# Galerie Marcelpoil — full content

> Complete content of galeriemarcelpoil.com: every available work, every artist and every event, in one file. Paris gallery specialising in French Art Deco furniture (1920–1930).

Galerie Marcelpoil is a private gallery at 28 rue de Seine, 75006 Paris, France. It specialises in French Art Deco furniture from the 1920s and 1930s, and is the reference on André Sornay. The gallery exhibits at international fairs and offers authentication, valuation and sourcing for collectors, interior designers and architects.

## How to use this file

- The site is a showcase, not a shop. No prices are published, there is no cart, and nothing can be bought online. Enquiries go through a contact form and the gallery answers directly.
- Only works **currently available** are listed. A sold piece is removed from the site entirely, so this list reflects the inventory as of 2026-09-09.
- Each work is a distinct physical piece. The same model may appear twice with different woods or dimensions — these are separate pieces, not duplicates.
- Contact: contact@galeriemarcelpoil.com — +33 1 40 06 90 45 — 28 rue de Seine, 75006 Paris, France.

## Opening hours

Days not listed are closed.

- Monday: closed
- Tuesday: 11:00–13:00, 14:00–19:00
- Wednesday: 11:00–13:00, 14:00–19:00
- Thursday: 11:00–13:00, 14:00–19:00
- Friday: 11:00–13:00, 14:00–19:00
- Saturday: 14:00–19:00

## Main pages

- [Home](https://galeriemarcelpoil.com/en/)
- [Collections](https://galeriemarcelpoil.com/en/works/): all available works, filterable by type, period and artist
- [Artists](https://galeriemarcelpoil.com/en/artists/): the designers and ensembliers represented by the gallery
- [Events](https://galeriemarcelpoil.com/en/events/): international fairs and exhibitions
- [The Gallery](https://galeriemarcelpoil.com/en/gallery/): history and expertise
- [Signed Sornay](https://galeriemarcelpoil.com/en/book/): the reference book on André Sornay, by Alain Marcelpoil
- [Contact](https://galeriemarcelpoil.com/en/contact/)
- [Privacy policy](https://galeriemarcelpoil.com/en/privacy/)

## Artists

### André Sornay

URL: https://galeriemarcelpoil.com/en/artists/andre-sornay/
Years: 1902–2000
Works available: 117

André Sornay embodies a major figure of Art Deco and the furniture avant-garde in France, having developed a deeply innovative design approach in Lyon. After receiving his initial training at the École des Beaux-Arts de Lyon, his destiny took a sudden turn in 1919 when his father's passing forced him to take over the family business. From then on, he completely revolutionized the studio's production, shifting from copying classic period furniture to creating pieces with resolutely modern lines. Deeply influenced by the Bauhaus and the De Stijl movements, where seeking a synthesis between art and architecture was a perpetual quest, he aligned himself with designers who sought to conceive new forms perfectly integrated into the framework of modern life.

Upon taking over the family firm in 1919, André Sornay put an end to the traditional production of historic furniture copies to introduce an innovative style defined by pure geometric lines and exceptional functionality. His creative ethos rested on balanced proportions and a bold combination of traditional and modern materials, blending precious wood veneers with metal, rubber, permatex, and Duco lacquer. Guided by a highly acute vision of interior space management, he transitioned into an interior decorator for his clientele, which remained largely local.  

Confronted with the economic fallout of the 1929 crash, the designer demonstrated remarkable technical inventiveness to sustain his business, leading to a first patent in 1932 centered on a new assembly technique called cloutage (nailing). This specific process allowed thin veneered panels to be securely attached directly to the furniture frame. Rather than hiding these fasteners, he chose to turn them into a major aesthetic asset: the rigorous alignment of the nails became his exclusive decorative trademark and a key design element. This patent led to the production of "clouté furniture" distributed in small series, making his modern designs accessible to the greatest number of people.  

Following World War II, the cabinetmaker's technical ingenuity continued with a series of successive patents. After a first post-war patent registered in 1945, he made a significant impact in 1953 by inventing the famous "Sornay tigette," officially recorded as a "combinable and demountable element for furnishing and construction". This mechanical innovation accompanied the global standardization of forms and assembly methods that came to define furniture production throughout the 1950s and 1960s.  

Although he primarily chose to exhibit his works at the Salons d'Automne in the city of Lyon, André Sornay participated in two major landmark Parisian exhibitions. In 1925, at the International Exhibition of Modern Decorative and Industrial Arts in Paris, his avant-garde works boggled established conventions and did not yet seem to be truly understood by the public. Twelve years later, at the 1937 International Exhibition of Arts and Techniques in Modern Life, his artistic maturity achieved official acclaim with a bronze medal awarded for the presentation of his personal desk. During the 1950s and 1960s, he shifted his focus toward designing for institutional collectives, while gradually relinquishing the reins of his company to his children.

### Claudius Linossier

URL: https://galeriemarcelpoil.com/en/artists/claudius-linossier/
Years: 1893–1953
Works available: 15

Lyon's alchemist of hammered copper. Claudius Linossier stands as one of the foremost figures in Art Deco dinanderie, remaining loyal to Lyon throughout a career that Paris never managed to claim. From his Croix-Rousse workshop, he elevated red copper and maillechort to the level of pure art, inventing patinas of unmatched depth through oxidation and hammering. His vases, bowls, and platters with silver-inlaid geometric friezes reflect a formal rigour inherited from ancient Greek pottery and Japanese lacquerwork. Over 3,600 pieces constitute the body of a life entirely devoted to material and form.

Born into a modest family in the Guillotière district of Lyon, Claudius Linossier began his apprenticeship at the age of 13 with a metal engraver, later working as a chaser for religious goldsmithing workshops. After serving in World War I, he briefly moved to Paris in 1919, where he spent a few months perfecting his technique alongside the celebrated master lacquerer and metalsmith (dinandier) Jean Dunand.

Returning to Lyon in 1920, he opened his own workshop in the heart of the slopes of the Croix-Rousse. It was there that he developed his signature technique: fusion inlaid decoration and, most notably, torch patina. Achieved by heat-oxidizing metals directly with a flame, without any use of varnish or acid, this method gave his pieces inimitable, deep shades of red, brown, grey, and black.

Categorically rejecting narrative or floral figuration, Linossier favored classical forms inspired by antiquity (ovoid vases, wide bowls, platters) adorned with strictly geometric patterns (chevrons, diamonds, waves, broken lines). Each piece was a unique work of art, patiently hand-hammered from a single, continuous sheet of metal (usually red copper), embodying the quintessence of Art Deco rigor and refinement.

Widely admired by his peers and collectors alike, he exhibited regularly in Paris (Salon des Artistes Décorateurs, Salon d'Automne) and received a gold medal at the 1925 International Exhibition of Decorative Arts. Deeply rooted in his hometown and close to the Ziniars group, he became one of the founding members of the legendary Salon du Sud-Est in 1925 alongside Emile Didier. He exhibited there annually, establishing himself as the absolute leading figure of Lyon’s decorative arts until his death in 1953.

> "My magnificent master is Douris, that subtle Greek with a pure soul… I owe my entire being to him."

### Paul Beyer

URL: https://galeriemarcelpoil.com/en/artists/paul-beyer/
Years: 1873–1945
Works available: 7

Paul Beyer was a French ceramist and potter, considered one of the great innovators of stoneware art in the 20th century. Breaking completely away from the fine porcelain and cluttered decorations of his era, he brought traditional and folk techniques like salt-glaze firing back into style. His refined work, combining the rigor of peasant shapes with the subtlety of raw textures, deeply influenced the history of modern ceramics.

Paul Beyer was born in 1873 in Strasbourg, within an Alsace that was then under German administration. Attracted by the fire arts, he initially began his career by training to become a master glassmaker. 

It was not until the beginning of the 20th century that he turned permanently toward clay and established himself as an independent potter. Rejecting the industrial standards of his time, he took a passionate interest in utilitarian stoneware and traditional pottery from the Middle Ages. He set up his own workshop and built a wood-fired kiln to experiment with high-temperature firing. His primary specialty quickly became flambé stoneware and the technique of vitrification through salt-glazing. 

Thanks to this demanding process, he achieved rough textures and highly subtle color nuances. His pieces, often stocky pitchers, vases, or bowls, appealed through their timeless aesthetic. Recognized by his peers, Beyer began to regularly exhibit his creations at the Salon d'Automne and the Salon des Artistes Décorateurs. In 1932, his reputation opened the doors to the prestigious Manufacture nationale de Sèvres, where he was invited to collaborate. 

During this period, he breathed a spirit of renewal into this institution, which was more accustomed to porcelain, by passing on his expertise in stoneware. He also collaborated there with other major artists of the era, broadening the creative horizons of the establishment. 

Despite this institutional success, he maintained the soul of a solitary, humble artisan close to his material throughout his life. Facing the hardships of World War II, he spent his final years producing increasingly minimalist works. Paul Beyer passed away in 1945, leaving behind a crucial legacy that would inspire the entire post-war generation of potters.

> « To create beautiful yet functional forms is my dream. Everything that is useful is beautiful. »

### Pierre Chareau

URL: https://galeriemarcelpoil.com/en/artists/pierre-chareau/
Years: 1883–1950
Works available: 4

Pierre Chareau was a major French architect and designer, and a pioneer of the Modern Movement and functionalism in the 20th century. Celebrated for his innovative approach combining wood, metal, and glass, he is internationally renowned for designing the legendary Maison de Verre (House of Glass) in Paris. As a co-founder of the Union des Artistes Modernes (UAM), his kinetic furniture and flexible spatial layouts deeply redefined interior living during the interwar period.

Born in Bordeaux, Pierre Chareau studied at the École des Beaux-Arts in Paris before joining the Paris branch of the prestigious British design firm Waring & Gillow as a draftsman. After serving in World War I, he opened his own workshop and boutique in the early 1920s, quickly establishing himself as an outstanding interior decorator and furniture designer.

Between 1928 and 1932, he completed his architectural masterpiece, the Maison de Verre (in the 7th arrondissement of Paris), in collaboration with Dutch architect Bernard Bijvoet and master ironworker Louis Dalbet. This revolutionary building utilized glass blocks and an exposed steel structure to achieve unprecedented transparency and spatial fluidity. In 1929, breaking away from the decorative traditions of the era, he co-founded the Union des Artistes Modernes (UAM) alongside figures like Le Corbusier, Robert Mallet-Stevens, and René Herbst.

Chareau's style is characterized by contrasting materials (precious wood veneers, wrought iron, steel) and a constant pursuit of modularity. His most iconic pieces, such as his articulated desks, often incorporated pivoting or movable mechanisms (known as "kinetic" furniture) designed to adapt precisely to the user's needs.

Due to his Jewish heritage, Chareau was forced to flee occupied France in 1940 and went into exile in the United States. In New York, he continued his design work and realized his last notable architectural project: a studio for the American Abstract Expressionist painter Robert Motherwell in East Hampton (1947). He passed away in exile in 1950, leaving behind a visionary body of work that prefigured contemporary industrial design and minimalism.

> "Furniture must not be cumbersome, talkative visitors, but discreet servants, knowing how not to bother us with their trappings.”

### Anonyme

URL: https://galeriemarcelpoil.com/en/artists/anonyme/
Works available: 3

### Eugène Printz

URL: https://galeriemarcelpoil.com/en/artists/eugene-printz/
Years: 1889–1948
Works available: 3

Eugène Printz was a prominent French cabinetmaker and interior designer, and a major, unique figure of the Art Deco period. Renowned for his simultaneously luxurious and rationalist approach to furniture, he left a lasting mark on design history through his revolutionary use of palm wood and highly ingenious patented mechanisms. His exclusive creations, balancing traditional cabinetry with architectural modernity, are today among the most sought-after pieces by top international collectors.

Trained in his father’s Paris cabinetry workshop, where he initially copied period furniture, he acquired absolute technical mastery of wood before designing his own resolutely modern lines from the 1920s onward.

Printz distinguished himself from his contemporaries through a bold choice of materials, becoming the preeminent specialist in palm wood veneer—a streak-patterned exotic wood particularly difficult to work with, which he paired with elegant oxidized metal or bronze bases.

Convinced that furniture must adapt to modern living, he designed modular pieces equipped with ingenious hidden bearings and hinges, creating extensible tables and credenzas with folding or sliding doors of seamless fluidity.

He achieved immense triumph at the 1931 Colonial Exhibition by furnishing Marshal Lyautey's ceremonial office at the Palais de la Porte Dorée. His prestigious collaborations, notably with master lacquerer Jean Dunand, cemented his reputation as an elite “ensemblier”.

> "A piece of furniture must not be an inert mass; it must integrate into the room's architecture and adapt, through its movements and its material, to the demands of modern life.”

### Jacques-Émile Ruhlmann

URL: https://galeriemarcelpoil.com/en/artists/jacques-emile-ruhlmann/
Years: 1879–1933
Works available: 3

Jacques-Émile Ruhlmann was a French interior designer and ensemblier, universally regarded as the spearhead and "genius" of Art Deco. Dubbed the "Riesener of the 20th century" in reference to Louis XVI’s famous cabinetmaker, he redefined luxury furniture by marrying the purity of modern lines with the excellence of traditional craftsmanship. His masterpiece, “L'Hôtel du Collectionneur “ (The Collector's Hotel) at the 1925 Exhibition, remains the absolute symbol of the refinement, elegance, and prestige of interwar French decorative arts.

Born into a family of painting and mirror-making contractors, he took over the family business while developing his own furniture designs from 1910 onward. Ruhlmann did not see himself merely as a cabinetmaker, but as an ensemblier (interior designer): he conceived the entirety of a space, from carpets and lighting to wallpapers and furniture, to achieve total harmony.

His creations are distinguished by the use of rare and exotic woods of exceptional quality (Macassar ebony, amaranth, rosewood), which he enhanced with meticulous inlays of ivory, mother-of-pearl, or shagreen. His furniture, featuring flawless veneering and sleekly classical lines, concealed an absolute technical rigor in its construction.

At the 1925 International Exhibition of Modern Decorative and Industrial Arts in Paris, he dazzled the public and critics alike with “L'Hôtel du Collectionneur”. This monumental pavilion showcased his most iconic pieces (such as the “Chariot” sideboard or the “Lotus” dressing table) and firmly established his style as the epitome of international high luxury.

Despite his untimely death in 1933 at the age of 54, Ruhlmann left behind a monumental body of work. Refusing any compromise on quality for the sake of mass production, he proved that modern furniture could attain the status of an artistic masterpiece, permanently influencing generations of designers.

> "Art furniture is the furniture of an elite; it is from them that all fashions originate. Taste does not democratize; it spreads from the top down.”

### Armand Avril

URL: https://galeriemarcelpoil.com/en/artists/armand-avril/
Years: 1926–2025
Works available: 2

Armand Avril was a French painter and sculptor, famous for his unusual assemblage pieces. Associated with the “art singulier” movement, he abandoned classical painting from 1968 onwards to create a poetic universe made from reclaimed materials. Deeply influenced by African art and creators such as Gaston Chaissac, he built a playful and unclassifiable body of work.

Raised with a passion for art, he tragically lost his resistance-fighter father in a concentration camp. Working as a painter-plasterer after the war, he taught himself by copying classical masterpieces in Lyon's museums.

A stay in Senegal during the 1960s sparked his passion for collecting African art, while his meeting with artist Louis Pons introduced him to the techniques of collage and salvaged materials.

By chance, while absentmindedly cutting a champagne cork, he found his true artistic calling. He permanently gave up painting to sculpt works using broken toys, tin cans, and thousands of corks.

Exhibiting from 1970 onward in Lyon and Paris, his works quickly entered the National Museum of Modern Art. Settled in his Var studio, he produced landmark series like “Les Hommages” and “La Mer à Cassis” before passing away in 2025 at the age of 98.

> “I live in a mess. It's imperative, otherwise inspiration doesn't come to me. My place shouldn't be tidy; it's like Bacon's studio. It's unlivable for others, but it's my way of living and creating.”

### Jacques Adnet

URL: https://galeriemarcelpoil.com/en/artists/jacques-adnet/
Years: 1900–1984
Works available: 2

Jacques Adnet was a major French architect, decorator, and designer of the 20th century, serving as a leading figure of both Modernism and Art Deco. As the director of the prestigious Compagnie des Arts Français for nearly thirty years, he successfully combined the rigorous requirements of functionalism with the elegance of the most luxurious materials. His sleek style, characterized by the innovative use of metal, glass, and especially saddle-stitched leather, embodies the epitome of post-war Parisian chic.

Trained at the École Nationale Supérieure des Arts Décoratifs in Paris, he began his career in the 1920s alongside his twin brother Jean, with whom he exhibited avant-garde geometric designs at the Salons des Artistes Décorateurs.

In 1928, he took over the leadership of the Compagnie des Arts Français (CAF), succeeding Louis Süe and André Mare, and radically transformed its artistic direction by inviting major modernist creators like Charlotte Perriand, Georges Jouve, and René Coulon.

During the 1950s, he revolutionized high-end furniture by wrapping metal and glass structures in topstitched leather, initiating a legendary collaboration with the fashion house Hermès to create mirrors, lamps, and desks that became global design icons.
A highly sought-after interior designer, he completed prestigious official commissions, including President Vincent Auriol's private apartments at the Élysée Palace and lounges for the UNESCO headquarters, before directing the École Nationale Supérieure des Arts Décoratifs from 1959 to 1970.

### Jean Dunand

URL: https://galeriemarcelpoil.com/en/artists/jean-dunand/
Years: 1877–1942
Works available: 2

Jean Dunand was a Swiss-born French sculptor, dinandier (metalsmith), and master lacquerer, considered one of the greatest creators of the Art Deco period. Initially renowned for his exceptional metalwork, he revolutionized European decorative arts by adopting and modernizing traditional Asian lacquer techniques. Famous for his unprecedented use of crushed eggshell and his monumental decorations, notably for the ocean liner “Normandie”, his work embodies the pinnacle of interwar luxury and refinement.

Trained at the School of Industrial Arts in Geneva, he moved to Paris in 1897. Initially a sculptor, he quickly turned to “dinanderie” (hammered metalwork), creating vases and objects in copper, brass, or nickel silver, which he enhanced with complex patinas.

In 1912, his meeting with the Japanese master Seizo Sugawara (who also trained Eileen Gray) marked a decisive turning point. Dunand learned the closely guarded secrets of traditional lacquer, which he brilliantly applied to his metal vases, and later to furniture and massive folding screens.

To achieve a pure, striking white that contrasted with black or red lacquer, Dunand innovated by inlaying tiny shards of crushed chicken or duck eggshells. This infinitely meticulous technique became his signature and perfectly suited the geometric and cubist aesthetic of Art Deco.

Leading a vast Parisian workshop, he collaborated with the greatest designers of his time (such as Ruhlmann). The climax of his career came in 1935 when he created the monumental lacquered panels for the smoking room of the legendary ocean liner “Normandie”, an absolute masterpiece of French decorative art.

### Léon Indenbaum

URL: https://galeriemarcelpoil.com/en/artists/leon-indenbaum/
Years: 1890–1981
Works available: 2

Léon Indenbaum was a Russian-born French sculptor and a discreet yet essential figure of the School of Paris. Trained under Antoine Bourdelle upon his arrival in France in 1911, he settled at La Ruche, where he became close friends with Amedeo Modigliani and Chaim Soutine. His sculpted work, blending the geometric rigor of emerging Cubism with a deep classical sensibility, captivated the greatest art patrons of the Art Deco era.

Born in present-day Lithuania, he studied in Vilnius before moving to Paris in 1911, joining the famous Montparnasse artists' colony alongside Modigliani, who painted his portrait in 1915.

He perfected his training at the Académie de la Grande Chaumière under Antoine Bourdelle, who immediately recognized his exceptional gift for the direct carving of marble and stone.

In the 1920s, his sleek, poetic style attracted prestigious collectors, most notably couturier Jacques Doucet and banker Georges Menier, for whom he executed major decorative works and bas-reliefs.

Traumatized by World War II, during which he was forced into hiding to escape anti-Semitic persecution, he withdrew almost entirely from the art market, leaving behind a rare body of work rediscovered late in his life.

### Akira Kito

URL: https://galeriemarcelpoil.com/en/artists/akira-kito/
Years: 1925–1994
Works available: 1

Akira Kito was a major post-war Japanese painter and a unique figure of the Parisian art scene during the 1950s and 1960s. Based in Paris from 1953 to 1970, he developed a personal body of work at the crossroads of Western modern art, the CoBrA movement, and Art Brut. His style is characterized by a singular fusion of delicate, deeply textured backgrounds and the raw power of graphic archetypes borrowed from primitive art.

Born into a long lineage of traditional Japanese artists, he chose to study Western art and moved to France in 1953 to attend the École des Beaux-Arts in Paris under Jean Souverbie, where he was introduced to Cubism.

Between 1955 and 1958, deeply influenced by Paul Klee, Jean Dubuffet, and Karel Appel, he entered a so-called "humorous" or "childish" phase, filled with naive characters painted over meticulously scratched and heavily worked chromatic backdrops.
In the late 1950s, fascinated by frequent visits to the Musée de l'Homme and prehistoric cave art, he steered his painting toward an esoteric and magical universe, crafting compositions of masks, dragons, and talismans with evocative titles such as “Amulette” or “Rêve noir”.

Historically represented by the Parisian gallery Lara Vincy, he returned permanently to Japan in 1970 to pursue his artistic journey. His paintings and lithographs are today preserved in prominent global institutions, including the Centre Pompidou, the Musée d'Art Moderne de Paris, and the National Gallery of Art in Washington.

> "Akira Kito achieved a subtle and powerful synthesis between heterogeneous vocabularies. Whether painting a mask, a Japanese woman, or a dragon, he worked within simple compositions built on deep, scratched, and reworked backgrounds imbued with a mysterious and magical atmosphere.” Galerie Lara Vincy

### Aristide Colotte

URL: https://galeriemarcelpoil.com/en/artists/aristide-colotte/
Years: 1885–1959
Works available: 1

Aristide Colotte (Baccarat, 1885 – Nancy, 1959) was a French sculptor, engraver, and master glassmaker of exceptional technical virtuosity. A pioneer of sculpture on crystal blocks, he transposed the method of "taille directe" (direct carving), traditionally reserved for stone, to the working of raw glass and solid crystal. His unique creations, characterized by massive volumes, deep relief, and striking interplays of shadow and light, count among the most audacious masterpieces of 1930s decorative arts.

Born into a family of glassmakers, he began his career at the prestigious Cristallerie de Baccarat as an apprentice engraver at the age of sixteen. He acquired a perfect mastery of traditional techniques there before moving to Nancy in 1920 to open his own glass engraving and sculpting workshop.

Breaking with traditional glassblowing, Colotte distinguished himself by directly attacking cooled blocks of crystal using grinding wheels, chisels, and burins of his own invention. This unprecedented sculptural approach allowed him to create monumental works, vases, and anthropomorphic pieces of incomparable raw strength.
During the 1930s, his genius was widely celebrated. He received the title of “Meilleur Ouvrier de France” and achieved immense critical success at the 1937 International Exhibition in Paris, where his unique pieces of carved crystal impressed audiences with their modernity and technical power.

His career came to a sudden halt following the Liberation. For having produced prestigious commissioned works under the Vichy regime, notably a crystal sword presented to Marshal Pétain, he was condemned for collaboration, leaving him artistically and socially isolated until his death in 1959.

> "Crystal is a hard, rebellious material, but one of absolute nobility. It must not be blown to give it an ephemeral shape; it must be tamed through direct carving, just as a sculptor attacks marble, to make its inner light spring forth.”

### Atelier d'Accolay

URL: https://galeriemarcelpoil.com/en/artists/atelier-d-accolay/
Founded: founded 1945
Works available: 1

The Atelier d'Accolay refers to a community of ceramicists founded in 1944 in the Yonne region, which became iconic of post-war French pottery. Initiated by André Boutaud and a group of young artists fleeing forced labor during World War II, this collective workshop revolutionized artisanal production through its technical and stylistic inventiveness. Its abundant output, blending chamotte clay, resin inclusions, and famous expressive masks, left a lasting mark on the history of decorative arts with its spirit of freedom and collaboration.

Founded during the depths of World War II by four former students from a Paris ceramics school, the community was born out of a desire to escape forced labor (STO) by gathering in the Burgundian village of Accolay under the leadership of André Boutaud.

The workshop distinguished itself through the use of textured chamotte clay and constant experimentation with new materials. In the 1950s and 1960s, the potters boldly integrated colored resin, glass, and wrought iron into their creations, inventing unique lighting fixtures and decorative objects.

Alongside utilitarian tableware, the workshop gained immense renown for its sculptural pieces, particularly its series of wall masks inspired by primitive or theatrical art, as well as its whimsical stylized animals.

Ideally located along the holiday route to the South of France, the workshop opened permanent open-air stalls along the famous RN6 and RN7 highways. This innovative marketing strategy ensured phenomenal popular success for the community until its definitive closure in the late 1980s.

> "A synthesis of technical research and creative fantasy, each piece by the Potiers d'Accolay reflects the spirit of a free craft, made to beautify everyday life.”

### Donald Deskey

URL: https://galeriemarcelpoil.com/en/artists/donald-deskey/
Years: 1894–1989
Works available: 1

Donald Deskey was a major American industrial and interior designer, and a leading pioneer of Art Deco and Modernism in the United States. Introducing European aesthetics to America after visiting the 1925 Paris Exposition, he helped shape the visual identity of 20th-century America. Famous for his legendary interior design of Radio City Music Hall, he masterfully wedded the demands of mass production with the elegance of new industrial materials.

Trained in architecture and painting, his visit to the 1925 International Exhibition of Decorative Arts in Paris proved to be a revelation. He imported this modern aesthetic to the United States, adapting it to American tastes through sleek, geometric, and asymmetrical furniture.

In 1932, he won the competition to design the interiors of this iconic Manhattan landmark. He deployed a spectacular yet accessible luxury, designing everything from wall coverings and carpets to chairs and lighting fixtures, marking the absolute pinnacle of the ”Streamline Moderne” style.

A true pioneer of industrial design, he introduced novel, affordable materials into high-end furniture, such as chrome tubing, bakelite, aluminum, and “Weldtex” (a textured, striated plywood he patented), thereby actively contributing to the democratization of modern home design.

In the 1940s, he founded a highly influential graphic design and branding firm. He masterminded some of the most iconic visual identities in American consumer culture, including the famous orange-and-yellow bullseye packaging for “Tide “detergent and the original “Crest” toothpaste tube.

> « The industrial designer is a businessman who happens to be an artist. He must think in terms of the mass market. »

### Edgar Brandt

URL: https://galeriemarcelpoil.com/en/artists/edgar-brandt/
Years: 1880–1960
Works available: 1

Edgar Brandt was a French art metalsmith and industrialist, universally regarded as the undisputed master of Art Deco ironwork. Blending traditional craftsmanship with cutting-edge industrial technologies, he revolutionized the working of wrought iron and bronze in the early 20th century. His monumental creations, spanning from the gates of the 1925 Exhibition to the Eternal Flame casing under the Arc de Triomphe, embody the pinnacle of French architectural elegance during the interwar period.

