Art Deco American Streamline Glass Top Side Table, circa 1930

Pair of Art Deco streamline tulip shaped glass top side tables. This simple and elegant design from the period has frosted edge glass tops that are supported by gentle curving legs o...

A stunning Streamline Art Deco half circle side table circa American 1930’s. Expertly crafted solid maple-stained mahogany table with a beautifully sandblasted glass top edge. An ele...

Streamline Moderne Art Deco Mahogany Side Table. The table has a unique bullet shape design with two solid glass decorative elements. The mahogany is beautifully restored in a gloss ...

Streamline Moderne Art Deco side table in solid walnut. A classic American Art deco design. Reminiscent of the designs and works of Donald Deskey and Gilbert Rohde. Hand crafted and...

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...

Rare 1930s Art Deco/Machine Age, streamline black and chrome table, KEM Weber, have never seen in person, only in 1930s KEM Weber catalog, stunn...

American Art Deco circular walnut table with four nickel-plated steel supports that angle inward to connect to a smaller bottom shelf resting ...

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...