425211

Pleyel Grand piano Designed by Emile-Jacques Ruhlmann

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Contact Person: Claudia Klinkenberg

BASIC INFORMATION

  • Type:Grand piano
  • Acoustic / Digital:Acoustic
  • Year:1929
  • New / Used:Used
  • Manufacturer: Pleyel
  • Model: Other
  • Height:108
  • Width:160
  • Length:170
  • No. of pedals: 2
  • No. of Keys: 88
  • Serial Number: 188927
  • After Restoration / Rebuilt: After Restoration
  • Ivory Keys: Ivory Keys
  • Colour:Wood (Transparent Lacquer)
  • Veneer:Ebony
  • Decorative elements:Gilding, Other decorative elements
  • Finish type:French Polish
  • Gloss level:High Gloss

Price

  • Price: Price on asking

Location


Description

Piano Interior made by Pleyel France, body designed by Emile-Jacques Ruhlmann
Furniture Designer That Introduced the World to Art Deco. Serial number 188927 year 1929. Case made of Macassar Ebony and with Gold leafing to fall board and interior. 170 cm long, 88 Ivory Keys.
Restored by our German master team.

Emile-Jacques Ruhlmann (1879-1933) was a Parisian furniture and interior designer. Although he lacked formal training – and never personally made a piece – his ideas and designs became the cornerstone of the style commonly known today as Art Deco.
Ruhlmann’s earliest pieces of furniture date from around 1910. In 1919, he teamed up with a fellow designer, Pierre Laurent; their firm, Les Etablissements Ruhlmann et Laurent, created wallpaper, textiles, housewares, and accessories as well as furnishings. The company flourished, with its luxurious creations highly popular among the Parisian avant-garde. But it was the year 1925 that sealed Ruhlmann’s status as the master of modern when his pieces became the hit of the Paris Exposition Internationale des Arts Décoratifs et Industriels – a furniture-oriented World’s Fair he helped organize, and Art Deco was popularized around the world. (Actually coined in the 1960s, the term “art deco” derives from the title of this exhibition; at the time, the new style was known simply as “moderne”, or modern.)
Ruhlmann didn’t create new types of furniture, and many of his desks and dressing tables are modeled on 18th-century forms – even his iconic club chair has its roots in the traditional French bergère. The designer saw himself as a descendant of the great furniture-makers of the later 1700s, and his work shows the influence of their styles: in its meticulous craftsmanship, in its use of inlays, reeding, and fluting, in its floral motifs and, most of all, in its graceful proportions and balance.

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Contact Person: Claudia Klinkenberg

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