A graduate of the Écoles Nationales d'Arts et Métiers, he opened his Parisian workshop in 1902. Unlike handmade purists, he fully embraced the industrial innovations of his era (such as oxy-acetylene welding and power hammers) to shape metal with unprecedented power and geometric precision.

A true star of the 1925 International Exhibition in Paris, he designed the monumental gates for the “Porte d'Honneur “ and the famous “L'Oasis screen”. His style is characterized by elegant, repetitive stylized motifs: symmetrical scrolls, fans, cascading fountains, and foliage in patinated or gilded wrought iron.

Highly sought after by leading architects, he adorned banks, official palaces, and the legendary ocean liners of the era with his ironwork. His most sacred work remains the 1923 creation of the chased bronze vessel housing the Eternal Flame under the Arc de Triomphe in Paris.

Parallel to his artistic career, Brandt was a top-tier military engineer. He founded the armament branch of his company and designed highly effective infantry mortars and shells (the Brandt mortars), spectacularly demonstrating his absolute mastery of heavy metallurgy.

> "The artist must utilize the means that science has placed at his disposal; to preserve or hold on to the old methods is an absurdity."

### Eileen Gray

URL: https://galeriemarcelpoil.com/en/artists/eileen-gray/
Years: 1878–1976
Works available: 1

Eileen Gray was an Irish artist, furniture designer, and architect, recognized today as one of the major pioneers of the Modern Movement and Art Deco. Initially trained in painting in London, she settled permanently in Paris, where she perfected the traditional art of Japanese lacquer before revolutionizing furniture design with tubular steel creations and clean lines. Her architectural masterpiece, the E-1027 villa built in Roquebrune-Cap-Martin, embodies her unique vision of a humanist and functional modernism, free from the rigid dogmas of her contemporaries.

Trained in London, she settled in Paris in 1902 and mastered Japanese lacquer alongside Seizo Sugawara. Her refined screens and furniture captivated the avant-garde, leading her to open her own Parisian gallery, Jean Désert, in 1922.

Around 1925, influenced by functionalism, she abandoned luxury materials to experiment with industrial elements like glass, cork, and tubular steel. She then created global design icons, such as the “Bibendum” chair and the adjustable “E-1027” table.

Between 1926 and 1929, she designed her first architectural work, the E-1027 villa in Roquebrune-Cap-Martin. This modern manifesto, infused with a unique sensibility, fascinated Le Corbusier, who later painted controversial murals there.

Withdrawing from the public eye after World War II, her work was long overlooked. Fortunately, she was rediscovered in the late 1960s by design historians before passing away in Paris in 1976 at the age of 98.

> "A house is not a machine to live in. It is the shell of man, his extension, his release, his spiritual emanation."

### Émile Didier

URL: https://galeriemarcelpoil.com/en/artists/emile-didier/
Years: 1890–1965
Works available: 1

Emile Didier was a French painter and textile designer who became a central figure in the Lyon art scene during the first half of the 20th century. Working both as a silk craftsman and a painter of dense landscapes with occasional Fauvist tones, he skillfully navigated between tradition, Cubism, and the avant-garde. As a co-founder of the famous Salon du Sud-Est, he left a lasting mark on regional art history through his integrity, honesty, and creative fervor.

Emile Didier studied at the École des Beaux-Arts de Lyon from 1904 to 1910. He followed his calling there by becoming a "dessinandier" (silk factory designer) and specialized as a card cutter for the figured patterns of mechanical looms. Later, after his time with the Ziniar group, he took over the management of a design office entirely dedicated to the silk industry.

While he mainly exhibited landscapes, figures, and still lifes, he was temporarily tempted by Cubism. This turn was inspired by his friend, the architect and painter Louis Thomas (close to Tony Garnier and a follower of the ideas developed by Fernand Léger and Albert Gleizes). Following this experimental phase, Didier returned to painting dense landscapes touched by Fauvism, which he executed in his studio based on simple, light sketches made on-site.

During the Ziniar period, he was actively involved in local cultural life by contributing to the Lyon avant-garde journals « Promenoir et Manomètre », directed by Dr. Emile Malespine between 1922 and 1928. Regarding exhibitions, he presented his works at the Salon d'Automne de Lyon until 1923. He then became one of the founding members of the Salon du Sud-Est, where he exhibited regularly until his death in 1965.

### Emile Jacot

URL: https://galeriemarcelpoil.com/en/artists/emile-jacot/
Years: 1887–1960
Works available: 1

Émile Jacot was a Swiss sculptor, engraver, and educator, who played a key role in the Style Sapin (Pine Style), the Swiss and Jurassian variation of Art Nouveau. A student and later collaborator of master artist Charles L'Eplattenier at the École d'art de La Chaux-de-Fonds, he developed artistically alongside classmates who would become illustrious, including the young Charles-Édouard Jeanneret (Le Corbusier).

### Eugène & Alice Chanal

URL: https://galeriemarcelpoil.com/en/artists/eugene-alice-chanal/
Years: 1872–1951
Works available: 1

Eugène & Alice Chanal were a closely collaborative French husband-and-wife team of dinandiers (metalsmiths) and decorators, representing the refined side of the Art Deco movement. Jointly signing their creations "E.A. Chanal," they distinguished themselves through the artisanal production of hammered metal art objects and tableware accessories. Their style, blending clean geometry with a highly stylized animal and botanical repertoire, perfectly embodies the intimate elegance of the 1920s and 1930s.

Building upon Eugène's training as a sculptor, the couple combined their talents to design and shape every single piece together within their workshop. This complete artistic union is reflected in their unique signature, which was engraved, stamped, or punched underneath their works.

Specializing in small-scale decorative metalwork, they excelled in making boxes, trinket trays, bowls, inkwells, and vases. They favored the meticulous working of cast pewter, brass, and copper, using hammering techniques to achieve surfaces that vibrated in the light.

Their ornamentation is characterized by a sharp sense of stylization. They adorned the lids and sides of their objects with a poetic bestiary (does, fish, birds in flight) and botanical motifs (fruits, foliage) that were simplified and paced by rigorous geometric lines.

Remaining on the fringes of the mass industrial production of the era, the Chanals distributed their works confidentially to a clientele of aesthetics. Their masterly crafted pieces, showcasing exceptional execution, were highly prized for adding the finishing touches to bourgeois interwar interiors.

### Franck Galendo

URL: https://galeriemarcelpoil.com/en/artists/franck-galendo/
Works available: 1

Franck Galendo is a French sculptor, visual artist, and traveling artist based in Saint-Jean-de-Moirans and affiliated with 'l'Académie du Bois Joli'. His work stands out for its process of reappropriation, where he chooses to draw and build directly upon the past and the works of other creators. Passionate about memory and sacred art, he breathes new life into ancient cultural heritages through wood carving.

Franck Galendo uses drawing and the works of the past as a direct support and foundation for his own creations, considering them as "guardian angels" that accompany and encourage him. He primarily expresses himself by engraving on ancient wood, which he covers with coatings and pigments. Defining himself as a witness and a transmitter of history, he maintains an absolute respect for the motifs he reinterprets.

A traveler at heart, he draws his inspiration from sacred art and the work of artist-artisans from distant lands, notably Ethiopia and Rajasthan in India. His sculptures play on reliefs (hollows and raised surfaces) and often take the form of triptychs. They feature a wide variety of representations: "Kufic" calligraphy, Ethiopian crosses, swastikas, Christian saints, angels, and even animals.

In late 2010, his internationally renowned work was showcased during a joint exhibition with Italian artist Bruno Gripari at the Villa des Arts in Voreppe. This event, presented under the title "Présences" or "Dans la clé du secret", invited the public to explore the themes of the imprint, mystery, passing time, and the permanence of things.

### Hans Stoltenberg Lerche

URL: https://galeriemarcelpoil.com/en/artists/hans-stoltenberg-lerche/
Years: 1867–1920
Works available: 1

Hans Stoltenberg Lerche was a Norwegian-born sculptor, ceramicist, and glass designer, standing as a nomadic and unclassifiable figure of the Art Nouveau movement (known as “Stile Liberty” in Italy). Active primarily in France and later in Italy, he distinguished himself through his unique ability to fuse the imagery of his Nordic roots, the plastic freedom of Parisian Symbolism, and the technical virtuosity of Murano master glassmakers.

Born to the Norwegian painter Vincent Stoltenberg Lerche, he grew up in a highly artistic environment before moving to Paris to study sculpture. There, he discovered the work of Jean Carriès, whose approach to materials and glazes left an indelible mark on his artistic vision.

His early stoneware and pottery pieces adopted asymmetrical shapes inspired by nature (shells, marine life) and featured subtle matte or dripping flammé glazes, often inhabited by grotesque or fantastic figures typical of fin-de-siècle Symbolism.

Settling in Italy, he formed a historic collaboration with the famous “Fratelli Toso” glassworks in Murano between 1911 and 1914. He breathed radical new life into Venetian glass by introducing free-form shapes, intensely iridescent surfaces, and complex inclusions of gold leaf, silver, and metallic powders.

Rejecting boundaries between artistic disciplines, Lerche also excelled in creating small bronzes, chased medals, and jewelry. His innovative designs were celebrated at major international exhibitions, notably at the Venice Biennales of 1912 and 1914.

> "Stoltenberg Lerche's contribution to Murano glass lies in this unique alliance between a northern organic sensibility and the magical ductility of the Italian medium, transforming the vessel into a vibrant sculpture." Historical study on the revival of Venetian glass in the early 20th century (Stile Liberty Chronicles).

### Ivan Meštrović

URL: https://galeriemarcelpoil.com/en/artists/ivan-mestrovic/
Years: 1883–1962
Works available: 1

Ivan Meštrović was a world-renowned Croatian sculptor, architect, and writer, widely regarded as one of the most influential artists of the 20th century. He was the first living person to be honored with a solo exhibition at the Metropolitan Museum of Art in New York. Heavily influenced by classical antiquity, the Vienna Secession, and religious themes, Meštrović combined raw emotional power with monumental scale.

Born in Vrpolje (present-day Croatia) to a modest peasant family, Meštrović spent his childhood herding sheep in the Dalmatian village of Otavice. It was there that he began carving wood and stone, revealing a precocious talent. At the age of 16, he became an apprentice to a stonemason in Split. Thanks to a patron, he later moved to Austria to study at the prestigious Academy of Fine Arts in Vienna.

In Vienna, he drew close to the Secession movement. His international triumph came at the 1911 Rome International Exhibition, where his monumental works won first prize. He then moved to Paris, immersed himself in the city's artistic effervescence, befriended Rodin, and developed a style combining the strength of classicism with epic nationalism.

During World War I, Meštrović lived in exile and engaged politically for the creation of a unified Yugoslav state. Upon returning to his homeland, he was appointed rector of the Academy of Fine Arts in Zagreb. World War II marked a dark turning point: arrested and imprisoned by the fascist Ustaše regime because of his pro-Western stance, he was released thanks to the intervention of the Vatican and fled to Switzerland.

In 1946, Meštrović emigrated to the United States. There, he pursued a brilliant academic career, teaching fine arts at Syracuse University and later at the University of Notre Dame (Indiana). In 1954, President Dwight D. Eisenhower personally granted him American citizenship. Meštrović passed away in 1962 in South Bend. Before his death, he donated his properties and more than 400 sculptures to Croatia.

> « The only way to be an artist is to work »

### Jean Lambert-Rucki

URL: https://galeriemarcelpoil.com/en/artists/jean-lambert-rucki/
Years: 1888–1967
Works available: 1

Jean Lambert-Rucki was a Polish-born painter, sculptor, and decorator, who became a naturalized French citizen and a major figure of the Montparnasse avant-garde and Art Deco. His highly original body of work merged Cubist deconstruction, Surrealism, and African tribal art. Renowned for his stylized, elongated, and humorous human and animal figures, he was the secret collaborator of master lacquerer Jean Dunand and a founding member of the “Union des Artistes Modernes” (UAM), leaving a lasting mark on 20th-century decorative and sacred arts.

After studying at the Academy of Fine Arts in Krakow, he arrived in Paris in 1911 and immediately immersed himself in the bohemian scene of Montparnasse. He briefly shared a destitute studio with Amedeo Modigliani, befriended Chaim Soutine, and exhibited at the famous “Salon de la Section d'Or”. His early paintings and sculptures integrated the lessons of emerging Cubism.

In the 1920s, his meeting with Jean Dunand sealed one of the most fruitful collaborations of the Art Deco era. Lambert-Rucki, a tireless creator of forms, worked in the shadows to design the drawings, geometric motifs, screen reliefs, and sculpture models that Dunand executed in lacquer or metalwork. This partnership gave birth to absolute masterpieces of the period.

Fascinated by African and Oceanic arts discovered in Parisian museums, Lambert-Rucki developed a unique sculptural style. He created slender characters, masks in high relief, and animals (monkeys, birds, dogs) with pure geometric lines. His works played on a striking contrast between rigorous volumes and a very modern, poetic irony.

In 1929, he broke with traditionalism by becoming one of the early members of the UAM alongside Robert Mallet-Stevens and René Herbst. From the 1930s onward, he put his sleek aesthetic at the service of the Church. He revolutionized religious art by creating crucifixes, statues of saints, and monumental Stations of the Cross in cement or bronze (notably for the Church of the Holy Spirit in Paris), a mystical and artistic quest that occupied him until his death in 1967.

### Jean Luce

URL: https://galeriemarcelpoil.com/en/artists/jean-luce/
Years: 1895–1964
Works available: 1

Jean Luce was a prominent French ceramicist, glassmaker, and tableware designer, who played a defining role in the modernization of 20th-century applied arts. Trained in his father's workshop, he developed a sleek and linear style that aligned perfectly with the avant-garde movements of Art Deco and Modernism. Renowned for his rationalist approach that married form with decoration, he left a lasting mark on design history by creating iconic pieces, most notably for the legendary ocean liner “Normandie”.

Introduced to the intricacies of porcelain and glass at a very young age in his father's Parisian shop, he exhibited his first works at just seventeen before designing elegant geometric patterns enhanced with gold and platinum for Haviland in Limoges during the 1920s.

From 1926 onward, breaking away from the traditional floral repertoire, he turned toward a geometric abstraction influenced by Cubism. He innovated historically by becoming one of the first designers to utilize the industrial technique of sandblasting and deep acid-etching to carve bold patterns directly into thick glass.

He opened his own studio in 1931 to design fully harmonized table services where glass shapes perfectly echoed the porcelain. The climax of his career came in 1935 when he was commissioned to design the official thick white porcelain tableware for the first-class dining room of the legendary ocean liner “Normandie”.

A frequent collaborator with avant-garde figures like Charlotte Perriand and Jean Puiforcat, he became a member of the Union des Artistes Modernes (UAM) in 1937. Highly respected within institutions, he shared his functional philosophy by teaching at the École des Arts Appliqués and serving as a technical advisor to the Manufacture Nationale de Sèvres.

### Jean Perzel

URL: https://galeriemarcelpoil.com/en/artists/jean-perzel/
Years: 1892–1986
Works available: 1

Jean Perzel was a Bavarian-born French master glassmaker and lighting designer, widely regarded as the great pioneer of modern illumination. Founder of his eponymous workshop in 1923, he radically transformed the decorative arts by engineering fixtures specifically tailored to the advancements of electricity. His sleek style, combining the geometric rigor of Art Deco with the nobility of bronze and optical or opal glass, captivated the global elite and illuminated the most prestigious spaces of the 20th century.

Born into a lineage of glassmakers, he completed a rigorous training in Munich, graduating top of his class at just sixteen before embarking on a walking tour of Europe that eventually brought him to settle in Paris in 1910.

Having volunteered for the French Foreign Legion during World War I, he was naturalized in 1919 and established his company in 1923, focusing immediately on the scientific integration of light into modern architecture.

Breaking away from traditional fixtures, he innovated by using thick glass slabs, Fresnel lenses, and ingenious pivoting metal shields. His ultimate goal was to conceal the harshness of the bare light source while projecting and amplifying its rays into a soft, indirect glow.

His international renown led him to create bespoke lighting for the ocean liner “Normandie”, the League of Nations Palace in Geneva, and private residences for prominent figures including Henry Ford, the Rothschild family, the King of Morocco, and French Presidents Charles de Gaulle and Georges Pompidou.

> « I designed my first lamps in the manner of old church stained-glass windows. »

### Jean-Michel Frank

URL: https://galeriemarcelpoil.com/en/artists/jean-michel-frank/
Years: 1895–1941
Works available: 1

Jean-Michel Frank was a brilliant French interior designer and decorator, and a legendary pioneer of minimalism and Art Deco. Famous for his aesthetic of absolute understatement, he revolutionized high-society interiors during the interwar period by inventing "luxury through emptiness." His timeless body of work, characterized by ultra-sleek lines and a constant dialogue with avant-garde artists, continues to profoundly influence contemporary design.

Born into a wealthy bourgeois family, he emerged in the 1920s as the most exclusive and sought-after decorator in Paris, championing uncluttered spaces that stood in stark contrast to the era's traditional opulence.

He elevated entire interiors by introducing avant-garde wall coverings and furniture clad in unexpected or highly tactile materials, such as straw marquetry, parchment, shagreen, gypsum, and limed oak, all treated with monastic simplicity.

To accessorize his spaces, he surrounded himself with the greatest creators of his time, forming a historic partnership with sculptor Alberto Giacometti, who designed bronze lamps and objects for him, as well as Salvador Dalí and Christian Bérard.

Threatened by the Nazi occupation due to his Jewish heritage, he fled France in 1940, relocating to Argentina and later New York. Exhausted and plagued by severe depression, he tragically ended his life in 1941, leaving behind a rare and mythical legacy.

> "One can furnish a room with infinite luxury by stripping it bare.”

### Léon Brunard

URL: https://galeriemarcelpoil.com/en/artists/leon-brunard/
Years: 1872–1931
Works available: 1

Léon Brunard was a French ceramicist, painter, and “dinandier” (metalsmith), and a singular figure of the Lyon School at the turn of the 20th century. Known both for his paintings exhibited at the Salon de Lyon and for his decorative art creations in enameled ceramics and metalwork, he navigated seamlessly from Art Nouveau to the more streamlined lines of Art Deco. His works, characterized by stylized floral or geometric patterns with thick enamels, are prominently featured today in the collections of the Musée des Beaux-Arts in Lyon.

Born in Bourg-en-Bresse, Léon Brunard spent most of his career in the Lyon region, fully immersing himself in the artistic ferment of the Lyon School of his time. He developed a demanding, multidisciplinary practice there, refusing to be confined to a single technique. 

Before making a name for himself in the "arts of fire" (ceramics and enamels), he was first a recognized painter. He notably exhibited at the Salon de Lyon, presenting highly regarded oil paintings, including large, intimate portraits demonstrating strong psychological acuity.

It was in the decorative arts, however, that he left his finest mark. He created vases in both ceramic and “dinanderie” (hammered metalwork), covering them with thick polychrome enamels. His style evolved organically, transitioning from the traditional floral motifs of Art Nouveau (sunflowers, foliage) to purely Art Deco blue and beige geometric patterns in the 1920s

A discreet artist with a meticulous output, he passed away in Caluire in 1931. While his fame remained largely regional over the decades, the high technical quality of his work earned him significant institutional recognition: several of his ceramics and enameled vases were acquired by the State and the Musée des Beaux-Arts in Lyon.

### Madeleine Sougez

URL: https://galeriemarcelpoil.com/en/artists/madeleine-sougez/
Years: 1891–1945
Works available: 1

Madeleine Sougez was a French artist, designer, ceramicist, and sculptor active during the Art Deco period. She left a significant mark on the decorative arts landscape of the interwar period.

Madeleine Sougez is primarily famous for leading a major section of Atelier Primavera, the art studio of the “Au Printemps” department store in Paris. This studio played a key role in popularizing modern and accessible furniture and art objects.

She was married to Emmanuel Sougez (1889–1972), a major figure in French photography. In fact, the latter began his career as the official photographer for Atelier Primavera and the “Artistes Décorateurs”.

She designed numerous vases, lidded pots, and anthropomorphic or mythological jars, often in collaboration with the C.A.B. (Céramique d’art de Bordeaux) for Primavera. Her pieces featured polychrome glazed earthenware or painted terracotta.
She is also credited with earthenware figurines and statuettes depicting poetic or animal figures, as well as wrought-iron pieces.

Between 1925 and 1935, she distinguished herself by creating designer toys made of carved and brightly painted wood (puppets, circus horses, ballet dancers, and even toys inspired by New York skyscrapers).

### Maison Daum Nancy

URL: https://galeriemarcelpoil.com/en/artists/maison-daum-nancy/
Founded: founded 1878
Works available: 1

Maison Daum, founded in 1878 by Jean Daum, is a world-renowned French crystal and art glass manufacturer that served as a leading spearhead of the École de Nancy. Propelled to artistic heights by the brothers Auguste and Antonin Daum, it established itself as the great rival to Émile Gallé during the golden age of Art Nouveau. Renowned for its acid-etched cameo vases and its historical mastery of the “pâte de verre” (glass paste) technique, the firm successfully navigated changing eras by brilliantly adapting to Art Deco and contemporary artistic collaborations.

Taken over by brothers Auguste and Antonin Daum, the manufacture actively participated in founding the École de Nancy in 1901. It distinguished itself through naturalistic, multi-layered glass pieces, etched with acid or carved on a wheel, capturing the poetry of Lorraine's landscapes and flora.

 At the turn of the 20th century, Daum revived and perfected the ancient technique of “pâte de verre” by partnering with craftsman and sculptor Almaric Walter. This unique sculptural process, yielding dense materials with fused, gemstone-like colors, became the eternal signature of the house.

Unlike other workshops of its time, Daum achieved a spectacular transition toward modernism in the 1920s under the leadership of Paul Daum. The company abandoned botanical themes for sleek geometric forms, using thick, translucent glass deeply engraved with sandblasting or acid.

Following World War II, the crystal works innovated with pâte de cristal and opened its studios to the greatest artists of the century. Masters like Salvador Dalí, Jean Cocteau, César, and Roland Topor sculpted their works there, permanently embedding Daum in the history of modern art.

> "Glass is the most docile and mysterious material; it lends itself to all metamorphoses to trap light and color.”

### Maison Dominique

URL: https://galeriemarcelpoil.com/en/artists/maison-dominique/
Founded: founded 1922
Works available: 1

Maison Dominique was a prestigious French interior design and cabinetry firm founded in Paris in 1922 by the complementary duo André Domin and Marcel Genevrière. A prominent figure of the Art Deco movement, it became renowned for its exceptional furniture characterized by a simple elegance, rigorous geometric lines, and early Cubist influences. By prioritizing precious wood species combined with discreet hammered or nickel-plated metal details, the firm embodied a muted luxury highly favored by interwar high society.

The firm was born from the unique partnership between André Domin, a self-taught designer, and Marcel Genevrière, a prominent journalist. Together, they conceived unique pieces, meticulously drafting full-scale designs that were scrupulously executed by highly skilled craftsmen.

From its debut at the Parisian Salons, the firm captivated an elite clientele, including silversmith Jean Puiforcat and the perfume house Houbigant. In 1926, Dominique joined forces with Pierre Chareau, Pierre Legrain, Jean Puiforcat, and Raymond Templier to form the legendary "Groupe des Cinq," uniting the vanguards of decorative modernism.

Furniture signed by Dominique is distinguished by the use of noble woods (Macassar ebony, rosewood, amaranth, sycamore) enhanced by subtle inlays of copper, tortoiseshell, parchment, or light bronze trims. Geometric volumes were counterbalanced by soft curves and the integration of fine fabrics designed by artists like Raoul Dufy or Hélène Henry.

During the 1930s, the house reached its artistic peak through collaborations with the Compagnie Générale Transatlantique. Most notably, they were commissioned to decorate one of the four grand luxury apartments aboard the legendary ocean liner “Normandie”, before the firm eventually closed its doors in 1970 under the direction of the founder's son, Alain Domin.

> "Every useful object can be treated with beauty.”

### Manolo

URL: https://galeriemarcelpoil.com/en/artists/manolo/
Years: 1872–1945
Works available: 1

Manolo (born Manuel Martínez Hugué) was a major Spanish (Catalan) sculptor, painter, and poet of the School of Paris. A colorful figure of Montmartre's bohemian circle and a close friend of Pablo Picasso, he developed a sensuous figurative sculpture that merged Mediterranean classical tradition (”Noucentisme”) with the simplified volumes of modern art.

Trained at Barcelona's Llotja Academy, he moved to Paris in 1900. He immersed himself in artistic life at the Bateau-Lavoir, forming lifelong friendships with Picasso, Guillaume Apollinaire, and Max Jacob while initially designing jewelry to make a living.
In 1910, he settled in Céret in the French Pyrenees, drawing his artist friends there and turning the small town into a major hub of the avant-garde. His talent was championed by renowned art dealer Daniel-Henry Kahnweiler, who signed an exclusive contract with him. 
Despite his intimacy with the Cubist movement, Manolo rejected rigid geometric abstraction. He favored a robust, tactile, and poetic figuration, sculpting female torsos, bullfighters, and Catalan peasants steeped in Mediterranean heritage and Romanesque sculpture.
Afflicted with severe polyarthritis that hindered heavy physical carving in stone, he retired to Caldes de Montbui in 1928. He continued creating small-scale bronze models, gouaches, and poetry until his death, leaving a body of work celebrated in major international museums.

> « Sculpture is not an idea printed on stone; it is the stone itself that must become alive. »

### Marc Du Plantier

URL: https://galeriemarcelpoil.com/en/artists/marc-du-plantier/
Years: 1901–1975
Works available: 1

Marc Du Plantier was a brilliant French interior designer, decorator, and painter, and a master of neoclassical modernism. Famous for his highly theatrical and ultra-luxurious interiors, he successfully married classical antique proportions with the sleek lines of mid-20th-century avant-garde design. His timeless style, embraced by international high society from Madrid to Los Angeles, embodies a rare, erudite decorative elegance.

Following studies in architecture at the Beaux-Arts in Paris and painting at the Académie Julian, he opened his firm in 1928, immediately introducing a unique style that streamlined classical frameworks while integrating subtle Surrealist undertones.
Based in Madrid from 1939 to 1949, he achieved monumental success by decorating the most lavish palaces for the Spanish aristocracy, infusing them with a grand opulence inherited from tradition but tailored to modern comfort.

In the 1950s, he temporarily relocated to Los Angeles, captivating the Hollywood elite with his signature Parisian chic, before returning to Paris to design residences for top diplomats, fashion designers, and industrial tycoons.

His highly sculptural furniture pieces favored noble, matte, or light-reflecting materials such as gilded bronze, patinated wrought iron, stucco, parchment, and marble, conceived as integral architectural elements of the space.

