ÉMILE-JACQUES RUHLMANN (1879–1933): A MASTER OF ART DECO

A major figure of the 1925 style, Émile-Jacques Ruhlmann (1879–1933) was nicknamed by his contemporaries the "Riesener of Art Deco," a nod to the renowned cabinetmaker of the Ancien Régime. This comparison reflects both his excellence in furniture making and his widespread acclaim. Born on August 26, 1879, in Paris, Ruhlmann was a self-taught artist who inherited his family's interior decoration business in 1907, located at the Marché Saint-Honoré. He swiftly expanded its scope, creating precious and delicate furniture pieces. Though not trained as a cabinetmaker, Ruhlmann designed every piece, sketching his ideas in notebooks and overseeing their execution by skilled collaborators.

His debut at the 1910 Paris Salon d’Automne brought him great success, with orders pouring in. Ruhlmann became a designer of complete interiors, integrating architecture, furniture, rugs, textiles, and lighting into harmonious ensembles, achieving an unparalleled level of refinement. His name soon became synonymous with elegance and sophistication.

During the 1920s, as modernism embraced functionalism and humanist values for the masses, Ruhlmann pursued luxury and high-quality materials, targeting an elite clientele. Prestige guided his choice of materials and patrons, with furniture featuring flawless finishes. He favored rich woods such as Indian rosewood and Macassar ebony, achieving perfect harmony between materials, form, and color—epitomized by the "Guindé" armchair featured in the February 29 auction.

The French Art Deco style reached its pinnacle at the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris (April to October 1925). Ruhlmann designed the Hôtel du Collectionneur for the event, a true manifesto of his style. This comprehensive work envisioned the idealized interior of a wealthy collector of modern decorative arts, involving over forty artists and artisans across disciplines, from cabinetry to ceramics, sculpture, wrought iron, lighting, and tapestry. This luxurious showcase, one of the exhibition’s highlights, cemented Ruhlmann’s status as the master of Art Deco


The Viville-Yardley Collaboration

Amid the roaring success of the 1920s, the London-based perfume company Yardley & Co. sought to modernize by acquiring the French perfumery Viville in 1924. Positioned at 24 Avenue de l’Opéra, near the luxury boutiques of Rue de la Paix and the Opéra Garnier, Viville-Yardley aimed to cater to both French and international clientele. They turned to Ruhlmann, the era’s most sought-after decorator, to design their boutique.

Despite his commitments to the 1925 exposition, Ruhlmann began work on the project in 1926, completing it in 1928. He incorporated custom furniture for Viville-Yardley alongside pieces created for other clients, showcasing his signature vocabulary of abstract classicism.

It was during this project that Ruhlmann met Yvonne Brunet, a young designer hired by Viville-Yardley to enhance the brand’s image through perfume bottles, packaging, and advertisements. Her work received critical acclaim, with the Revue du Vrai et du Beau praising her artistry in its August 10, 1928 issue:
"They have brought in a great artist: Yvonne Brunet, entrusting her with the presentation of their products. Her elegance and originality astonished us at the Salon des Artistes Décorateurs, where we admired her crystal perfume bottle, Peony case, and advertising artwork. What mastery of design, what sense of harmony!"

Ruhlmann evidently shared this admiration, as he gifted Brunet the "Guindé" armchair in 1930 upon her departure from Viville-Yardley—a gesture commemorating their collaboration.

Provenance:

  • Gifted by Émile-Jacques Ruhlmann to Yvonne Brunet in 1930.

  • By descent to the current owner.

Estimate: €30,000–50,000

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Contact:
Jessica Rémy-Catanese
+33 (0)7 61 72 43 19
remy@aguttes.com