salon des Artistes Décorateurs, Paris: Vincent Freal et Cie, 1930, pl. 39.
Yvonne Brunhammer and Suzanne Tise, French Decorative Arts, The Societe des Artistes Decorators 1900-1942, Paris: Flammarion, 1990, pp. 156-157, an illustration of the vanity in the Boudoir designed by Dunand for the 1930 Salon des Artistes Décorateurs, Paris.
Raffaele De Grade, Le Mobilier du XXe Siècle En France et en Europe, 1988, p. 132.
Lisa Schlansker Kolosek, The Invention of Chic, Therese Bonney and Paris Moderne, New York: Thames and Hudson, 2002, p. 99
Felix Marcilhac, Jean Dunand, His Life and Works, London: Thames and Hudson, 1991, p. 328, pp. 328 & 118 no. 1210.

Exhibition

Salon des Artistes Décorateurs, Paris 1930.

Provenance

Ateliers Jean Dunand.
Mobilier National, December 15, 1941 - May, 1972.
Collection of Robert Walker.

#9038

EMILE-JACQUES RUHLMANN (1879-1933), 1926

“Nicolle” two-door cabinet in macassar ebony; veneered with squares of red tortoiseshell and bordered with ivory dentil decoration, with one circular ivory escutcheon; the cabinet set on slender ribbed fuseau legs terminating in ivory sabots; the interior consisting of five shallow drawers flanked by compartments with single shelves.

Branded: “Ruhlmann” and “O”.

Measurements

• Height: 43 in (109.2 cm)
• Width: 36 ½ in (92.7 cm)
• Depth: 18 in (45.7 cm)

Provenance

Nicolle Family.
Félix Marcilhac.
Private collection.

Exhibition

Salon des Artistes Décorateurs, 1926.

Documentation

Florence Camard, Ruhlmann, Master of Art Deco, Paris: Editions du Regard, 1983, pp. 37, 48, 57, 71 (similar model), 115 and 175.
Alastair Duncan, Art Deco Furniture, London: Thames and Hudson, Ltd., 1984, p. 109, plate #63.
Yvonne Brunhammer and Suzanne Tise, French Decorative Arts, The Societe des Artistes Decorators 1900-1942, Paris: Editions Flammarion, 1990, p 144.
Victor Arwas, Art Deco, New York: Harry Abrams, 1980, p. 57.
Emmanuel Breon, Jacques-Emile Ruhlmann, the Designer’s Archives, Furniture, Paris: Flammarion, 2004, p. 17.
Emmanuel Breon and Rosalind Pepall, Ruhlmann, Genius of Art Deco, Paris: Sogomy, 2004, Exhibition catalogue, pp. 203-205, and p. 228, (similar model illustrated).
Etienne Kohlmann, Petits Meubles Modernes, Paris: Eugene Moreau, 1929.
“Les Ensembles au XVIe Salon des Artistes Décorateurs”, Les Echos des Industries d’Art, no. 11, June 1926, p. 7, (similar model illustrated).
Les Echos des Industries d’Art, no. 28, November 1927, no. 34, May 1928, pp. 6 and 4, respectively, (similar model illustrated).

#9279

MARCEL COARD (1889-1975), Circa 1925

Vertical cabinet composed of a center section in shagreen and lapis, flanked by two shorter, curved sections in lacquered wood and macassar ebony; each section opening independently by way of a concealed button.

Signed: Marcel Coard

Measurements

• Height of center section: 70 in (178 cm)
• Width of center section: 15 ½ in (39.5 cm)
• Overall depth: 17 in (43.2 cm)
• Height of side sections: 58 ½ in (148.7 cm)
• Overall width: 39 ¼ in (99.5 cm)

Literature

Pierre-Emmanuel Martin-Vivier, Jean-Michel Frank, Paris: Éditions Norma, 2006, p. 228 (this cabinet illustrated).