Chess Table

Description

Isamu Noguchi first designed this sculptural chess table for the 1944 Surrealist exhibition, The Imagery of Chess. The table epitomizes his exploration of Surrealism through its irregular biomorphic shape. It also demonstrates his synthesis of Eastern and Western influences: Noguchi drew from the gestural profiles of Chinese calligraphy for the tabletop form and Japanese joinery techniques for the base’s interlocking legs. The designer George Nelson bought the original table, and a few years later connected Noguchi with the manufacturer Herman Miller, who briefly put the table into commercial production.

Provenance

Estate of Mrs. Waxler, Westchester, NY. An unknown US dealer; sold Rago Auction, Apr. 12, 2008, lot 355, to Jackson Design, AB, (Paul Jackson), Stockholm; with McCelland and Rachen, New York, by 2010; sold to the Art Institute of Chicago, 2010.

Chess Table

Isamu Noguchi

Designed 1944; made c. 1949

Accession Number

203128

Medium

Ebonized plywood, aluminum, and Lucite

Dimensions

52.7 × 63.5 × 63.5 cm (20 3/4 × 25 × 25 in.)

Classification

table

Museum

The Art Institute of Chicago

Chicago, United States

Credit Line

Through prior bequest of Arthur Rubloff; purchased with funds provided by the Antiquarian Society; Quinn E. Delaney Fund

Background & Context

Background Story

"Chess Table" is a 1944 design by Isamu Noguchi, executed around 1949, that represents the Japanese-American sculptor and designer at his most playful and intellectually engaging, the object combining functional furniture with abstract sculpture in a way that challenges the boundary between art and design. The table is constructed from ebonized plywood, aluminum, and Lucite, the materials chosen for their contrasting textures and visual properties: the dark wood provides warmth and solidity, the aluminum adds a cool industrial gleam, and the Lucite introduces transparency and lightness. The form is both organic and geometric, the biomorphic shape of the tabletop suggesting natural growth while the structural elements maintain a rigorous architectural clarity. The 1944/1949 date places this work in the period of Noguchi's most intensive furniture design activity, when he was collaborating with Herman Miller and other manufacturers to produce pieces that embodied his philosophy of "living with art." Art historians have connected this table to the broader tradition of modernist furniture design, from the tubular steel experiments of Marcel Breuer to the molded plywood innovations of Charles and Ray Eames, noting that Noguchi's treatment is more sculptural, more focused on the aesthetic pleasure of the object than the functional efficiency of these more engineering-oriented contemporaries. The work also demonstrates Noguchi's mastery of material: the combination of wood, metal, and plastic creates a dialogue between natural and synthetic, traditional and modern, that reflects the artist's position as a bridge between Japanese and American culture.

Cultural Impact

This 1944/49 design bridged functional furniture with abstract biomorphic sculpture, using ebonized plywood-aluminum-Lucite material dialogue to challenge art-design boundaries while embodying "living with art" philosophy.

Why It Matters

It matters because Noguchi made a table for chess and turned it into a conversation between wood and light—proving that even furniture could be a sculpture if the curves were right.