> "The harmony of an interior does not depend on the accumulation of precious objects, but on the purity of the lines and the correctness of the proportions that create a timeless space.”

### Marc Quinn

URL: https://galeriemarcelpoil.com/en/artists/marc-quinn/
Years: born 1964
Works available: 1

Marc Quinn is a major British contemporary sculptor and a leading figure of the “Young British Artists” generation. Globally renowned for his frozen-blood bust “Self,” he uses organic or precious materials to explore themes of mortality and the human condition. His work challenges traditional codes by confronting classical art history with contemporary bioethical questions.

He achieved international fame in 1991 with a self-portrait made from his own frozen blood, a piece he remakes every five years to document his aging process.

In 2005, he installed the white marble sculpture “Alison Lapper Pregnant”  in Trafalgar Square, subverting classical aesthetic standards to celebrate an alternative form of heroism.
Fascinated by science, he integrates human DNA into his portraits or freezes tropical flowers in silicone to question our relationship with the manipulation of nature.

In 2008, he created “Siren”, a solid gold statue of Kate Moss, transforming the fashion icon into a modern deity to question our worship of artificial perfection.

> "To me, art is about asking what it means to be a human being living in the world today. It’s about taking the outside world and trying to make sense of it through your own mind.”

### Marcel Coard

URL: https://galeriemarcelpoil.com/en/artists/marcel-coard/
Years: 1889–1974
Works available: 1

Marcel Coard was a French architect, decorator, and furniture designer, standing as a highly exclusive and singular figure of the Art Deco movement. Primarily known for his exceptionally bold work for the grand couturier and patron Jacques Doucet, he developed a unique style on the borderline of Cubism and tribal arts. Remaining on the fringes of major official salons and mass production, his sculptural furniture stands out for its rigorous architectural frameworks and highly rare, precious materials.

Trained in architecture at the École Nationale Supérieure des Beaux-Arts in Paris, he applied the rigor of this discipline to furniture design before opening his own gallery on Rue de Berri on the eve of World War I.

In the early 1920s, his meeting with the collector Jacques Doucet proved decisive; Coard became one of the key designers for Doucet's legendary Neuilly studio, creating iconic furniture pieces crafted to dialogue with masterpieces by Picasso, Braque, or Henri Rousseau.

Emancipating himself from the floral lines or traditional classicism of his era, he integrated massive forms and rhythmic geometric patterns directly inspired by African and Oceanic arts, which were then being rediscovered by the Parisian avant-garde.

A true jeweler of furniture, he elevated his creations with bold veneering and cladding using exotic or novel materials such as shagreen (galuchat), parchment, Macassar ebony, mother-of-pearl, and even faceted mirror inlays.

> "Marcel Coard never bowed to the demands of mass production. Each of his furniture pieces, conceived as a miniature piece of architecture, is a total work of art where the rarity of materials matches the rigor of the line." Historical analysis of Art Deco designers and collaborators of Jacques Doucet's studio (”L'Estampille / L'Objet d'Art”).

### Mateo Hernandez

URL: https://galeriemarcelpoil.com/en/artists/mateo-hernandez/
Years: 1885–1949
Works available: 1

Mateo Hernández was an internationally renowned Spanish sculptor who spent the majority of his career in France. Recognized as one of the greatest masters of "taille directe" (direct carving) of the 20th century, he particularly distinguished himself in animalier sculpture. By carving without preliminary models into the hardest rocks like granite or diorite, his powerful and streamlined work deeply marked the Art Deco period.

Born into a family of stonemasons and builders in Spain, he developed a physical connection with stone from a very early age. He moved to Paris in 1906, later permanently setting up his studio in Meudon, where he worked until the end of his life.

Rejecting traditional clay modeling and pointing machines, he sculpted the stone block directly with his chisels. He deliberately chose the hardest and most demanding materials, such as granite, basalt, porphyry, and black diorite.

A meticulous observer, he spent countless hours at the Jardin des Plantes in Paris, sculpting animals from life (panthers, bears, macaques, birds). His works, with their smooth and massive volumes, captured the anatomy, energy, and truth of his subjects with striking force.

Highly admired by his peers, he exhibited regularly at the Salon d'Automne and achieved widespread acclaim by winning the Grand Prix for sculpture at the 1925 International Exhibition of Decorative Arts in Paris, sealing his place in the history of modern sculpture.

> " I work as if I were never to die. "

### Maurice Daurat

URL: https://galeriemarcelpoil.com/en/artists/maurice-daurat/
Years: 1880–1969
Works available: 1

Maurice Daurat was a major French silversmith, “dinandier” (metalsmith), and sculptor of the Art Deco period. Trained at the École Germain Pilon, he established himself as one of the greatest metal masters of his era, elevating pewter, a material then largely despised, to an elite art form. His highly sober style, blending the power of sculpture with clean geometric lines, embodies the uncompromising modernism of the interwar years.

After experimenting with bronze, copper, and silver, he turned permanently to pewter in 1906. He selected this metal for its muted, twilight-like luster, designing simple forms that broke radically from the highly ornate or floral designs of the early century.

Following his service in World War I, he resumed his studio work, further streamlining his creations. His geometric rigor achieved immense success at the 1925 International Exhibition in Paris, where winning a Grand Prix solidified his global renown.

Rejecting industrial casting and chasing, Daurat favored hammer-raising and assembling his forms directly by hand from a thick metal sheet. This rigorous craftsmanship granted his vases, bowls, and platters a unique sculptural vibration and texture.

His genius also expressed itself on a colossal scale. He designed ceremonial vases for the legendary ocean liner “Normandie“  in 1935, and later created a monumental light-fixture vase standing over 3 meters tall for the Palais de Tokyo rotunda during the 1937 Exhibition.

> "Maurice Daurat is as much a sculptor as a silversmith: he creates hammer-raised forms, entirely worked by hand, and looks back to the ancient tradition of pewter potters.”

### Max Pelletier

URL: https://galeriemarcelpoil.com/en/artists/max-pelletier/
Years: born 1934
Works available: 1

### Paul Bonifas

URL: https://galeriemarcelpoil.com/en/artists/paul-bonifas/
Years: 1893–1967
Works available: 1

Paul Bonifas was a Swiss ceramicist, theorist, and educator, and a major figure in 20th-century modern ceramics. Closely aligned with the Purist theories championed by Le Corbusier and Amédée Ozenfant, he infused his earthenware creations with geometric rigor and a great purity of line. His career, divided between Switzerland, France, and the United States, deeply influenced the evolution of art pottery toward a streamlined, modern aesthetic.

Born into an artistic family in Geneva, he trained in decorative arts before developing a passionate interest in clay. In the early 1920s, he contributed to the famous avant-garde journal “L'Esprit Nouveau”, sharing with Le Corbusier a vision of everyday objects stripped of all superfluous ornamentation.

In 1922, he founded his own workshop in Ferney-Voltaire, France, right on the Swiss border. There, he produced utilitarian and decorative pieces of great sobriety, characterized by quasi-architectural forms and perfectly regular thrown or cast pieces.

Bonifas conducted scientific research into the composition of clays and glazes, becoming famous for his deep blacks, matte textures, and satin finishes. His works, which married formal rigor with a tactile sensuality, enjoyed great success at major international exhibitions during the 1920s and 1930s.

Marked by the upheavals of World War II, he emigrated to the United States in 1945. He was then invited to head the ceramics department at the University of Washington in Seattle, where he taught his technical expertise and modern philosophy to a whole generation of American ceramicists until his retirement in 1959.

### Pierre Bonnard

URL: https://galeriemarcelpoil.com/en/artists/pierre-bonnard/
Years: 1867–1947
Works available: 1

Pierre Bonnard was a French painter, printmaker, and sculptor, and a founding member of the post-Impressionist group Les Nabis. Renowned for his bold use of color and luminous domestic scenes, he stands as one of the primary figures of Intimism. His unique body of work transcends the pure observation of nature, transforming everyday moments into vibrant, poetic, and sensory experiences.

In the late 1880s, he co-founded the Nabis group alongside Édouard Vuillard and Maurice Denis, standing out for a style heavily influenced by Japanese woodblock prints that earned him the nickname "Le Nabi très japonard."

He placed the domestic setting at the heart of his art, tirelessly immortalizing his wife, model, and muse, Marthe de Méligny, in scenes of dressing, bathing, and interiors characterized by a suspended atmosphere.

Unlike the Impressionists, Bonnard rarely painted directly from nature; he worked in the isolation of his studio using drawings and his memory, prioritizing emotional color over the strict accuracy of reality.

Settling permanently in the South of France from the 1920s onward, his late canvases flared with incandescent light and verged on abstraction, solidifying his absolute independence from movements like Cubism or Surrealism.

> “It is not a matter of painting life, but of giving life to painting.”

### Pierre-Émile Legrain

URL: https://galeriemarcelpoil.com/en/artists/pierre-emile-legrain/
Years: 1889–1929
Works available: 1

Pierre-Émile Legrain was a brilliant French master bookbinder, cabinetmaker, and interior designer who stood as a revolutionary figure of the Art Deco movement. A protégé of the legendary fashion designer and collector Jacques Doucet, he reinvented modern bookbinding by introducing dynamic geometry and bold materials. His body of work, bridging African tribal art influences and avant-garde painting, makes him one of the most innovative creators of the 1920s.

Trained at the École Germain Pilon, he began his career as a magazine illustrator before a pivotal 1917 encounter with patron and couturier Jacques Doucet, who commissioned him to design custom bookbindings for his modern art library. 
Breaking away from traditional floral motifs and classical gilding, Legrain applied Cubist painting principles and abstract geometry to book covers. He innovated by incorporating shagreen, pewter, mother-of-pearl, and exotic leathers to construct tactile, architectural bindings.
For Doucet’s studio in Neuilly, he designed legendary furniture pieces, most notably sculptural chairs inspired by African royal stools, masterfully blending tribal aesthetics with European luxury.
Co-founding the "Groupe des Cinq" in 1926 alongside Pierre Chareau, Jean Puiforcat, Raymond Templier, and Maison Dominique, he embodied the forefront of French modern design until his tragic and sudden death in 1929 at just forty years old.

> "A bookbinding must no longer be an anonymous garment, but a visual and poetic interpretation of the spirit of the book it protects.”

### Charlotte Perriand

URL: https://galeriemarcelpoil.com/en/artists/charlotte-perriand/
Years: 1903–1999
Works available: 0

Charlotte Perriand was a brilliant French architect and designer, and a leading pioneer of 20th-century modernism and interior design. Bringing a deeply human touch to functionalism, she left a lasting mark on design history through her iconic tubular steel creations with Le Corbusier, before evolving toward an organic minimalism inspired by Japan. Her unwavering social commitment redefined "the art of dwelling" by placing individual well-being at the absolute center of modern space.

Famously rejected in 1927 by Le Corbusier with the snub, "We don't embroider cushions here," she won him over that same year with her “Bar sous le toit” (Bar under the Roof) at the Salon d'Automne. She joined his atelier, co-signing the most famous furniture pieces of modern times, including the mythical LC4 chaise longue and the LC2 armchair.

Invited in 1940 as an industrial design advisor to the Japanese government, her stay in Asia fundamentally altered her practice. She abandoned industrial metal in favor of natural materials like bamboo, straw, and wood, achieving a masterly fusion of Eastern tradition and Western rationalism.

As a co-founder of the “Union des Artistes Modernes” (UAM) in 1929, she rejected ostentatious luxury to design modular, functional, and affordable furniture for the masses, introducing revolutionary prefabricated kitchen units and university student housing.

Beginning in the late 1960s, she dedicated her urban planning genius to masterminding the Les Arcs ski resort in the French Alps. She designed low-profile architecture integrated into the mountain slopes alongside thousands of modular apartments, condensing her entire philosophy of space and collective living into a single project.

> "The extension of the art of dwelling is the art of living."

## Works available

### Cabinet with four pigeon holes

URL: https://galeriemarcelpoil.com/en/works/cabinet-with-four-pigeon-holes-andre-sornay-c1926/
Artist: André Sornay
Year: c. 1926
Type: Storage furniture
Materials: Walnut, Macassar ebony
Dimensions: H. 151 cm x L. 50 cm x P. 33 cm / H. 59.4 in × L. 19.7 in × D. 13.0 in

Column cabinet in solid walnut. Its upper portion incorporates four open pigeon holes. The lower section is enclosed by a solid door in Macassar ebony. The entire structure rests on a solid walnut base. Unique piece. Ref. « signé sornay. » p.224. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Pair of armchairs in walnut

URL: https://galeriemarcelpoil.com/en/works/pair-of-armchairs-in-walnut-andre-sornay-c1927/
Artist: André Sornay
Year: c. 1927
Type: Seating
Materials: Walnut, Fabric
Dimensions: H. 85 cm x L. 70 cm x P. 70 cm / H. 33.5 in × L. 27.6 in × D. 27.6 in

Walnut armchairs with geometric lines, notably characterized by solid wood sides with angular cuts. Their high and slightly inclined backrest fits dynamically into this imposing cubic structure. The deep seat, backrest, and armrest upholstery are covered in a textured light fabric. Ref. « signé sornay. » p.345. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Pair of ashtrays

URL: https://galeriemarcelpoil.com/en/works/pair-of-ashtrays-andre-sornay-c1930/
Artist: André Sornay
Year: c. 1930
Type: Miscellaneous
Materials: Walnut, Brass
Dimensions: H. 57 cm x L. 19,5 cm x P. 19,5 cm / H. 22.4 in × L. 7.7 in × D. 7.7 in

Pair of pedestal ashtrays in solid walnut with hollowed-out faces. Its upper part accommodates a removable brass receptacle integrated into the center of a square top. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Untitled

URL: https://galeriemarcelpoil.com/en/works/untitled-armand-avril-2007/
Artist: Armand Avril
Year: 2007
Type: Paintings
Materials: bois
Dimensions: H. 148 cm x L. 51 cm / H. 58.3 in × L. 20.1 in

A vertical mixed-media assembly on a wooden panel. The piece features a stylized anthropomorphic central figure carved in relief from white-painted wood, topped with a fish motif and an orange celestial disc. The background consists of a dense mosaic of small raw and painted wooden elements, framed by four purple vertical rectangles flanking the main figure. Several miniature faces are integrated around the central character. Signed and dated on the reverse.

Provenance: Private collection, Lyon, France

### Dining table

URL: https://galeriemarcelpoil.com/en/works/dining-table-andre-sornay-c1940/
Artist: André Sornay
Year: c. 1940
Type: Tables / Desks / Consoles
Materials: Beech, Zebrawood
Dimensions: H. 75 cm x L. 123 cm (and 163cm) x P. 79 cm / H. 29.5 in × L. 48.4 in (64.2 in) × D. 31.1 in

Rectangular dining table featuring a zebrano veneered top with a distinctively figured grain pattern. The underlying framework and its four rectangular corner legs are crafted from solid beechwood. For added versatility, the main tabletop slides outward at both ends to reveal two integrated lateral pull-out extensions.

### Spherical dinanderie vase with scroll frieze decoration

URL: https://galeriemarcelpoil.com/en/works/spherical-dinanderie-vase-with-scroll-frieze-decoration-claudius-linossier-1943/
Artist: Claudius Linossier
Year: 1943
Type: Dinanderie
Materials: Dinanderie
Dimensions: H. 17.5 cm x Ø 19 cm / H. 6.9 in × Ø 7.5 in

A spherical dinanderie ball vase featuring a small circular opening. The center of the body is encircled by a wide, horizontal brick-red band, delicately inlaid with a continuous pattern of silver-toned scrolling volutes. The upper and lower sections of the vessel display a beautifully nuanced patina with warm golden, ochre, and amber undertones. igned and dated "CL-LINOSSIER 1943”.

Provenance: Private collection, Lyon, France

### Rare pair of large pewter candlesticks

URL: https://galeriemarcelpoil.com/en/works/rare-pair-of-large-pewter-candlesticks-maurice-daurat-c1925/
Artist: Maurice Daurat
Year: c. 1925
Type: Miscellaneous
Materials: Pewter
Dimensions: H. 22 cm x L. 32 cm x P. 10 cm / H. 8.7 in × L. 12.6 in × D. 3.9 in

A rare pair of large two-light patinated and hammered pewter candlesticks, exemplifying Maurice Daurat's clean, geometric Art Deco aesthetic. Each piece is built upon a rectangular, stepped molded base supporting a U-shaped curved double branch. The two cylindrical candle nozzles at the ends feature a distinct faceted, star-shaped profile. Signed and monogrammed "M. Daurat" underneath and on the base.

### Trapezoid cupboard

URL: https://galeriemarcelpoil.com/en/works/trapezoid-cupboard-andre-sornay-c1928/
Artist: André Sornay
Year: c. 1928
Type: Storage furniture
Materials: Rosewood
Dimensions: H. 71 cm x L. 75 cm x P. 43 cm / H. 28.0 in × L. 29.5 in × D. 16.9 in

Trapezoidal cupboard in rosewood veneer. Its open front features two levels of shelves. It incorporates a set of four drawers distributed across its lateral sides. The entire structure rests on four tapered and angular legs. Unique piece. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Spherical vase with diamond motifs

URL: https://galeriemarcelpoil.com/en/works/spherical-vase-with-diamond-motifs-claudius-linossier-c1927/
Artist: Claudius Linossier
Year: c. 1927
Type: Dinanderie
Materials: Dinanderie
Dimensions: H. 22.5 cm x Ø 23 cm / H. 8.85 in × Ø 9 in

Spherical shaped dinanderie vase. The central part is decorated with a geometric pattern consisting of large dark triangular points contrasting against a finely speckled gray and brown patinated body. The neck is highlighted by a delicate frieze of small silver-toned diamonds. All of the designs and nuances are achieved through the dinanderie technique, made from sheet metal. Signed « CL.Linossier ».

### The Ballets Russes

URL: https://galeriemarcelpoil.com/en/works/the-ballets-russes-pierre-bonnard-1914/
Artist: Pierre Bonnard
Year: 1914
Type: Paintings
Materials: Pastel
Dimensions: H. 152 cm x L. 112 cm / H. 59.8 in × L. 44.1 in

Final preparatory drawing for the poster of the ballet "The Legend of Joseph" (La légende de Joseph). Already famous for his posters for La Revue Blanche, Pierre Bonnard was approached in 1914 by Sergei Diaghilev's prestigious Ballets Russes company. The objective was to design the promotional poster for their new creation, The Legend of Joseph, presented at the Paris Opéra (Palais Garnier) on May 14, 1914. This ballet brought together an exceptional avant-garde cast: Richard Strauss for the music, Michel Fokine for the choreography, Léon Bakst for the costumes, and José-Maria Sert for the set designs. It was the muse Misia Sert who suggested bringing Bonnard into the project. The work depicts a full-frontal view of the very young dancer Léonide Massine (then 19 years old) in the title role, dressed in a short goatskin tunic. Bonnard masterfully captures the dancer's anatomical power and Byzantine grace, a composition immediately praised at the time by critic Félix Fénéon. Pastel and charcoal on paper mounted on canvas. Signature stamp lower right. Certificate of authenticity from Guy-Patrice Dauberville and Michel Dauberville. Certificate of authenticity from Antoine Terrasse. Exhibitions: • “Pierre Bonnard, Radiant Color”, Musée national des Beaux-Arts du Québec, Canada, October 6 – January 15, 2017. • “Pierre Bonnard”, Museum of Fine Arts, Sompo, Japan, Seiji Togo, Japan, 2004, April 29–June 30, no. 70, p. 161. • “Pierre Bonnard”, Musée de L’Annonciade, Saint-Tropez, 1998, July 4–October 5, p. 103. • “The Great Masters and the Dance”, Casino de Vichy, Palais Saint-Jean, Lyon and Foyer de l’Opéra, Paris, 1988, July 6 – September 5, p. 31. Literature: • “Pierre Bonnard, Radiant Color”, Musée national des Beaux-Arts du Québec, Canada, Artemesia Group, Quebec, 2016, No. 11.10, p. 97. • “Bonnard inédits”, Editions du Cercle d’Art, 2006, p. 74, no. 143. In National Collections: • Musée d’Orsay • Poster sketch for “The Legend of Joseph”, 1914, 20 × 31.5 cm, pastel on paper, BNF (Bibliothèque nationale de France). • Four-color lithograph after the poster, published by “Succès”, 1914, 160 x 120 cm.

Provenance: Estate of Pierre Bonnard

### Small chest of drawers

URL: https://galeriemarcelpoil.com/en/works/small-chest-of-drawers-andre-sornay-c1930/
Artist: André Sornay
Year: c. 1930
Type: Storage furniture
Materials: Walnut
Dimensions: H. 48 cm x L. 52 cm x P. 42 cm / H. 18.9 in × L. 20.5 in × D. 16.5 in

Clean-lined chest of drawers crafted from solid walnut. The front facade features two stacked drawers fitted with horizontal dark wood pull handles. The structure rests on a slightly recessed, stepped plinth base with horizontal molded detailing. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Rectangular coffee table

URL: https://galeriemarcelpoil.com/en/works/rectangular-coffee-table-andre-sornay-c1933/
Artist: André Sornay
Year: c. 1933
Type: Tables / Desks / Consoles
Materials: Mahogany, Rosewood, Glass
Dimensions: H. 58 cm x L. 120 cm x P. 46 cm / H. 22.8 in × L. 47.2 in × D. 18.1 in

Rectangular coffee table featuring its original glass top flanked by two horizontal stepped ledges in rosewood with brass nails. The open structure is supported by a solid mahogany base and incorporates two stacked wooden shelves. Ref. "signé sornay." p. 253. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Occasional table in bubinga

URL: https://galeriemarcelpoil.com/en/works/occasional-table-in-bubinga-andre-sornay-c1930/
Artist: André Sornay
Year: c. 1930
Type: Tables / Desks / Consoles
Materials: Mahogany, Bubinga
Dimensions: H. 57,5 cm x Ø 46 cm / H. 22.4 in × Ø 18.1 in

Occasional table with a faceted, multi-sided top crafted from bubinga veneer. The structure rests on four wide flat vertical legs made of solid mahogany. A lower intermediate shelf connects the legs together, reinforcing the wooden assembly. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Dinanderie vase with scroll motifs and serrated frieze

URL: https://galeriemarcelpoil.com/en/works/dinanderie-vase-with-scroll-motifs-and-serrated-frieze-claudius-linossier-c1929/
Artist: Claudius Linossier
Year: c. 1929
Type: Dinanderie
Dimensions: H. 25 cm / H. 9.8 in

An ovoid-shaped dinanderie vase with a narrowed neck, demonstrating Claudius Linossier's perfect mastery of fire-applied patinas. The body of the vase features a rich, mottled texture in dark brown shades, adorned with a wide brick-red serrated frieze forming upward and downward points. This central band is finely inlaid with golden geometric motifs, combining a rhythmic sequence of volutes and clusters of dots arranged in triangles. The upper section offers a transition toward a gray and silver patina. Signed « CL.LINOSSIER »

### Sideboard in mahogany and ash

URL: https://galeriemarcelpoil.com/en/works/sideboard-in-mahogany-and-ash-andre-sornay-c1955/
Artist: André Sornay
Year: c. 1955
Type: Storage furniture
Materials: Mahogany, Ash, Lacquer
Dimensions: H. 90,5 cm x L. 127 cm x P. 46 cm / H. 35.4 in × L. 50.0 in × D. 18.1 in

This low sideboard features a geometric solid mahogany framework fitted with ash wood panels. The front composition features a central sliding ash door flanked by open side niches revealing a vibrant blue lacquered interior with integrated shelves. The piece stands on profiled solid wood slab feet. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Vase with large triangles

URL: https://galeriemarcelpoil.com/en/works/vase-with-large-triangles-claudius-linossier-c1925/
Artist: Claudius Linossier
Year: c. 1925
Type: Dinanderie
Dimensions: H. 20 cm x Ø 16 cm / H. 7.9 in × Ø 6.3 in

Ovoid-shaped dinanderie vase. The central part is decorated with a geometric pattern composed of a frieze of large, upward-pointing triangles in dark tones, standing out against a background of red and coppery hues. Signed « CL.LINOSSIER »

### Spherical vase with silvered geometric frieze

URL: https://galeriemarcelpoil.com/en/works/spherical-vase-with-silvered-geometric-frieze-claudius-linossier-c1929/
Artist: Claudius Linossier
Year: c. 1929
Type: Dinanderie
Materials: Dinanderie
Dimensions: H. 18.5 cm x Ø 21 cm / H. 7.28 in × Ø 8.27 in

Spherical-shaped dinanderie vase. The piece is distinguished by a deep, rich, dark hammered patina, featuring a wide and elegant silvered geometric frieze composed of rows of sawtooth triangles in its upper section. Entirely hand-hammered from a single sheet of metal, this artwork perfectly embodies the mastery of hot oxidation and metal inlays. Signed "CL.LINOSSIER".

### Set of three stools

URL: https://galeriemarcelpoil.com/en/works/set-of-three-stools-andre-sornay-c1939/
Artist: André Sornay
Year: c. 1939
Type: Seating
Materials: Mahogany, Fabric
Dimensions: H. 47 cm x L. 50 cm x P. 38 cm / H. 18.5 in × L. 19.7 in × D. 15.0 in

A set of three stools in mahogany with brass nails and solid mahogany. Each piece is characterized by side panels, hollowed out at their base by a geometric arched cutout that forms the legs. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Vase with geometric decoration

URL: https://galeriemarcelpoil.com/en/works/vase-with-geometric-decoration-aristide-colotte-c1930/
Artist: Aristide Colotte
Year: c. 1930
Type: Miscellaneous
Materials: Crystal
Dimensions: H. 34 cm x Ø 16 cm / H. 13.4 in × Ø 6.3 in

An ovoid blown crystal vase tapering towards the base, finished with a short, polished, inward-sloping collar. The surface treatment alternates between frosted, acid-etched areas and clear, polished glass facets. The body of the object features deeply carved geometric patterns characteristic of the Art Deco period. The upper band displays interlocking stepped block structures alongside frosted, stylized fan shapes. The lower section is sculpted with sharp triangular facets, chevrons, and geometric cut-outs that expose the clear crystal underneath. Signed «Colotte » on the base.

### Stoneware pot

URL: https://galeriemarcelpoil.com/en/works/stoneware-pot-paul-beyer-c1923/
Artist: Paul Beyer
Year: c. 1923
Type: Miscellaneous
Materials: Ceramic
Dimensions: H. 20 cm / H. 7.9 in

A stoneware pot with a truncated ovoid form, featuring a high shoulder and a very short neck with a narrow circular opening. The smooth surface is covered with a light beige glaze showing speckled ochre variations.

