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Lot Essay
cf. A. Loos, et al., exhibition catalogue, Adolf Loos 1870-1933 Raumplan - Wohnungsbau, Berlin, Ausstellung der Akademie der Künste, 1983, p. 191 for an illustration of a table of this model.
The Elephantenrüsseltisch, so-named for its prominent cabriole legs resembling elephant trunks, follows this view in a more whimsical, even humorous, fashion than most of Loos' designs. As with his other tea tables it shows the importance the architect placed on comfort and functionality. The brass details of the sabots and rim around the oak top served to protect the wood from household collisions with mops and chairs; the rich green tiles could have conceivably received a warm teapot. Another feature is the use of arching support elements under the scalloped top. While keeping an eye on the table's function, Loos created an object of beauty.
Loos was one of the most outspoken critics of his age in matters of style and design. He was particularly critical of the Vienna Secession and Wiener Werkstdtte. In his 1910 essay "Ornament and Crime," Adolf Loos asserted that decoration was not only unnecessary, but also a sign of moral weakness. Loos' rejection of ornament and emphasis on high- quality materials and functionality was a precursor to high Modernism.
The Elephantenrüsseltisch, so-named for its prominent cabriole legs resembling elephant trunks, follows this view in a more whimsical, even humorous, fashion than most of Loos' designs. As with his other tea tables it shows the importance the architect placed on comfort and functionality. The brass details of the sabots and rim around the oak top served to protect the wood from household collisions with mops and chairs; the rich green tiles could have conceivably received a warm teapot. Another feature is the use of arching support elements under the scalloped top. While keeping an eye on the table's function, Loos created an object of beauty.
Loos was one of the most outspoken critics of his age in matters of style and design. He was particularly critical of the Vienna Secession and Wiener Werkstdtte. In his 1910 essay "Ornament and Crime," Adolf Loos asserted that decoration was not only unnecessary, but also a sign of moral weakness. Loos' rejection of ornament and emphasis on high- quality materials and functionality was a precursor to high Modernism.