Art Deco Side Table

Our table was made of birch, solid and veneered, stained a rich brown, and topped off with a slab of Bohemian breccia marble. We date it to around 1928, and attribute the design to Fritz August Breuhaus de Groot, who coined the term Kultivierte Sachlichkeit (Cultured Objectivity) to describe his work, and distinguish it from the Neue Sachlichkeit (New Objectivity) practiced by his contemporaries Walter Gropius, Mies van der Rohe, and Lily Reich. The table bears a passing resemblance to a considerably simplified, marble-topped ovoid one that he designed for his 1934 Berlin living room. Breuhaus was a man on the make. The first of his three marriages was to the daughter of an industrialist, who financed the building of luxury villas and workers’ housing designed by his son-in-law. In 1929, Breuhaus, the son of a dentist, added “de Groot” to his name, falsely linking himself to a distinguished family of painters. By then, he’d been fudging his academic record for years. That didn’t prevent a teaching appointment at the State University of Bavaria, which allowed him to add the prestigious “Herr Professor” prefix to his name. Yet he never followed through on the teaching — he was far too busy designing more luxury villas (commissions he accepted only if he could furnish them as well), and products for his own company, which included furniture, textiles, wallpapers, lighting, and fine silver. In addition to designing aircraft interiors for Lufthansa, and pullman railroad...

Every contour and plane of this exquisite tray-top, mahogany table on wheels is outlined with glinting brass stringing — a hallmark of Russian cabinetry in the late 18th and early 19...

This charming 19th-century English regimental drum was fitted with a glass top to serve as a table. It bears the painted arms of the Royal Dublin Fusil...

This large Art Deco table is attributed to the Austrian born New York designer Eugene Schoen. The mahogany carcass is veneered in Macassar, and surfaced with a sheet of black opaline...

When new in the 1920s, this glamorous pair of 1920s chairs, which graft Asian and Art Deco styles, evoked the exotic orient for occidental buyers. Althou...

This Boiceau desk bears his stamp, and was entirely veneered in amboyna, an exotic burlwood named for Ambon, the Indonesian island where it was harvested. The naturally squiggling patterning of the veneer provides an overall surface decoration. The top alone has no fewer than 60 small book-matched squares of it – ten across and six deep – creating a kaleidoscopic effect in subtle monochrome. Applied decoration is minimal. It consists of two inlaid pairs of griffins in boxwood and purplewood facing off across braziers on both the front and the back of the desk, and blind-tooled Greek keys trimming white-leather-topped shelves that slide out to either side. These decorations introduce no color, and, in lying flush with the surface, leave the sleek form undisturbed. Boiceau even eliminated drawer pulls, necessitating a lock and key for each drawer. Born in Lausanne in 1881, Boiceau descended from French Huguenots who had settled in Switzerland. Prominent as bankers, lawyers, businessmen, and diplomats, the Boiceaus were a cosmopolitan family. Ernest studied painting in Munich, and then painting and architecture in Paris at the École des Beaux-Arts. In 1900 he embarked on a ten-year European sojourn, painting landscapes and portraits along the way. In 1910 he resettled in Paris, became interested in textiles, and established an embroidery workshop that catered to the stage and haute couture. Among his clients were the Folies Bergères, the Comédie-Française, and the Paris Opéra, and the fashion houses of Worth and Molyneux. He also made embroidered table linens, wall hangings, and upholstery fabrics. In a 1913, at an embroidery exhibition in Paris at the Musée Galliera, he presented a boudoir in collaboration with curtains, upholstery fabrics, and a tapestry, embroidered in modern abstract designs. In 1925 he launched a couture line, and branched out to design finely crafted objects and furniture made in rare woods, like ebony and Tasmanian oak...

American Art Deco Inspired side table for Harry Baron Furniture. Mahogany wood table, black lacquered top, reverse tapered legs, turned wood struts joined by a mahogany wood ball ce...

An American Art Deco side table by Dynamique Creations, in mahogany and bird's-eye burl walnut veneer, from circa 1920s.

This beautiful kingwood side table has a hand-painted floral wreath and is protected under a glass and is framed in brass.

Featuring a raised lip, highlighting the outline of the architecturally inspired legs. Crafted from mahogany in our Gelato finish, with a light marble top that adds contrast. Dimensi...

Pair of Art Deco style glass top side tables. The tables are solid Elm Wood with thick glass inset tops. Tables and tops are in very good condition. One table has an indentation t...

A quality French Art Deco side table in macassar ebony and walnut. Oval, with the top inlaid with a central floral motif and a shelf below. Raised on four elegantly turned and tapere...