### Armchair and ottoman

URL: https://galeriemarcelpoil.com/en/works/armchair-and-ottoman-andre-sornay-c1928/
Artist: André Sornay
Year: c. 1928
Type: Seating
Materials: Mahogany, Fabric
Dimensions: Fauteuil : H. 83 cm x L. 73 cm x P. 80 cm / Ottoman : H. 40 cm x L. 58 cm x P. 58 cm / Armchair : H. 32.7 in x W. 28.7 in x D. 31.5 in / Ottoman : H. 15.7 in x W. 22.8 in x D. 22.8 in

Armchair and matching ottoman in solid mahogany featuring a bold architectural design. The geometric dark wood framework encases a deeply cushioned seat and angled backrest upholstered in a light textured fabric. Straight vertical armrest posts and a solid plinth base provide the ensemble with a grounded, powerful modernist presence. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Le chef (The Chief), also known as Le clown (The Clown)

URL: https://galeriemarcelpoil.com/en/works/le-chef-the-chief-also-known-as-le-clown-the-clown-jean-lambert-rucki-c1927/
Artist: Jean Lambert-Rucki
Year: c. 1927
Type: Sculptures
Materials: Brass, Macassar ebony
Dimensions: H. 30 cm (34.5 cm avec le socle) / H. 11.8 in(13.6 in with base)

An anthropomorphic direct-carved Macassar ebony sculpture depicting an elongated, stylized figure standing on its original wooden base. The arms integrate fluidly along the body, with the right side forming an openwork oval aperture highlighted by an inlaid brass wire. The geometric, serene face features silvered brass inlaid scarifications and is crowned by a striking, radiating headdress made of thin metallic pins.

Provenance: Studio sale, Hôtel Drouot, Maître Robert, April 26, 1971 Drouot Montaigne, March 9, 1994

### Six chairs in Oregon pine

URL: https://galeriemarcelpoil.com/en/works/six-chairs-in-oregon-pine-andre-sornay-1935/
Artist: André Sornay
Year: 1935
Type: Seating
Materials: Mahogany, Pin d’Oregon, Leather
Dimensions: H. 96 cm x L. 47 cm x P. 52 cm / H. 37.8 in × L. 18.5 in × D. 20.5 in

Six chairs in solid mahogany and Oregon pine with brass nails. Its high backrest features an Oregon pine panel, punctuated at its base by four curved horizontal strips. The seat is upholstered in red leather. Ref. « signé sornay. » p.205 and 260. Oregon pine was treated in several stages. The wood was first worked with a metal brush to create relief, then stained in black and finally sanded on the surface. The recessed grain therefore remained black while that in relief retrieved its original orangey colour. With this treatment Sornay created a random two colour pattern made up of of long, sinuous, black and orangey waves, evocative of magnetic waves.

### Asymmetric stool

URL: https://galeriemarcelpoil.com/en/works/asymmetric-stool-andre-sornay-c1935/
Artist: André Sornay
Year: c. 1935
Type: Seating
Materials: Macassar ebony, Caoutchouc, Fabric
Dimensions: H. 42 cm x L. 46 cm x P. 40 cm / H. 16.5 in × L. 18.1 in × D. 15.7 in

Stool in Macassar ebony with brass nails is distinguished by its geometric lines, notably marked by an asymmetrical and off-center central structure beneath the seat. Its base rests on two parallel horizontal runners protected by an industrial rubber coating. The square seat is upholstered in a light-colored fabric. Unique piece. Ref. « André Sornay », Thierry Roche p.105. André Sornay discovered industrial rubber in the 1920s, until then exclusively used for car step plates, employed by him later for the bases of furniture as a protection against knocks caused by the domestic appliances of the modern age.

### Two-position stool

URL: https://galeriemarcelpoil.com/en/works/two-position-stool-andre-sornay-c1939/
Artist: André Sornay
Year: c. 1939
Type: Seating
Materials: Oak, Leather
Dimensions: H. 46 cm (61 cm) x L. 50 cm x P. 35 cm / H. 18.1 cm (24 cm) x L. 19.7 in × D. 13.8 in

Solid oak stool whose architecture allows the seat to be adjusted to two different height positions by fitting into the cutouts of the wooden structure. The rectangular seat is in beige leather. Unique piece. Ref. « signé sornay. » p. 185. In the years following World War I, the reorganization of housing made smaller living spaces a necessity and many designers developed modular furniture systems. These new constraints on space and construction stimulated Sornay’s ingeniousness. He started to design tailor-made or multifunctional furniture as early as 1925.

### Black luster ceramic pot

URL: https://galeriemarcelpoil.com/en/works/black-luster-ceramic-pot-paul-bonifas-c1925/
Artist: Paul Bonifas
Year: c. 1925
Type: Miscellaneous
Materials: Ceramic
Dimensions: H. 13 cm x Ø 17 cm / H. 5.1 in × Ø 6.7 in

Covered circular ceramic pot. The bulbous body flares upward before narrowing at the rim, resting on a recessed ring base. The piece features a flat, fitted lid topped in its center by a tiered, conical knob handle. The exterior is finished with a glossy black luster glaze.

### Pair of two-tier coffee tables

URL: https://galeriemarcelpoil.com/en/works/pair-of-two-tier-coffee-tables-andre-sornay-c1960/
Artist: André Sornay
Year: c. 1960
Type: Tables / Desks / Consoles
Materials: Beech, Lacquer
Dimensions: H. 42 cm x L. 69 cm x P. 69 cm / H. 16.5 in × L. 27.2 in × D. 27.2 in

Each square coffee table in this pair features a geometric solid beech framework constructed using Sornay's patented rod assembly system ("tigette"). The design incorporates two inset square tiers finished with blue lacquered panels. The structure stands on four straight square-section legs joined by an open upper framework. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Low chest of drawers

URL: https://galeriemarcelpoil.com/en/works/low-chest-of-drawers-andre-sornay-c1937/
Artist: André Sornay
Year: c. 1937
Type: Storage furniture
Materials: Mahogany, Brass
Dimensions: H. 53 cm x L. 96,5 cm x P. 52 cm / H. 20.9 in × L. 38 in × D. 20.5 in

Low chest of drawers in mahogany with brass nails and solid mahogany. Its facade features two wide stacked drawers, each highlighted in the center by an imposing curved semi-cylindrical brass handle. The front corners of the piece are framed by vertical semi-cylindrical columns. The entire structure rests on a hidden, recessed plinth base. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Table-desk

URL: https://galeriemarcelpoil.com/en/works/table-desk-andre-sornay-c1950/
Artist: André Sornay
Year: c. 1950
Type: Tables / Desks / Consoles
Materials: Mahogany, Rosewood
Dimensions: H. 76 cm x L. 198 cm (et 282 cm) x P. 84 cm / H. 29.9 in × L. 78.0 in (and 111 in) × D. 33.1 in

Rectangular table-desk. Its rosewood top is flanked by two folding semi-circular extensions, allowing its length to be adjusted from 198 cm to 282 cm. The entire structure and the architectural openwork base, composed of straight vertical supports, are crafted from mahogany. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Console in Oregon pine

URL: https://galeriemarcelpoil.com/en/works/console-in-oregon-pine-andre-sornay-c1935/
Artist: André Sornay
Year: c. 1935
Type: Tables / Desks / Consoles
Materials: Pin d’Oregon, Oak
Dimensions: H. 125 cm x L. 150 cm x P. 30 cm / H. 49.2 in × L. 59.1 in × D. 11.8 in

Console table crafted from Oregon pine with brass nails and solid oak. Its geometric structure consists of two large hollow vertical supports connected by a low intermediate shelf, and topped by two staggered upper tiers of identic lengths, creating an elegant interplay of symmetry and overhangs. Unique piece. Oregon pine was treated in several stages. The wood was first worked with a metal brush to create relief, then stained in black and finally sanded on the surface. The recessed grain therefore remained black while that in relief retrieved its original orangey colour. With this treatment Sornay created a random two colour pattern made up of of long, sinuous, black and orangey waves, evocative of magnetic waves.

### Two armchairs in mahogany and fabrics

URL: https://galeriemarcelpoil.com/en/works/two-armchairs-in-mahogany-and-fabrics-andre-sornay-c1930/
Artist: André Sornay
Year: c. 1930
Type: Seating
Materials: Mahogany, Fabric
Dimensions: H. 79,5 cm x L. 69,5 cm x P. 96 cm / H. 31.3 in × L. 27.4 in × D. 37.8 in

Pair of mahogany armchairs, formed by a rigorous network of orthogonal slats. The angled seat and backrest consist of stretched coral-red canvas bands. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

Provenance: Private collection, Lyon, France

### Console table

URL: https://galeriemarcelpoil.com/en/works/console-table-andre-sornay-1924/
Artist: André Sornay
Year: 1924
Type: Tables / Desks / Consoles
Materials: Mahogany, Rosewood, Walnut, Marble
Dimensions: H. 100 cm x L. 109,5 cm x P. 36 cm / H. 39.4 in × L. 42.9 in × D. 14.2 in

Architectural console table featuring an inverted trapezoidal central pedestal, crafted from a combination of walnut veneer, rosewood, and mahogany. The front facade incorporates a top drawer fitted with a square brass pull, positioned above a solid door. The piece is crowned by its original overhanging rectangular black marble top and retains its original key. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Double-sided bookcase with integrated lighting

URL: https://galeriemarcelpoil.com/en/works/double-sided-bookcase-with-integrated-lighting-andre-sornay-c1955/
Artist: André Sornay
Year: c. 1955
Type: Storage furniture
Materials: Mahogany
Dimensions: H. 203 cm x L. 152 cm x P. 58 cm / H. 79.9 in × L. 59.8 in × D. 22.8 in

Double-sided room divider bookcase featuring an imposing architectural mahogany framework. It is organized into three tiers: the upper and lower compartments open via dark blue lacquered wooden sliding doors, while the open central section accommodates yellow lacquered wooden shelves and niches with an integrated lighting system. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Iron sculpture, swivelling on an axis

URL: https://galeriemarcelpoil.com/en/works/iron-sculpture-swivelling-on-an-axis-max-pelletier-1972/
Artist: Max Pelletier
Year: 1972
Type: Sculptures
Materials: Métal
Dimensions: H. 253 cm x L. 202 cm x P. 50 cm / H. 99.6 in × L. 79.5 in × D. 19.7 in

A large, monumental abstract iron sculpture designed to swivel on a central vertical axis anchored to a circular base. The dynamic composition features an assembly of interlocking geometric forms with sharp edges, planar facets, and conical elements, creating a stylized silhouette that suggests angular motion.

Provenance: Created within the Jean Richard Ducros company in Alès (France), with the cooperation of two instructors from the company's welding school. Formerly situated in the company's board room.

### Glass vase blown into a wrought-iron mount

URL: https://galeriemarcelpoil.com/en/works/glass-vase-blown-into-a-wrought-iron-mount-edgar-brandt-maison-daum-nancy-1921/
Artist: Maison Daum Nancy, Edgar Brandt
Year: 1921
Type: Miscellaneous
Materials: Wrought iron, Glass
Dimensions: H. 42 cm x Ø 16 cm / H. 16.5 in × Ø 6.3 in

An elongated ovoid vase with a flared neck made of Daum Frères glass blown into its wrought-iron mount of Brandt. The mottled intercalary glass body features rich amber, golden, and deep brown inclusions. The middle of the body is encircled by a wide, openwork metallic band decorated with a continuous, elegant frieze of spiraling volutes interwoven with stylized foliage and berries. The vessel rests on a circular pedestal foot highlighted by a row of wrought-iron beads, sitting atop a stepped base with concentric rings. Signed "Daum" and "Brandt".

Provenance: Brandt family

### Two visitor armchairs (reference 149AR-112 NR)

URL: https://galeriemarcelpoil.com/en/works/two-visitor-armchairs-reference-149ar-112-nr-jacques-emile-ruhlmann-c1925/
Artist: Jacques-Émile Ruhlmann
Year: c. 1925
Type: Seating
Materials: Fabric, Macassar ebony
Dimensions: H. 96 cm x L. 60 cm x P. 59 cm / H. 37.8 in × L. 23.6 in × D. 23.2 in

An armchair with a high, upright backrest rounded at the top. The solid armrests terminate in padded, outwardly scrolled cuffs. The Macassar ebony frame is visible as a wooden trim outlining the front edge of the armrests and extending downward to encircle the base of the frame beneath the seat cushion. The support structure consists of four solid wood legs: the two front legs are tapered with a circular cross-section, while the two rear legs display an outwardly curved sabre profile. The entire inner and outer surfaces of the backrest, sides, and seat are covered in velvet padding. llustrated on page 335 in the book “Ruhlmann” by Florence Camard, Édition Monelle Hayot, 2009.

### Presentation column known as "Cage”

URL: https://galeriemarcelpoil.com/en/works/presentation-column-known-as-cage-anonyme-c1932/
Artist: Anonyme
Year: c. 1932
Type: Miscellaneous
Materials: Wrought iron
Dimensions: H. 114 cm x L. 30 cm x P. 30 cm / H. 44.9 in × L. 11.8 in × D. 11.8 in

A dark-patinated wrought iron presentation pedestal of square section. Its minimalist "cage" structure is formed by a peripheral row of thin, straight vertical rods. These rods connect a solid, double-stepped square base to a flat top plate designed to showcase an artwork. The strictly geometric design emphasizes transparency through the rhythmic repetition of vertical lines.

### Mahogany square wastepaper

URL: https://galeriemarcelpoil.com/en/works/mahogany-square-wastepaper-andre-sornay-c1930/
Artist: André Sornay
Year: c. 1930
Type: Miscellaneous
Materials: Mahogany
Dimensions: H. 30 cm x L. 22 cm x P. 22 cm / H. 11.8 in × L. 8.7 in × D. 8.7 in

Square wastepaper basket crafted in mahogany. The geometric cubic body features clean, modern lines and rests on a slightly recessed cross-shaped base. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Umbrella stand with integrated lighting

URL: https://galeriemarcelpoil.com/en/works/umbrella-stand-with-integrated-lighting-andre-sornay-c1934/
Artist: André Sornay
Year: c. 1934
Type: Storage furniture
Materials: Pin d’Oregon, Lacquer, Caoutchouc
Dimensions: H. 150 cm x L. 32 cm x P. 24 cm / H. 59.1 in × L. 12.6 in × D. 9.4 in

Vertical umbrella stand in Oregon pine with brass nails. Its upper portion integrates a functional lighting system. At mid-height, the open section is equipped with horizontal red lacquered wood bars designed to hold umbrellas. The entire structure rests on a protective rubber base. Unique piece. Ref. « signé sornay. » p.208. Oregon pine was treated in several stages. The wood was first worked with a metal brush to create relief, then stained in black and finally sanded on the surface. The recessed grain therefore remained black while that in relief retrieved its original orangey colour. With this treatment Sornay created a random two-colour pattern made up of of long, sinuous, black and orangey waves evocative of magnetic waves.

### Six high-back chairs

URL: https://galeriemarcelpoil.com/en/works/six-high-back-chairs-andre-sornay-c1940/
Artist: André Sornay
Year: c. 1940
Type: Seating
Materials: Beech, Zebrawood
Dimensions: H. 93 cm x L. 45 cm x P. 49 cm / H. 36.6 in × L. 17.7 in × D. 19.3 in

Six high-back chairs in solid beech and zebrano with brass nails. Signed. Ref. « signé sornay. » p.261. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Gilt bronze mirror

URL: https://galeriemarcelpoil.com/en/works/gilt-bronze-mirror-maison-dominique-c1937/
Artist: Maison Dominique
Year: c. 1937
Type: Miscellaneous
Materials: Bronze
Dimensions: Ø 96 cm / Ø 37.8 in

A circular mirror featuring a wide, molded gilt bronze frame. Embodying a clean geometric aesthetic, the piece is designed to hang from two circular matching wall mounts by long braided cords. These cords drape vertically and symmetrically along the sides of the frame, terminating on each end in elegant decorative fringed tassels.

### Pair of low armchairs

URL: https://galeriemarcelpoil.com/en/works/pair-of-low-armchairs-andre-sornay-c1955/
Artist: André Sornay
Year: c. 1955
Type: Seating
Materials: Mahogany
Dimensions: H. 73 cm x L. 56 cm x P. 64 cm / H. 28.7 in × L. 22.0 in × D. 25.2 in

Pair of low armchairs in mahogany. The slanted seat and backrest are entirely covered in a gray fabric. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Mahogany sideboard

URL: https://galeriemarcelpoil.com/en/works/mahogany-sideboard-andre-sornay-c1955/
Artist: André Sornay
Year: c. 1955
Type: Storage furniture
Materials: Mahogany
Dimensions: H. 77 cm x L. 240 cm x P. 41 cm / H. 30.3 in × L. 94.5 in × D. 16.1 in

Clean-lined sideboard featured a rectangular framework entirely crafted from mahogany. The front opens via three sliding veneered doors fitted with vertical solid mahogany handles. The piece rests on a slightly recessed solid mahogany plinth base. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Covered jar

URL: https://galeriemarcelpoil.com/en/works/covered-jar-madeleine-sougez-c1925/
Artist: Madeleine Sougez
Year: c. 1925
Type: Miscellaneous
Materials: Ceramic, Faience
Dimensions: H. 19.5 cm x Ø 12.5 cm / H. 7.7 in × Ø 4.9 in

A covered vessel made of painted, unglazed earthenware (faience). The piece features a tall, slightly bulbous body topped with a fitted lid and a central handle knob. The surface is decorated with a painted motif of stylized floral and botanical patterns, characteristic of the productions published by the Primavera art studio during the Art Deco period.

### Writing table for the Jacques Heim fashion house

URL: https://galeriemarcelpoil.com/en/works/writing-table-for-the-jacques-heim-fashion-house-marc-du-plantier-1936/
Artist: Marc Du Plantier
Year: 1936
Type: Tables / Desks / Consoles
Materials: Wrought iron, Métal, Patiné, Leather, Parchemin
Dimensions: H. 74 cm x L. 140 cm x P. 61 cm / H. 29.1 in × L. 55.1 in × D. 24 in

A rectangular writing table resting on a geometric green-patinated wrought-iron frame. The legs taper downward and terminate in small ball feet. The top is divided into three horizontal sections: the two outer panels are covered in light parchment, while the central section is lined with fawn leather and features an integrated metal pencil box. Literature: Y. Badetz, “Marc du Plantier”, Éditions Norma, Paris, 2010, similar models on p. 116, 117, 128 et 129. Accompanied by a certificate from Mr. Jean-Marc Maury.

### Oak stool

URL: https://galeriemarcelpoil.com/en/works/oak-stool-andre-sornay-c1930/
Artist: André Sornay
Year: c. 1930
Type: Seating
Materials: Oak, Fabric
Dimensions: H. 44 cm x L. 42 cm x P. 38 cm / H. 17.3 in × L. 16.5 in × D. 15.0 in

Oak stool with simple lines, notably characterized by a cross base. The square seat is upholstered in a light-colored fabric. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Vertical bookcase

URL: https://galeriemarcelpoil.com/en/works/vertical-bookcase-andre-sornay-c1936/
Artist: André Sornay
Year: c. 1936
Type: Storage furniture
Materials: Pin d’Oregon, Brass
Dimensions: H. 161 cm x L. 51 cm x P. 32 cm / H. 63.4 in × L. 20.1 in × D. 12.6 in

Vertical bookcase in red-ochre Oregon pine with brass nails. Its upper portion features an open compartment forming a display niche or bookshelf. The main lower section consists of a solid door extending across the entire width, adorned in its center by an imposing vertical rectangular handle in varnished brass equipped with a small pull knob. The entire piece rests on a solid, integrated plinth base. Unique piece. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### “Bridge” armchair

URL: https://galeriemarcelpoil.com/en/works/bridge-armchair-andre-sornay-c1960/
Artist: André Sornay
Year: c. 1960
Type: Seating
Materials: Mahogany, Métal, Leather
Dimensions: H. 95 cm x L. 52 cm x P. 55 cm / H. 37.4 in × L. 20.5 in × D. 21.7 in

"Bridge" armchair crafted from mahogany. The square seat cushion and tall rectangular backrest, accented with two tufted buttons, are upholstered in green leather. The architectural structure is reinforced at the base with metal stretchers and a vertical wooden rear support. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Lacquered wood desk

URL: https://galeriemarcelpoil.com/en/works/lacquered-wood-desk-andre-sornay-c1958/
Artist: André Sornay
Year: c. 1958
Type: Tables / Desks / Consoles
Materials: Mahogany, Lacquer
Dimensions: H. 74 cm x L. 140 cm x P. 60 cm / H. 29.1 in × L. 55.1 in × D. 23.6 in

Rectangular desk crafted from solid mahogany combined with green lacquered wood panels. The desktop features a smooth green lacquered writing surface, while the right side integrates a suspended pedestal compartment. This pedestal houses three stacked drawers, each accented with contoured lower finger-pull cutouts. Ref. « signé sornay. » p. 120 André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Chest of drawers

URL: https://galeriemarcelpoil.com/en/works/chest-of-drawers-andre-sornay-c1935/
Artist: André Sornay
Year: c. 1935
Type: Storage furniture
Materials: Mahogany, Rosewood
Dimensions: H. 93 cm x L. 141 cm x P. 48 cm / H. 36.6 in × L. 55.5 in × D. 18.9 in

Chest of drawers in rosewood with brass nails and solid mahogany. The upper left portion incorporates three drawers equipped with rectangular handles, while the adjacent section consists of two doors. The plinth base, forming a recessed pedestal, is distinguished by the integration of an additional horizontal door extending across its entire length. Unique piece. Ref. « signé sornay. » p.220. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Painting / sculpture executed in fabrics and ropes

URL: https://galeriemarcelpoil.com/en/works/painting-sculpture-executed-in-fabrics-and-ropes-franck-galendo-1980/
Artist: Franck Galendo
Year: 1980
Type: Paintings
Dimensions: H. 224 cm x L. 168 cm avec cadre / H. 88.2 in × L. 66.1 in with frame

A large three-dimensional painting-assemblage composed of fabrics, ropes, and padded textile elements, dominated by a palette of red, brown, and ochre tones. The piece features a central stylized female figure surrounded by smaller figures and faces that represent children, bound or swaddled with rope, forming a dense, organic composition. Signé « Galendo » et daté « 1980 »

### "Amulet"

URL: https://galeriemarcelpoil.com/en/works/amulet-akira-kito-1959/
Artist: Akira Kito
Year: 1959
Type: Paintings
Materials: Huile
Dimensions: H. 32.5 cm x L. 25.5 cm / H. 12.8 in × L. 10 in

An abstract oil on panel. Set against a granular background in shades of sage green and ochre, the composition centers on two stacked dark masses. The upper form is structured into thick horizontal black bands highlighted with strokes of white, while the lower section features a dark rectangular block beneath a faint arched outline, punctuated by a subtle touch of red. Signed lower left ; titled, countersigned and dated on the back.

### Desk-bookcase and pair of bridge armchairs

URL: https://galeriemarcelpoil.com/en/works/desk-bookcase-and-pair-of-bridge-armchairs-andre-sornay-c1937/
Artist: André Sornay
Year: c. 1937
Type: Tables / Desks / Consoles
Materials: Mahogany, Brass
Dimensions: Dimensions de la bibliothèque-bureau : / • H. 75,5 cm x L. 256 cm x P. 42 cm (ouvert : 128cm) / Dimensions des fauteuils (chacun) : / • H. 85 cm × L. 55 cm × P. 60 cm / Desk-Bookcase Dimensions: / • H.29.7 in x L. 100.8 in x D. 16.5 in (open 50.4 in) / Armchair Dimensions (each): / • H. 33.5 in x L. 21.7 in x D. 23.6 in

This set consists of a desk-bookcase and two matching armchairs. Crafted from mahogany with brass nails, the bookcase opens at the front with two sliding doors equipped with solid mahogany handles, the entire piece resting on a solid plinth base. This cabinet transforms into a double workspace thanks to its two L-shaped top panels that pivot perpendicularly outward. The armchairs, crafted in studded and solid mahogany, each feature a suspended wooden seat and an open backrest. The latter is encircled by three parallel, curved brass tubes that extend laterally to form the armrests. The framework of each seat is supported by four tapered legs. Ref. "signé sornay." p. 190 & p. 265.

### Armchair in mahogany

URL: https://galeriemarcelpoil.com/en/works/armchair-in-mahogany-andre-sornay-c1933/
Artist: André Sornay
Year: c. 1933
Type: Seating
Materials: Mahogany, Fabric
Dimensions: H. 85 cm x L. 64 cm x P. 76 cm / H. 33.5 in × L. 25.2 in × D. 29.9 in

Armchair in solid and mahogany with brass nails. The wide geometric armrest panels are trimmed with Sornay's patented brass nailing (”cloutage”) and highlighted by decorative brass cabochons on the front face. The deep seat and angled high backrest, upholstered in a light textured fabric, fit seamlessly within the wooden framework. Ref. « signé sornay. » p. 109. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Dinanderie vase with geometric design

URL: https://galeriemarcelpoil.com/en/works/dinanderie-vase-with-geometric-design-claudius-linossier-c1925/
Artist: Claudius Linossier
Year: c. 1925
Type: Dinanderie
Dimensions: H. 21 cm x Ø 17 cm / H. 8.3 in × Ø 6.7 in

Ovoid-shaped dinanderie vase. The central part is decorated with a geometric design blending into warm, red, and copper tones. The top of the vase is silver-colored with a dark, speckled patina, contrasting with the coloring of the body. All of the designs and nuances are achieved through the dinanderie technique, made from sheet metal. Signed "CL.LINOSSIER".

### Asymmetrical sideboard

URL: https://galeriemarcelpoil.com/en/works/asymmetrical-sideboard-andre-sornay-c1935/
Artist: André Sornay
Year: c. 1935
Type: Storage furniture
Materials: Beech, Pin d’Oregon
Dimensions: H. 97 cm (et 120 cm) x L. 153 cm x P. 51 cm / H. 38.2 in (47.2 in) x L. 60.2 in × D. 20.1 in

Sideboard in Oregon pine with brass nails and with a geometric and asymmetrical structure. The layout consists of three distinct sections: the left side houses a wide solid door, the central section features an upper drawer over two open compartments, and the right side rises vertically to form an elevated block equipped with a door. The doors and the drawer are adorned in their center with a large circular handle made of solid beechwood. The entire structure is supported by a recessed solid beechwood base. Ref. « signé sornay. » p.59, 85 et 222. Oregon pine was treated in several stages. The wood was first worked with a metal brush to create relief, then stained in black and finally sanded on the surface. The recessed grain therefore remained black while that in relief retrieved its original orangey colour. With this treatment Sornay created a random two colour pattern made up of of long, sinuous, black and orangey waves, evocative of magnetic waves.

