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Attributed to Jacques-Émile RUHLMANN (1879-1933) Art Deco-style middle slopingsecrétaire à pente de milieu, "Tibattant" model, in Macassar ebony veneer, opening between a large drawer and a slightly recessed pediment underlined with ivory mesh and dentils, by a flap that hides a beige suede lined interior and decorated with two small drawers, a small door and two storage compartments.The lock entrance, circular pull handles and hooves are made of ivory, a material also used to highlight the tapered front legs surmounted by scrolls.Circa 1923Model referenced as 1503AR and 1605NR in the Ruhlmannarchives The first drawing of this piece of furniture dates from 1913A copy in Macassar ebony is in the collection of the Metropolitan Museum of Art in New York112.5 x 60 x 38 cm(small accidents)Bibliography:Florence Camard, Rulhmann, Editions du Regard, Paris, 1983, p. 202.Emmanuel Bréon and Rosalind Pepall, Ruhlmann, un génie de l'Art Déco, exhibition catalogue, Somogy Editions d'Art, Paris, 2004, pp. 180-182.Provenance: former Morel collectionDescendant of a former family of the French aristocracy, the Morels of Tangry, and son of the architect Jean Désiré Ernest Morel (1859-1923), Jean-Marie Morel (1892-1974) was the architect of the towns of Bergues, Gravelines, Wormout... In 1937, with Barbotin, he designed the Flemish village for the Paris International Exhibition. During the reconstruction of Dunkirk after the war, he was in charge of Block 1 and the plans for the Cité de la Victoire.For his training, Jean-Marie Morel entered the Atelier Pascal in 1911 and was accepted the same year at the École Nationale des Beaux-Arts in Paris. Mobilized in 1914, wounded and reformed in 1917, he returned to his school before leaving in 1919. He then joined Jacques-Émile Ruhlmann, where he became one of his main collaborators with architects such as Baudrie

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Belgique - 1040 - bruxelles
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