Viennese secession pedestal table, 1910s

Pedestal side table with tilting octagonal top inlaid with a star in native wood, side-sloped shaft with concave triangular base. 19th c.

Arts & Crafts stained oak travel game tea side table with a cruciform folding base supporting a reversible circular top covered in green felt. Manufacturer's metal plaque (REVERTABLE...

Tripod ebonised wooden round coffee table, side table. The table top made of glass, with a crosspiece tray under. In the style of Paolo Buffa Italy, 1940s.

A mahogany and mahogany veneer oval flying table with a basin top, a belt drawer, and column uprights joined by a kshelf. It rests on a curved kidney shape base with casters. France,...

English pedestal table in 19th century satinwood (satin mahogany) with a size of 77 cm of top by 77 cm of height restorations to be planned on the top which has many cracks and some ...

An occasional table from the Dutch Art Deco era, 1920s. Most probably designed by P.E.L. Izeren for De Genneper Molen. A very nice accent piece which could also be used as a plant ta...

An Amsterdam School pedestal table with a sculptural design, in soild oak and black stained details. Scalloped woodcarving in the insides of the tablelegs, which gives the table a lo...

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...