American Art Deco Side Table by Modernage Furniture Company Circa 1930's

This stunning pair of Art Deco Machine Age tables were retailed by The Modernage Furniture Company in the 1930’s and 1940’s. It features an elegant circular design that supports a re...

Streamline glass top American Art Deco side table. Beautifully restored in a rich mahogany finish with a frosted edge glass top. An excellent example of American Art Deco with its so...

Beautiful pair of American Modern Streamline Art deco side tables in a rich rosewood finish. Unique three level design with graduating shelves from b...

Great pair of round Art Deco end tables with solid walnut bases with a unique pinwheel design. Table tops are adorned with a beautiful walnut veneer tops. Tables could be used either...

American Art Deco scalloped-base end table. Elegant design with slightly curving legs into a scalloped base in a walnut gloss finish. The new glass top has a beautiful frosted edge t...

Elegant Art Deco side table reminiscent of the works by Gilbert Rohde or Donald Deskey. A great Machine Age Art Deco Table. The table features three tiers connected by four curving s...

Rectangular Art Deco Side Table, Walnut Veneer, Chrome, France circa 1930 Very beautiful book-matched walnut veneer on the top and base. High-quality high-gloss lacquer surface. Stee...

Side, end table, selette or nightstand. The size of this little table with a drawer allows to use it for different functions. Made circa 1930, with the art déco characteristics: sty...

American Art Deco side table, peach mirror top, nice quality, classic Art Deco design, circa 1930s.

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

American Art Deco circular walnut table with four brass supports that angle inward to connect to a smaller bottom shelf resting on four square...

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...