ANDRÉ SORNAY (1902-2000)
André Sornay studied at the Lyon School of Fine Arts before taking over the family business following his father’s death in 1919. He completely revolutionized its production, moving away from copies of classical furniture toward pieces with resolutely modern lines. Influenced by the Bauhaus and the De Stijl movement, where the synthesis of art and architecture was a central pursuit, he belonged to a generation of architects, artists, and decorators seeking to design new forms perfectly suited to modern life.This spirit was embodied by the Union des Artistes Modernes, an association of modern artists that included Pierre Chareau, Francis Jourdain, Le Corbusier, and Charlotte Perriand. André Sornay’s creations are characterized by pure, geometric lines, harmonious proportions, and a strong sense of practicality. The materials he employed combined tradition and modernity: precious woods, Permatex products, rubber, Duco lacquer, and metal. His exceptionally sharp understanding of interior space also led him to work as an interior designer for his clients, most of whom were local.
His first patent emerged during the economic depression of 1929 and was officially registered in 1932. It introduced a new assembly technique known as “cloutage.” This process allowed thin veneered wooden panels to be fixed onto a furniture structure using visible studs. The alignment of these studs became both a structural feature and a decorative trademark. The patent led to the production of “clouté furniture,” manufactured in small series and accessible to a wider public.
Additional patents followed after the Second World War: the first in 1945, and later the patent for the “tigette Sornay” in 1953, described as a “combinable and removable element for the furniture and construction trades.” André Sornay primarily exhibited his work at the Lyon Autumn Fairs. Nevertheless, he also participated in two major Parisian exhibitions. In 1925, at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, his work was not yet fully understood, as audiences remained drawn to designers such as Ruhlmann, Jallot, and Süe et Mare. Twelve years later, in 1937, he was awarded the bronze medal for the presentation of his personal study at the Exposition Internationale des Arts et Techniques dans la Vie Moderne.
The 1950s and 1960s saw a normalization of forms and assembly techniques. During this period, André Sornay increasingly worked on projects for local authorities while gradually passing the management of the family business on to his children.
