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American Decorative Arts
Photo credit: Yale University Art Gallery
Maker: The Company of Master Craftsmen, American, 1926–1949
Retailer: W. & J. Sloane, American, 1843–1985

Side Table

1926

Mahogany, mahogany and amboyna veneers, inlays of ivory, celluloid ebony and lightwood inlay, and painted metal

30 1/2 × 15 7/8 × 12 3/4 in. (77.5 × 40.3 × 32.4 cm)
Gift of J. Davenport Wheeler, Ph.B. 1858
1997.7.1
The Paris Exposition of 1925 was a turning point in modern design, and American designers who saw it sensed a real need to catch up. Indeed, American manufacturers swiftly put into production wares, such as this table, evoking high-style French modernism. This design was shown at the 1926 annual Art-in-Trade Club exhibition in New York. It is a near duplicate of an earlier table by the French designer Jacques-Émile Ruhlmann.
Geography: 
Made in Flushing, New York
Status: 
On view
Culture: 
American
Period: 
20th century
Classification: 
Furniture
Provenance: 

Praiseworthy Antiques, New York, by 1996

Bibliography: 

Walter Rendell Storey, “Modern Art Adapted to the Home,” New York Times (October 10, 1926), ill.

“The Fifth Annual Art-in-trades Club Exhibition,” Good Furniture Magazine (November 1926): 223–24, fig. 4.

Edwin Avery Park, New Backgrounds for a New Age (New York: Harcourt, Brace, and Company, 1927), fig. 91.

“Trends in Tables,” House and Garden (September 1928): 120.

“Acquisitions, January 1996–December 1997,” Yale University Art Gallery Bulletin (1997–98): 147.

Douglas Brenner, “A Tale of Two Cities: Douglas Brenner Savors the Fruits of a Trans-atlantic Affair,” New York Times Style Magazine (Fall 2008): 86.

Donald Albrecht, ed., Paris/New York: Design, Fashion, Culture, 1925–1940, exh. cat. (New York: The Monacelli Press, 2008), 164, ill.

John Stuart Gordon et al., A Modern World: American Design from the Yale University Art Gallery, 1920–1950 (New Haven, Conn.: Yale University Art Gallery, 2011), 251, no. 167.

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.