### Storage cabinet and showcase

URL: https://galeriemarcelpoil.com/en/works/storage-cabinet-and-showcase-andre-sornay-c1929/
Artist: André Sornay
Year: c. 1929
Type: Storage furniture
Materials: Mahogany, Rosewood, Bronze, Glass
Dimensions: H. 175,5 cm x L. 95 cm x P. 38 cm / H. 68.9 in × L. 37.4 in × D. 15.0 in

Rio rosewood storage and display cabinet. Its asymmetrical facade features a solid door on the left and a glass door on the right. The interior configuration includes three solid mahogany shelves and three glass shelves. The structure is completed by four bronze cylinders positioned at the corners of its base. Unique piece. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Pair of solid mahogany armchairs

URL: https://galeriemarcelpoil.com/en/works/pair-of-solid-mahogany-armchairs-andre-sornay-c1930/
Artist: André Sornay
Year: c. 1930
Type: Seating
Materials: Mahogany, Fabric
Dimensions: H. 77 cm x L. 70 cm x P. 77 cm / H. 30.3 in × L. 27.6 in × D. 30.3 in

Pair of solid mahogany armchairs. The straight armrests with strict orthogonal lines enclose an angled seat and backrest upholstered in a textured ecru fabric. At the rear, the base is distinguished by remarkable curved runners with a sculptural line. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Bronze and brass bowl with lion paw feet

URL: https://galeriemarcelpoil.com/en/works/bronze-and-brass-bowl-with-lion-paw-feet-jean-dunand-c1911/
Artist: Jean Dunand
Year: c. 1911
Type: Miscellaneous
Materials: Bronze, Brass
Dimensions: H. 15.5 cm x L. 48.5 cm x P. 28 cm / H. 6.1 in × L. 19.1 in × D. 11 in

Large oval-shaped bronze and brass bowl, resting on four sturdy antique-inspired lion paw feet. The lower body is richly crafted with a fluted relief (vertical ribs), highlighting the elegance of its volume. The upper section, just below the rim, is adorned with a delicate inlaid frieze of golden brass scrolls and floral motifs, which stand out against the deep, textured green patina covering the exterior of the artwork. Two side handles with sinuous curves complete this sculptural composition. Signed and crafted between 1909 and 1913.

### A pair of armchairs with pearwood bases

URL: https://galeriemarcelpoil.com/en/works/a-pair-of-armchairs-with-pearwood-bases-marcel-coard-c1935/
Artist: Marcel Coard
Year: c. 1935
Type: Seating
Materials: poirier, Fabric
Dimensions: H. 82 cm x L. 67 cm x P. 100 cm / H. 32.3 in × L. 26.4 in × D. 39.4 in

A pair of low, armless lounge chairs reflecting the clean, modernist aesthetic of the 1930s. Each chair features a solid rectangular pearwood base supported by four legs. The deep seat and slanted backrest are thickly padded and upholstered in a light cream fabric. Accompanied by a certificate of authenticity from Amélie Marcilhac.

### Four "bridge" armchairs

URL: https://galeriemarcelpoil.com/en/works/four-bridge-armchairs-andre-sornay-c1936/
Artist: André Sornay
Year: c. 1936
Type: Seating
Materials: Beech, Pin d’Oregon, Leather
Dimensions: H. 89 cm x L. 54 cm x P. 50 cm / H. 35.0 in × L. 21.3 in × D. 19.7 in

A set of four "bridge" armchairs in Oregon pine with brass nails and solid beech. The strictly geometric structure features straight armrests forming a right angle and rests on slightly tapered square-section legs. The square seat is upholstered in red leather. Ref. « signé sornay. » p.264. Oregon pine was treated in several stages. The wood was first worked with a metal brush to create relief, then stained in black and finally sanded on the surface. The recessed grain therefore remained black while that in relief retrieved its original orangey colour. With this treatment Sornay created a random two colour pattern made up of of long, sinuous, black and orangey waves, evocative of magnetic waves.

### Single-drawer occasional table

URL: https://galeriemarcelpoil.com/en/works/single-drawer-occasional-table-andre-sornay-c1937/
Artist: André Sornay
Year: c. 1937
Type: Tables / Desks / Consoles
Materials: Ash, Lacquer
Dimensions: H. 70 cm x L. 60 cm x P. 31 cm / H. 27.6 in × L. 23.6 in × D. 12.2 in

Rectangular occasional table featured a geometric framework crafted from studded ash wood. Beneath the top surface, the apron houses an open niche on the left and a single drawer on the right. The structure is supported by two solid side panels terminating at the base in arched feet finished in a celadon-green lacquer. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Young rhinoceros

URL: https://galeriemarcelpoil.com/en/works/young-rhinoceros-mateo-hernandez-1936/
Artist: Mateo Hernandez
Year: 1936
Type: Sculptures
Materials: Mahogany
Dimensions: H. 150 cm x L. 280 cm x P. 75 cm / H. 59.1 in × L. 110.2 in × D. 29.5 in / Weight: Approx. 1 ton

This monumental direct-carving sculpture depicts a young rhinoceros in a powerful, static stance, firmly set upon an integrated rectangular base. Carved from a solid block of mahogany wood, the piece is characterized by simplified, massive, and geometric volumes, highly representative of the finest Art Deco animalier sculpture. The detailed execution of the head emphasizes the animal's natural armor, its horn, and the heavy folds of its hide, creating a beautiful contrast with the smoother surfaces of its body. The sculpture bears the following engraved inscription: "Mateo Hernandez Bejar 1885 Meudon 1949 Rhinoceros 1936 Mahogany". This masterpiece is fully documented and referenced in the monograph Mateo Hernandez, Un escultor espagnol en Paris (Junta de Castilla y León, 1998, pages 264 and 265).

### MB45 high table

URL: https://galeriemarcelpoil.com/en/works/mb45-high-table-pierre-chareau-1927/
Artist: Pierre Chareau
Year: 1927
Type: Tables / Desks / Consoles
Materials: Mahogany
Dimensions: H. 98 cm x L. 45 cm x P. 34 cm / H. 38.6 in × L. 17.7 in × D. 13.4 in

A tall occasional table featuring a profoundly modernist and architectural design, highly characteristic of Pierre Chareau's work. The piece is constructed from broad, clean, geometric planes of solid mahogany, highlighting the natural warmth and grain of the wood. The flat, rectangular top is supported by two wide, solid vertical uprights. The base is stabilized by two slanted intersecting planes forming an inverted "V" (or an open book shape), complemented by subtle extending feet at the bottom of the uprights. The overall composition commands attention through its rigorous lines, completely devoid of superfluous ornamentation.

### Set of eight dining chairs

URL: https://galeriemarcelpoil.com/en/works/set-of-eight-dining-chairs-andre-sornay-c1928/
Artist: André Sornay
Year: c. 1928
Type: Seating
Materials: Mahogany, Fabric
Dimensions: H. 89 cm x L. 45 cm x P. 44 cm / H. 35.0 in × L. 17.7 in × D. 17.3 in

Each dining chair in this set of eight features a clean, architectural structure in solid mahogany. The gently tilted backrest has an openwork design formed by three horizontal parallel slats. The square seat is upholstered in beige fabric. The frame rests on two straight square-section front legs and two subtly splayed rear legs. Ref. « signé sornay. » p.96. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Dinanderie bowl with geometric chevron design

URL: https://galeriemarcelpoil.com/en/works/dinanderie-bowl-with-geometric-chevron-design-claudius-linossier-c1929/
Artist: Claudius Linossier
Year: c. 1929
Type: Dinanderie
Materials: Dinanderie
Dimensions: H. 15 cm x Ø 25 cm / H. 5.9 in × Ø 9.85 in

Large flared circular dinanderie bowl resting on a small recessed circular foot. The piece is distinguished by a deep, rich, dark hammered patina, featuring an elegant geometric silvered sawtooth frieze just below the rim. The upper edge is highlighted by a fine metallic border that harmoniously completes the composition. Entirely hand-hammered from a single sheet of metal, this artwork perfectly embodies the mastery of hot oxidation and metal inlays. Signed « CL.LINOSSIER ».

### Geometric design dinanderie vase

URL: https://galeriemarcelpoil.com/en/works/geometric-design-dinanderie-vase-claudius-linossier-1926/
Artist: Claudius Linossier
Year: 1926
Type: Dinanderie
Materials: Dinanderie
Dimensions: H. 30.5 cm x Ø 24.5 cm / H. 12 in × Ø 9.6 in

An elegant, flared conical dinanderie vase by the renowned Lyon master Claudius Linossier, representing a prime example of Art Deco geometric metalwork. The body features a rich, mottled patina in warm ochre, copper, and deep brown tones, achieved through expert chemical oxidation of the metal. The primary decoration consists of a bold, continuous zigzag band in brick red and dark hues, defined by crisp, contrasting borders. The slightly flared rim is accented just below by a top frieze of rhythmic vertical striations. Signed and dated "Cl. LINOSSIER 1926" under the base

### Sofa in mahogany

URL: https://galeriemarcelpoil.com/en/works/sofa-in-mahogany-andre-sornay-c1955/
Artist: André Sornay
Year: c. 1955
Type: Seating
Materials: Mahogany, Fabric
Dimensions: H. 71 cm (H. de l’assise : 34 cm) x L. 167 cm x P. 67 cm / H. 28.0 in (seat H. 13.4 in) × L. 65.7 in × D. 26.4 in

Armless three-seater sofa featuring a geometric and linear solid mahogany frame. The seat is composed of three aligned rectangular elements upholstered in a textured ivory fabric. The padded horizontal backrest is supported at the rear by vertical wooden uprights. The entire structure rests on a base with low stretchers. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Sideboard in Oregon pine

URL: https://galeriemarcelpoil.com/en/works/sideboard-in-oregon-pine-andre-sornay-c1935/
Artist: André Sornay
Year: c. 1935
Type: Storage furniture
Materials: Mahogany, Pin d’Oregon, Brass
Dimensions: H. 92 cm x L. 172 cm x P. 43 cm / H. 36.2 in × L. 67.7 in × D. 16.9 in

Sideboard in Oregon pine with brass nails and solid mahogany. The front composition features a central column with a top drawer fitted with a linear brass handle above open niches, flanked by two large open shelving compartments. The piece rests on a solid recessed plinth base. Oregon pine was treated in several stages. The wood was first worked with a metal brush to create relief, then stained in black and finally sanded on the surface. The recessed grain therefore remained black while that in relief retrieved its original orangey colour. With this treatment Sornay created a random two colour pattern made up of of long, sinuous, black and orangey waves, evocative of magnetic waves.

### Brown lacquered Desk

URL: https://galeriemarcelpoil.com/en/works/brown-lacquered-desk-andre-sornay-c1970/
Artist: André Sornay
Year: c. 1970
Type: Tables / Desks / Consoles
Materials: Beech, Lacquer
Dimensions: H. 74,5 cm x L. 99,5 cm x P. 50 cm / H. 29.3 in × L. 39.2 in × D. 19.7 in

Compact rectangular desk combining a light solid beech structure with brown lacquered finishes. The desktop features a brown lacquered surface, while a single drawer suspended on the right under the top offers a functional storage space opened by a straight wooden handle. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Vase boule à décor organique

URL: https://galeriemarcelpoil.com/en/works/vase-boule-a-decor-organique-eugene-alice-chanal-c1930/
Artist: Eugène & Alice Chanal
Year: c. 1930
Type: Miscellaneous
Materials: Pewter
Dimensions: H. 15.5 cm x Ø 18 cm / H. 6.1 in × Ø 7.1 in

A spherical pewter ball vase featuring a small circular top opening with a smooth rim. The repoussé metal surface displays a naturalistic texture evocative of a sea urchin or a lobed plant form. The body of the vessel is structured around regular vertical ribs, which are entirely covered in a dense network of small, raised pointed bumps.

### Bookcase-writing desk

URL: https://galeriemarcelpoil.com/en/works/bookcase-writing-desk-andre-sornay-c1950/
Artist: André Sornay
Year: c. 1950
Type: Storage furniture
Materials: Mahogany, Brass
Dimensions: H. 198 cm x L. 192 cm x P. 92 cm / H. 78.0 in × L. 75.6 in × D. 36.2 in

This asymmetrical architectural unit combines stepped storage modules crafted from mahogany veneer and solid mahogany. The framework includes two cabinets equipped with four sliding doors in total, opening to interior shelving against a green-lined backdrop. The central module functions as a writing desk via a drop-front door that folds down horizontally to reveal a workspace. On the right, the structure rests on a solid panel leg, leaving an open kneehole space below. Ref. « signé sornay. » p. 310. Unique piece.

### Rolling bar cabinet

URL: https://galeriemarcelpoil.com/en/works/rolling-bar-cabinet-andre-sornay-c1940/
Artist: André Sornay
Year: c. 1940
Type: Storage furniture
Materials: Oak
Dimensions: H. 64 cm x L. 78 cm x P. 39 cm / H. 25.2 in × L. 30.7 in × D. 15.4 in

A rolling bar cabinet in solid oak and oak with brass nails. The piece rests on a chamfered plinth base. The front opens via two sliding doors, subtly accented by small square red-lacquered handles, echoing a long vertical handle of the same color on the right side. The interior layout incorporates three slatted sliding drawers, ideal for the secure storage of glasses or bottles. The upper section is designed with two large lateral sliding pull-out shelves with raised edges, significantly expanding the serving surface. Unique piece. Ref. « signé sornay. » p. 185. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Desk ‘bridge’ armchair

URL: https://galeriemarcelpoil.com/en/works/desk-bridge-armchair-andre-sornay-c1936/
Artist: André Sornay
Year: c. 1936
Type: Seating
Materials: Mahogany, Fabric
Dimensions: H. 83,5 cm x L. 52,5 cm x P. 51 cm / H. 32.7 in × L. 20.5 in × D. 20.1 in

This 'bridge' armchair in solid mahogany and mahogany with brass nails features rigorous orthogonal lines, notably characterized by armrests that form a hollowed-out rectangular frame. Its architectural backrest displays a gently curved, slightly angled shape that flares upward while subtly detaching from the rear structure. The seat is upholstered in Toiles de Mayenne André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Game table and four original bridge armchairs

URL: https://galeriemarcelpoil.com/en/works/game-table-and-four-original-bridge-armchairs-andre-sornay-c1935/
Artist: André Sornay
Year: c. 1935
Type: Tables / Desks / Consoles
Materials: Pin d’Oregon, Fabric
Dimensions: H. 75.5 cm x L. 81 cm x P. 81 cm (Plateau : 75 cm x 75 cm) / H. 29.7 in x W. 31.9 in x D. 31.9 in (Tabletop: 29.5 in x 29.5 in)

This game set is crafted from studded Oregon pine. The square table rests on four panel legs joined at the base by an ebonized cruciform stretcher. It is accompanied by its four original bridge armchairs, characterized by a medallion-shaped Oregon pine backrest accented with brass cabochons, a geometric ebonized wood frame, and an upholstered seat. Similar model in T. Roche’s book, p. 104 & 108 Original drawings of bridges by the artist in our possession Oregon pine was treated in several stages. The wood was first worked with a metal brush to create relief, then stained in black and finally sanded on the surface. The recessed grain therefore remained black while that in relief retrieved its original orangey colour. With this treatment Sornay created a random two colour pattern made up of of long, sinuous, black and orangey waves, evocative of magnetic waves.

Provenance: Private collection, Lyon, France

### Draped tied on a young girl's hips

URL: https://galeriemarcelpoil.com/en/works/draped-tied-on-a-young-girl-s-hips-leon-indenbaum-c1930/
Artist: Léon Indenbaum
Year: c. 1930
Type: Sculptures
Materials: Oak, terre
Dimensions: H. 102 cm (137 cm avec le socle) / H. 40.1 in (53.9 in with base)

A fragmentary sculpture in the round crafted from chamotte clay, depicting the lower torso of a female figure from the waist to the mid-thighs. The composition is defined by a heavy draped fabric knotted at the front of the hips, with deep folds falling along the sides of the legs. The raw, textured surface of the clay emphasizes both the anatomical modeling and the sculptural volume of the drapery. The piece is mounted on its original, geometric rotating oak base. Not signed.

Provenance: Probably former Georges Bénard collection; Private collection

### Pair of "bridge" armchairs

URL: https://galeriemarcelpoil.com/en/works/pair-of-bridge-armchairs-andre-sornay-c1935/
Artist: André Sornay
Year: c. 1935
Type: Seating
Materials: Beech, Pin d’Oregon, Leather
Dimensions: H. 98 cm x L. 53 cm x P. 57 cm / H. 38.6 in × L. 20.9 in × D. 22.4 in

A pair of "bridge" armchairs in Oregon pine with brass nails and solid beech . The geometric structure features straight armrests forming a right angle and rests on square-section legs. The seat and backrest are upholstered in red leather. Ref. « signé sornay. » p.244. Oregon pine was treated in several stages. The wood was first worked with a metal brush to create relief, then stained in black and finally sanded on the surface. The recessed grain therefore remained black while that in relief retrieved its original orangey colour. With this treatment Sornay created a random two colour pattern made up of of long, sinuous, black and orangey waves, evocative of magnetic waves.

### Pair of armless chairs

URL: https://galeriemarcelpoil.com/en/works/pair-of-armless-chairs-andre-sornay-c1935/
Artist: André Sornay
Year: c. 1935
Type: Seating
Materials: Mahogany, Purpleheart, Fabric
Dimensions: H. 104 cm x L. 42 cm x P. 54 cm / H. 40.9 in × L. 16.5 in × D. 21.3 in

A pair of armless chairs in mahogany with brass nails and amaranth.. This model is distinguished by a tall, solid, straight, and slightly tilted backrest. The seat, upholstered in a taut, light-colored fabric, rests on amaranth legs at the front. Similar model p.41 « Les arts décoratifs à Lyon, 1910 à 1950 » by Thierry Roche. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Marine-themed jardinière

URL: https://galeriemarcelpoil.com/en/works/marine-themed-jardiniere-hans-stoltenberg-lerche-c1900/
Artist: Hans Stoltenberg Lerche
Year: c. 1900
Type: Miscellaneous
Materials: Bronze
Dimensions: H. 23 cm x L. 46.5 cm / H. 9.1 in × L. 18.3 in

An Art Nouveau gilt bronze jardinière featuring a finely sculpted marine motif. The organic, wave-like structure showcases two figures sculpted at opposite ends: a reclining nude nymph resting along the rim with her right arm raised over her face, and a young child emerging from a large conch shell. The sides of the vessel are further decorated with chased relief details of fish and a marine tail. Signed "HSt Lerche" on the base

### A coffee table in Oregon pince with brass nails

URL: https://galeriemarcelpoil.com/en/works/a-coffee-table-in-oregon-pince-with-brass-nails-andre-sornay-c1932/
Artist: André Sornay
Year: c. 1932
Type: Tables / Desks / Consoles
Materials: Pin d’Oregon
Dimensions: H. 49 cm x L. 157 cm x P. 40 cm / H. 19.3 in × L. 61.8 in × D. 15.7 in

Elongated coffee table featuring an architectural design, crafted from studded Oregon pine. The long rectangular top rests on two solid block pedestals. Piece unique. Oregon pine was treated in several stages. The wood was first worked with a metal brush to create relief, then stained in black and finally sanded on the surface. The recessed grain therefore remained black while that in relief retrieved its original orangey colour. With this treatment Sornay created a random two colour pattern made up of of long, sinuous, black and orangey waves, evocative of magnetic waves.

Provenance: Private collection, Lyon, France

### Vertical five-drawer chests

URL: https://galeriemarcelpoil.com/en/works/vertical-five-drawer-chests-andre-sornay-c1965/
Artist: André Sornay
Year: c. 1965
Type: Storage furniture
Materials: Beech, Lacquer
Dimensions: H. 124 cm x L. 64 cm x P. 41 cm / H. 48.8 in × L. 25.2 in × D. 16.1 in

Each vertical chest of drawers in this pair features a geometric solid beech structure. The wooden frame houses deep blue lacquered panels on the top, sides, and front facade. The piece opens via five stacked drawers fitted with horizontal solid beech strip handles and rests on extended side panel legs. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Pair of bedside tables

URL: https://galeriemarcelpoil.com/en/works/pair-of-bedside-tables-andre-sornay-c1970/
Artist: André Sornay
Year: c. 1970
Type: Tables / Desks / Consoles
Materials: Beech, Lacquer
Dimensions: H. 70 cm x L. 42 cm x P. 34 cm / H. 27.6 in × L. 16.5 in × D. 13.4 in

Pair of bedside tables features a clean-lined framework in beechwood fitted with cream-colored lacquered panels. The front layout includes a single top drawer with a contoured lower finger-pull cutout, sitting above a central open shelf that forms two open storage compartments. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Pair of bedside tables in mahogany

URL: https://galeriemarcelpoil.com/en/works/pair-of-bedside-tables-in-mahogany-andre-sornay-c1965/
Artist: André Sornay
Year: c. 1965
Type: Tables / Desks / Consoles
Materials: Mahogany, Lacquer, Métal
Dimensions: H. 89 cm x L. 55 cm x P. 35 cm / H. 35.0 in × L. 21.7 in × D. 13.8 in

Each bedside table in this pair features an open architectural framework crafted from solid mahogany. The structure is organized across multiple levels: a top shelf in white lacquer above a suspended drawer, an open middle compartment, and a lower cabinet enclosed by two sliding white lacquered doors with vertical mahogany handles. The wooden frame is laterally supported by thin metal rods. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Oak bedside table

URL: https://galeriemarcelpoil.com/en/works/oak-bedside-table-andre-sornay-c1936/
Artist: André Sornay
Year: c. 1936
Type: Tables / Desks / Consoles
Materials: Oak, Brass
Dimensions: H. 57 cm x L. 26 cm (et 62 cm) x P. 46 cm / H. 22.4 in × L. 10.2 in (and 24.4 in) × D. 18.1 in

Bedside table featuring a clean geometric structure in solid oak and oak with brass nails. Its front is distinguished by a hinged horizontal drop-down panel, fitted with a central rectangular handle in varnished brass. When opened, this panel extends to expand the usable surface of the piece, revealing a functional interior storage space. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### A double-sided lacquered screen

URL: https://galeriemarcelpoil.com/en/works/a-double-sided-lacquered-screen-donald-deskey-c1930/
Artist: Donald Deskey
Year: c. 1930
Type: Miscellaneous
Materials: Lacquer
Dimensions: H. 201 cm x L. 163 cm x P. 2 cm / H. 79.1 in × L. 64.2 in × D. 0.8 in

A lacquered wood three-panel folding screen, featuring a stepped top profile that progressively increases in height. The design stands as a spectacular testament to American Modernism and the “Machine Age” aesthetic developed by Donald Deskey around 1930. Set against a mottled and textured silver background, the powerful, asymmetrical abstract composition deploys bold geometric shapes in jet-black. The visual rhythm is vigorously accentuated by double parallel bright red lines forming dynamic chevrons and arrows.

### Blue lacquered sideboard

URL: https://galeriemarcelpoil.com/en/works/blue-lacquered-sideboard-andre-sornay-c1955/
Artist: André Sornay
Year: c. 1955
Type: Storage furniture
Materials: Mahogany, Lacquer
Dimensions: H. 77 cm x L. 240 cm x P. 41 cm / H. 30.3 in × L. 94.5 in × D. 16.1 in

Clean-lined sideboard featuring a rectangular mahogany framework. The front opens via three sliding blue lacquered wooden doors fitted with vertical solid mahogany handles. The inset top surface is also finished with a blue lacquered panel. The entire piece rests on a slightly recessed solid mahogany plinth base. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Pair of lamps, "Bloc" model

URL: https://galeriemarcelpoil.com/en/works/pair-of-lamps-bloc-model-jean-michel-frank-c1925/
Artist: Jean-Michel Frank
Year: c. 1925
Type: Lighting
Materials: Parchemin, Brass
Dimensions: H. 20.5 cm x L. 15 cm x P. 5 cm / H. 8.1 in × L. 5.9 in × D. 2 in / Dimensions avec abat-jour (Dimensions with lampshade.): / H. 45.5cm x Ø 36 cm / H. 17.9 in x Ø 14.2 in

Pair of six-sided "Bloc" lamps covered in parchment. Certificate from the Jean-Michel Frank Committee.

Provenance: Private collection, Lyon, France

### Six chairs in Oregon pine

URL: https://galeriemarcelpoil.com/en/works/six-chairs-in-oregon-pine-andre-sornay-c1935/
Artist: André Sornay
Year: c. 1935
Type: Seating
Materials: Mahogany, Pin d’Oregon, Brass
Dimensions: H. 88,5 cm x L. 47,5 cm x P. 51 cm / H. 34.8 in × L. 18.7 in × D. 20.1 in

Set of six chairs featuring a circular medallion backrest in Oregon pine with brass nails, accented with four brass screw covers on the front. The framework and four tapered legs are crafted from solid mahogany, supporting an upholstered seat. Ref. «André Sornay» , Thierry Roche p. 107. Oregon pine was treated in several stages. The wood was first worked with a metal brush to create relief, then stained in black and finally sanded on the surface. The recessed grain therefore remained black while that in relief retrieved its original orangey colour. With this treatment Sornay created a random two colour pattern made up of of long, sinuous, black and orangey waves, evocative of magnetic waves.

### Rosewood cabinet

URL: https://galeriemarcelpoil.com/en/works/rosewood-cabinet-andre-sornay-c1927/
Artist: André Sornay
Year: c. 1927
Type: Storage furniture
Materials: Rosewood, Bronze, Brass
Dimensions: H. 148 cm x L. 153 cm x P. 45 cm / H. 58.3 in × L. 60.2 in × D. 17.7 in

Rosewood sideboard distinguished by its stepped upper section. The top features an open central niche symmetrically flanked by four drawers fitted with horizontal brass handles. The lower section opens via three hinged doors with three original bronze keys, highlighting the wood's vertical grain. The structure rests on flared side legs terminating in brass feet, joined by a subtly curved lower apron. Unique piece. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Cheval glass and armless chair

URL: https://galeriemarcelpoil.com/en/works/cheval-glass-and-armless-chair-andre-sornay-c1934/
Artist: André Sornay
Year: c. 1934
Type: Miscellaneous
Materials: Mahogany, Érable, Brass, Glass, Fabric
Dimensions: Cheval glass (psyché) / H. 181 cm x L. 145 cm x P. 31 cm / H. 71.3 in × L. 57.1 in × D. 12.2 in / Armless clair (chauffeuse) / H. 102 cm x L. 47 cm x P. 53 cm / H. 40.2 in × L. 18.5 in × D. 20.9 in

This set is made of solid mahogany and bird's-eye maple with brass nails. The cheval glass centers around a large glass mirror resting on a low base. Its wooden structure is flanked by geometric uprights that integrate brass elements and light lateral glass shelves. The matching armless chair features the same combination of solid mahogany and bird's-eye maple with brass nails. It is distinguished by a particularly high backrest that flares straight upward, framing a geometric seat covered in a light-colored fabric. Ref. « André Sornay », Thierry Roche p.137. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Globular vase with geometric chevron decoration

URL: https://galeriemarcelpoil.com/en/works/globular-vase-with-geometric-chevron-decoration-paul-beyer-c1925/
Artist: Paul Beyer
Year: c. 1925
Type: Miscellaneous
Materials: Ceramic
Dimensions: H. 25 cm x Ø 18 cm / H. 9.8  in × Ø 7.1 in

An enameled stoneware vase featuring a bulbous, globular body. The upper portion of the vessel tapers into a rounded shoulder, which is surmounted by a short, narrow, and cylindrical neck with a straight rim. The glazed surface exhibits a light beige ground speckled with fine dark particles and iron spots characteristic of high-temperature stoneware firing. The geometric decoration, executed in a contrasting gray-brown slip or glaze, is organized into two distinct zones. The neck and upper shoulder are encircled by a sequence of concentric horizontal bands. The midsection of the body features a wide, continuous frieze decorated with a repeating pattern of interlocking chevrons and triangles composed of parallel lines.

