Attributed to Jacques-Émile RUHLMANN (1879-1933) Art Deco-style middle sloping
secrétaire 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.
Model referenced as 1503AR and 1605NR in the Ruhlmann
archives The first drawing of this piece of furniture dates from 1913
A copy in Macassar ebony is in the collection of the Metropolitan Museum of Art in New York
112.5 x 60 x 38 cm
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 collection
Descendant 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 Baudrier, Le Même and Haranger and draughtsmen such as Stephany, Huet, Bougenot and Lautelin. Together they created Ruhlmann's immense reputation as one of the best furniture designers and decorators of his time. Jean-Marie left the master's workshop in 1923. He will keep all his life the pride and regret of this exceptional apprenticeship that he calls his "pink period". Author of skilful drawings, he is also an excellent watercolorist.
Jean-Marie Morel is quoted in:
Florence Camard, Ruhlmann, Editions du Regard, Paris, 1983, pp. 86 and 308.
Edmond Bréon and Rosalind Pepall, Ruhlmann, an Art Deco genius, exhibition catalogue, Somogy Editions d'Art, Paris, 2004, p. 84.
We would like to thank Patrick Fourtin for his positive opinion on this piece.
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