Pair of French Oak Side Tables, circa 1930s

circa 1900 English oak side table with a beveled and scalloped edge around the top, following down to a simple apron and supported on hand turned barley twist legs, joined by simple ...

19th century oak side table from France. The top has a stacked beveled edge, and follows down to a carved apron on all four sides, for easy placement in any room. There is a scallo...

Circa 1900 oak gate leg table from England with a beveled edge around the top, following down to a simple apron and supported on hand turned barley twist legs, joined by simple stret...

Pair of 19th century walnut side tables from France. The tops feature book matched walnut of wonderful quality and graining, and have an inner oval band, and and outer banding which ...

circa 1900 Period Edwardian oak side table from England. The top has a beveled edge, and follows down to a hand carved decorated apron. In the...

Edwardian oak side table from England with a scalloped and beveled edge around the top, which has fine figured wood. The apron is simple, and the table is supported on hand turned ba...

Mid-century ceruse oak side or coffee tables, late 1950's. Beautiful pair of rustic side tables. Rare handcrafted small tables made from ...

Beautiful pair of red oak side tables, French, late 1940s, professionally restored.

Uncommon pair of American Art Deco end tables finished in white gloss lacquer with blue tinted mirrored tops. Sinuous top and lower tier supported b...

Carved French Rococo style pair of nightstands with open shelve and three drawers, circa 1930s. The tables stands on four ornately carved cabriole shaped legs and depicts a basket...

Pair of Hollywood Regency Bagues style gilt bronze neoclassical end tables or pedestals. These simply stunning end tables, pedestals or nights...

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...