### Rolling bar transforming into a gaming table

URL: https://galeriemarcelpoil.com/en/works/rolling-bar-transforming-into-a-gaming-table-andre-sornay-c1936/
Artist: André Sornay
Year: c. 1936
Type: Tables / Desks / Consoles
Materials: Walnut, loupe de Thuya
Dimensions: H. 80 cm x L. 80 cm x P. 35 cm / H. 31.5 in × L. 31.5 in × D. 13.8 in

This convertible unit combines a rolling bar and a gaming table crafted from studded thuja burr, studded walnut, and solid walnut. In its closed position, the compact framework houses four removable side tables/stools along its flanks as well as two sliding serving trays. Once fully deployed, the piece unfolds into a square-topped gaming table equipped with four corner-integrated ashtrays. Unique piece. Ref. « signé sornay. » p. 194. In the years following World War I, the reorganization of housing made smaller living spaces a necessity and many designers developed modular furniture systems. These new constraints on space and construction stimulated Sornay’s ingeniousness. He started to design tailor-made or multifunctional furniture as early as 1925.

### Pair of mahogany and metal 'bridge' armchairs

URL: https://galeriemarcelpoil.com/en/works/pair-of-mahogany-and-metal-bridge-armchairs-andre-sornay-c1960/
Artist: André Sornay
Year: c. 1960
Type: Seating
Materials: Mahogany, Métal, Leather
Dimensions: H. 95 cm x L. 52 cm x P. 55 cm / H. 37.4 in × L. 20.5 in × D. 21.7 in

Pair of mahogany and metal 'bridge' armchairs with airy lines, notably characterized by armrests forming a hollowed-out rectangular frame. Its high, vertical backrest features a tufted rectangular panel, supported at the back by a central mahogany upright. The seat is also upholstered in red leather, with the entire structure stabilized at the bottom by thin metal stretchers. Ref. « signé sornay. » p.303 in green. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Tubular metal chair

URL: https://galeriemarcelpoil.com/en/works/tubular-metal-chair-andre-sornay-c1928/
Artist: André Sornay
Year: c. 1928
Type: Seating
Materials: Métal, Skaï
Dimensions: H. 82 cm x L. 42 cm x P. 45 cm / H. 32.3 in × L. 16.5 in × D. 17.7 in

Tubular metal chair with curved and fluid lines, notably characterized by a continuous base forming geometric loops. Its minimalist backrest features a rectangular black vinyl strip that contours the top of the metal frame. The seat is also upholstered in black vinyl. André Sornay completed the prototype of a tubular metal chair with the help of a well-equipped locksmith probably as early as 1928, for at this time his factory did not have a mechanical bender. « Lead was inserted into the tube at the various bending points. The overall tubular structure features two other distinct elements that were joined beneath the seat. »

### Ten stools in mahogany

URL: https://galeriemarcelpoil.com/en/works/ten-stools-in-mahogany-andre-sornay-c1960/
Artist: André Sornay
Year: c. 1960
Type: Seating
Materials: Mahogany, Leather
Dimensions: H. 45 cm x L. 38 cm x P. 29,5 cm / H. 17.7 in × L. 15.0 in × D. 11.6 in

Ten mahogany stools with straight lines. The rectangular seat is upholstered in green leather. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Dining table in Oregon pine

URL: https://galeriemarcelpoil.com/en/works/dining-table-in-oregon-pine-andre-sornay-c1935/
Artist: André Sornay
Year: c. 1935
Type: Tables / Desks / Consoles
Materials: Beech, Pin d’Oregon, Brass
Dimensions: H. 75 cm x L. 157 cm (and 280 cm) x P. 100 cm / H. 29.5 in × L. 61.8 in (and 110.2 in)× D. 39.4 in

Rectangular dining table crafted from Oregon pine with brass nails. The structure rests on two wide, solid side panels serving as a base, connected at the bottom by a double horizontal stretcher made of solid beechwood and brass. The main tabletop slides open to accommodate two original extensions. Ref. « signé sornay. » p. 239. Oregon pine was treated in several stages. The wood was first worked with a metal brush to create relief, then stained in black and finally sanded on the surface. The recessed grain therefore remained black while that in relief retrieved its original orangey colour. With this treatment Sornay created a random two colour pattern made up of of long, sinuous, black and orangey waves, evocative of magnetic waves.

### Vase

URL: https://galeriemarcelpoil.com/en/works/vase-paul-beyer-c1925/
Artist: Paul Beyer
Year: c. 1925
Type: Miscellaneous
Materials: Ceramic
Dimensions: H. 17.5 cm x Ø 14.5 cm / H. 6.9 in × Ø 5.7 in

Stoneware vase featuring a cylindrical main body with a rounded base. The upper section expands into a wide, flared trumpet-shaped collar, ending in an inward-sloping rim of uniform thickness. The exterior surface is finished with a variegated, mottled enamel glaze, combining tones of dark blue, gray, and brown with a matte to semi-gloss texture.

### Four bridge chairs in Zebrano

URL: https://galeriemarcelpoil.com/en/works/four-bridge-chairs-in-zebrano-andre-sornay-c1940/
Artist: André Sornay
Year: c. 1940
Type: Seating
Materials: Beech, Zebrawood
Dimensions: H. 93 cm x L. 51 cm x P. 49 cm / H. 36.6 in × L. 20.1 in × D. 19.3 in

Four bridge chairs in Zebrano wood with brass nails and solid beech. The upright rectangular backrest showcases the distinctively striped grain of zebrano wood, accented along its perimeter by brass nails. The flat, straight armrests and square-section legs form an architectural structure surrounding a solid wooden seat. Ref. « signé sornay. » p.101. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Circular coffee table

URL: https://galeriemarcelpoil.com/en/works/circular-coffee-table-andre-sornay-c1936/
Artist: André Sornay
Year: c. 1936
Type: Tables / Desks / Consoles
Materials: Mahogany
Dimensions: H. 70,5 cm x Ø 86 cm / H. 27.6 in × Ø 33.9 in

Circular coffee table in solid mahogany. It consists of two stacked tiers connected by a streamlined tripod base. The two circular mahogany with brass nails tops are adorned around their perimeter with delicate lines of brass studding. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Bookcase with sliding doors

URL: https://galeriemarcelpoil.com/en/works/bookcase-with-sliding-doors-andre-sornay-c1936/
Artist: André Sornay
Year: c. 1936
Type: Storage furniture
Materials: Mahogany
Dimensions: H. 185 cm (270 cm avec portes levées) x L. 200 cm x P. 47 cm / H. 72.8 in (106.3 with raised doors) × L. 78.7 in × D. 18.5 in

Monumental bookcase in solid mahogany and mahogany with brass nails. It features an ingenious system of five sliding doors. Two large main panels rise vertically to reveal wide rows of interior shelving. Depending on the sliding and adjustment of the various panels, the piece reveals or conceals upper display niches as well as columns of functional shelves arranged across the central and lateral partitions. The entire unit rests on a slightly recessed double plinth base. Unique piece. Ref. « signé sornay. » p.181. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Modernist chandelier

URL: https://galeriemarcelpoil.com/en/works/modernist-chandelier-emile-jacot-c1939/
Artist: Emile Jacot
Year: c. 1939
Type: Lighting
Materials: Métal, Mahogany, Glass
Dimensions: H. 80 cm x L. 67 cm x P. 67 cm / H. 31.5 in × L. 26.4 in × D. 26.4 in

Modernist chandelier with a geometric mahogany and metal mount. The central mount takes the form of a long mahogany shaft with an inverted pyramidal section, accented by metal bands featuring vertical striated patterns. This stem supports a large square slab of translucent glass, the four corners of which are embellished with glass bevels. The light fixture terminates at its lower section in a matching inverted-pointed cap, blending mahogany and metal.

### Pair of armchairs in mahogany

URL: https://galeriemarcelpoil.com/en/works/pair-of-armchairs-in-mahogany-andre-sornay-c1935/
Artist: André Sornay
Year: c. 1935
Type: Seating
Materials: Mahogany, Fabric
Dimensions: H. 76 cm x L. 58 cm x P. 66 cm / H. 29.9 in × L. 22.8 in × D. 26.0 in

Pair of armchairs in solid mahogany and mahogany with brass nails, notably characterized by a sled base. The seat and backrest are upholstered in a light-colored fabric. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Bottle vase

URL: https://galeriemarcelpoil.com/en/works/bottle-vase-paul-beyer-c1926/
Artist: Paul Beyer
Year: c. 1926
Type: Miscellaneous
Materials: Ceramic
Dimensions: H. 16 cm / H. 6.3 in

A stoneware bottle-shaped vase with a globular body and a short, flared neck. The piece features a mottled grey and blue glaze detailed with silver incrustations.

### Pair of rosewood mirrors

URL: https://galeriemarcelpoil.com/en/works/pair-of-rosewood-mirrors-andre-sornay-c1930/
Artist: André Sornay
Year: c. 1930
Type: Miscellaneous
Materials: Rosewood, Glass
Dimensions: H. 102 cm x P. 60 cm / H. 40.2 in × D. 23.6 in

Pair of rectangular wall mirrors. The minimalist composition is structured around a rectangular mirror glass framed at the top and bottom by two horizontal rosewood elements. Cette œuvre a été crée avant le brevet du cloutage donc avant 1932. Cette première production se caractérise par des meubles puissamment charpentés aux lignes simples, construits suivant les normes de l’ébénisterie traditionnelle. À cette époque, la production est essentiellement constituée de pièces uniques, plus rarement de meubles fabriqués à quelques exemplaires.

### Table lamp

URL: https://galeriemarcelpoil.com/en/works/table-lamp-andre-sornay-c1934/
Artist: André Sornay
Year: c. 1934
Type: Lighting
Materials: Walnut, Glass
Dimensions: H. 22 cm x L. 51 cm x P. 19 cm / H. 8.7 in × L. 20.1 in × D. 7.5 in

This desk lamp features a geometric design highlighting a combination of rectangular and circular shapes. The open framework consists of a large rectangular walnut with brass nails frame supported by a low rectangular base in solid walnut. The two vertical uprights are flanked on the outer sides by raised circular disks. The upper section houses the light fixture, shielded by a horizontal rectangular panel of frosted glass secured by two lateral screws. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Vase with marine landscape decoration

URL: https://galeriemarcelpoil.com/en/works/vase-with-marine-landscape-decoration-leon-brunard-c1925/
Artist: Léon Brunard
Year: c. 1925
Type: Miscellaneous
Materials: Ceramic
Dimensions: H. 24.5 cm x Ø 21 cm / H. 9.6 in × Ø 8.3 in

A ceramic vase featuring an ovoid body resting on a short, flared pedestal foot. It displays a stylized marine landscape decoration centered around a prominent, light beige reserve outlined in blue, evoking clouds or rolling waves. This composition is framed by deep, contrasting brown and black masses, while the lower rim of the foot is accented by a radiating frieze of turquoise dashes. Signed.

### Set of four armchairs in chromed tubular steel

URL: https://galeriemarcelpoil.com/en/works/set-of-four-armchairs-in-chromed-tubular-steel-andre-sornay-c1928/
Artist: André Sornay
Year: c. 1928
Type: Seating
Materials: Métal, Fabric
Dimensions: H. 89 cm x L. 55 cm x P. 62 cm / H. 35.0 in × L. 21.7 in × D. 24.4 in

Set of four modernist armchairs featured a structured framework made of bent tubular chromed steel. The angled rectangular backrest and padded seat, upholstered in a light fabric, are suspended airy-like within the metal frame. The horizontal armrests extend into a continuous, fluid line forming both the front and rear legs. Similar model reproduced on page 110 of the monograph on the artist. André Sornay completed the prototype of a tubular metal chair with the help of a well-equipped locksmith probably as early as 1928, for at this time his factory did not have a mechanical bender. « Lead was inserted into the tube at the various bending points. The overall tubular structure features two other distinct elements that were joined beneath the seat. »

### Ceramic vase

URL: https://galeriemarcelpoil.com/en/works/ceramic-vase-atelier-d-accolay-c1950/
Artist: Atelier d'Accolay
Year: c. 1950
Type: Miscellaneous
Materials: Ceramic
Dimensions: H. 28 cm / H. 11 in

Free-form ceramic vase. The entire piece is covered in a smooth, glossy black glaze, with reflections that emphasize the undulating curves of the form.

### 2 two-tier low tables

URL: https://galeriemarcelpoil.com/en/works/2-two-tier-low-tables-andre-sornay-c1960/
Artist: André Sornay
Year: c. 1960
Type: Tables / Desks / Consoles
Materials: Beech, Lacquer
Dimensions: H. 42 cm x L. 69 cm x P. 69 cm / H. 16.5 in × L. 27.2 in × D. 27.2 in

Pair of solid beech coffee tables. Each coffee table in this set features a square shape and a two-tier geometric structure. The top panel consists of anthracite blue lacquered wood, while the lower shelf is made of white lacquered wood. The framework rests on four straight, square-section legs. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Untitled

URL: https://galeriemarcelpoil.com/en/works/untitled-armand-avril-1971/
Artist: Armand Avril
Year: 1971
Type: Paintings
Materials: bois
Dimensions: H. 112 cm x L. 65 cm / H. 44.1 in × L. 25.6 in

Mixed media on wood. A vertical wooden assemblage structured in the manner of a multi-compartment shadow box or cabinet of curiosities, divided into four primary registers, each split into three sections. The composition incorporates numerous found, turned, and carved wooden objects. These elements are arranged symmetrically and accented with subtle touches of red, orange, and white paint, set against a painted gray-green background. The overall structure evokes a totemic design or a collection of miniature idols. Signed « Avril Armand » et dated « 1971 »

### Trapezoid console

URL: https://galeriemarcelpoil.com/en/works/trapezoid-console-andre-sornay-c1930/
Artist: André Sornay
Year: c. 1930
Type: Tables / Desks / Consoles
Materials: Mahogany, Rosewood, Stone
Dimensions: H. 110 cm x L. 200 cm x P. 35 cm / H. 43.3 in × L. 78.7 in × D. 13.8 in

Trapezoidal console in Indian rosewood. The composition is punctuated by two imposing flared side supports enclosing an intermediate shelf and crowned by a large top surface, both made of Soignies stone. The entire piece rests on a solid horizontal mahogany base. Unique piece. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Femme à la harpe

URL: https://galeriemarcelpoil.com/en/works/femme-a-la-harpe-ivan-mestrovic-c1932/
Artist: Ivan Meštrović
Year: c. 1932
Type: Sculptures
Materials: bois
Dimensions: H. 198 cm x L. 71 cm x P. 7 cm / H. 78 in × L. 28 in × D. 2.8 in

This large vertical carved wooden panel depicts a female silhouette in profile, her hands resting on the strings of a harp. The work reflects the Art Deco aesthetic through its linear stylization: the woman’s long, wavy hair and the fluid folds of her drapery follow the vertical, rigid movement of the instrument. This wooden relief reproduces one of the mythological panels designed by Meštrović in 1931 to adorn the Ionic portico of his neoclassical villa in Split (Croatia). The bronze version of “Woman with a Harp” is part of the collections of the Musée National d’Art Moderne – Centre Georges Pompidou, having been previously acquired and exhibited at the Jeu de Paume in 1933.

### Asymmetrical desk

URL: https://galeriemarcelpoil.com/en/works/asymmetrical-desk-andre-sornay-c1936/
Artist: André Sornay
Year: c. 1936
Type: Tables / Desks / Consoles
Materials: Mahogany
Dimensions: H. 75 cm x L. 160 cm x P. 88 cm / H. 29.5 in × L. 63.0 in × D. 34.6 in

This asymmetrical desk is crafted from solid mahogany and mahogany with brass nails. It features a side pedestal housing three drawers, which are secured by an ingenious locking system utilizing a vertical brass bar. Ref. Similar desk model reproduced in "signé sornay.", p. 212. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Coffee table in birdseye maple

URL: https://galeriemarcelpoil.com/en/works/coffee-table-in-birdseye-maple-andre-sornay-c1930/
Artist: André Sornay
Year: c. 1930
Type: Tables / Desks / Consoles
Materials: Érable
Dimensions: H. 38 cm x Ø 70 cm / H. 15.0 in × Ø 27.6 in

Birdseye maple coffee table. The composition is structured around the circle and the rectangle: a round top and a matching circular base are connected by an imposing open rectangular frame serving as the base. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Dinanderie vase with undulating frieze decoration

URL: https://galeriemarcelpoil.com/en/works/dinanderie-vase-with-undulating-frieze-decoration-claudius-linossier-1930/
Artist: Claudius Linossier
Year: 1930
Type: Dinanderie
Materials: Dinanderie
Dimensions: H. 22.5 cm / H. 8.9 in

A dinanderie vase with a narrowed opening. The upper section is encircled by an undulating brick-red band, inlaid with a continuous silver-toned pattern of scrolling waves and small dots. The rest of the body features a mottled, hammered patina with brown, ochre, and dark tones. Signé « CL.LINOSSIER »

### 6 bridges in macassar with brass nails and solid mahogany

URL: https://galeriemarcelpoil.com/en/works/6-bridges-in-macassar-with-brass-nails-and-solid-mahogany-andre-sornay-c1936/
Artist: André Sornay
Year: c. 1936
Type: Seating
Materials: Mahogany, Macassar ebony, Fabric
Dimensions: H. 90 cm x L. 53 cm x P. 52 cm / H. 35.4 in × L. 20.9 in × D. 20.5 in

This set of six bridge armchairs features a geometric structure crafted from studded Macassar ebony and solid mahogany. The rectangular backrest and padded seat, upholstered in a light textured fabric, fit seamlessly within the framework defined by straight lines and right-angled horizontal armrests. The structure stands on four straight square section legs. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Convertible console / table

URL: https://galeriemarcelpoil.com/en/works/convertible-console-table-andre-sornay-c1936/
Artist: André Sornay
Year: c. 1936
Type: Tables / Desks / Consoles
Materials: Mahogany, Rosewood, Brass
Dimensions: (Position Console) : H. 74,5 cm x L. 100 cm x P. 50 cm / (Position Table) : H. 29.1 in × L. 39.4 in × D. 39.4 in / (Console Position): H. 29.3 in × L. 39.4 in × D. 19.7 in / (Table Position):  H. 28.1 in × L. 39.4 in × D. 39.4 in

This ingenious and multifunctional piece serves as a sleek console that effortlessly converts into a dining or game table via a swiveling and unfolding top mechanism. The architectural framework beautifully pairs panels of rosewood with brass nails with a sturdy studded mahogany base. This model highlights Sornay's early mastery of modular, space-saving furniture tailored for the shrinking living spaces of the post-WWI era. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Dinanderie panel with frame

URL: https://galeriemarcelpoil.com/en/works/dinanderie-panel-with-frame-andre-sornay-claudius-linossier-1939/
Artist: Claudius Linossier, André Sornay
Year: 1939
Type: Dinanderie
Materials: Beech, Dinanderie
Dimensions: H. 24 cm x L. 19 cm (H. 41 cm x L. 35,5 cm avec le cadre) / H. 9.45 in x L. 7.48 in (H. 16.1 in × L. 14 in with frame)

Rectangular dinanderie panel depicting a still life. The central composition features a clever self-reference, representing an ovoid vase characteristic of Claudius Linossier's own creations, generously filled with a bouquet of flowers and foliage. The floral design is rendered through a subtle interplay of oxidations and metallic tones (gold, silver, and copper), which stand out brilliantly against a dark, textured background. The artwork is beautifully showcased in its wide, original frame created by the renowned Lyonnais cabinetmaker André Sornay. Made of light wood (ash / beech) with a highly pronounced grain, the frame features Sornay's emblematic "cloutage" (studded) technique. Small, evenly spaced metallic nail heads are aligned to highlight the joinery and geometric lines of the woodwork. Signed and dated "1939 CL.LINOSSIER" in the lower right corner of the composition.

### Pair of two-tier coffee tables

URL: https://galeriemarcelpoil.com/en/works/pair-of-two-tier-coffee-tables-andre-sornay-c1960-2/
Artist: André Sornay
Year: c. 1960
Type: Tables / Desks / Consoles
Materials: Lacquer, Mahogany
Dimensions: H. 42 cm x L. 69 cm x P. 69 cm / H. 16.5 in × L. 27.2 in × D. 27.2 in

Each square coffee table in this pair features a geometric solid mahogany framework constructed using Sornay's patented rod assembly system ("tigette"). The design incorporates two inset square tiers finished with white lacquered panels. The structure stands on four straight square-section legs joined by an open upper framework. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Hallucination spéciale

URL: https://galeriemarcelpoil.com/en/works/hallucination-speciale-marc-quinn-2007/
Artist: Marc Quinn
Year: 2007
Type: Paintings
Materials: Acrylique
Dimensions: H. 40.5 cm x L. 30.5 cm / H. 15.9 in × L. 12 in

A stylized acrylic female portrait boasting a bold Neo-Pop aesthetic. The stark, graphic white face features vibrant red lips and eyes heavily highlighted with blue and purple eyeshadow. It is framed by a cascading mane of long hair painted in flowing streaks of pink, magenta, and deep purple. A 3D pink silicone orchid flower is affixed in relief to the center of the forehead. Fluid drips and splashes of bright green and yellow acrylic paint border the composition, adding dynamic energy to the canvas.

Provenance: Galerie Hopkins-Custot, Paris

### Sideboard

URL: https://galeriemarcelpoil.com/en/works/sideboard-andre-sornay-c1935/
Artist: André Sornay
Year: c. 1935
Type: Storage furniture
Materials: Beech, Pin d’Oregon, Marble
Dimensions: H. 103 cm (123 cm) x L. 178 cm x P. 51 cm / H. 40.6 in (48.4 in) x L. 70.1 in × D. 20.1 in

Asymmetrical sideboard in Oregon pine with brass nails. The layout consists of three distinct sections: the left side houses a wide solid door, the central section features an upper drawer over two open compartments, and the right side rises vertically to form an elevated block equipped with a door. The lower section is topped with an elegant Belgian marble surface. The doors and the drawer are adorned in their center with a large circular wooden handle. The entire structure is supported by a recessed solid beechwood base. Ref. « signé sornay. » p.85. Oregon pine was treated in several stages. The wood was first worked with a metal brush to create relief, then stained in black and finally sanded on the surface. The recessed grain therefore remained black while that in relief retrieved its original orangey colour. With this treatment Sornay created a random two colour pattern made up of of long, sinuous, black and orangey waves, evocative of magnetic waves.

### Vase with flared neck and stylized geometric decoration

URL: https://galeriemarcelpoil.com/en/works/vase-with-flared-neck-and-stylized-geometric-decoration-paul-beyer-c1925/
Artist: Paul Beyer
Year: c. 1925
Type: Miscellaneous
Materials: Ceramic
Dimensions: H. 15.5 cm x Ø 15.5 cm / H. 6.1  in × Ø 6.1 in

An enameled stoneware vase with a squat, globular body and a short, flared neck. The grayish-beige surface, heavily speckled with reddish-brown and ocher mottling, features a gray-blue geometric decoration on its upper half. This ornament consists of a continuous frieze of repeating loop motifs reminiscent of meanders, framed by two horizontal lines. Signed.

### Stoneware pot

URL: https://galeriemarcelpoil.com/en/works/stoneware-pot-paul-beyer-c1925/
Artist: Paul Beyer
Year: c. 1925
Type: Miscellaneous
Materials: Ceramic
Dimensions: H. 20 cm x Ø 16 cm / H. 7.9 in × Ø 6.3 in

An ovoid-shaped stoneware pot with a wide rim and straight neck. The body features a central, wide band decorated with naturalistic and circular patterns in various shades of blue, set against a speckled beige background.

### Dinning table in Macassar

URL: https://galeriemarcelpoil.com/en/works/dinning-table-in-macassar-andre-sornay-1937/
Artist: André Sornay
Year: 1937
Type: Tables / Desks / Consoles
Materials: Macassar ebony, Brass, Caoutchouc
Dimensions: H. 75,5 cm x L. 201 cm (324 cm avec les rallonges) x P. 100 cm / H. 29.5 in × L. 79.1 in (127.6 inches with extensions) × D. 39.4 in

Rectangular dining table in studded Macassar ebony. The tabletop is designed to accommodate two removable extension leaves. The architectural structure rests on a central pedestal base combining rubber elements and brass details. Original drawing. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Mahogany rolling table

URL: https://galeriemarcelpoil.com/en/works/mahogany-rolling-table-andre-sornay-c1955/
Artist: André Sornay
Year: c. 1955
Type: Tables / Desks / Consoles
Materials: Mahogany
Dimensions: H. 80 cm x L. 85 cm x P. 48 cm / H. 31.5 in × L. 33.5 in × D. 18.9 in

Mahogany rolling table featuring two stacked rectangular trays with rounded corners and subtle raised lips. The framework is supported by two solid side uprights, one extending upward to form a horizontal solid wood handle. The piece rests on two transverse runners equipped with casters. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Ovoid vase with diamond and spiral frieze

URL: https://galeriemarcelpoil.com/en/works/ovoid-vase-with-diamond-and-spiral-frieze-claudius-linossier-c1927/
Artist: Claudius Linossier
Year: c. 1927
Type: Dinanderie
Materials: Dinanderie
Dimensions: H. 22 cm x Ø 14.5 cm / H. 8.66 in × Ø 5.7 in

Elongated ovoid-shaped dinanderie vase, tapering at the base. The upper part of the body is decorated with a geometric frieze consisting of alternating copper-toned diamonds with central squares, and dark diamonds containing silver-toned spiral motifs. This decorative band contrasts sharply with the rest of the vase's body, which features a dark, richly textured, and hammered patina. All of the designs and nuances are achieved through the dinanderie technique, made from sheet metal. Signed "CL.Linossier".

