In 1929, Michel Dufet took over the management of Le Sylve studios, where prestigious furniture and interiors were created for Le Bûcheron, a furniture department store at 10 rue de Rivoli in Paris. Le Bûcheron sold furniture that combined design, modernity and functionality, and mass-produced items of artistic quality. Contemporary design thus became accessible to a wider audience.
At the 1929 Salon d'Automne, Dufet caused a sensation with an innovative writing desk made entirely of polished zinc, which requires delicate machining. It was commissioned by the Asturian Mining Company, which wanted to demonstrate the rich possibilities that zinc offered. The gamble paid off, as one critic explained, “It was the talent of Michel Dufet that gave [zinc] a definitive seal of approval by setting it with sober, clean-cut furniture in a melodious, coherent decor.” (Translated from French)
Dufet continued in this vein the following spring when he exhibited a wood and zinc lady's writing desk at the fourth Exposition de la Décoration Française in the Pavillon de Marsan.
This desk consists of an oval writing surface made of wood, coated in zinc and parchment. One side is supported by a metal leg with three, circular, zinc shelves; on the other side are Karelian Birch wood veneered pigeon holes. There are two large zinc cylinders with doors and shelves on either side of the pigeon holes. A birch-veneered stretcher between the pigeon hole section and the metal leg ties the piece together. For added comfort, a carpeted zinc footrest slides over the stretcher. The desk has a refined, original structure without compromising on functionality.
Michel Dufet liked wide planes, clean surfaces with no mouldings, and sharp edges. The decorative element is provided by the variety of materials used and the arrangement of different parts. Here, the curves of the discs, cylinders and oval desktop contrast with the straight cuboid lines of the pigeon holes. The warm, blond, matt qualities of the wood and parchment contrast with the shininess and coldness of the metal. The desktop is an oval divided into four angular sections like the pattern of Harlequin diamond fabric, a play on opposing shapes, textures and colours.
The photograph of the desk was published in a number of magazines, including Art et Décoration (March 1930) and L'Art Vivant (February 1931). Michel Dufet adopted the desk for his personal use and installed it in the living room of his apartment, at the heart of the museum.
Valérie Montalbetti Kervella

don't miss any news from the Bourdelle Museum.
Subscribe to our monthly newsletter