In addition to numerous crucifixes, Stations of the Cross and other individual elements of the church building programme, the artist succeeded in realising in France several overall decorations, sometimes covering both the interior and the facade of the edifice. In this respect, Notre-Dame de Consolation can be considered his masterpiece and, at the same time, an absolutely unique work in the sacred art of the time: Lambert-Rucki's bas-reliefs and sculptures completely transform the architecture of the church inside and out, and the full repertoire of artistic forms and means used by this one of the most outstanding creators of religious art in France of the time appears here. And also his typical forms, inspired during this period mainly by folk art and Romanesque sculpture. He was personally recommended for execution in Provence by the writer and politician André Malraux, as was the stained-glass artist Gabriel Loire, with whom Lambert-Rucki worked closely here (as he did in several other churches during this period).

The small church, designed by Roger Vaillant, rises on the Costebelle hill, next to the remains of a former Ligurian oppidum, in a park overlooking the city of Hyères and the Mediterranean. The building, begun in 1952, replaced an older one, originally from the 14th century, which was an important pilgrimage destination for Provençals (destroyed in 1944). The bell-tower adjacent to the façade contains a large, slender full-plastic figure of the church's patron saint, Mary and Child, one of Lambert-Rucki's largest works; and on the façade itself, bas-reliefs that form a colourful mosaic with the ribbed grid of Loire's stained-glass windows - freely scattered motifs from Mary's life: The Visitation, the Annunciation, the Flight into Egypt, the Assumption. The interpenetration of the two artists' works here has achieved a superb, coherent effect, both in the exterior view of the façade and from the interior. The crowning cornice is accentuated in the corners and on the longitudinal walls of the building by the grotesque 'beasts' - concrete gullies at the ends of the gutters.

In the interior there are: at the close of the left nave, a colourful sgraffito, framed like a separate painting, with Marian scenes and the childhood of Jesus integrated into a grid of geometric forms; on the wall of the apse of the presbytery, figures of the 12 apostles, two fish and other Christian symbols are set in relief in a frieze (here the colours are very subdued, almost completely dominated by grey). These reliefs show a dependence on African art, which was still inspiring the artist in the interwar period. In addition, there is a bronze Lambert-Rucki crucifix on a tall wooden cross in the chancel, with his typical elongated proportions, modelled on Romanesque sculptures.

In 2002, another crucifix by Lambert-Rucki (polychrome plaster, height 75 cm, displayed on a board hung on the wall), dating from the early 1930s, was additionally placed in the right nave. It was a gift of the artist's daughters, Leano and Mara Rucki.