### Red lacquer bookcase

URL: https://galeriemarcelpoil.com/en/works/red-lacquer-bookcase-andre-sornay-c1930/
Artist: André Sornay
Year: c. 1930
Type: Storage furniture
Materials: Lacquer
Dimensions: H. 156 cm x L. 129 cm x P. 22.5 cm / H. 61.4 in × L. 50.8 in × D. 8.9 in

Architectural red lacquer bookcase. The composition is structured around a tall vertical column featuring a series of open compartments on the right side, extending downward into an arrangement of staggered and cantilevered shelves. The entire structure rests on a shallow, solid horizontal base, creating a clean and graphic silhouette. Unique piece. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Three-tier coffee table

URL: https://galeriemarcelpoil.com/en/works/three-tier-coffee-table-andre-sornay-c1930/
Artist: André Sornay
Year: c. 1930
Type: Tables / Desks / Consoles
Materials: Mahogany
Dimensions: H. 62 cm x L. 75 cm x P. 48 cm / H. 24.4 in × L. 29.5 in × D. 18.9 in

Three-tier coffee table (or side table) in mahogany. The structure is composed of three stacked horizontal tiers joined by thick solid side supports. The top surface is accented with two raised mahogany side galleries. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Cabinet in zebrano

URL: https://galeriemarcelpoil.com/en/works/cabinet-in-zebrano-andre-sornay-c1940/
Artist: André Sornay
Year: c. 1940
Type: Storage furniture
Materials: Beech, Zebrawood
Dimensions: H. 193 cm x L. 162 cm x P. 47 cm / H. 76.0 in × L. 63.8 in × D. 18.5 in

Two-tiered architectural cabinet crafted from Zebrano veneer and solid beech. Both the upper and lower sections feature two sliding doors fitted with vertical wooden handles, highlighting the distinctively striped grain of the Zebrano wood. The central portion forms a spacious open niche. The entire framework is enclosed by vertical solid beech uprights that extend downward to form the legs. Unique piece.

### Umbrella stand with integrated light

URL: https://galeriemarcelpoil.com/en/works/umbrella-stand-with-integrated-light-andre-sornay-c1930/
Artist: André Sornay
Year: c. 1930
Type: Storage furniture
Materials: Beech, Brass, Glass
Dimensions: H. 169,5 cm x L. 40 cm x P. 26,5 cm / H. 66.7 in × L. 15.7 in × D. 10.2 in

Illuminating beech umbrella stand characterized by a tall, narrow, and streamlined vertical structure. Its upper section houses an integrated light fixture diffusing light through frosted glass panels (not original). At mid-height, the open framework is equipped with slender horizontal brass rods designed to hold umbrellas. The base of the unit incorporates a lower receptacle serving as a drip pan. Unique piece. Ref. « signé sornay. » p.208. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Austrian or Belgian school presentation stand

URL: https://galeriemarcelpoil.com/en/works/austrian-or-belgian-school-presentation-stand-anonyme-c1910/
Artist: Anonyme
Year: c. 1910
Type: Miscellaneous
Materials: Brass, bois
Dimensions: H. 112 cm x L. 46 cm x P. 32 cm / H. 44.1 in × L. 18.1 in × D. 12.6 in

A rectangular presentation pedestal with a strictly geometric and architectural design. The entire wooden structure is clad in sheet brass. It features an overhanging rectangular top tray and a solid lower base, both exhibiting a hammered texture in their central panels. The upper and lower box-like sections are decorated with a grid pattern of squares in slight relief. These two main sections are connected by four straight, vertical stiles. The piece rests on four small spherical feet.

### A mahogany coffee table

URL: https://galeriemarcelpoil.com/en/works/a-mahogany-coffee-table-andre-sornay-1930/
Artist: André Sornay
Year: 1930
Type: Tables / Desks / Consoles
Materials: Mahogany
Dimensions: H. 41,5 cm x L. 78 cm x Diamètre du plateau : 67,5 cm / H. 16.3 in × L. 30.7 in x Top Diameter: 26.6 in

Mahogany coffee table. The composition is structured around the circle and the rectangle: a round top and a matching circular base are connected by an imposing open rectangular frame serving as the base. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Vertical chest of drawers

URL: https://galeriemarcelpoil.com/en/works/vertical-chest-of-drawers-andre-sornay-c1932/
Artist: André Sornay
Year: c. 1932
Type: Storage furniture
Materials: Mahogany, Pin d’Oregon
Dimensions: H. 164,5 cm x L. 82 cm x P. 43 cm / H. 64.6 in × L. 32.3 in × D. 16.9 in

Vertical dresser in Oregon pine with brass nails and solid mahogany. The solid Oregon pine door is accented with a recessed circular mahogany pull. The interior, veneered and structured in solid mahogany, reveals a functional layout comprising six English-style pull-out drawers with ergonomic cutouts, flanked by small side compartments and topped with storage shelves. The entire piece rests on a solid recessed plinth base. Unique piece. Oregon pine was treated in several stages. The wood was first worked with a metal brush to create relief, then stained in black and finally sanded on the surface. The recessed grain therefore remained black while that in relief retrieved its original orangey colour. With this treatment Sornay created a random two colour pattern made up of of long, sinuous, black and orangey waves, evocative of magnetic waves.

### Bookcase with an integrated light

URL: https://galeriemarcelpoil.com/en/works/bookcase-with-an-integrated-light-andre-sornay-c1935/
Artist: André Sornay
Year: c. 1935
Type: Storage furniture
Materials: Mahogany, Rosewood, Glass
Dimensions: H. 187 cm x L. 151 cm x P. 49 cm / H. 73.6 in × L. 59.4 in × D. 19.3 in

Bookcase in rosewood with brass nails and solid mahogany. The piece rests on a straight, dark plinth base. The front is punctuated by two large doors framing a central vertical niche. This opening, featuring integrated lighting, reveals an elegant rectangular mirror at the back, adding depth. Long, imposing vertical handles with a rectangular section, contrasting with their deep black hue, stand out on the doors and echo the rounded side uprights. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Coat rack

URL: https://galeriemarcelpoil.com/en/works/coat-rack-andre-sornay-c1934/
Artist: André Sornay
Year: c. 1934
Type: Storage furniture
Materials: Beech, Pin d’Oregon, Glass
Dimensions: H. 180 cm x L. 130 cm x P. 21 cm / H. 70.9 in × L. 51.2 in × D. 8.3 in

Wall-mounted coat rack in Oregon pine with brass nails. Its front features a vertical mirror as well as a set of six beechwood coat pegs arranged in a functional manner. Oregon pine was treated in several stages. The wood was first worked with a metal brush to create relief, then stained in black and finally sanded on the surface. The recessed grain therefore remained black while that in relief retrieved its original orangey colour. With this treatment Sornay created a random two colour pattern made up of of long, sinuous, black and orangey waves, evocative of magnetic waves.

### Mahogany slipper chair

URL: https://galeriemarcelpoil.com/en/works/mahogany-slipper-chair-andre-sornay-c1939/
Artist: André Sornay
Year: c. 1939
Type: Seating
Materials: Mahogany, Fabric
Dimensions: H. 107 cm x L. 48 cm x P. 56 cm / H. 42.1 in × L. 18.9 in × D. 22.0 in

Slipper chair in solid mahogany and mahogany with brass nails. Its particularly high backrest features a wood panel that flares upward, adorned in its center with a vertical strip of light-colored fabric. The seat is also covered in this light-colored fabric. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Oak sofa-bed with two sliding backrests

URL: https://galeriemarcelpoil.com/en/works/oak-sofa-bed-with-two-sliding-backrests-andre-sornay-c1940/
Artist: André Sornay
Year: c. 1940
Type: Seating
Materials: Oak, Fabric
Dimensions: H. 86 cm x L. 205 cm x P. 118 cm / H. 33.9 in × L. 80.7 in × D. 46.5 in / Assise-couchage / Mattress / H. 45 cm x L. 190 x P. 120 / H. 17.7 in x L. 74.8 in x P. 47.2 in

A sofa-bed in oak with brass nails with an architectural and asymmetrical structure. The backrest accommodates two large rectangular cushions mounted on a sliding mechanism. This system allows for easy adjustment of the position for comfort or to clear the space entirely in order to convert the sofa into a bed. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Walnut occasional table

URL: https://galeriemarcelpoil.com/en/works/walnut-occasional-table-andre-sornay-c1930/
Artist: André Sornay
Year: c. 1930
Type: Tables / Desks / Consoles
Materials: Walnut
Dimensions: H. 60 cm x L. 93 cm x P. 42 cm / H. 23.6 in × L. 36.6 in × D. 16.5 in

Architectural occasional table with an asymmetrical design crafted from solid walnut. It features a main open-shelved module with an overhanging middle shelf. The rectangular top surface extends over the structure, complemented by a cantilevered semicircular side shelf protruding from the flank. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Monumental iron wall sculpture (diptych)

URL: https://galeriemarcelpoil.com/en/works/monumental-iron-wall-sculpture-diptych-anonyme-1958/
Artist: Anonyme
Year: 1958
Type: Sculptures
Materials: Métal
Dimensions: H. 300 cm x L. 285 cm et 140 cm (possibilité d'une pièce continue de 432 cm de longueur) / H. 118.1 in × L. 112.2 in and 55?1 in (potential for a continuous linear piece of 170.1 inches)

A major monumental wall sculpture in iron, structured as a diptych measuring 3 meters in height. This abstract, constructivist-style work is composed of an intricate and dense assembly of numerous metal parts of various shapes and colors, directly sourced from scrap pieces in the flame-cutting workshop. The stylized initials of the company, "RD," are intentionally integrated into the upper left section of the composition. From an artistic perspective, the execution of this piece clearly reflects the aesthetic influence of Pierre André Benoit (known as PAB, 1921-1993). This renowned Alès-born poet, painter, illustrator, and art publisher was a close personal friend of Mr. Jean Richard Ducros, the fourth head of the company (who led the firm from 1938 to 1975). This cultural connection is directly visible in the graphic modernity of this unique collective creation, born from the company's rich industrial heritage.

Provenance: Designed by the technical offices of the Alès 1 site and executed by the mechanical welding school of the Jean Richard Ducros Company in Alès, France. Originally situated in the main reception hall of the company's headquarters when built in 1958. Served as the company's official logo from 1958 until 1972

### Six chairs in Oregon pine with brass nails  and solid mahogany

URL: https://galeriemarcelpoil.com/en/works/six-chairs-in-oregon-pine-with-brass-nails-and-solid-mahogany-andre-sornay-c1935/
Artist: André Sornay
Year: c. 1935
Type: Seating
Materials: Mahogany, Pin d’Oregon, Fabric
Dimensions: H. 88 cm x L. 47 cm x P. 46 cm / H. 34.8 in × L. 18.5 in × D. 18.1 in

This set of six chairs features a graphic design characterized by a circular medallion backrest in studded Oregon pine. The front face of the backrest is accented with four gilded brass screw caps. The frame and tapered legs are crafted from solid mahogany, framing a padded seat upholstered in a light textured fabric. Oregon pine was treated in several stages. The wood was first worked with a metal brush to create relief, then stained in black and finally sanded on the surface. The recessed grain therefore remained black while that in relief retrieved its original orangey colour. With this treatment Sornay created a random two colour pattern made up of of long, sinuous, black and orangey waves, evocative of magnetic waves.

### Glazed stoneware vase

URL: https://galeriemarcelpoil.com/en/works/glazed-stoneware-vase-paul-beyer-c1925/
Artist: Paul Beyer
Year: c. 1925
Type: Miscellaneous
Materials: Ceramic, Porcelain
Dimensions: H. 20.5 cm / H. 8.1 in

An elongated ovoid stoneware vase with a short, tapered neck. The surface features a mottled glaze in khaki green and beige tones, decorated with raised, inlaid white porcelain pearls along the body.

### Three-door display cabinet

URL: https://galeriemarcelpoil.com/en/works/three-door-display-cabinet-andre-sornay-c1930/
Artist: André Sornay
Year: c. 1930
Type: Storage furniture
Materials: Mahogany, Rosewood
Dimensions: H. 155 cm x L. 180 cm x P. 42 cm / H. 61.0 in × L. 70.9 in × D. 16.5 in

Display cabinet crafted from rosewood veneer and solid mahogany. The front facade features two large solid side doors fitted with long vertical wooden handles, highlighting the pronounced grain of the rosewood. The central module incorporates a narrow glass door topped by a open niche, revealing interior shelving. The entire structure rests on a solid mahogany plinth base with a subtle lower arch. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Bookcase in Oregon pine

URL: https://galeriemarcelpoil.com/en/works/bookcase-in-oregon-pine-andre-sornay-c1935/
Artist: André Sornay
Year: c. 1935
Type: Storage furniture
Materials: Pin d’Oregon
Dimensions: H. 113 cm x L. 157 cm x P. 32 cm / H. 44.5 in × L. 61.8 in × D. 12.6 in

This bookcase is crafted from Oregon pine with brass nails. Its rectangular facade opens via two large sliding doors punctuated by vertical handles made of blackened wood slats, creating a rhythmic effect. Oregon pine was treated in several stages. The wood was first worked with a metal brush to create relief, then stained in black and finally sanded on the surface. The recessed grain therefore remained black while that in relief retrieved its original orangey colour. With this treatment Sornay created a random two colour pattern made up of of long, sinuous, black and orangey waves, evocative of magnetic waves.

### Two ottomans

URL: https://galeriemarcelpoil.com/en/works/two-ottomans-jacques-adnet-c1934/
Artist: Jacques Adnet
Year: c. 1934
Type: Seating
Materials: Oak, Fabric
Dimensions: H. 45 cm x L. 60 cm x P. 60 cm / H. 17.7 in × L. 23.6 in × D. 23.6 in

A pair of cubic ottomans attributed to the French designer Jacques Adnet. Each piece features a solid, structured base topped with a thick seat cushion, upholstered in contrasting velvet fabrics: one in deep red and the other in a golden mustard yellow. The ottomans are raised on four sturdy, square-section oak legs, reflecting a modernist geometric rigor. Similar model photographed in 1934 within the interiors of Madame Gould's bedroom and Frank Jay Gould's study.

### Dining table

URL: https://galeriemarcelpoil.com/en/works/dining-table-andre-sornay-c1935/
Artist: André Sornay
Year: c. 1935
Type: Tables / Desks / Consoles
Materials: Beech, Pin d’Oregon
Dimensions: H. 75 cm x L. 135 cm (and 225cm) x P. 90 cm / H. 29.5 in × L. 53.1 in (and 88.6 in) × D. 35.4 in

Rectangular dining table crafted from Oregon pine with brass nails and solid beechwood. The main tabletop expands to accommodate two original Oregon pine extensions. The framework is supported by four wide, rectangular corner legs Ref. « signé sornay. » p. 239. Oregon pine was treated in several stages. The wood was first worked with a metal brush to create relief, then stained in black and finally sanded on the surface. The recessed grain therefore remained black while that in relief retrieved its original orangey colour. With this treatment Sornay created a random two colour pattern made up of of long, sinuous, black and orangey waves, evocative of magnetic waves.

### Dinanderie vase with circular gold and silver motif

URL: https://galeriemarcelpoil.com/en/works/dinanderie-vase-with-circular-gold-and-silver-motif-claudius-linossier-1920/
Artist: Claudius Linossier
Year: 1920
Type: Dinanderie
Materials: Dinanderie
Dimensions: H. 21.5 cm x Ø 12 cm / H. 8.4 in × Ø 4.72 in

Pear-shaped dinanderie vase. The hammered body is distinguished by a rich and luminous patina in warm reddish-orange and copper tones. The upper section is decorated with a descending frieze, framing elegant circular spiral motifs (volutes) inlaid in gold and silver. The upper edge is highlighted by a fine metallic border that harmoniously completes the composition. Entirely hand-hammered from a single sheet of metal, this early artwork perfectly embodies the mastery of hot oxidation and metal inlays. Signed "CL.LINOSSIER 1920 n°5". Reproduced in the “Claudius Linossier” book by Jean Gaillard, p. 124

### Dining room table and these 6 original chairs

URL: https://galeriemarcelpoil.com/en/works/dining-room-table-and-these-6-original-chairs-andre-sornay-c1935/
Artist: André Sornay
Year: c. 1935
Type: Tables / Desks / Consoles
Materials: Pin d’Oregon
Dimensions: Table : H. 76 cm x L. 180 cm (270 cm) x P. 90 cm / Chaise : H. 93 cm x L. 46 cm x P. 52 cm / Table : H. 29.9 in x L. 70.9 in (106.3 in) x D. 35.4 in / Chair : H. 36.6 in x W. 18.1 in x D. 20.5 in

This dining set in Oregon pine with brass nails includes a rectangular table with two original leaves and six matching chairs. The chairs feature straight backrests and pine seats framed by ebonized legs, tapered at the back. Oregon pine was treated in several stages. The wood was first worked with a metal brush to create relief, then stained in black and finally sanded on the surface. The recessed grain therefore remained black while that in relief retrieved its original orangey colour. With this treatment Sornay created a random two colour pattern made up of of long, sinuous, black and orangey waves, evocative of magnetic waves.

### Umbrella stands

URL: https://galeriemarcelpoil.com/en/works/umbrella-stands-pierre-chareau-c1928/
Artist: Pierre Chareau
Year: c. 1928
Type: Miscellaneous
Materials: Brass, Fer, zinc
Dimensions: H. 57 cm x L. 87.6 cm x P. 21.5 cm / H. 22.4 in × L. 34.5 in × D. 8.5 in

Umbrella stands in iron (painted), brass, zinc and wood.

### Occasional table in Oregon pine

URL: https://galeriemarcelpoil.com/en/works/occasional-table-in-oregon-pine-andre-sornay-c1935/
Artist: André Sornay
Year: c. 1935
Type: Tables / Desks / Consoles
Materials: Pin d’Oregon, Brass
Dimensions: H. 45 cm x Ø 40 cm / H. 17.7 in × Ø 15.7 in

Circular occasional table featuring an Oregon pine top with brass nails. The tabletop is supported by a tripod base consisting of three flat, angular legs made of varnished brass. Oregon pine was treated in several stages. The wood was first worked with a metal brush to create relief, then stained in black and finally sanded on the surface. The recessed grain therefore remained black while that in relief retrieved its original orangey colour. With this treatment Sornay created a random two colour pattern made up of of long, sinuous, black and orangey waves, evocative of magnetic waves.

### « Les trois Georges »

URL: https://galeriemarcelpoil.com/en/works/les-trois-georges-andre-sornay-c1940/
Artist: André Sornay
Year: c. 1940
Type: Paintings
Materials: Pastel
Dimensions: H. 60 cm x L. 40 cm (hors cadre) / H. 23.6 in x L. 15.7 in (without the frame)

This oil pastel composition depicts a rural scene under a bright blue sky. The artwork centers around a large stylized tree with fan-like, textured foliage. To its left stands a conical stack of wooden logs set against rolling green hills. In the lower right foreground, three men wearing jackets and caps walk along a dirt path alongside a small black dog. Title on the back.

### Pair of armchairs in mahogany

URL: https://galeriemarcelpoil.com/en/works/pair-of-armchairs-in-mahogany-andre-sornay-c1925/
Artist: André Sornay
Year: c. 1925
Type: Seating
Materials: Mahogany, Fabric
Dimensions: H. 81 cm x L. 66 cm x P. 70 cm / H. 31.9 in × L. 26.0 in × D. 27.6 in

Pair of armchairs crafted from dark solid mahogany, characterized by imposing solid side panels featuring diagonally cut armrests enhanced by upholstered fabric arm pads. The high angled backrest and generous seat are upholstered in a light textured fabric. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Bookcase with sliding door

URL: https://galeriemarcelpoil.com/en/works/bookcase-with-sliding-door-andre-sornay-c1936/
Artist: André Sornay
Year: c. 1936
Type: Storage furniture
Materials: Mahogany, Rosewood
Dimensions: H. 142 cm x L. 202 cm x P. 27 cm / H. 55.9 in × L. 79.5 in × D. 10.6 in

Rosewood with brass nails bookcase. It features a wide sliding door with a slightly convex front. The door slides open, revealing a functional interior layout consisting of seven shelves arranged on either side of a central vertical divider. The entire structure rests on a solid mahogany horizontal roll base. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Four “bridge” armchairs

URL: https://galeriemarcelpoil.com/en/works/four-bridge-armchairs-andre-sornay-c1965/
Artist: André Sornay
Year: c. 1965
Type: Seating
Materials: Mahogany, Lacquer
Dimensions: H. 89 cm x L. 54 cm x P. 60 cm / H. 35.0 in × L. 21.3 in × D. 23.6 in

Each “bridge” armchair in this set of four features a geometric, orthogonal framework crafted from solid mahogany. The square seat cushion and suspended rectangular backrest are finished in white lacquered wood. Flat horizontal armrests integrate seamlessly into an architectural frame supported by four straight legs. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Torso of a young girl

URL: https://galeriemarcelpoil.com/en/works/torso-of-a-young-girl-leon-indenbaum-1920/
Artist: Léon Indenbaum
Year: 1920
Type: Sculptures
Materials: terre
Dimensions: H. 97 cm (117 cm avec le socle) / H. 34.2 in (46 in in with base)

A fragmentary sculpture in the round depicting the nude torso of a young woman. Crafted from chamotte clay, which gives the surface a raw, textured appearance, the piece is styled in an antique manner, headless, armless, and cut at mid-thigh. The sinuous line of the waist and a slight contrapposto impart a natural, flowing movement to the body. The sculpture rests on its original, slightly stepped cubic fir wood base. Signed in hollow with the monogram "L.I." and dated 1920. Literature: • Adolphe Basler, "Jewish Artists, Indenbaum", Edition “Le Triangle”, Paris, model reproduced under no. 1. • “La Renaissance”, March 1932, article by Waldemar George "Formes et lumière. Variations on Léon Indenbaum", model reproduced p. 64. A stone version of this model was exhibited at the 13th Salon d'Automne at the Grand Palais des Champs-Elysées in 1920 (catalog no. 1132).

Provenance: Probably former Georges Bénard collection; Private collection

### Pair of cabinets in oak

URL: https://galeriemarcelpoil.com/en/works/pair-of-cabinets-in-oak-andre-sornay-c1930/
Artist: André Sornay
Year: c. 1930
Type: Storage furniture
Materials: Oak
Dimensions: H. 128 cm x L. 83 cm x P. 40 cm / H. 50.4 in × L. 32.7 in × D. 15.7 in

Pair of oak cabinets framed by wide vertical posts extending slightly past the top surface. The facade consists of a single flush door highlighting the natural vertical grain of the wood, accented with a small square metallic pull knob. The piece stands on sturdy straight legs seamlessly integrated into the structural frame. Unique Piece. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Decorated blond copper side table

URL: https://galeriemarcelpoil.com/en/works/decorated-blond-copper-side-table-eugene-printz-1932/
Artist: Eugène Printz
Year: 1932
Type: Tables / Desks / Consoles
Materials: Copper
Dimensions: H. 57 cm x Ø 51 cm et  61 cm / H. 22.4 in × Ø 20.1 and 24 in

A circular side table made of decorated blond copper. It features a solid upper tray supported by a single straight vertical central rod. The piece rests on a wide, basin-shaped circular base that is internally divided into three equal sections by metal partitions. Illustrated p. 137 & 184 in the book E.Printz, published by Editions du Regard

### Untitled

URL: https://galeriemarcelpoil.com/en/works/untitled-emile-didier-c1910/
Artist: Émile Didier
Year: c. 1910
Type: Paintings
Materials: bois
Dimensions: H. 34.5 cm x L. 40.5 cm avec cadre / H. 13.6 in × L. 15.9 in with frame

An original woodcut print, characteristic of Émile Didier's modern and synthetic style developed during the Art Deco period in Lyon. The work demonstrates his mastery of bold black-and-white contrasts and the simplification of forms typical of the avant-garde Lyonnais artists and modern printmakers. Bibliography: « Les Arts décoratifs à Lyon 1910 à 1950 » by Thierry Roche, published by « Beau fixe », p. 116.

### Vase de forme boule

URL: https://galeriemarcelpoil.com/en/works/vase-de-forme-boule-jean-luce-c1939/
Artist: Jean Luce
Year: c. 1939
Type: Miscellaneous
Materials: Ceramic

A spherical black glazed ceramic ball vase featuring a short, straight rim. The upper half of the body is decorated with a regular, geometric pattern of parallel horizontal bands in a contrasting light gray tone. The lower half of the vessel retains a solid, smooth black surface. Signed.

### A pairs of reading lights

URL: https://galeriemarcelpoil.com/en/works/a-pairs-of-reading-lights-andre-sornay-c1956/
Artist: André Sornay
Year: c. 1956
Type: Lighting
Materials: Mahogany, Fabric, cerisier
Dimensions: H. 108 cm x L. 19.5 cm x P. 27 cm / H. 42.5 in × L. 7.7 in × D. 10.6 in

This elegant pair of standing reading lamps features a slender vertical framework crafted from mahogany and cherry wood. Resting on a circular base, each lamp incorporates an integrated round table surface fitted with a revolving drawer. The upper stem supports a tall conical shade in light fabric. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Six dining chairs

URL: https://galeriemarcelpoil.com/en/works/six-dining-chairs-andre-sornay-c1935/
Artist: André Sornay
Year: c. 1935
Type: Seating
Materials: Mahogany, Pin d’Oregon, Leather
Dimensions: H. 85 cm x L. 48 cm x P. 51 cm / H. 33.5 in × L. 18.9 in × D. 20.1 in

A set of six chairs in Oregon pine with brass nails and solid mahogany. The sleek frame is composed of mahogany legs, subtly tapered toward the base. The straight seat is upholstered in a textured, paprika-colored leather. Oregon pine was treated in several stages. The wood was first worked with a metal brush to create relief, then stained in black and finally sanded on the surface. The recessed grain therefore remained black while that in relief retrieved its original orangey colour. With this treatment Sornay created a random two colour pattern made up of of long, sinuous, black and orangey waves, evocative of magnetic waves.

### Cabinet / wardrobe

URL: https://galeriemarcelpoil.com/en/works/cabinet-wardrobe-andre-sornay-c1960/
Artist: André Sornay
Year: c. 1960
Type: Storage furniture
Materials: Mahogany, Lacquer
Dimensions: H. 193 cm x L. 105 cm x P. 46 cm / H. 76.0 in × L. 41.3 in × D. 18.1 in

Rectangular wardrobe featured a structured solid mahogany framework. The front is organized into three horizontal tiers fitted with blue lacquered sliding panels within the exposed wooden frame. The main central compartment opens via two large sliding doors fitted with vertical solid mahogany pull handles André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Lacquered wood plate with peak motifs

URL: https://galeriemarcelpoil.com/en/works/lacquered-wood-plate-with-peak-motifs-eileen-gray-c1920/
Artist: Eileen Gray
Year: c. 1920
Type: Miscellaneous
Materials: Lacquer
Dimensions: Ø 32 cm / Ø 12.60 in

Circular lacquered wood plate. The central part is decorated with a rich textured design featuring three large pointed motifs, evoking dark, striated mountain peaks. These jagged silhouettes stand out against an olive green background, which is also finely striated. The wide rim of the plate features a smooth brick-red lacquer, offering a sharp contrast to the dark colors and textured relief of the center.

### Cabinet in rosewood

URL: https://galeriemarcelpoil.com/en/works/cabinet-in-rosewood-andre-sornay-c1929/
Artist: André Sornay
Year: c. 1929
Type: Storage furniture
Materials: Mahogany, Rosewood, Glass
Dimensions: H. 180 cm x L. 210 cm x P. 50 cm / H. 70.9 in × L. 82.7 in × D. 19.7 in

Indian rosewood and solid mahogany bookcase. It features a geometric silhouette defined by two trapezoidal side sections that flare upwards. The slightly recessed central section incorporates a narrow glass door flanked by solid panels. On the front, five doors conceal an interior fitted with fixed and adjustable shelves. The entire piece rests on an imposing stepped solid mahogany plinth base. Signed. Ref. “André Sornay: Maître Lyonnais de l'Art Déco, Claude Mathieu”, in “L'estampille” n°212, March 1988. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Small curved walnut bookcase.

URL: https://galeriemarcelpoil.com/en/works/small-curved-walnut-bookcase-pierre-chareau-c1925/
Artist: Pierre Chareau
Year: c. 1925
Type: Storage furniture
Materials: Walnut
Dimensions: H. 90 cm x L. 93.5 cm x P. 19.5 cm / H. 35.4 in × L. 36.8 in × D. 7.7 in

A small curved walnut bookcase. The asymmetrical structure features a long, sinuous top shelf that creates a dramatic cantilever on one side. It is supported at the other end by solid vertical panels, defining a two-tiered open lower storage compartment.

### Nickel-plated brass floor lamp

URL: https://galeriemarcelpoil.com/en/works/nickel-plated-brass-floor-lamp-jean-perzel-c1930/
Artist: Jean Perzel
Year: c. 1930
Type: Lighting
Materials: Brass, Glass
Dimensions: H. 184 cm x Ø 49.5 cm and 60 cm / H. 72.4 in × Ø 19.5 and 23.6 in

A modernist nickel-plated brass floor lamp resting on a clean, geometric open circular base. The vertical central stem splits and flares at the top into three curved branches designed to cradle the light diffuser. The shade assembly consists of five original concentric frosted glass discs arranged in inverted steps, a hallmark structure of Jean Perzel's design vocabulary engineered to provide a soft, architectural indirect light diffusion. Featured in “Art et Décoration”, November 1932, page 321.

### Circular game table

URL: https://galeriemarcelpoil.com/en/works/circular-game-table-eugene-printz-c1930/
Artist: Eugène Printz
Year: c. 1930
Type: Tables / Desks / Consoles
Materials: Brass, Palmier
Dimensions: H. 74 cm x L. 80 cm x P. 80 cm x Ø 80 cm / H. 29.1 in × L. 31.5 in × D. 31.5 in × Ø 31.5 in

A circular game table distinguished by its geometric design and the characteristic use of palmwood veneer. The tabletop rests on an oxidized brass structure. The frame is punctuated by decorative metallic elements and reinforced by a central crossbar. Stamped "E. PRINTZ" and marked with a production number inscribed on its crossbar as well as underneath its tabletop.

### Light column

URL: https://galeriemarcelpoil.com/en/works/light-column-andre-sornay-c1928/
Artist: André Sornay
Year: c. 1928
Type: Lighting
Materials: Rosewood, Glass
Dimensions: H. 151 cm x L. 32 cm (61 cm) x P. 25 cm / H. 59.4 in × L. 12.6 in (24 cm) × D. 9.8 in

A light column with a trapezoidal shape. Rosewood and sanded glass. This rosewood light column is distinguished by its trapezoidal shape with simple and assertive lines. Its wooden structure flares geometrically, moving from a narrow width at the top to a significantly wider base. On the front, the column integrates a succession of sanded glass panels that combine harmoniously with the rosewood to diffuse light. This piece has been created before the nails patent so before 1932. The pre-cloutage production featured strongly built pieces of furniture characterized by their simple lines, constructed in accordance with traditional cabinetmaking practice. At this period most production is 'on order'.

### Hammered brass vase with a geometric pattern

URL: https://galeriemarcelpoil.com/en/works/hammered-brass-vase-with-a-geometric-pattern-claudius-linossier-c1925/
Artist: Claudius Linossier
Year: c. 1925
Type: Dinanderie
Materials: Dinanderie
Dimensions: H. 23.5 cm x Ø 21.5 cm / H. 9.3 in × Ø 8.5 in

An inverted cone-shaped vase in hammered copper. The body is decorated with a central geometric band featuring a frieze of upward-pointing triangles in red and terracotta tones. The upper section near the rim displays a dark, mottled patina, contrasting with the lower coloration. The variations in tone and texture are achieved strictly through heat treatment and oxidation of the metal (fire patina). Signed « CL.LINOSSIER »

### Pair of bookcases

URL: https://galeriemarcelpoil.com/en/works/pair-of-bookcases-andre-sornay-c1936/
Artist: André Sornay
Year: c. 1936
Type: Storage furniture
Materials: Mahogany, Glass
Dimensions: H. 164 cm x L. 150.5 cm x P. 43 cm / H. 64.6 in × L. 59.3 in × D. 16.9 in

Bookcase in rosewood with brass nails and solid mahogany. The piece rests on a straight, dark plinth base. The front is punctuated by two large doors framing a central vertical niche. This opening, featuring integrated lighting, reveals an elegant rectangular mirror at the back, adding depth. Long, imposing vertical handles with a rectangular section, contrasting with their deep black hue, stand out on the doors and echo the rounded side uprights. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Pair of armchairs

URL: https://galeriemarcelpoil.com/en/works/pair-of-armchairs-andre-sornay-c1955/
Artist: André Sornay
Year: c. 1955
Type: Seating
Materials: Mahogany, Ash
Dimensions: H. 77 cm x L. 64 cm x P. 86 cm / H. 30.3 in × L. 25.2 in × D. 33.9 in

Pair of armchairs in solid mahogany and ash. The slanted seat and backrest are fitted with removable padded cushions. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Standing Nude (Nu debout)

URL: https://galeriemarcelpoil.com/en/works/standing-nude-nu-debout-manolo-1912/
Artist: Manolo
Year: 1912
Type: Sculptures
Materials: Bronze
Dimensions: H. 24.4 cm x L. 10.1 cm x P. 10.9 cm / H. 9.6 in x L. 4.0 in x D. 4.3 in

Crafted from sand-cast bronze (probably by Florentin Godard), this dark patinated proof depicts a standing female nude in a subtle “contrapposto” pose, her hands clasped behind her back and her hair pulled up. The body displays a harmonious architecture of full, opulent volumes, combining gently curved forms with geometricized synthetic contours. The figure stands on an integral low bronze terrace base. Unsigned. Stamped inside the base with "KH" and "IIII" in relief; bears the Alfred Flechtheim Gallery label (Berlin / Düsseldorf). Exhibitions: • “Manolo”, Galerie Simon (Paris), Galerie Alfred Flechtheim (Berlin & Düsseldorf), Galerie Flechtheim & Kahnweiler (Frankfurt), 1929, p. 10, no. 9 (Stehende nackte Frau, 1912). Literature: • Exhibition catalogue “Manuel Martinez Hugué dit Manolo”, Galerie Louise Leiris, Paris, 1961, no. 17 (Nu debout, bronze, h. 24 cm). • Montserrat Blanch, “Manolo, sculptures, peintures, dessins”, Cercle d'Art, 1974, reproduced p. 30, no. 18 (MoMA proof).

Provenance: Private collection, Lyon.

### Modernist clock

URL: https://galeriemarcelpoil.com/en/works/modernist-clock-jacques-adnet-1932/
Artist: Jacques Adnet
Year: 1932
Type: Miscellaneous
Materials: Glass, bois, Métal
Dimensions: H. 43.5 cm x L. 28 cm x P. 13 cm / H. 17.1 in x L. 11.0 in x D. 5.1 in

This modernist clock features a geometric composition structured around two overlapping rings. A large, thick translucent glass ring rises vertically from a rectangular black lacquered wooden base. Intersecting it, a smaller chromed metal ring serving as the dial is adorned with raised circular hour markers and encloses a central metal sphere housing the movement and hands. Literature: • “Art et Décoration”, 1932, page 322. • Alain-René Hardy, “Jacques Adnet”, Les Éditions de l'Amateur, Paris, 2009, reproduced on page 203.

### Aluminum frame

URL: https://galeriemarcelpoil.com/en/works/aluminum-frame-pierre-emile-legrain-c1925/
Artist: Pierre-Émile Legrain
Year: c. 1925
Type: Miscellaneous
Materials: Aluminium
Dimensions: H. 78 cm x L. 43 cm / H. 30.7 in x L. 16.9 in

This vertical rectangular frame is crafted from aluminum. It is characterized by subtly side-curved edges and broad solid metal panels framing the artwork at the top and bottom. It houses a black-and-white photograph by Yola Niclas depicting an Ethiopian woman carrying her baby. The frame is monogrammed "PEL" and inscribed with the numbers "33" and "10/1".

Provenance: Jeanne Tachard Collection, Paris, France

### Drop-leaf sideboard, "Ruhlmann" model

URL: https://galeriemarcelpoil.com/en/works/drop-leaf-sideboard-ruhlmann-model-jacques-emile-ruhlmann-c1922/
Artist: Jacques-Émile Ruhlmann
Year: c. 1922
Type: Tables / Desks / Consoles
Materials: Macassar ebony, Ivory
Dimensions: L. 171.5 cm (100 cm fermée) x H. 90.5 cm x P. 40 cm / L. 67.52 (39.37 in closed) x H. 35.6 in × D. 15.7 in

A Macassar ebony drop-leaf sideboard. The rectangular top features a rim highlighted by a remarkably delicate ivory inlay designed to mimic a herringbone passementerie pattern. This top is flanked by two retractable lateral drop leaves, each fitted with a circular ivory pull handle from which a white fabric tassel hangs. The structure is supported by four extremely slender, sinuous, and curved tapered legs. This sideboard also features an open lower shelf with a raised border. Certificate from Mr. Jean-Marc Maury.

### Convertible bookcase ddesk

URL: https://galeriemarcelpoil.com/en/works/convertible-bookcase-ddesk-andre-sornay-c1938/
Artist: André Sornay
Year: c. 1938
Type: Tables / Desks / Consoles
Materials: Mahogany
Dimensions: H. 79 / 75 cm x L. 346 cm x P. 34 / 201 cm / H. 31.1 / 29.5 in x L. 136.2 in x D. 13.4 / 79.1 in

This transformable piece in solid mahogny and mahogany with brass nails consists of an articulated low bookcase structure. When closed, it presents a long linear cabinet with a sliding panel and open shelving compartments. Through an ingenious pivoting mechanism, the upper framework unfolds 90 degrees to create a large perpendicular desk top. The entire piece is outlined by Sornay's patented geometric brass nailing (cloutage), highlighting its architectural lines. Unique piece. In the years following World War I, the reorganization of housing made smaller living spaces a necessity and many designers developed modular furniture systems. These new constraints on space and construction stimulated Sornay’s ingeniousness. He started to design tailor-made or multifunctional furniture as early as 1925.

### Low dark red lacquered oak side table

URL: https://galeriemarcelpoil.com/en/works/low-dark-red-lacquered-oak-side-table-jacques-emile-ruhlmann-jean-dunand-1913/
Artist: Jacques-Émile Ruhlmann, Jean Dunand
Year: 1913
Type: Tables / Desks / Consoles
Materials: Oak, Lacquer
Dimensions: H. 48 cm x L. 74.5 cm x P. 74.5 cm / H. 18.9 in x L. 29.3 in x D. 29.3 in

A geometric low side table, known as the "dorique" model, born from the historic collaboration between designer Jacques-Émile Ruhlmann and master lacquerer Jean Dunand. Originally designed in 1913, this unique piece was executed in 1925 for the prominent Lyon silk manufacturer François Ducharne. The table features an octagonal top resting on a powerful central fluted column stem, rigorously evoking the proportions of classical architecture. The entire structure is supported by a thick square plinth base. The oak frame is fully enhanced by a sumptuous, solid dark red lacquer of remarkable sheen and depth, showcasing Jean Dunand's signature craftsmanship. Drawing from 1913 (ref. 1002 AR/1109 N.R.). Unique piece. Bibliography: Florence Camard, “Jacques-Émile Ruhlmann”, Éditions du Regard, 1983, p. 282. Félix Marcilhac, “Jean Dunand”, Éditions de L’Amateur, 1991, p. 252, no. 473.

Provenance: Executed for Mr. Ducharne, 1925.

### Ovoid dinanderie vase with geometric decoration

URL: https://galeriemarcelpoil.com/en/works/ovoid-dinanderie-vase-with-geometric-decoration-claudius-linossier-c1930/
Artist: Claudius Linossier
Year: c. 1930
Type: Dinanderie
Materials: Dinanderie
Dimensions: H. 21.5 cm / H. 8.46 in

An ovoid-shaped dinanderie vase with a wide mouth, showcasing Claudius Linossier's characteristic geometric vocabulary. The upper section features a brick-red band inlaid with silver-toned motifs, combining stacked rows of small triangles and a lower row of regular diamond shapes. The main body displays a dark, mottled patina with rich brown, ochre, and golden undertones. Signed "CL. LINOSSIER" under the base

### Table lamp in oxidized brass

URL: https://galeriemarcelpoil.com/en/works/table-lamp-in-oxidized-brass-eugene-printz-1937/
Artist: Eugène Printz
Year: 1937
Type: Lighting
Materials: Brass
Dimensions: H. 80 cm x Ø 60 cm / H. 31.5 in x Ø 23.6 in

Lamp crafted from oxidized patinated brass. Its geometric stem consists of two opposing inverted conical forms, joined at the center by a ring. The upper section flares into a cup designed to hold the reflector and lampshade. The entire piece rests on a circular base featuring a scalloped rim at its bottom and equipped with an integrated push-button switch. Unique piece (special commission). Exhibition: Exhibited at the Pavillon du Luminaire in 1937. Certificate: Accompanied by a certificate of authenticity from Jean-Marc Maury.

Provenance: Maître Durand-Villette, special commission for 5 rue Cognacq-Jay, Paris (1938). Vallotton family. Thence by descent to the present owner.

### Console table in rosewood in brass nails

URL: https://galeriemarcelpoil.com/en/works/console-table-in-rosewood-in-brass-nails-andre-sornay-c1936/
Artist: André Sornay
Year: c. 1936
Type: Tables / Desks / Consoles
Materials: Rosewood, Mahogany, Stone
Dimensions: H. 107 cm x L. 160 cm x P. 27.5 cm / H. 42.1 in x W. 63.0 in x D. 10.8 in

This T-shaped console table consists of a central monolithic pedestal crowned by a large rectangular Soignies stone top. The structure is crafted in studded rosewood and solid mahogany. The front is highlighted by an imposing vertical gilt brass pull. The central body conceals a door opening to reveal an interior layout fitted with storage shelves. The entire piece rests stably on a solid stepped plinth base. Pièce signée. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Pair of umbrella stands

URL: https://galeriemarcelpoil.com/en/works/pair-of-umbrella-stands-pierre-chareau-c1928/
Artist: Pierre Chareau
Year: c. 1928
Type: Miscellaneous
Materials: Brass, Fer, zinc
Dimensions: H. 57 cm x L. 87.6 cm x P. 21.5 cm / H. 22.4 in × L. 34.5 in × D. 8.5 in

Pair of umbrella stands in iron (painted), brass, zinc and wood.

### Rectangular wall mirror

URL: https://galeriemarcelpoil.com/en/works/rectangular-wall-mirror-andre-sornay-c1939/
Artist: André Sornay
Year: c. 1939
Type: Mirrors
Materials: Ash, Glass
Dimensions: H. 53 cm x L. 43.5 cm / H. 20.9 in x W. 17.1 in

Rectangular wall mirror with a wide border in ash with brass nails. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### Partner desk in mahogany

URL: https://galeriemarcelpoil.com/en/works/partner-desk-in-mahogany-andre-sornay-c1935/
Artist: André Sornay
Year: c. 1935
Type: Tables / Desks / Consoles
Materials: Mahogany
Dimensions: H. 75 cm x L. 157 cm x P. 80 cm / H. 29.5 in x L. 61.8 in x D. 31.5 in

Double-sided desk in mahogany with brass nails. The frame rests on two solid slab legs connected by a low axial stretcher. It incorporates a hanging drawer on each side, accented with a dark round handle. Unique piece. André Sornay developed his first patent in 1932: the concept of “cloutage” that evokes aeroplane rivets. This new assembly technique involved attaching veneered panels onto a structure using small nails (“clous”). The alignment of these nails became both an element of decoration and a trademark. This patent led to the manufacture of limited series of furniture that remained financially accessible.

### "Vierge" (Virgin Mary), dinanderie metalwork plaque

URL: https://galeriemarcelpoil.com/en/works/vierge-virgin-mary-dinanderie-metalwork-plaque-andre-sornay-claudius-linossier-1951/
Artist: André Sornay, Claudius Linossier
Year: 1951
Type: Dinanderie
Materials: Dinanderie
Dimensions: Frame: H. 38.5 cm x W. 34.5 cm (H. 15.2 in x W. 13.6 in) / Plaque: H. 25 cm x W. 20 cm (H. 9.8 in x W. 7.9 in)

This collaborative artwork unites two master figures of Lyon Decorative Arts. It features a frontal portrait of the Virgin Mary with clasped hands, finely rendered in hammered dinanderie metalwork with gold, dark copper tones, and a crimson halo by Claudius Linossier. The plaque is mounted within its original brown lacquered frame crafted by André Sornay. Dated 1951 lower left and signed lower right.

### Storage cabinet

URL: https://galeriemarcelpoil.com/en/works/storage-cabinet-andre-sornay-c1950/
Artist: André Sornay
Year: c. 1950
Type: Storage furniture
Materials: Mahogany, Lacquer
Dimensions: H. 74 cm x L. 127 cm x P. 44 cm / H. 29.1 in x W. 50.0 in x D. 17.3 in

This storage cabinet features a rectangular mahogany frame housing two blue-lacquered sliding doors. The front facade is accented with vertical wooden pull handles. Opening the sliding doors reveals a contrasting light gray lacquered interior fitted with practical storage shelving. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

### Set of four "bridge" armchairs

URL: https://galeriemarcelpoil.com/en/works/set-of-four-bridge-armchairs-andre-sornay-c1955/
Artist: André Sornay
Year: c. 1955
Type: Seating
Materials: Mahogany, Fabric
Dimensions: H. 95 cm x L. 52 cm x P. 55 cm / H. 37.4 in × L. 20.5 in × D. 21.7 in

A set of four "bridge" armchairs in solid mahogany. Each piece features an airy, geometric frame with straight armrests integrated into a linear structure with low stretchers. The narrow, padded, and slightly tilted backrest is suspended centrally by a single vertical upright. Both seat and backrest are upholstered in a light-colored fabric, accented with two tufted buttons on the backrest. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade.

Provenance: Private collection, New York.

### Bench in solid mahogany

URL: https://galeriemarcelpoil.com/en/works/bench-in-solid-mahogany-andre-sornay-c1950/
Artist: André Sornay
Year: c. 1950
Type: Seating
Materials: Mahogany, Fabric
Dimensions: H. 82 cm x L. 162 cm x P. 82 cm / H. 32.3 in × L. 63.8 in × D. 32.3 in

A bench in solid mahogany.. Crafted "toute face", this architectural piece features a beautifully finished mahogany back panel with vertical graining, designed to be displayed centrally in a room. The frame rests on tapered, canted legs extending the dynamic angle of the rear uprights. The raked seat and backrest are fitted with cushions upholstered in a light cream fabric. André Sornay developed a rapid furniture assembly system, filing various patents for it between 1953 and 1955. This patent, known as the "tigette Sornay," proved to be revolutionary. This process laid the foundation for the entire flat-pack or "kit" furniture system used today. The assembly of the piece is limited to joining a front frame and a rear frame fitted with threaded inserts designed to receive the rods. The nuts are left visible on the front facade

## Events

### PAD London 2026

URL: https://galeriemarcelpoil.com/en/events/pad-london-2026/
Dates: October 13 – 18, 2026
Location: Berkeley Square, London W1J 6ENUK, UK

We are thrilled to return to PAD London 2026 from October 13 to 18 in Berkeley Square, marking Galerie Marcelpoil’s 15th consecutive year at this premier international design event.
Based on Rue de Seine in Paris, our gallery specializes in Historical Design and Art Deco, and is internationally renowned as the definitive reference for the work of avant-garde designer André Sornay (1902–2000).
To celebrate this special anniversary at PAD, we invite you to explore a premier selection of Sornay’s iconic masterpieces. The exhibition will highlight the striking geometric lines and signature wood-studding (cloutage) technique that define his visionary, timeless modernism.

### TEFAF New York 2026

URL: https://galeriemarcelpoil.com/en/events/tefaf-new-york-2026/
Dates: May 15 – 19, 2026
Location: Park Avenye Armory, 643 Park Ave. New York, NY 10065, USA

TEFAF New York, located in the world’s most prestigious and vibrant art market, New York City, brings together internationally renowned dealers to showcase their work in the historic Park Avenue Armory, a prime Manhattan location. Featuring over 90 prestigious international galleries, TEFAF New York offers the best in modern and contemporary art, design, jewelry, and ancient art. 
The fair remains the only art fair at the Park Avenue Armory to activate the 16 historic period rooms across the first and second floors with transformative exhibitor presentations. The Reception Rooms on the first floor and the Company Rooms on the second floor were designed by the most prominent designers and artists of the 19th century, including Louis Comfort Tiffany, Stanford White, Herter Brothers, Pottier & Stymus, and others.

### TEFAF Maastricht 2026

URL: https://galeriemarcelpoil.com/en/events/tefaf-maastricht-2026/
Dates: March 13 – 18, 2026
Location: MECC Maastricht, Forum 100, 6229 GV Maastricht, Pays-Bas

TEFAF Maastricht is widely regarded as the world’s premier fair for fine art, antiques, and design, bringing together 7,000 years of art history under one roof. Featuring over 260 prestigious dealers from some 20 countries, TEFAF Maastricht is a showcase for the finest art works currently on the market. Alongside the traditional areas of Old Master paintings, antiques, and classical antiquities that cover approximately half of the fair, you can also find modern and contemporary art, photography, jewelry, 20th century design, and works on paper.

### PAD London 2025

URL: https://galeriemarcelpoil.com/en/events/pad-london-2025/
Dates: October 14 – 19, 2025
Location: Berkeley Square, London W1J 6ENUK, UK

Located in the Mayfair district, PAD is London’s premier fair for Historical and Contemporary Design.
Inspiring a unique collecting spirit, PAD embodies how historical and contemporary design interact to reveal surprising combinations and create unique, stunning interiors.
Renowned international galleries from Europe, North America, and Asia come together to offer an exceptional overview of the most coveted and iconic works available on the market today.
PAD is the place to discover and acquire museum-quality pieces with a distinct history.
PAD cultivates eclecticism and authenticity with passion and flair.
PAD is designed to inspire collectors, art consultants, museum curators, interior specialists, design practitioners, and the public, making it the only event of its kind.

### FAB Paris 2025

URL: https://galeriemarcelpoil.com/en/events/fab-paris-2025/
Dates: September 20 – 24, 2025
Location: Grand Palais, 17 Avenue du Général Eisenhower 75008, Paris, France 

FAB Paris kicks off the major art fair season. The fair brings together around a hundred internationally renowned exhibitors in the Nave of the Grand Palais. The event's decor will be reinvented based on an original concept by designer Constance Guisset, with scenography by Sylvie Zerat.
The Musée Nissim de Camondo, as guest of honor, will present an exclusive exhibition dedicated to the decorative arts of the late 18th century, designed by Alexandre Benjamin Navet.
For the third consecutive year, the Jeunes Talents (Young Talents) section will offer young dealers the opportunity to showcase pieces priced under €25,000.

### TEFAF New York 2025

URL: https://galeriemarcelpoil.com/en/events/tefaf-new-york-2025/
Dates: May 9 – 13, 2025
Location: Park Avenye Armory, 643 Park Ave. New York, NY 10065, USA

TEFAF New York, located in the world’s most prestigious and vibrant art market, New York City, brings together internationally renowned dealers to showcase their work in the historic Park Avenue Armory, a prime Manhattan location. Featuring over 90 prestigious international galleries, TEFAF New York offers the best in modern and contemporary art, design, jewelry, and ancient art. 
The fair remains the only art fair at the Park Avenue Armory to activate the 16 historic period rooms across the first and second floors with transformative exhibitor presentations. The Reception Rooms on the first floor and the Company Rooms on the second floor were designed by the most prominent designers and artists of the 19th century, including Louis Comfort Tiffany, Stanford White, Herter Brothers, Pottier & Stymus, and others.

### TEFAF Maastricht 2025

URL: https://galeriemarcelpoil.com/en/events/tefaf-maastricht-2025/
Dates: March 15 – 20, 2025
Location: MECC Maastricht, Forum 100, 6229 GV Maastricht, Pays-Bas

TEFAF Maastricht is widely regarded as the world’s premier fair for fine art, antiques, and design, bringing together 7,000 years of art history under one roof. Featuring over 260 prestigious dealers from some 20 countries, TEFAF Maastricht is a showcase for the finest art works currently on the market. Alongside the traditional areas of Old Master paintings, antiques, and classical antiquities that cover approximately half of the fair, you can also find modern and contemporary art, photography, jewelry, 20th century design, and works on paper.

### FAB Paris 2024

URL: https://galeriemarcelpoil.com/en/events/fab-paris-2024/
Dates: November 22 – 27, 2024
Location: Grand Palais, 17 Avenue du Général Eisenhower 75008, Paris, France 

FAB Paris, born from the alliance between Fine Arts Paris and La Biennale des Antiquaires, celebrates creativity by showcasing "All the art of the world" from Antiquity to the present day.
Embodying Parisian elegance and chic, the fair brings together over a hundred prestigious French and international exhibitors under the glass roof of the Grand Palais, an iconic landmark of the capital, recently reopened to the public after several years of extensive renovation.
FAB Paris is also a premier gathering place for key figures in the art world, hosting a series of remarkable events. These include a gala dinner, an exclusive opening preview, a VIP program, private tours of major Parisian museums, an international symposium in partnership with “Connaissance des Arts” magazine, a concert by the Gautier Capuçon Foundation, and many other exceptional highlights throughout the week.

### PAD London 2024

URL: https://galeriemarcelpoil.com/en/events/pad-london-2024/
Dates: October 8 – 13, 2024
Location: Berkeley Square, London W1J 6ENUK, UK

Located in the Mayfair district, PAD is London’s premier fair for Historical and Contemporary Design.
Inspiring a unique collecting spirit, PAD embodies how historical and contemporary design interact to reveal surprising combinations and create unique, stunning interiors.
Renowned international galleries from Europe, North America, and Asia come together to offer an exceptional overview of the most coveted and iconic works available on the market today.
PAD is the place to discover and acquire museum-quality pieces with a distinct history.
PAD cultivates eclecticism and authenticity with passion and flair.
PAD is designed to inspire collectors, art consultants, museum curators, interior specialists, design practitioners, and the public, making it the only event of its kind.

## Other languages

- [English](https://galeriemarcelpoil.com/en/llms-full.txt): this file
- [français](https://galeriemarcelpoil.com/fr/llms-full.txt)